“Arsitektur Panggung” Di Kawasan Tugu Nasional

 The many of architecture works of Soekarno in the 1960s are express the Nation Pride by exploring the Indonesian culture as the basic design into Modern Architecture’s buildings. This paper is a narra- tive of the spatial experiences in Soekarno’s masterpiece work, Tugu National. The study is refers to a qualitative research and used a Grounded Theory of Glaser and Strauss. By using a phenomenological spatial investigation in Tugu National building area was found an architecture drama analogy by adop- ted the sequences programming space looks like a drama performing especially from above through an aerial view of the Tugu National. The monument building looks like a resembled of ‘the drama perform- ing’ shown from a balcony on the aircraft cabin. A new theory named “Architecture of Stage” include to reveal Khora, as the concept of the ‘architectural form’ by traced the Soekarno’s ideas to express the uniqueness form of the monument. He composed an ‘Architecture Drama’ analogy as his tacit know- ledge in ‘tonil drama’ during his exile at Ende and Bengkulu. He reflected the Old Javanesse culture as the basic of the Modern Architecture design as an Architecture’s Event at that time. Keywords: Architecture’s Drama, Phenomenology, tonil drama of Soekarno, spatial investigation, Tugu National Monument    ABSTRAK Beberapa karya arsitektur Soekarno seputar tahun 1960-an merupakan ekspresi Nation Pride melalui eksplorasi budaya Indonesia sebagai basis perancangan bangunan Arsitektur Modern. Tulisan merupakan narasi pengalaman spasial pada karya masterpiece Soekarno, di kawasan Tugu Nasional berdasar penelitian kualitatif yang menerapkan strategi Grounded Theory meru- juk Glaser dan Strauss. Melalui pengamatan keruangan secara fenomenologi di kawasan Tugu Nasional telah ditemukan arsitektur drama analogy melalui cara mengadopsi sekuen ruang yang menyerupai pertunjukan drama, terutama melalui pandangan udara di kabin pesawat yang mengudara di atas kawasan Tugu Nasional, bagaikan  pertunjukan drama yang disak- sikan dari sebuah balkon. Teori baru yang dinamai “Arsitektur Panggung” disertai  pengung- kapan khora, sebagai konsep bentuk/’form’ arsitektur Tugu Nasional yang ditelusur sebagai ide Soekarno. Ia telah menggubah arsitektur drama sebagai pengetahuan tacit semasa menggelar drama tonil di pembuangan Ende dan Bengkulu. Soekarno mengekspresikan budaya Jawa Kuno sebagai basis perancangan Arsitektur Modern, yang kini dinamai ‘Arsitektur-Peristiwa’. Kata kunci: “Arsitektur Panggung”, fenomenologi, drama tonil, pengalaman keruangan, Tugu Nasional