COMMODIFICATION IN THE ARCHITECTURE OF A PURI IN CHASE STUDY: TOURIST ATTRACTION OF PURI SAREN AGUNG

Anak A.D. BHARUNA S1. [email protected]

ABSTRACT Puri Saren Agung, located in Ubud Bali, is a tourist attraction that has been developed based on the concept of cultural tourism. As the traditional ruler house of Ubud, it has had important historical, philosophical, and aesthetic values. The values are presented from the puri’s layout that was inspired by the conception of the Hindu religion. It is the architectural evident of the royal families’ roles as a center and patron of socio-cultural activities. Tourism development in Bali tends to lead to commodification in many sectors. Commodification involves not only production or a commodity, but also distribution and consumption. In order to gain economic benefit, the puri has been developed as a cultural tourist attraction. This is a way to support its socio-cultural functions and to maintain its traditional power. Although the puri is a tourist attraction, its traditional form, building construction and layout have been maintained. The sanga mandala concept, the nine zones representing the variety of values, is still presented in its layout. These nine zones can be categorized in three main zones: utama, madya and nista. The most sacred value is called utama; the middle, called madya, is a space for dwelling; and the most profane value, called nista, is a place for public services. Based on research fieldworks, the puri has also been used as accommodations and art performances for tourists. These additional functions have caused the transformation of the nista area. However, the other areas have been maintained to perform its traditional functions. The appropriate and integrated tourism development has led a symbiotic mutualism in the commodification of Puri Saren Agung Ubud. Key Words: Commodification, Puri Saren Agung Ubud, sanga mandala, tourism in Bali

1. INTRODUCTION

Bali is well known as cultural tourist destination. The uniqueness of Balinese culture is presented on the socio-cultural activities inspired by the teaching of Balinese Hindu religion not only in temples, but also in their houses. The other uniqueness is the architecture of the Balinese temple called pura and the Balinese called puri. This uniqueness attracts tourist to visit Bali including the Balinese temples and . The number of tourists, interested to come because of the uniqueness of Balinese culture, encourages the local government to develop tourism industries based on cultural tourism.

1 Lecturer in Department of Architecture Universitas Udayana, .

This policy is stated in Local Regulation No 3/1974, revised in Local Regulation No 3/1991 concerning on cultural tourism. A cultural tourism applies conformist tourism development. In this approach, the tourism development could adopt the local knowledge of a society as an ecological adaptation. This adaptation concept encourages symbiotic mutualism between tourism and the Balinese society and culture. Since every society has different knowledge and culture based on its environment, conformist tourism development are able to offer the variation and uniqueness of attractions for tourists; to apply environmentally friendly; and to be socially, culturally, and religiously accepted by Balinese societies. However, since tourism is seen as industrial activities, industrialization has encouraged the commodification in various tourism sectors including Puri Saren Agung as a famous tourist destination in Ubud. Balinese have creatively innovated to address their culture as tourist attractions. These innovations can be seen from various tourist destinations and performances. A relatively new tourism attraction is “wisata puri.” This attraction utilizes socio-cultural activities in and architectural configurations and forms of palaces as resources of tourist activities. Wisata puri has actually been developed over the years, in which, in the other countries, it is popularly called “a castle tour,” such as Grand Palace in Bangkok, Malacanang Palace in Manila. Moreover, in Indonesia, many palaces, such as Keraton , Keraton Surakarta, and Keraton Mangkunegaran have also been developed as “a castle tour.” The commercialization process of Puri Saren Agung can be seen as commodification. Commodification is a concept that is not only related to the production of commodities in common economic activities or goods traded, but also is related to how goods are distributed and consumed. Fairclough (1995: 207) suggested, “Commodification is the process whereby social domains and institutions, concern is not producing commodities in the narrower economic sense of goods for sale, come nevertheless to be organized and conceptualized in terms of commodity production, distribution, and consumptions.” Moreover, Keat and Abercrombie (1990) suggested commodification is not new, but have been a part of people activities for many years. Max Weber (in Turner, 1992: 115-138) explained that the phenomenon of commodification is an economic spirit to gain profits from people activities. A palace in Bali is a house of royal families called kasta kesatriya that is the ruler of a region. A palace is generally located in kaja- kangin, the most sacred corner of the main cross section called perempatan agung in the village (Gelebet, 1986). According to Alvin Toffler cited by Soedarsono (1999), a palace is a place to keep properties or cultural heritages that are now usually used as tourist attractions. This policy is implemented in Puri Saren Agung Ubud that has been developed as “wisata puri.” The royal families understand that cultural activities and artefacts are important resources of cultural tourism.

2. METHODOLOGY Based on a proposition to conserve a puri, as the production of past architecture, this paper aspires exploring this phenomenon. The approaches used in this paper is naturalistic qualitative. In this approach, the objects are allowed and kept in their natural setting without manipulation. As a grounded research, the findings are not directly applied but its recommendations are able to be suggestions and input for other related depth-studies. In order to achieve the purpose, the first section of this paper presents the dynamic and variation of specific spatial and architectural formations of palaces in Bali. This section involves not only physical aspects but also philosophical values. The second section discusses the transformation of palaces especially Puri Saren Agung Ubud as the impact of tourism. This section explores in detail the commodification of tangible and intangible aspects of the palace (puri). The idea to preserve the originality of the puri is eventually liken a boomerang that ruins the original order of the physical and non-physical elements. The third section attempts to develop the preposition of the framework to diminish the potency of self-destruction phenomenon in the palace. This section is developed by exploring some best practices in other countries. However, the internal and local wisdom are still essential in the implementation in this commodification.

3. TOURISM AND THE ARCHITECTURE OF PURI AGUNG SAREN UBUD 3.1. Ubud and the Development of Tourism

Puri Saren Agung Ubud was established as a result of conflict in Sukawati Palace that was a part of Gianyar Kingdom. This conflict was involved two siblings who wanted to take the place of their father as the King of Sukawati. The conflict and war finished in which the first son, Dewa Agung Gede, won. Since the war involved many people, and as the honors to the people helping him, the new king awarded his followers including a warlord named Cokorde Tangkeban. This warlord got Ubud that is an important region in Gianyar. The development of tourism in Ubud has been introduced from 1900s since the beauty of natural setting and the cultural traditions of the communities have attracted tourists. At that time, Ubud had few facilities for tourists. Since Ubud has become attractive for tourists, nowadays, Ubud has many facilities to accommodate tourists. Tourism development in Ubud was related to the role of two famous artists: Walter Spies and Rudolf Bonnet who introduced Ubud through their painting activities. Walter Spies was a Germany painter and musician who came to Ubud to witness not only the natural beauty, but also cultural activities and traditions. In Ubud, he was interested in seeing the classical-traditional paintings of Ubud. He saw the people of Ubud were expertise to paint, but they did not feel as artists. The people felt that what they had be done was a dedication to communities, royal families, and religious ceremonies. In 1920, a Dutch painter visited Bali and wrote about Balinese paintings. His book globally introduced Balinese painting in 1907. He met Rudolf Bonnet, a famous painter, in Florence Italia, and suggested him to visit Bali especially Ubud. These two painters then got positive responses from Balinese artists. The natural beauty and the traditions of Ubud were then drawn in many paintings. This

phenomenon led to Ubud getting much more attention to become the objects of paintings. Indirectly, this phenomenon led to Ubud more famous in the world. These Balinese paintings and sculptures were then exhibited in a trade ship namely KPM (Koninklije Paketvaat Maatscappij) that served passengers between islands and other countries. This movable exhibition introduced Balinese paintings and arts to its passengers and they were interested in visiting Bali. The increase in the number of tourists in Bali has led to the increase of art shops that sells paintings and sculptures. Moreover, KPM also promoted Bali in foreign countries through its advertising. The number of tourists who visit Bali, especially Ubud, have increased. In 1930, tourists in Bali were around 100 people every month. In 1940, the number increased in which they were around 500 a month (Vickers, 1989: 97; Hanna, 1976: 105 ). After 1940, the tourists decreased because of the independence war in Bali and Indonesia. After the independence war in 1950, the safety condition of Bali was getting better, so that the number of tourists visiting Bali slightly increased including Ubud, as an artist village. Some painters in Ubud, such as A.A.Gde Sobrat, A.A. Putu Mergeg, Gusti Nyoman Lempad dan Dewa Ketut Ding, established Museum Ratna Warta Ubud in 1950s. Other groups of painters, such as Kuwera Group and Swamba Group, then actively gathered in the museum to paint and exhibit their paintings. In addition, after the establishing Ketapang Banyuwangi harbor in 1960s and Ngurah Rai international airport in 1969, Ubud was getting famous as a tourist destination (Lembaga Penelitian dan Pengembangan Ubud, 1980: 10). Further development of tourism in Ubud has not been separated from the policy of Indonesian Government in relation to tourism in Indonesia such as Presidential Instruction No 9/ 1969, concerning on the conception of tourism development in Indonesia and Presidential Decree No 9/1969 concerning on Pacific Area Travel Assocoation (PATA). Based on this policy, Governor of Bali had policies to develop tourism in Ubud through Governor Decree No 528/ 1990 concerning on the tourism area of Ubud as a tourism destination. Since that policy, Ubud got more attention from local government to develop tourism destination in this area. This attention can be seen from construction activities to build infrastructures in Ubud. However, tourism in Ubud has changed livelihood of Ubud people from farmers into tourism sectors. The increase in the number of art shops, restaurants, accommodations, and kiosks in many areas of Ubud, such as near Ubud palace and around monkey forest, can be seen as the evidence of the development of tourism in Bali. Rely on natural beauty and cultural activities, Ubud attempts to present cultural tourism being beauty and comfortable for tourism. 3.2. The Architecture of Puri Saren Agung Ubud

Puri Saren Agung Ubud is located in kaja-kangin, the most sacred place in the main cross section called perempatan agung in Ubud village (Figure 1). On the other corners are market, wantilan (the traditional community building), bale kulkul (tower for placing traditional kulkul, the drum made from bamboo or wood which is struck to sound an alarm). Around the palace was traditional settlements for Ubud people, but nowadays, they have transformed their house to become tourist facilities including stores , restaurants, pubs, art shops, galleries, home-stays, and hotels.

Figure 1. The Location of Puri Legend: 1. Pelataran Ancak Saji 7. Pelateran Saren Kauh Baleran Saren Agung Ubud 2. Pelataran Semanggen 8. Pelataran Pesaren 3. Pelataran Saren kangin Delodan 9. Pamerajan Keluarga 4. Pelataran Saren Kauh Delodan 10. Jaba Sisi Pamerajan 5. Pelataran Saren Agung 11. Jaba Tengah Pamerajan. 6. Pelataran Saren Kangin Baleran 12. Jeroan Pamerajan Agung

Figure 2. The Plan of Puri Saren Agung UBud

Spatial pattern of Puri Saren Agung Ubud (Figure 2) still address the traditional pattern that divides an area become nine zones called sanga mandala. Pemerajan, the temple of the puri is located in kaja direction in which this direction is the most sacred place. In general, the pattern and buildings in the puri have been maintained especially their rectangular form and size. However, some parts, especially outside the main core of the puri called saren agung, are transformed that range from a need to replace aging buildings to the accommodation of a more complex set of daily live activities and tourists activities. Some buildings now used new materials such as materials for floor, walls, and roofs. The changes of their materials are the result of the quality and availability of building materials, building maintenance and additional functions of buildings. Additional bathrooms to support accommodation facilities have been built in some pavilions in which their forms are similar with the original buildings. The additional function of palace for tourist accommodation (Figure 3) has economic benefit to support building maintenance. Therefore, in general, buildings in the puri are well maintained. Puri Saren Agung Ubud is one best practice that utilizes tourism to prevent and maintain its traditional function and form.

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Figure 3 Bale Loji as tourist accomodation

Figure 5. The Detail of Traditional Roof Figure 4. Building Typology Construction

The buildings in the puri use wood column as main construction (Figure 4). The details of column and roof constructions are the traditional Balinese construction system (Figure 5). As other traditional Balinese buildings, ornaments beautify the buildings in the puri. Some floors use new material such as terrazzo and ceramic. The materials of the roofs are roof tile and thatch (Figure 6). In addition, the walls of buildings use combination of traditional brick and sand stone. Its landscape consists of trees, flowers, bush, and grass (Figure 7).

Gambar 6. The thatch roofing in a building Gambar 7. The roof tile and landscape

4. DISCUSSION

The role and status of kings in Bali, along with the periodization of government system from kingdoms and colonial system to Indonesian government system, has been getting weakening. In the early 1900s, the Balinese government system was aristocratic system in which royal families were the central of communities that have juridical power. In this system, royal families also had right to request workers and military assistance to the people. In the Dutch colonial system, the feudal relationship between royal families and the people were removed and replaced into relationship between colonial government and Balinese people. However, royal families still had privilege to be aristocrat. On the other hand, after independence movement in 1945 was a democratic system in which the role and status of royal families are getting weak in which political and public officials are not only for the royal family, but also for people based on their abilities and education. Therefore, the reduction of royal families’ roles has encourage them to get alternative way to maintain their status and livelihood. Some families attempt to involve in tourism sectors. They use buildings in their puri to accommodate additional functions such as for home- stays and tourist accommodations. The transformation process in some parts of the puri shows the attempts to maintain and increase the quality of buildings through renovations, rehabilitations, and reconstructions. In Puri Agung Saren Ubud, the transformation is mainly in ancak saji, semanggen, saren, and rangki (Figure 8). Based on observation, this paper identifies the transformation of the architectural form. Tourist activities in the palace as additional functions tend to make the palace getting more attention. However, there is vital transformation in relation to the existence of the role of the royal house. In the commodification perspective, the attempts of royal families must be supported in which puri is main resource of tourist attractions to witness the culture of Bali. Therefore, it is essential to formulate a model to manage and develop commodification activities in a puri in order to prevent the degradation of the philosophical meanings and values and the exterminate the spatial and physical form. It is also significant to involve many stakeholders, government as a regulator and investors. They have roles to prepare regulation and infrastructure to support symbiosis mutualism in a commodification.

Image Visual Puri Ubud Perubahan Sanga Mandala Puri Ubud Figure 8 Spatial Transformation of Puri Saren Agung Ubud

5. CONCLUSION

After colonialism and integration process with Republic of Indonesia, puri as a traditional architecture in Bali faces architectural challenges in relation to the cost of building maintenance. The development of tourism can be seen as a chance to face the challenge through the transformation of puri to accommodate additional functions that related to tourist activities. The economic benefit from tourism can be used as a resource to maintain the original functions and configuration of the puri. Some royal families begin to engage in tourism sectors by using pavilions in their puri as an asset to attract tourists and to be transformed into tourist facilities such home-stays. In the perspective of commodification, the attempt to maintain the origin of the puri and to gain economic benefit from tourism is a paradox phenomenon, in which puri is the resource of tourism development to witness cultural activities of Balinese communities. This paradox phenomenon is architectural challenge for the Balinese and royal families of Bali. Therefore, it is essential to reformulate a model to manage and develop commodification for Balinese palaces. This model is expected to be suitable model to prevent Balinese puri in order to avoid the deterioration of philosophical values and physical form and configuration. This paper also suggests that it is necessary to involve government as controllers and policy makers, stakeholders and investors to prepare and build tourism facilities related infrastructures and regulation.

6. ACKNOWLEDGEMENT

Praise God for His grace, so that I can complete the paper that is entitled “Commodification in the Architecture of Puri in Bali. Case Studies: Puri Saren Agung Ubud." This paper is presented in the International Conference and Architecture Exhibition “Architecture and Urbanism 2016,” held by the Department of Architecture, the faculty of Engineering Universitas Udayana Bali on 18th July 2016. I offer a deep-felt thanks to colleagues and friends who offered data, spirited discussion, attentions, suggestion, comments, guidance, and critical feedback. My gratitude is addressed to the committee of the International Conference and Architecture Exhibition for the opportunities to attend this conference. I have been greatly benefited from the opportunities to introduce this research to the critical audiences and I hope this paper inspires similar researches.

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