Chapter 3: Authenticity in Different Degree of Displacement Architecture
3.1 Transformation of Leisure Space
3.1.1 Leisure Space as Heterotopia
arranged in juxtaposition, the era of both near and far. The side-by-side era and the dispersed era, however, Foucault says that even today, “space” appears as an issue of confinement, theories or systems. But it's not a new innovation at all. Because the area itself has a long history in the Western experience. There is also a connection between
“time” and “space.” For example, in the Middle Ages there would be a series of hierarchy places, with opposite differences and related to the lives of the people. A person which Foucault called A “space of emplacement” whether it is sacred, profane or protected and open or urban and rural areas. And in cosmological theory there is still a space above the heavens or supercelestial with the celestial area and the heavenly area that is opposite to the ordinary earth or terrestrial. Foucault categorized heterotopia to six principle which was,
• Heterotopia of Crisis and Deviation
• Heterotopia of Juxtaposition
• Heterotopia of Time
• Heterotopia of Opening and Closing
• Heterotopia of Illusion and Compensation
• Heterotopia of Emplacement and Displacement
Thus, there are three broader elements of heterotopia: representation, contestation, and inversion. (Sajjad & Perveen, 2019, p. 3) These three elements are very much relevant to this study for the exploration of the multiple facets of the leisure and tourism space. The leisure space has the potential to represent to the extent that representation may become more powerful than reality. Through this representation, the dominant culture can be contested and its tenets may be inverted. From these six principle, leisure and tourism space was the territory that didn’t define the clear border in between all these principles. Together with the authenticity seeking in leisure and tourism activities, the two principle of heterotopias that related to the foundation of creating the leisure space was the heterotopia of juxtaposition and the heterotopia of Time.
- Juxtaposing of Incompatible Leisure Experience in Space.
According to the third principle of heterotopia, multiple places that are otherwise incompatible are brought together in a heterotopic space. This can be called heterotopia of juxtaposition. Foucault’s examples of this are the ancient Persian lawns
whose four corners were supposed to represent the four corners of the world.(Foucault, 1 9 6 7, p. 6 ) It was supposed to represent a kind of microcosmos. Other-spaces are alternative spaces, altered spaces, and frequently also alternating spaces, in the sense that two distinct time-spaces may converge and alternate. According to Foucault, the theatre is composed of two distinct spaces: the real space of the audience and the imagined space of the scene. When the play begins, the virtual becomes real and when it concludes, the reverse occurs and we return to "reality."
The heterotopia has the ability to juxtapose numerous locations, or sites, in a single physical location that are incompatible. Thus, the theatre brings a whole series of places that are foreign to one another onto the rectangle of the stage one after the other;
thus, the cinema is an odd rectangular room at the end of which one sees the projection of a three-dimensional space on a two-dimensional screen; but perhaps the earliest example of these heterotopias that takes the form of contradictory sites is the Persian garden or Chahar Bagh. (Foucault, 1967, p. 7) Persian garden have simulated and presented a miniature world by dividing the area into four corners that reflect the four parts of the world. The center of the garden is like the navel of the world, decorated with pools and fountains, and various plants are planted in the area. It is a microcosm simulation of symbolic perfection.
Figure 46 (Left) Chahar Bagh in Persian Garden, the four-fold garden design that combine four different types of world landscape with the leisure space in the middle. (Right) Chahar Bagh idea of microcosm was applied to the concept of Persian traditional carpet.
Retrieved fromhttps://www.theheritagelab.in/mughal-charbagh-paradise-gardens/
https://twitter.com/iran_style/status/839641178639335424?lang=nl
We must remember that in the East, the garden, an incredible creation that is now over a thousand years old, has very deep and seemingly contradictory implications. This concept is still reflected in the carpet. This is a reproduction of the traditional gardening concept. Therefore, the garden is said to be the world's smallest tapestry, but it has the whole world inside. The garden is therefore a space of “heterotopias” that seeks to create a universality within itself.
We must not forget that in the Orient the garden,…, had very deep and seemingly superimposed meanings. ..with a space still more sacred than the others that were like an umbilicus, the navel of the world at its center; and all the vegetation of the garden was supposed to come together in this space, in this sort of microcosm. The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity. (Foucault, 1967, p.
6)
However, in our modern era, zoos and the miniature city have been conceptualized from the Persian landscaping itself.
- Heterochronies, Fluid of Times in Leisure Space.
Heterotopias of time was the fourth principle and it was the main principle that would apply to most of the leisure and tourism space. Heterotopias are typically associated with temporality or slices in time. (Foucault, 1987:6) Alternatively, for the sake of symmetry, they provide access to what could be dubbed heterochronies. When men arrive at a type of absolute rupture from their customary period, the heterotopia begins to work at full capacity. (Sudradjat, 2012, p. 28) This demonstrates that the cemetery is indeed a highly heterotopic location, as it begins for the individual with a weird heterochrony, the loss of life, and a quasi-eternity in which her permanent lot is dissolution and disappearance.
In a civilization similar to ours, heterotopias and heterochronies are structured and distributed in a relatively sophisticated manner. First, there are heterotopias where time accumulates indefinitely, such as museums and libraries. Museums and libraries have evolved into heterotopias in which time is perpetually accumulating and surpassing its own
apex, whereas in the seventeenth century, museums and libraries were the manifestation of an individual's choice. (Foucault, 1967, p. 8) In contrast, the notion of accumulating everything, of establishing a sort of general archive, the desire to enclose in one place all times, all epochs, all forms, and all tastes, the notion of constituting a place of all times that is itself outside of time and inaccessible to its ravages, the project of organizing in this manner a sort of perpetual and indefinite accumulation of time in an immobile place, all of these notions are characteristic of our modernity. The museum and the library are heterotopias characteristic of nineteenth-century western culture.
For the leisure and tourism activities, the heterochronies, temporality or fluid of time is the main factor that arouse the authenticity experience for the people. From the basis of psychological that people want to escape from their daily working life this temporary of time at the moment together with the juxtaposition of incompatible activities, which most of that will be non-working related activities, generate the authentic experience for the public. One of the first typology of leisure and tourism space that contain both of heterotopia principal was the fair or festival, the temporally event that attract the public lust for leisure.
Figure 47 Malliga 124, Karnchanaburi, Thailand. The staged authenticity tourist village.
Retrieved fromwww.mallika124.com/
- Festive Space and Temporality in Time.
To the contrary of these time-accumulating heterotopias, there are those that are based on time in its most fluid, fleeting, and precarious form, namely time as it is experienced during a festival. Rather than looking to the eternal, these are truly temporal
or heterochronies heterotopias. Among these "marvelous empty spaces on the edges of cities" are the fairs, where "stands, exhibits, heteroclite artifacts, wrestling, fortune-tellers and loads of incompatible activities together" take place once or twice a year, according to the author.
A new sort of temporal heterotopia has emerged in the field of heritage and cultural tourism recently. The Polynesian communities, for example, provide a three-week holiday to city dwellers who want to get away from it all. Here, the festival heterotopia and the eternity of collecting time heterotopia, the vernacular architecture, are related to libraries and museums in several ways. When we uncover our lineage, time ceases to exist;
yet it is as if the entire history of humanity, from its origins to the present day, is available in a type of immediate knowledge.
Use Foucault's heterotopia notion as an analytical tool to better comprehend how festivals disrupt the existing social order in both space and time. Festivities juxtapose different areas that are not compatible with one another. This leads to a diversity of societal changes that are then compounded, which is why they have such an impact.(Quinn & Wilks, 2017, p. 58) That prior festivals intertwine with and influence the social actor's current festival experience is a well-established claim that heterotopias violate standard ideas of time. They provide empirical evidence to support this thesis.
Many festivals demand particular acts or rituals in order to gain access, but the findings suggest that maintaining these rituals during a festival is vital to social actors' continuing absorption in the transitory world of this celebration
Figure 48 Bartholomew Fair by Thomas Rowlandson (1807), one of the earliest fair.
Retrieved fromwww.metmuseum.org/art/collection/search/742766
But if compare with the festival nowadays, recent study on festivals in the social sciences has been concentrated with urban festivals to the exclusion of festivals that take place in rural communities. The remarkable and unique significance of festivals to rural communities, emphasizing its transforming effect and function in expressing the collective identities of place and people. (Gibson, 2006, p. 6) To develop a knowledge of the social and cultural components of festivals in regional contexts has been relatively overlooked until recently due to the event tourism discourse's predominant emphasis on calculating economic consequences.
According to Foucault, heterotopic sites are those in which all other real sites within a culture are simultaneously represented, challenged, and inverted: the heterotopic site's function is to "suspect, negate, or invert the set of relations that they happen to identify, mirror, or reflect." Although Foucault did not completely develop the concept himself (Johnson, 2013), it has been adopted by others, including a few festival-focused researchers. It is recommended as an analytical tool because it appears to simultaneously incorporate a number of the geographical and temporal elements that are frequently utilized separately to analyze the social function of festivals. It promises a holistic perspective because it considers both the quality of festival area and the duration of the festival. As Foucault provides simply a beginning point for the theory, there is considerable room for expansion.
Figure 49 Relationship between six principle of Heterotopias that can develop into leisure space.
- Exotic and Nostalgia Experience in Leisure and Tourism
From the two heterotopias principal that has been studied above, it was the point of departure to fundamental of understanding how the place for should have been to attract and please the greed of the public, and the exotic experience might be the very situation. When we think of tourism, we frequently envision travel to exotic location, yet modernization has also scattered and expanded our network of family and friends. Fewer individuals spend their entire life in a single location or even a single region of their own nation. Modern patterns of living, working, and recreation include movement through a geographically extensive network of social relationships and a multitude of widely scattered sites and areas. (Selwyn, 1996) Much "postmodern" rhetoric on tourism gives the impression that travelers seek out only the exotic, authentic "other" and experience every trip via a detached "gaze" that rarely encounters the uncommodified parts of the location.
(Urry, 1990) Contrary to stereotypes of "gazing" travelers on a quest for the genuine, the majority of modern tourism is very mundane and involves intricate patterns of social and spatial interaction that cannot be reduced to a simple detached relationship. Leisure and tourism is frequently less packaged, commercialized, and colonial than current academic depictions seem to allow.
The nostalgia industry refers to the commercial embellishment or recreation of the past via the use of fiction. There must be a distinction between this and the heritage industry. Multiple critics have remarked that heritage sites are among the most popular attractions in the contemporary leisure business. (Urry, 1990) The heritage sector views itself as the defender of the past against the onslaught of modernity. To re-create the past, nostalgic websites and artifacts, in the opinion of some critics, frequently and excessively employ embellishment and artifice. It is helpful to distinguish between performance attractions and the image of nostalgia when examining them. Utilizing actors, staging, and directors, performance attractions can recreate the past.
Examples include film and television costume plays that use pastiche and charade to self-consciously "periodize" or "costume" the past, as well as commercial heritage centres that use actors in period costume to create an interactive depiction of the past. (Bromley, 1988, p. 147) To recreate the past, tableaux relate to the employment of audio-animatronics, holograms, models, and soundtracks. The nostalgia industry exploits the desire for security and stability. Rather than historical truth, this is its primary motivating force and organizing principle. Typically, it depicts the past as a dramatized plot
that culminates in a formal moral climax, such as the triumph of virtue over evil or right over might.
Figure 50 Periodize costume and live acting in Heritage Tourism at Texas, United State.
Retrieved www.thc.texas.gov/preserve/projects-and-programs/heritage-tourism
Nonetheless, one should be careful of 'dominant ideology' conceptions of nostalgia that fixate only on the role performed by entrepreneurial manipulators and class controllers. According to Urry, the majority of the drive for the nostalgia industry originates from the masses. The motivation for preserving abandoned coal mines, steel mills, steam traction engines, and canals is the desire to preserve "our heritage." Similarly, the concessions made to the entertainment aspects of the nostalgia industry in order to save these places have been rationalized by the public as an unavoidable cost of conservation.
The bell, not the whistle, ruled the modern daily lives of individuals. As soon as everyone got up, everyone started their day together; lunch and dinner were served at noon and five o'clock; then came bedtime and midnight's "marital wake-up," which meant that each individual did his or her duty at the sound of the church bell. The juxtapose of multi-incompatible activities in the same space, which can also referred to the difference in term of Deleuze, and the temporality of time and leisure and tourism activities that can distract the public from the daily life. These are two extreme types of heterotopia that can apply to the leisure space.
In the same way that the ship is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea, you will understand why it has been for our civilization not only as the great instrument of colonization, but also as a heterotopia, a place that is neither a
place nor a time. The ship is the ultimate heterotopia. Dreams die, adventure is replaced by espionage, and pirates are replaced by the police in societies without access to the sea.
(Foucault, 1967) with the same principle here, if the leisure and tourism space can be float and not attached to any context or location, if it was movable, the authenticity in leisure and tourism would be redefine again.