CULTURAL DETERMINANT OF ARCHITECTURAL FORMS IN PINGGAN VILLAGE

Anak Agung Gde Djaja Bharuna S

Architecture’s Dept, Facultay of Tecnic-Unud- Bukit Jimbaran

djajabharuna@unud.ac.id

Abstract

Bangli regency is rich with ancient villages, besides Penglipuran located in Bangli District, there are many other ancient villages full of uniqueness. The villages that are generally the culture of Bali Aga or Bali Mula are quite widespread in the area of Kintamani, around the area of the cool air was also found many ancient remains that provide a picture of Balinese life in the past. One of the important ancient villages in the region Kintamani, is Pinggan Village which has its own characteristics in the culture and architectural form. Topography that has altitude (mountain area) gives cool and cool air also influence to pattern of placement, function of space and order of building and embodiment of architectural form. The birth of the embodiment of form is not only based on the condition of nature, structure and materials, but there is a socio-cultural process that accompanies it.

The social culture of Pinggan Village society is based on the basic of ‘tatwa’ which is closely related to Hinduism. The philosophy of life of Hinduism consists of tattwa (philosophy), etika (morality) and upakara (ceremony). This the discussion of cultural determination on the form of architecture means we will talk a lot about tattwa related to the essence of life in the Pinggan Village which is based on Hindu teachings.Nirupa/non-physical values consist of: philosophical values. While the values of rinupa / physical form. The purpose of this paper is to determine the cultural determination with philosophical values nirupa/nonphysical against the birth of rinupa values/ physical form in Pinggan Village.

The phrase (culture) determination means to define or set limits for limiting, and culture itself which means matters relating to the mind and human reason. Cultural determination is the belief that the culture in which we are raised determines who we are to the environment.

Keywords: Cultural Determinat, Architectural Form, Nirupa, Rinupa

1     INTRODUCTION

One of the ancient villages that is quite important in the Kintamani area is the Pinggan Village, which has its own characteristics in its culture and architectural form. The high topography (mountainous area) gives cool and cold air an effect on spatial patterns, space functions and the embodiment of building shapes. This can be seen in the presence of the kitchen fused with the bed, to provide a sense of warmth and comfort. Natural materials such as wood and bamboo which are widely found in the village environment are the main ingredients in building construction. Use of these natural ingredients affect the structure, while the structure will affect the appearance of its architectural form. The birth of form embodiment is not only based on natural conditions, structures and materials, but there is an accompanying social-cultural process.

1.1        Overview of Pinggan Village

The history of the village's story begins with the establishment of a small village in a forest, namely in the Metaum Forest (Alas Metaum) which was then called Batan Tingkih Village. Is passed down through generations. there was turmoil in the territory of the Kingdom of Buleleng, when it was in power was King Panji Sakti. The villagers of Batan Tingkih were alarmed, considering the location of the adjacent villages such as Sambirenteng Village, Les and Nuktukan and Tejakula Village (Buleleng Kingdom). Then the villagers of Batan Tingkih looked for a safer settlement, which is now called the yard (residence), then moved again to the Kuma Desa (land where the village was) and finally to the Pinggan Village at this time. Giving the name 'Ping-an' is thought to be inseparable from the power of “King Balingkang” who took the empress of the daughter of a Chinese merchant named “Kang Ching Wei” so that the name of the village around him in power was adjusted to Chinese names such as' Sia-kin ',' Song-an' and 'Ping-an '. The area of the village is 150.58 hectares. Administratively, Pinggan Village is divided into one “banjar dinas”, namely Banjar DinasPinggan, with administrative boundaries as follows:

1.      The North is bordered by Siakin Village

2.      The East is bordered by Belandingan Village

3.      The South is bordered by Songan Village

4.      West side bordering nature / mountains and hills

Administratively, Pinggan Village is divided into 1 service area, namely the Banjar Dinas Pinggan. In running the government as a helper at the Banjar level, the Pinggan Village office. The orbit of the Provincial Capital City is 81 km, the regency 45 km, the capital city of the district 14 km. Tropical climate with temperatures ranging from an average of 23-26 degrees Celsius. Average rainfall 1800 to 1887 mm / year or an average of 153 calendar days.

Topography of Pinggan Village, Kintamani District, Bangli is a gentle slope located at an altitude of 900 - 1300 m above sea level. Settlements in the Pinggan Village centered in the middle of the village area, but along with the development of the population and livelihoods, the residents began to make "lodgings" outside the village center so that many houses were scattered throughout the Pinggan Village. Sociologically, the residents of Pinggan Village are mountain farmers. In the daily relations of the Pinggan Village people have kinship ties that stick together.

Institutionally, Pinggan Village has one village in “Pekraman”, namely “Desa Pekraman Pinggan”, another social group in the village, namely “Banjar Adat Pinggan”. The population structure according to religion shows the population is Hindu.

The culture of the Pinggan Village area is not separated and colored by Hinduism with the concept of "Tri Hita Karana". Places of worship in this Pinggan Village include the “Kahyangan Jagad “ temple, are : “ Pura Bale Agung, Pura Puseh, and Pura Dalem”.

“Pura Bale Agung” and “Pura Puseh”  are one place and are located in the middle of a settlement. Whereas” Pura Dalem” is located in the west of the village. This temple is a “Pura Dalem Balingkang” which is one of the cultural reserves. This temple is a legacy of the Balingkang Dalem kingdom located in Kintamani. In addition there is also the Prajapati Temple located in Pinggan Village Setra. “Pura Prajapati” is located quite far from the village which is at the eastern end of the village.

1.2        Village Patterns and Building Typologies

Pinggan Village is a village with a linear pattern where is related to Pura Dalem Balingkang.

Figure 1: Pinggan Village pattern

Source: Google Earth, 2018

For structuring of buildings in the Pinggan Village are centralized, because almost all settlements, village offices, and other public facilities are located in the middle of the village.

For house typology in Pinggan Village itself is divided into two, namely houses that still use traditional types and houses that have been modified, developed following demands and developments. For traditional house typologies, the pattern used is in the form of a row pattern with 6-10 units of “bale saka roras” (type of traditional house in the village of the dish) which consists of at least 1 head of household per house in each one unit of the yard.

For building typologies that have changed (restored, renovated, etc.) generally follow the typology of today's homes both with fixed and changing functions (having other functions such as trade, etc.) while still applying some rules such as the location of the bed, the position of the bedroom, the door that facing each other (straight stitch), etc. In addition, the use of materials tailored to existing trends such as finishing with sandstone (batu paras), ceramics, terracotta, paint, and others.

Figure 2: House Pattern of Traditional Pinggan Village

Source :Yudantini, 2015

1.3        Social Culture Community

The foundation socio-culture community is based on basic principles (philosophy) which are closely related to religion (Hinduism). Life philosophy Hinduism consists of  “Tattwa”, morality/”Etika” and ceremony/”Upakara”. Philosophy (falsafah /”tattwa”) as the deepest layer of Hinduism. Principles or tattwa if interpreted (Mardiwarsito; Dictionary of Old Javanese, 1986) means truth, reality, truth, essence, nature of life (natural nature). In the long description of the Old Javanese dictionary the word tattwa can be interpreted as "knowledge of the nature of life (truth)".

Philosophy according to Pithagoras, Cicero and Leighton (The Liang Gie, 1977) is: the love of wisdom, the mother of all art or the art of life, a life view or teaching about value, meaning and purpose of human life. This the discussion of form, structure and material if reviewed from philosophy, means that we will talk a lot about principles which is related to the nature of life in the village of Pinggan which is based on Hindu’s philosophy.

The values of non-physical (“nirupa/tan-ragawi “) consist of: philosophical values and ideas / ideas that reduce concepts, principles and norms. While the physical / physical values/ physical forms (“rinupa-ragawi”)  , will include aspects:

1.    Layout and orientation

2.    Mass layout / settings

3.    Building arrangements consist of: figure / shape, scale and proportion, ornament and decoration, structure and materials

The purpose of this paper is to determine cultural determination with philosophical values of non-physical (“nirupa/tan-ragawi “) towards the birth of the values of physical forms (“rinupa-ragawi”) in the Pinggan Village . The discussion will lead to the arrangement of buildings, but only takes three aspects, namely the form (including scale and proportion), structure and building materials.

1.3.1    Cultural Determination

From the word determination which means determining or setting limits to limit, and own culture which means things that are related to mind and human reason. It can be concluded that cultural determination is the belief that the culture in which we are raised determines who we are in that environment. So environmental culture is included as a very important factor for the mind and the human mind to live and determines the future behavioral factors of a human being. It is no longer a biological factor that determines human behavior itself, but it is environmental factors that determine behavior. Most cultural anthropologists strongly dislike or reject the existence of cultural determination. The assumption that arises regarding cultural determination is that humans have a very broad capacity to adopt a behavior and even belief.

1.3.2    Forms in Traditional Balinese Architecture

A.  Content and Container Philosophy

In the Hindu view, all creatures have been ordered to live in their respective realms. All living things are harmonious unity with nature (“manik ring cecupu”) so that the creatures with the nature in which we live can we name / accentuate: contain (“manik”) with containers (“cecupu”).

The elemental equation in the “bhuana agung” and bitterness, as a result of its pervasiveness and the singularity of the divine substance (“Hyang Widh”) in the form of: “ atma, prana and sarira” into these two realms becomes an absolute element of happiness, therefore hecalled “Tri Hita Karana”.

In addition to these elemental equations, the allegiance also has differences / contrasts with the “bhuana agung”. First is the difference in scale (the alit with agung / small with large), then resistance also in terms of functions with each other. Namely the “bhuana alit” is the content while the bhuanaagung is the container. The connection of content and container as to where His creation is truly harmonious and harmonious is incomparable. Like fish and water, eels with mud, birds and space, monkeys and forests (trees). The most important or very prominent is the relationship between the fetus (“manik”) and the mother's womb (“cecupu”) exemplifying the incomparable harmony between the relationship between the contents and the natural container of Hyang Widhi's creation. Until in the Dharma teachings and Balinese culture, these two materials are called the “bhuana agung /manik” “bhuana alit/cecupu” (Kaler, 1982:13).

Humans as intelligent creatures will process this nature in accordance with the demands of the “Triguna (Satwam, Rajas, Tamah)”. In accordance with his demands, Triguna  humans will form a special container in line with their needs as highly cultured social beings. So it was created a special container by humans as a forum for their activities in navigating this life such as: home, study, village. So humans are not satisfied with natural containers, so they create artificial containers according to their needs, on the basis of the concept of philosophy that is lived out. (Windhu, Oka I.B, 1984/1985: 12).

Of course the hope of this artificial container also gives a sense of happiness and has a harmonious relationship with the human self as its contents, thus the three elements “atma, prana and sarira” are also included in the container. The occurrence of a harmonious relationship between humans and their artificial containers can also be seen as a connection between the contents(“manik”) and container (“cecupu”).

B.   Triangga

“Bhuwana alit” / man the essence is composed of: “nista angga” or feet , “madya angga” or body and “utama  angga” or head. In the bhuwana agung the arrangement becomes: bhur, bhuah and swah (“Tri Loka”) as the lower, middle and upper realms. In the human body, it will easily appear that it is  feet (nista), which is in the middle/body(madya), then the utama one is above (head).

In architecture he will reveal himself clearly, one by one Tri Angga is manifested: the roof is either multilevel or single is its head/ utama angga, “rong” space or preservative is as a body / madya angga, bebataran is a foot / nista angga. Not only one building in “ a wungkul”, but also in part of the building (which is important). A Balinese wall and pillar will not be shaped straight and plain, but will reveal the head, body and legs of each in balance (Kaler, 1994:15).

A clear division of where the head and body can be also in the way of decorating a traditional house, such as a foot decorator, body decoration, and an ider as a bale dest. Traditional buildings are truly considered and enforced as living things so that they are considered to have legs, bodies, heads. As a living creature he is also considered to have “atma”, soul and energy, and therefore it needs to be turned on through the “pengurip“ process, namely a process through religious ceremonies, after which the building is considered to live like other creatures. (Windhu, Oka I.B, 1984/1985: 14).

Figure 3 : Philosophy of Contents andContainers

Source : Reka Grafis from Windhu, Oka I B, 1984/1985

C.  Proportion and Scale

In connection with the concept of the “bhuana agung” and “bhuana alit”, in one aspect it is manifested as a container in various types in the alien world being requested to have value in harmony with the bhuana agung. This purpose is done by managing as well and precisely all elements:

1.      Order choices

2.      Layout

3.      Spatial

4.      Purification procedures as applicable to humans as a bhuana alit.

This is the basis of why the making of houses (artificial containers) takes the size of the person who owns (“mekardi”) (Windhu, Oka I.B, 1984/1985: 14).

The effort to harmonize the relationship between content and container has always been a major consideration in every development of traditiol Balinese houses. As generally the use of the standard human anthropometry in determining the dimensions of space, in traditional architecture the use of “sikut awak” (anthropometry) is more of a special nature, namely its inhabitants (“mekardi”). From the basic physical size of the occupants it is expected that the proportion of buildings will be in harmony with the humans who will wear it. Expression of scale and proportion is an effort to create harmony  or harmony between buildings as a container and occupants as contents. The size is flexible which is based on multiples of asta / eight deities, namely: Sri, Indra, Guru, Yama, Rudra, Brahma, Kala, Uma. In determining the location of the kitchen, from patern will be counted to Bbrahma / agni”, granaries are selected multiples of the size of “Sri” measured by footprints from the side of South (kelod) the foundation of Gedong / Meten to the north (kaja) side of  foundation the Lumbung as a place to store rice as personified as Dewi Sri symbolizing prosperity as the essence of Dewa Wisnu who functions as a preserver of nature and its contents. With this rule, the distance and height of the building will be found to be a proportion that is pleasant to look at and in accordance with its function.

As the basic module size the proportion of “bale” is “rai” which is a unit of measure width / saka side / pole along the index finger to the base of the thumb, or a stack of ± 111 Chinese money (kepeng). Saka height ranges from 19 to 23 rai plus  pengurip a caping and 1⁄2 rai, with rock / stone pillars as high as 3 rai. The width of the bale-bale is set on the basis of the saka size under the beam (lambang) until the upper edge is sunduk lantang, while long bale is determined on the basis of the length of saka plus the “pengurip”. Each choice of multiple sizes and pengurip is believed to have its own reward.