Volume 24 - Issue 5 (2020)

https://dx.doi.org/10.37200/ijpr/v24i5/pr201705

Memayu Hayuning Bawono Nusantara

Interior Pillars
Sunarmi
FSRD-ISI Surakarta, Central Java, Indonesia

Abstract---In the globalization era, freedom of expression takes place,

encouraging interior styles to experience mobal/mubal conditions, needing
pillars of development direction. Memayu Hayuning Bawono was an interesting
philosophical concept and life goal of Javanese people discussed in connection
with the development of interior design in the Nusantara in the global era.
Discussion with a critical approach to answering two formulations of the
problem why the concept of memayu hayuning bawono is needed in the
development of the Nusantara interior, how the implementation of the concept of
memayu hayuning bawono as a pillar of the development of the interior design of
the Nusantara so far was happening. The results of the discussion showed
memayu hayuning bawono as a philosophy of life giving birth to the interior style
of a traditional house having the value of edi, peni, apik, endah to maintain the
beauty of natural life proved to still be a pillar of the Nusantara interior
development, among the hustle and bustle of the emergence of various interior
styles. The facts showed that the tradition of the interior style of the house has
become a magical power for the tradition of living with an interior to the
present/era. Visualized cultural symbols form the elements of the interior are
presented as a romantic style of past life. Traditional values are oriented into
commodity objects and were positioned as interiors of socialite places.
Keywords---commodity, magical power, memayu hayuning bawono, pillar,
socialite.

Introduction

This paper deliberately took the theme of memayu hayuning bawono Nusantara interior
pillars in the national seminar on ‘The Magical Power of Nusantara Culture as the Interior
Identity of the Nusantara in the Global Era’. The author captures this theme based on the
anxiety about the development of the interior style of the Nusantara. In the globalization
era, freedom of expression occurs, encouraging the emergence of various interior styles.
Interior style experiences mobal/mubal conditions. It meant here is smoke or fire. Referring
to the Javanese term, the word mobal/mubal is usually used when there is a fire that
ignites, therefore, the fire blazes, the atmosphere becomes mobal/mubal. Inspired by the
word mobal is a burning sensation/spirit in a chaotic atmosphere that allows confusion and
fire can lead anywhere where there is an object or something that triggers (Suarta et al.,
2018; Alava et al., 2018; Simpen et al., 2017).

This condition can be seen in the development of Nusantara interior design in the global era.
Freedom of expression allows interior design in the Nusantara to experience the freedom of
development. Anyone can be an agent of power bringing up the interior style so that it
becomes a determining direction for the development of interior styles in the Nusantara.
Simon Kemoni, a sociologist from Kenya, stated globalization in its natural form would
elevate various cultures and cultural values. In this natural process, each nation will try to
adapt culture to new developments. It can continue life and avoid destruction. In the

Corresponding author: Sunarmi, Interior Design Department, Email: narmied@yahoo.co.id

Manuscript submitted: 08 Jan 2020, Manuscript revised: 09 Feb 2020, Accepted for publication: 04 March 2020
389
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process, the Third World must strengthen its cultural dimensions and maintain the
structure of values so as not to be eliminated by foreign cultures (Firmansyah,
Communication and Culture Era of Globalization, 27 November 2018,
www.kompasiana.com). Strengthening values that originate from the local culture should be
a pillar of development.

Regarding the cultural-based, this beloved Nusantara belongs to the Eastern culture
category. Traditionally, the nations of the East, in general, have a cultural value orientation
that is mystical, magical, cosmic, and religious. Nations are oriented towards cultural values
like this, generally want to live united with nature because they realize that they are part of
nature. This can be seen in the embodiment of residential houses that hold traditional
customs. Unlike a society has an awareness of norms about the shape or style of the
interior. Each region has a tradition about the shape/style of the interior as a mind to
preserve the universe. Javanese cosmos logical view implies the universe is in order and
unity of all the elements in it (Triyanto, 2006). Order and unity have been created by God,
humans as people on earth must be able to protect. Human error in life makes elements of
the cosmos irregular or damaged, then harmony or balance will be disrupted, impacting on
disasters and suffering or misery will be felt by humans.

The Javanese have a philosophy of life, trying to maintain order, balance, safety,
preservation, serenity of the world or the universe. Efforts to maintain the balance of nature
in the Javanese concept are implicit in the concept of life which sounds memayu hayuning
bawana. Home interiors are work environments, people carry out activities according to the
character of their lives, representations of a culture (Suwitha, 2018; Aryani, 2018; Tanoue et
al., 1997). That is why the realization of residential is oriented to memayu hayuning bawono.
Therefore, the interior of the house in the concept of Javanese society there are paugeran
related to the form so that various interior styles are born in accordance with local life
traditions. The concept of memayu hayuning bawono which became the philosophy of
Javanese people’s life in order to realize the beauty of the world seems interesting and is still
relevant to be the cornerstone of the development of interior design in the Nusantara along
with the times.

The ideas of designers and academics in the world arena have the power behind the
development of an interior design. Designer diplomacy in taking ideas and visualizing them
into interior design works can influence the building of ideology in culture. Culture is
related to the production and exchange of meanings, ‘Giving and taking meaning’ (encoding
and decoding) becomes a pillar of the development of interior design should receive
attention.

Based on the above description raises the question, how to implement the philosophy of
living memayu hayuning bawono in the development of the interior design of the Nusantara.
The results of the discussion can be used as a form of awareness of the development of the
interior design that is currently happening. To answer this problem a critical approach is
used. The approach is a process, a way in research activities, to establish a relationship
with the object under study. The critical approach in this study is an approach that
emphasizes creativity in understanding carefully social reality. The critical approach used in
this study leads to two points, namely how to interpret a problem and how to understand
the problem (Schneider et al., 2013; Dietiker et al., 2011).

The problem in question is caring for and developing the Interior of the Nusantara in the
modern era, elaborated in two problem formulations why the concept of memayu hayuning
bawono is needed as a pillar for the development of the interior of the Nusantara, how to
implement the concept of memayu hayuning bawono as a pillar of the development of the
interior design of the Nusantara. To find answers to these problems deconstruction theory is
used. Lexical deconstruction is defined as dismantling the construction and/or re-meaning
of the text (including cultural texts) to reveal the pending meanings of the text itself (Norris,
2003; Gregg et al., 2000; Wu et al., 2012). Deconstruction in this research is not a matter of
dismantling to destroy but to look for new meanings between textual gaps from the delay of
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the previous meaning. Caring for and developing the interior of the Nusantara in its work
memayu hayuning bawono is a text. The text automatically becomes its own sign which does
not represent meaning but creates its own meaning in relation to the other signs with it.
This means the practice of meaning occurs when the text is faced by the recipient or reader.
Memayu hayuning bawono as a concept of life philosophy that aims to maintain the beauty
of natural life.

Discussion

Memayu Hayuning Bawono a Nusantara Beauty Concept

Memayu hayuning bawana is a noble philosophy or value about the philosophy of life of
Javanese culture. Memayu hanuning bawana if it is interpreted in Indonesian becomes
beautifying the beauty of life. The explanation is based on the word memayu defined as ayu,
gawe apike, gawe tentreme , gawe ayune. Bawono is the life of the world and the hereafter
(Usdiyanto, 2004; Ketut Widana et al., 2020; Woods, 2018; Caurel & Sánchez, 2019). It
means that Ora seneng gawe kisruh, ora gawe kekacauan ono ndonya. Memayu hayuning
bawono is often implemented in order to maintain the safety of nature performed mystical
or magical rituals.

Mystical or magical rituals are interpreted as an act of contemplation, the power of prayer
that is the subject of the ritual so that actions are often ignored. The word guard, preserve
or save the world means that people don’t pray enough, a series of actions must be done.
The word to preserve or save the world along with its environment means that there is a
commitment to make a life full of peace and harmony. Donating life means being willing to
give the best/prioritize the public interest rather than personal interests for a better life. In
the context of interior design, behind the value of money, there is value to build civilization.
Designing interior design is intended to improve the quality of life and the quality of
ecosystems in the environment of the universe.

Memayu hayuning bawana is a philosophy of life introduced by Besar Ronggowarsito,

teaching that human life is used to continuously improve the quality of life and the quality
of the earth’s ecosystem and the universe. Nature created by God is basically already
beautiful, humans as servants of God must be able to maintain in the sense of caring for
and developing the concept along with the times so that nature remains beautiful.
Hamemayu hayuning bawono cannot just happen without rahayuning bawono kapurbo
waskithaning manungso or in other words, nature preservation would not have been
possible without human vigilance. Human vigilance in question is the vigilance of
environmental safety that will occur if humans begin to be greedy in managing the natural
wealth of the Nusantara.

The natural wealth of the Nusantara is not limited to the visual form of nature but also local
wisdom about the spirit in life behavior. The environment, natural resources with fertile soil,
possessing extraordinary strength of building materials/interior elements in accordance
with the character of the climate and culture of the Nusantara needs human vigilance to
stay awake. The concept of memayu hayuning bawono is a concept that was once applied by
Prince Mangkubumi in managing urban spatial planning in Yogyakarta, known as the
nyegoro gunung concept (Suhardjo in Almirhea, 8 December 2015, www.kompasiana.com).
With this concept, it creates its own uniqueness for the development of the environment of
the Special Region of Yogyakarta. City planning is regulated, in such a way, the main
supplier areas of natural resources are filled by the central government, economy, religion,
social, culture symbolized by the existence of the palace, grand mosque, Pasar Pringharjo,
and Kepatihan. In its development, Almirhea stated that the concept of memayu hayuning
bawono in the development of urban management in Yogyakarta experienced a decline
because humans have ignored the safety of nature. The vigilance of natural safety begins to
fade resulting in environmental degradation.
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The implementation of the memayu hayuning bawono philosophy (philosophical values

sourced from the Kasunanan and Kasultanan) from environmental, ecological, and social
aspects can be interpreted into seven gatra: (1) hamemayu hayuning tirto (water), (2)
hamemayu hayuning wono (forest), (3) hamemayu hayuning samudra (sea), (4) hamemayu
hayuning howo (air), (5) hamemayu hayuning bantolo (land), (6) hamemayu hayuning budoyo
(culture), (7), hamemayu hayuning manungso (human). Each has a role that contributes to
the beauty of life. Visually, the real action of maintaining a balance between water, forest,
sea, air, land, culture, and humans is the pillar of the realization of the beauty of the world.

The intelligence of the designer in giving and taking meaning (encoding and decoding) plays
a role in building the beauty of the work environment. The beauty of the work environment
greatly influences the sustainability and preservation of natural beauty because of the
better quality of the environment. Beauty consists of two aspects (Triyanto, 2006). First,
beauty as a concept of knowledge, views, beliefs, or philosophical values about how the
design should be made and treated. Second, beauty as the nature, condition, or physical
character of an object, symptom, or artificial stimulus that is able to influence or cause the
taste of the creator’s community or its audience. Both the first aspect and the second
aspect, in fact, have the same estuary, namely how an object, phenomenon, artificial
stimulus should be able to express knowledge, beliefs, or cultural values in a symbol that
has the traits, circumstances, or characters that influence or cause the taste of the creator
or the audience.

Basing on the above description the beauty of the interior design is a concept and physical
character of objects that have functional values, expressive-aesthetic symbols expressing
knowledge, beliefs, or cultural values of the Nusantara that are able to influence the taste of
the designer and its users. In the context of designers, memayu hayuning bawono is not
only understood as a concept of work but as a character that interior designers must-have.
Memayu hayuning bawono Nusantara interior pillars in question are behavior in design
seeks to care for and develop knowledge or cultural values of the Nusantara. So that, an
interior that has a function value as an expression of Nusantara culture, emphasizes moral
and ethical values in accordance with the character of life in the Nusantara who uphold the
local values, pay attention to environmental safety (Firmansyah et al., 2019).

Implementation of Memayu Hayuning Bawono as Development Pillar of Nusantara Interior

Design

Memayu hayuning bawono as a pillar of interior development is a behavior in design that

seeks to care for and develop knowledge or cultural values of the Nusantara to create a
beautiful work environment in accordance with the rules in the Nusantara. The beauty of
design consists of two namely: first, beauty as philosophical values and second, beauty as
nature, circumstances, or physical character. The beauty as a philosophical value about the
design should be made and treated is to give and take meaning (encoding and decoding).
Take and give meaning to the design of the work environment which rests on the cultural
character of the Nusantara as the basis for the creation/design of the design.

Beauty as a philosophical value, in the design process, is how ideas are formulated referring
to interests. This beauty in the interior is not only value as a discourse, which can not be
touched but can be felt like a magical form because of the strength, passion, radiance of the
design. Good design is a form of the following function. The function of interior design as a
cultural work has personal functions of art, the social function of art, the physical functions of
art (Fieldman in Sunarmi, 2004). Adaptation of the theory to interior design work is a
personal function, interior design has character as self-identity or self-image of local
culture; social function is the work of interior design has the power to build power to
influence society; physical function means that the design can support physical functions.
In interior design, the beauty of the concept is visualized on the nature of the work visually.
Visually, that is as the nature, condition, or physical character of an object, symptom, or
artificial stimulus that is able to influence or cause the taste of the creator or the audience
to have a personal, social and physical function. This beauty is a visual form that can be felt
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because there is a stimulus that can lead to the characteristics of behavior. Stimulus about
the presence of self/cultural identity, stimulation to follow, and efficiency.

The implementation of memayu hayuning bawono in the Nusantara interior style can be
seen in the interior style of traditional Javanese houses. The characteristics of the behavior
of agrarian societies are characterized by a tradition of life behavior in the agricultural
sector. The behavior tradition of the agricultural sector reflected in the interior style of
residential houses in Java. In the concept of Javanese society, aesthetics in the art (goods of
awe) have criteria and are dogmatic. Javanese people, especially those who live in the palace
zone, have compilations/rules about the art they have received from their parents who are
right to reach edi, peni, apik, endah (Kartika, 2015).

The concept is visualized in the interior of a residential house in Java divided into public,
semi-public, and private spaces. Public space has the character of a vast space located at
the front, followed by a space between connecting public space with private space called
paringgitan, and the private part of the house consists of several spaces in the dalem ageng.
One of the characteristics or character of an agrarian society is mutual cooperation. Mutual
cooperation involves many people in general Javanese houses consist of large rooms and
room dividers or enclosures that can be assembled. Unlike a partition is called gebyok.
Gebyok is furniture or a room divider made of wood consisting of three parts that can be
installed apart, allowing space to be multi-functional. A large yard with a variety of plants
and pets. Between one house with another house restricted fence in the form of plants, so
that, it supports the freshness of nature. Sunarmi, 2009; 2006; 2016; 2017 stated the
beauty of Javanese houses is due to the rasmi, hita, apik, and asri concepts.

Beautiful traditional Javanese houses never seem to disappear in time. Although in the
modern era, property leads to narrow coincide, Javanese traditional houses still present
along with the times. The sophistication of technology actually becomes a means of
fluttering the beauty of traditional home interiors. Interior traditional houses that are
classified as past interior styles are full of contemporary life. See the phenomenon below.

Figure 1. The atmosphere of one restaurant interior corner, Omah Langgeng in Bintoro
Region South Tangerang

Nanik stated three of them deliberately toured in Omah Langgeng. Omah Langgeng consists
of an interior with an atmosphere of past life, the life of a farmer. Gebyok is equipped with a
tenggok, paddy, a herbal medicine device, along with a striated shirt and Javanese
traditional patterned cloth. The atmosphere was far from the habits of Nanik and her friends
who now live in Tangerang far from agricultural areas. Nanik feels practice with her
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personal documents that can fill her personal account.

Figure 2. The atmosphere of one interior corner Ndalem Kopi Restaurant in Mojosongo Solo

Rukini and her friends stated that in 2017 on her friend’s birthday accidentally took the
location of Ndalem Kopi in Mojosongo for this special event. The choice of Ndalem Kopi is
not just looking for a suitable food menu, but rather for a unique interior, the interior of the
past home, which has been far from her life, can be felt again even if only for a moment for
memorable photos. This photo was made a personal document that became her pride.

Figure 3. One corner of the wall in hall around prambanan

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Andri stated in her village has an area in which there are pendopo equipped with several
spaces deliberately present the interior atmosphere of the past to be a special place that is
sold to tourists. This village intentionally built a hermitage for tourist attractions. For
tourists who want to enjoy the atmosphere of temp first, drink herbal medicine at home in
the courtyard of the pendopo house. An atmosphere that has long been lost amid the
development of urban life. Almost all village life penetrated into urban areas. For people who
miss the rural atmosphere can enjoy around Prambanan.

Figure 4. The atmosphere of interior drinking Jamu Gendhong in Pendopo around

Prambanan

The four above phenomena show that in various regions in Indonesia. There is a similar
passion in presenting interior styles that present an atmosphere of traditional life. Interiors
styles that encourage people to experience feelings through sense appreciation are
visualized in an atmosphere that can provide direct experience, even, if only for a moment.
Unlike interior style leads to the romantic style of past lives. The romanticism referred to
here is not as an interior style such as romantic architecture that is often used in medieval
times which is characterized by architectural styles with thick and large-quality styles
(Midleton, 1929; in Sunarmi, 2018). Romanticism in question is the style of the interior that
drives dreams about the longing of the interior atmosphere at certain times visualized in the
form of imitations that can be felt even if only in a momentary imitation. Simulakra rural
life, past life is presented by bringing elements of traditional home interiors into
contemporary interiors.
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The four phenomena above show that the interior style of a traditional Javanese house/past
was still a pillar of the Nusantara’s interior development to the present. The liveliness of the
tradition of bringing the elements of the past interior to the interior of the tourist
attractions. In Ngargoyoso Karanganyar, in the past five years, there has been a significant
increase in the presence of restaurants with an atmosphere of the past. Suratno as Head in
Tambakharjo Ngargoyoso Village stated since 2017 there have been new restaurants
presenting an atmosphere of around 25 (Interview 31, August 2019).

Sunarmi (2018) stated in Surakarta there has been a traditional livelihood with the Dinner
Tourism label on the historic building, the Pracimayasa building since 1986. Dinner at
Pracimayasawa is the concept of Mangkunegaran tourism as a cultural center with special
guest banquet facilities in Mangkunegaran style. Tourists get special treatment as palace
guests receive estimates from the reception to food and art treats. This tour package has
been around since 1986 when there were more tourists than foreign countries, only in 2015
domestic tourists. The information shows the interior style carries the romance of past lives
for the livelihood of tradition has been running since long ago.

Conclusion

The traditional interior style of the house resulting from the taste, intention, creativity has
the value of edi, peni, apik, endah implementation of the concept of memayu hayuning
bawono, has proven to be still a pillar of the interior development of the Nusantara, among
the hustle and bustle of various interior styles. The facts show the romanticism of past life
becomes a magical power to bring the interior of the past to the present/era. The
romanticism of past life is not a rustic style. Rustic is an interior style that presents a feel of
the past. The aspects and values of a past life cannot be presented in the interior to the
present, so what is presented is a nuance of the past. Visually the interior is realized by
taking the forms of the past with neutral colors or pastel colors. Interior elements are
presented as the original material. While the interior style called the romance of past life is
an interior style that presents elements of traditional home interiors, whether newly realized
or utilizing traditional interior home elements brought into the interior to the present.

The traditions of the agrarian community life about the interior atmosphere of the place
where the rice is pounded, the preparation to the rice fields on camel bikes, the interior
atmosphere of the gandhok/kitchen with a variety of traditional kitchen equipment, the
atmosphere of making batik inside the house, drinking the medicinal gendhong, etc. used as
cultural cosmetics. Traditional life and various clothing attribute, fashion accessories to
present the interior simulakra of the past. The symbols of the life of capangeranan, rich
farmers, batik merchants, visualized forms of interior elements are oriented into tourist
attractions and are promoted as a place of romanticism in past lives. Tradition values are
oriented to become commodity objects and are positioned as socialite places. The interior of
a traditional house embodies the concept of the philosophy of living memayu hayuning
bawono has a new meaning in the global era through the reorientation and repositioning of
values, presenting the interior style of romantic past.

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