Chapter 3: Authenticity in Different Degree of Displacement Architecture
3.1 Transformation of Leisure Space
3.1.4 Monumentality of Image and Its Temporality in Leisure Architecture
should be utilized by architects and professional organizations to generate interest in both the cultural heritage and current architecture.
3.1.4 Monumentality of Image and Its Temporality in Leisure
architects to give public buildings a specific representation or are displacement vernacular architecture and duplication of iconic buildings in miniature city condemned to look similar in our contemporary condition of leisure architecture development. (Jose Luis Sert, 1943)
Figure 60 Relationship in between the perception of image and Monumentality, iconicity and identity in leisure architecture.
- Heterotopias as the Repetition of Authenticity.
Heterotopia, which literally translates to 'other places,' is a rich urban planning idea that defines a world off-center with respect to conventional or daily environments, one with diverse, fragmented, and even incompatible meanings. Since Foucault invented the phrase in the late 1960s, it has had an impact on architectural and urban thought, but it has remained a subject of confusion and disagreement. Heterotopia and the City analyzes the heterotopias that exist throughout our contemporary world and leisure activities, including museums, theme parks, shopping malls, vacation resorts, gated communities, wellness hotels, and festival markets.
In chapter2 the principal of heterotopia that was analyzed and connect to the leisure and tourism space was the heterotopia of juxtaposing incompatibility and heterotopia of time in temporality. Which in the two principles it shown the relationship with Henri Lefebvre's work on the production of the space (Lefebvre, 1991) is inevitable and immediately apparent. Lefebvre does not offer a spatial periodization. He considers places to be comprised of three moments that coexist, interact, and are formed in relation to one another: Spatial practice is the process of producing physical spaces (the built environment); representation of space is a kind of "epistemological space" – the organization of our knowledge of space, such as mental images and maps; and spaces of
representation are the spaces that are directly lived, occupied, and transformed by inhabiting them. This third feature of Lefebvre's definition of space has generated the most interest and related to the development of leisure and tourism. It is also the feature that coincides with Foucault's "space of relations" the greatest and is especially pertinent to the development of heterotopias.
Heterotopia is not merely another word for the 'space of representation'; it is the realization that space is not a passive support for social action, but rather participates in the social action itself. (Lefebvre, 1991) Heterotopia goes further by highlighting how fragmented, mobile, and ever-changing space production is. This is especially noticeable and significant at a time when social issues are proliferating, and new places are being created alongside them. At first glance, the ability of heterotopia to "juxtapose in a single physical place several spaces" is a restatement of Lefebvre's three aspects of space.
Foucault adds, however, that heterotopias are also defined by the coexistence of "a number of incompatible places." What makes heterotopias "other" spaces is not merely the fact that they are "different" relative to the fixity of physical space.
By this definition the heterotopia can be seen as the reproduction of the authenticity, in which it was the incompatibility of difference authenticity experiences that put together in the same place. From the Circus Maximus in Roman to the mobility of circus caravan after industrial revolution, the displacement of Hinemihi to relocated next to the Clandon Park House to the juxtaposition of iconic and monumentality from different culture in the miniature park. The sense of repetition the incompatible activities together in the same place defined the new authenticity in leisure and tourism, with the fluid of time in the moment of temporality that public experience in the space, these two principles of heterotopias were the foundation to create leisure and tourism space.
- Repetition of Exotic Experience in Leisure Space.
Authenticity delivered by exotic experience in the leisure and tourism activities is the fundamental from the result of theoretical study. Together with the heterotopia of juxtaposing the incompatible activities, these two factors define the development of the leisure and tourism space. After industrial revolution, leisure began to treat as the consumer product for the public to enjoy their freedom of leisure that came after the reform of social structure. Then it was the mass production, and when leisure turned out to be the mass the repetition or reproduction of the exotic experience. Subsequently, the
technology from the industrial production was the force behind the defined the leisure activities that formed repetition of leisure architecture.
In his famous book Difference and Repetition that published in 1968 by the French philosopher, Gilles Deleuze defines the term "repetition" in the introduction.
Understanding Deleuze's repetition requires to be contrasted with its general definitions.
Both terms, “Difference” and “Repetition”, describe occurrences with underlying links. The concept of generality relates to events that are interconnected via the connection, equality, and laws. The majority of things that science can directly describe are generalities. Because they are governed by the same laws, ostensibly unique occurrences will repeatedly occur in the same manner. Due to universally applicable laws, water will flow downhill, and sunshine will produce heat. A behavior that conforms to norms and regulations is considered widespread in the human domain for comparable reasons. As science strives to predict and project reality through reduction and equivalence, it also focuses mostly on generalizations.
According to Deleuze, repetition can only depict a unique sequence of things or happenings. Because no creative application of an element is ever completely equivalent to other uses, art is frequently a source of repetition. Pop Art pushes this quality to its limits by bringing production close to the level of capitalism, whereas arrt eliminates repetition entirely in favor of identity. Repetition is intrinsically subversive for humans.
Humor and irony are in league with repetition because they create separation from rules and conventions even as they reenact them. Deleuze defines repetition as "different without a notion" and ties the concept to Freud's death drive. He views repetition as a shared value of an otherwise dissimilar group. (J. Williams, 2013, p. 153) Thus, repetition is dependent on difference more than it is opposed to it. Furthermore, profound repetition will be distinguished by profound contrast.
The early development of the mass leisure and tourism was relied mainly on the repetition of the exotic experience also because of the globalization is not arrived yet.
When the world still not connected and apart from each other, only the elite or wealthy class, especially the investor and the merchants is the only group that can travel around.
The authenticity in leisure and tourism is still under control from the world order, social structure to the leisure class. The repletion is to make authenticity accessible to public and then the wealthy class will be in search of the new authenticity by the means of differentiation or redefinition.
- From Miniature City to Streets of America in Disney World.
It is believed that tiny parks have existed since the early 1900s, when people began placing miniature buildings and railways in their own gardens. The first true
"Miniature Parks" were public attractions. Bekonscot is the oldest genuine miniature park in England. Later, Madurodam opened in the Netherlands, and many others to follow.
Miniature parks are always being constructed for a variety of purposes. Some are charitable organizations, others are theme park businesses, while others provide tourists and citizens with valuable information. The miniature park is the best sample of early repetition of exotic tourism experience and the leisure class structure in the early to middle 20th century reform of social structure and the start of modernized globalization.
The bucolic English town's miniature model town is a well-known landmark. A bird's-eye view of the townscape is provided by the miniature villages, which are often meticulously detailed. However, miniature artisans around the world have taken these peaceful towns to a whole new level by building miniature replicas of the cities they are based on. Since the mid- to late 20th century, model towns and parks have shifted away from the model village concept toward a small park concept. The exhibits in model towns, such as streets and urban areas that are open to the public, can be seen and interacted with physically by visitors in a scaled-up version of the real world. When it comes to miniaturized attractions, though, they are more concerned with the presentation of exhibitions from afar. Exhibits may be connected to the miniature parks by model train, river and road systems.
Figure 61 Madurodam in The Netherlands and Tobu World Square in Japan, different scale of Miniature Park
Retrieved fromwww.fun-japan.jp/th/articles/10219
The image and perception of miniature park was not limit only in the small scale duplication, in 1989 the Street of America was open in Disney World. The Streets of America were two intersecting streets with sets and facades designed to look like New York City and San Francisco. New York Street came first and was part of the original version of the Backlot Tour when the park first opened May 1, 1989. Both streets reflected the architecture of their respective locations were layered with props and details. For instance, there was a faux subway stairwell, newspaper racks, themed window displays, and even simulated traffic sound effects. Even though the streets were mainly places to explore, take photos and shopping.
Figure 62 Street of America, New York (Left) San Francisco (Right) in Disney World Retrieved fromdisney.fandom.com/wiki/Streets_of_America
Even the Street of America were closed in 2016 but the idea of repetition of the iconic and monumentality architecture in live size model was ignite by this part of the Disney World Amusement Park. The duplication and displacement of architecture in leisure and tourism development in Las Vegas and other parts of the world later on had followed the same strategy of the Street of America.