Chapter 3: Authenticity in Different Degree of Displacement Architecture
3.1 Transformation of Leisure Space
3.1.2 Mobile Leisure Space as Invention of Displacement Experience
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.
tourism are also prone to many of the same dynamics that contribute to the meaning conundrum. (Sack, 1988) Leisure signifies the enhanced flexibility or capacity to explore and express identity, as well as the responsibility of finding meaning in a world devoid of significance. Guided by fewer restrictions on how and what to pick, the self is simultaneously emancipated through the growth of leisure and burdened with the responsibility of selecting from an ever-expanding market of options. Ironically, despite the choice and freedom to construct the leisure freedom, our personal appropriation of life choices and meanings is frequently confined by highly standardized, market-driven patterns of production and consumption. Thus, leisure and tourism may be perceived as authentic, personalized, and identity-enhancing, or as increasingly manufactured, commercialized, and confusing.
The shifting nature of time-space interactions is a significant geographical aspect of modernity that contributes directly to both the freedom and burden of identity and the expansion of leisure and tourism. The modern experience is characterized by fast accelerated commerce, movement, and communication across space. Modernity dismantles the protective framework of small communities and traditions, replacing them with much larger, impersonal institutions. The individual feels forlorn and alone in a world where she or he lacks the psychological supports and sense of security offered by more conventional situations.(Giddens, 1991, p. 33) With each new symbolic link to the greater world, the conventional face-to-face community loses its coherence and meaning in the lives of its members. Their sense of "belonging" is no longer founded solely or even predominantly in the local soil". (Gergen, 1985, p. 268) The consequent crisis of meaning unavoidably leads to arguments that "in the midst of all this change, one desperately wants some peace and quiet; thus "place" is presented as a source of stability and unproblematic identity". (Giddens, 1 9 9 1, p. 3 3 )Although it is widely believed that the insecurity caused by space-time compression motivates the need for an authentic and secure place, the social or moral worth of preserving a unified sense of place or strong place ties is not certain.
On the one hand, several anti-modernist environmental and social philosophies advocate a return to a "living in place" lifestyle that was reportedly more prevalent in previous centuries. Thus, a location may have its own personality, but it is still feasible to perceive it without embracing essentialism and exclusivity. Multiple ‘place’ identities are regularly and frequently a source of both richness and conflict, despite the fact that place
identities frequently lack the unique, seamless, and cohesive attributes frequently ascribed to the notion of sense of place. Similarly, Sack argues that the condition of modernity is less about a fall or loss of place-based meaning, as it is commonly read, and more about a shift in how meaning is formed or constituted in the modern era. These mechanisms reduce the significance of locations. "From the fewer, more local, and denser places of premodern society, we now dwell among an infinite number of interconnected, thinner, and even empty places". (Sack, 1997, p. 9)
Recognizing that circulation and travel are increasingly the norm effectively deterritorializes or dis-places what have long been geographically bounded conceptions of culture, home, and identity and makes problematic certain salient themes in the study of tourism. The discussion of many interesting and familiar tourism practices is virtually absent in the postmodern discourse on tourism. (D. R. Williams & Kaltenborn, 1999, p. 227)
In this sense, leisure/tourism is a major contributor to the transformation of places and the erosion of meaning, exemplifying "consuming places". (Urry, 1990) This makes the authenticity that so many tourists seek ever less available. (MacCannell, 1973) How much and under what conditions can tourism mitigate the inevitable conflict between the monetization of places and our desire to experience and reside in distinctive and "thickly textured" locations?
- Mobility of Leisure and Exotic Experience.
Its early designs were inspired by the mobility of the organic forms it was designed to replace, which emerged at the dawn of industrial capitalism. To go forward, these 'iron horses' elevated their 'feet' alternatively in imitation of their animal alter ego.
When it comes to the train's technology, it's all about moving away from organic modes of transportation. Rather than a return to nature, what is being seen is a return to a nature that has been suppressed by scientific knowledge. Disorientation and confusion felt by traditional space-time consciousness when confronted with the new technology in the nineteenth century, the significance of this experience. Foreboding floods in spreading forests hint at a strange return to nature after centuries of suppression by contemporary technologies.
The sense of place and mobility of festive space in leisure activity was the development that can referred to the two principles of heterotopias. The time that was separated or can escape from the daily life or working life moment together with the incompatible of activities that happen in the same place which was the activities that was different from the daily life that can define the authenticity experience in leisure space.
Figure 51 Relationship between two principles of Heterotopias and sense of places.
The Carnivalesque as the start of exotic mobility
Most closely related with the concept of carnival is Bakhtin's research on folk humor and ritual in the Middle Ages and Renaissance. During this time period, carnival celebrations with their intricate pageants, processions, and ceremonies were the most popular leisure activity. The carnivalesque refers to the mood of carnival, which was markedly distinct from the solemn, official, ecclesiastical, feudal, and political ceremonies and forms of protocol that dominated life the rest of the year. Carnival symbolized the suspension of all hierarchical status, advantages, norms, and prohibitions, according to Bakhtin. The dogmatism and pomposity of official culture were turned into a comedic object. Death, punishment, and everything horrific were caricatured in a hideous manner.
The iconography of the carnival emphasized the body and bodily processes in a direct manner. For Bakhtin, rituals and iconography represented the social body of the people and their connections with Mother Earth. Carnival, he contends, is both a utopian reaction against the individualism norms connected with the expansion of the market and a sanctioned release from the hierarchical order of 'high' culture. (Bakhtin, 1984, p. 10)
The carnivalesque was marginalized and suppressed with the rise of market society and the belief that modernity should be distinct from other societies in producing
the rational order of time and space. Politically, carnivals, fairs, and popular games were viewed as grounds of resistance against the expanding powers of capital and state. From the moral cleansing' efforts of the 17th century to the rational recreation programs of the 19th century, historians of leisure and popular culture have traced a progression of social control over the popular pastimes and traditional rights of the people. Attempts to extend social control often resulted in the politicization of popular culture by transforming rituals into forms of resistance.
Apart from the mobility of the public to the leisure place, the leisure itself also can develop the mobility to support on their side, and the first innovation would be the mobility circus to deliver the exotic experience around the place. The circus itself is not the new innovation, but its was some small show with in the Fair or festival that still not popular to create much attention in authenticity seeking for the tourist. But with the arrival of the railway and leisure mobility that ignite the circus development to the mass leisure level.
The term "circus" refers to a traveling troupe of performers. Typically, these performers are acrobats, clowns, and trained animals, though some circuses also feature musicians, trapeze acts, and other stunt artists. Typically, circuses operate in tents. Today, circus is more art than mere entertainment. Some claim that the first circus arose in the 18th century, and if we examine the origins of the current circus, they may be correct.
However, the first circuses occurred in Ancient Rome and featured horse and chariot racing, as well as staged wars, gladiatorial fighting, and animal performances. At that time, the circus was the only public event where men and women were not divided. The earliest circus in Rome was the Circus Maximus, which was constructed under the Old Kingdom. It had a length of 400 meters and a width of 90 meters, allowing it to accommodate up to 250,000 people. Other well-known Roman circuses included Circus Flaminius, Circus Neronis, and Circus of Maxentius.
Figure 52 Circus at its zenith. A fight with wild beasts in arena of Circus Maximus.
Retrieved from www.prints-online.com/circus-maximus-rome-matania-14387336.html
In the 18th century, Philip Astley, an English cavalry officer, is credited with founding the modern circus. In 1768, he debuted in a London amphitheater performing horse riding stunts. He referred to this performance venue as the Circle and the structure as an amphitheater, but they became known as Circus over time. Astley exported his Circus to France in the same year as "Amphithéâtre Anglais" and then proceeded to construct 18 more across Europe. These circuses were all housed in structures designed specifically for them. Tents later appeared as the juxtaposition and temporality of heterotopias was also rooted in the circus activities, the temporality of the structure and the mobility of the exotic experience that can travelling around was totally support the circus to be the first displacement leisure activities.
The first modern circus in the United States began in Philadelphia in 1793.
During the first two decades of the 19th century, "The Circus of Pepin and Breschard"
toured from Montreal to Havana and constructed numerous circus houses along the way.
In 1825, Joshuah Purdy was the first to utilize a huge tent for his circus. In 1838, Thomas Taplin Cooke introduced the tent to England. Because tents were easier to use, they gradually replaced circus buildings, converted buildings, and open spaces, and supported the mobility of exotic circus experiences to travel and disseminate authentic experiences throughout the world. "The Barnum & Bailey Greatest Show On Earth" toured Europe between 1897 and 1902, making it one of the greatest traveling circuses.
Figure 53 Circus parade around tent with railway transportation. Gibson & Co., 1874 Retrieved from en.wikipedia.org/wiki/Circus#/media/File:The_grand_lay-out,_1874.jpg
While on tour from 1897 to 1902, the Greatest Show on Earth wowed rival zoos and circus owners alike with its large-scale production, innovative use of the circus train and tent, and eclectic mix of circus performances and freak shows. At the turn of the twentieth century, European circuses adopted this format. The American circus had a significant impact on the current circus's character. With the mobility of exotic experience, the toured circus with temporality structure of tent and the caravan of train convey really give the new image and monumentality of leisure architecture. The authenticity of these exotic show was set the new standard for both European and American, the mobility that inspire both temporality in festive space of an events and the leisure architecture that doesn’t relied on the context anymore.
Figure 54 The Barnum Bailey Greatest Show on Earth Circus Poster 1899.
Retrieved from www.alamy.com/the-barnum-circus-poster-1899-mage274733149.html
3.1.3 Displacement of Iconic Architecture in Response to Leisure and