Arsitektur Post Modern

Latar Belakang Perkembangan,

Definisi dan Prinsip

oleh: ikaputra

08 November 2022
 Siklus Sejarah Arsitektur

Ideologi/
pemikiran
baru Pengembangan
Ideologi
Arsitektur
SIKLUS
SEJARAH
ARSITEKTUR
Degrasi
Kualitas &
Penolakan
Duplikasi
“Gaya” Arsitektur
Penolakan Terhadap
Arsitektur Modernisme

Salah satu karakter dari apa yang

disebut dengan modern world yang
berkembang awal abad 20 adalah
industrialisasi. Gelombang
industrialisasi ini memunculkan
International Style. Gaya Internasional
ini melepas jati diri arsitektur lampau
lewat penggunaan material-material
dan revolusi dalam bidang teknologi
mencipta model arsitektur
“universal”—Modern Architecture—
lengkap dengan ciri kotak-kotak
rangka baja, kaca-kaca dan beton.
- Kebosanan boxes
architecture & Siklus Sejarah Arsitektur
permasalahan sosial

- Lake Shore Drive

Housing (Mies van de Ideologi/
Rohe, 1950) mewakili pemikiran
penjajahan "glass baru Pengembangan
walling-industry" dan Ideologi
pengingkaran
terhadap "form Arsitektur
follow function".
SIKLUS
- Peledakan "Pruitt-
Igoe Housing"
SEJARAH
(Minoru Yamasaki, ARSITEKTUR
1955) pada tahun Degrasi
1972—akibat Kualitas &
kekumuhan dan Penolakan
tingkat kejahatan
pada pemukiman Duplikasi
itu—menjadi simbol “Gaya” Arsitektur
the death of Modern
Architecture.
The German Pavilion
Ludwig Mies van der Rohe
1928-1929

"For me working in Barcelona was a brilliant moment in my life."

— Mies van der Rohe. from Frank Russell, ed. Mies van der Rohe:
European Works. p20.
The German Pavilion, Mies Van de Rohe
Penjajahan
Glass Walling Industry
1951, Ludwig Mies van der Rohe
Called the "glass houses" when they were built, these towers
feature an extraordinary interplay of shapes, demonstrating the
care Mies lavished on the spaces between buildings as well as
within them. They helped change the look of cities around the
world.

skyscraper apartment towers, multifamily housing

 Penjajahan
Glass Walling
Industry
The Chicago Landmarks Commision wrote
this in an informational brochure: The
buildings at 860 became prototypes for
steel and glass skyscrapers around the
world, though the derivatives do not always
live up to the high standards of their
source. . . . By transforming these familiar
materials into a new and classic form at
860-880 Lake Shore Drive, Ludwig Mies van
der Rohe shaped a major part of the
architecture of the twentieth century.

The Lake Shore Housing, Mies Van de Rohe

 Penjajahan
Glass Walling
Industry
Blair Kamin, architectural writer for
the Chicago Tribune, writes this in
the Trib's Digital City website: The
postwar era was dominated by the
less-is-more modernism of German
emigre Ludwig Mies van der Rohe,
who set the standard for minimalist
elegance with his steel-and-glass
apartment towers at 860 and 880 N.
Lake Shore Drive.

The Lake Shore Housing 1951, (Chicago) Mies Van de Rohe

 Less is More
Mies van de Rohe

Seagram Building 1954-1958 (New York) Mies Van de Rohe

FORM FOLLOW FUNCTION
INTERNATIONAL STYLE

Beijing
Osaka

LESS IS MORE

Paris

Tokyo
The Death of
Modernism

Penghancuran SHORT
VIDEO
Pruit Igoe Housing
Minoru Yamasaki
1972
LONG
VIDEO
The Death of Modernism SHORT VIDEO

The PRUITT-IGOE MYTH

The Death of Modernism SHORT VIDEO

Pruitt-Igoe Sequence by Robert Hughes [1981]

 Jejak Penggunaan
Arnold
Toynbee Istilah Post-Modern
1946 (1946-1950)
The history of the first use of the word “postmodern”:
“postmodern” Arnold Toynbee, in 1946, seems to have been the first to
use the word postmodern in anything like its current sense.
Puisi He so named the time since the last decades of the
Sastra nineteen century, when the great modern syntheses began
to breakdown. (Kolb, 1990)
Kritik
arsitektur The world was picked up around the same time by poets
(Randall Jarrell, in particular) and a bit later by literary and
then architectural critics. In each cases it named a
breakdown of older unities and transgression of
prohibitions that had been set up by modernism. The word
Mengurai the has come to philosophers just when the artists and
great modern architects are getting pretty tired of it. (Kolb, 1990)
syntheses
dan Kesalahan
“pelarangan”
oleh gerakan
modernisme
 Sastrawan Jejak Penggunaan
Howe & Levin:
Kritik sastra Istilah Post-Modern
kepada kaum
modernis yang (1950-1960)
melupakan Akhir dekade 1950 an, istilah "postmodernism" digunakan
“the richer
past” dalam kritik sastra oleh Irving Howe dan Harry Levin,
khususnya untuk menyesali prestasi para kaum modernist,
yang tidak mau menengok dan bernostalgia terhadap hal-hal
yang dianggap sebagai the richer past (kekayaan masa
lampau). (Huyssen,1992)
“postmodernism”
Pada situasi bernostalgia ini, kemunculan dari "kosa-kata"
arsitektur, atau sastra dekade 60 an, dikatakan oleh Roland
Barthes sebagai "the death of the author' dan, kemudian
menjadi "pleasures of the text". (Dalam Jencks, 1989)
“The death of
the author “
▪ Yang dimaksud Roland Barthes, pembaca menciptakan
“pleasures of makna-makna mereka sendiri, tanpa mengindahkan maksud
the text” pengarang. Ketidakstabilan penafsiran itu tak terelakkan,
▪ karena tulisan cenderung memiliki pengertian "derajat nol",
“derajad nol” yakni satu penyimpulan, pengunduran, dan penangguhan
penafsiran makna. (Appignanesi & Garrat, 1997)
 Jejak Penggunaan
Anti metanarasi: Istilah Post-Modern
anti kebenaran
universal,
(1965-1970)
absolut, atau
tertinggi untuk Setelah 1965, Muncul Pendekatan-pendekatan menuju periode yang
legitimasi dikenal dengan Postmodernism. Pendekatan itu mulai populer di
Amerika kemudian menyebar ke manapun pada industrialized world.

Pada akhir tahun 1970 an, tanpa mengesampingkan perkembangan di

“postmodernism” Amerika, postmodernism bergerak ke daratan Eropa melalui Paris dan
Frankfurt. Kristeva dan Lyotard memulainya di Perancis dan
Habermas di Jerman. Jean-Francois Lyotard mendefinisikan kondisi
posmodern sebagai "skeptisisme terhadap semua metanarasi".
“Anti Ideologi Semua orang ragu akan "metanarasi". Metanarasi dipandang sebagai
Tunggal?” kebenaran universal, absolut, atau tertinggi yang digunakan untuk
melegitimasi bermacam-macam proyek, politik atau ilmiah.
(Appignanesi & Garrat, 1997)
 Jejak Penggunaan
Istilah Post-Modern
(1965-1970)
Anti Postmodernism adalah konsep yang tidak stabil, diverse yang telah
metanarasi, mendenote khususnya pendekatan estetika pada kritik sastra, seni,
Tidal stabil, film, teater dan arsitektur bahkan dunia fashion dan peperangan.
(Ghirardo, 1996)

The New York Times mendefinisikan perang Bosnia sebagai suatu

"Postmodern War", yang menempatkan warga sipil dan tentara tak
“postmodernism”
bisa dibedakan lagi, persenjataan mutakhir hampir tak berperan
apapun, kelompok militan kecil atau kelompok "bar-bar"
menggantikan kekuasaan "pemerintah". Perang tersebut adalah
intractable (=perang bebal) dan sulit untuk diakhiri lewat negosiasi
“Pluralism” karena tak ada kekuasaan pusat yang ada.

The most defining element of

postmodern architecture is that
there really is no defining element.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent.htm
 Post-Modern dalam Arsitektur
Postmodernism yeng berkembang berbagai bidang memiliki
kesamaan yaitu penolakan terhadap a unitary world view,
ideology or form, akibat kecenderungan pengaburan arti
keragaman lokal, regional dan etnik. (Ghirardo, 1996)
Anti
metanarasi, Others, however, would distinguish that general category of
Tidal stabil, postmodern thought into two types. The first proclaims that
modernity is over, that a new age has begun. The new age
makes use of the past, and of modern achievements, but has
its own new freedoms and its own self-definition. The second
type of though is deconstructive, and works to undermine the
“postmodernism” unities and closures found in modernity, without escaping from
them into some new age. (Kolb, 1990)

Postmodern architecture, saat ini terlalu banyak

“Pluralism” penggunaannya. Namun secara umum dapat disebutkan,
.... it connotes the end of the modern ideal of pure form, and
the removal of the modernist barriers to historical reference.
(Kolb, 1990)
(Postmodern dalam arsitektur merujuk pada berakhirnya
keunggulan "pure form" (simplifikasi, steril, dan bentuk
internasional) dari pandangan arsitektur modern, serta
hilangnya barier atau sekat para modernist dalam mengacu
pada referensi historis)
Mengapa Post-Modern
Lahir

Post-Modern architecture came about as a

reaction to the limitations of Modernism,
that is, to recall the words or Robert Venturi,
Modernism's inability to accommodate the
'complexities and contradictions of modern
experience'. (CHRISTIAN NORBERG-SCHULZ,
THE TWO FACES OF POST-MODERNISM, dalam Jencks, Charles (nd): The New
Moderns; Academy Editions; London; pp.42-65, notes p. 288-89)
 Prinsip Both-and Bukan
either-or
Terminologi Postmodernism memberi indikasi keinginan
pembedaan suatu pendekatan baru yang berkembang
NOT
awal dekade 70 an, yakni: suatu arsitektur yang dibedakan
dari atau sekaligus mengikuti pada "kebangkitan" (the
wake of) Modernisme yang dimulai dengan menuntut hal-
+ hal yang menyalahi zaman (anachronistic). Lalu apa yang
dibedakan dan apa yang mengikuti Modernism?

BUT Robert Venturi dengan bukunya Complexity &

Contradiction in Architecture (1966) menawarkan sikap
"both-and" (kedua-duanya) dari pada "either-or" (salah-
satu). Venturi sebenarnya tidak bersikap oposisi terhadap
gerakan Modernisme tetapi lebih kepada versi
Modernisme yg tidak imaginative (unimaginative). Karya
eksperimental Venturi ditunjukkan ketika ia merancang
rumah tinggal ibunya—Vanna Venturi House. Ia
merancang facade yang historical allusion &
mengembangkan interior yang kompleks dan intriguing
(?). (Ghirardo, 1996)
 Complexity &
Contradiction

Robert Venturi designed this house

for his mother in 1964. It is a post-
modern home created under the
concept of "Complexity and
Contradiction". Specifically, Venturi
claimed the home was both big and
small, meaning that it has a large-
scale appearance but a small, comfier
feel on the inside. He picks up on the
themes of the hearth and stair to
anchor the home. They both sit in the
center of the space and compete for
domincance. When the stair meets
the hearth, it wraps around it so as not
to disrupt but to remain visible and
prominant.
http://www.public.iastate.edu/~timbaker/venturi.html
Vanna House, Robert Venturi
 The front elevation is nearly symmetric,
broken up only by the windows and the
Complexity & slightly off-centered chimney. However, as
Contradiction one moves through the home to the rear
facade, the symmetry is slowly broken apart
to reflect a more domestic feel than the
appearance from the street.
http://www.public.iastate.edu/~timbaker/venturi.html

Vanna House, Robert Venturi

 Semangat double coding
dalam arsitektur Post-Modern
Prinsip Both-and ini memicu semangat para arsitek untuk melakukan
NOT penggalian-penggalian ide, gagasan bentuk dengan mengembangkan
ideologi yang disebut dengan "kaidah ganda" (double coding).
Beberapa pengertian kaidah ganda pun mulai berkembang antara
lain:
+ All the Movements (=labelled by Post-Modern) show to some degree
that double aspects of the term:they are, at once, a continuation of
Modernism and the transcendence" (transcendence="kelebihan")
(unsur meneruskan modernitas dan mencari "penyempurnaan")
BUT (Jencks, 1987)

...a knowledge of history is essential for comprehending the present,

time is linear: and space is fixed, constant and measurable.
(unsur waktu yang terdefinisi lewat "sejarah" dan unsur ruang yang
terdefinisi lewat "fungsi") (Rosenau, 1992)

speaking to the client or to the public and to other architects.

some architects call it duty to deceive. They must satisfy the client,
but they must "make architecture", even despite the the client's
wishes. (unsur "komersial= dagang= fashion" dan unsur "harga diri
arsitek") (Larson, 1993)
 Sikap Pengembangan double
coding dalam arsitektur Post-
Modern
NOT - Decorating the boxes, penyempurnaan kotak membosankan
"Re-ornamentasi" bangunan pada "material baru"
Less is More- Mies van de Rohe
+ Less is Bore - Robert Venturi

- Neo-clasiscm, memahami nilai sejarah dalam adaptasi

BUT penggunaan yang kreatif
rejecting the universalizing impulse of Modernist Rationalism
and in valuing historical sources (Aldo Rossi...Girr. 21).

- Pendalaman Konteks - kontekstualism

Aldo Rossi dalam bukunya The Architecture of the City (1966),
menolak "naive functionalism" lewat slogan form follow function
Aldo Rossi mengajak untuk tidak membuat repetition
tetapi penyesuaiankreatif didasarkan pd analisa kekhususan
suatu kota.
 Post Modern
Aldo Rosi Architecture

Mario Botta

Mathias Unger
Post Modern
Architecture

Portland Building
Micahel Graves
 Sikap Pengembangan double
coding dlm arsitektur Post-Modern
Penambahan “Kode Estetis” yang sering tak berasal dari historical
NOT sources. Postmodernism dalam arsitektur sangat sering dipahami sebagai
suatu gejala stylistic.

PERKEMBANGAN POSMO SEMU,

+ - Gaya International Post-Modernist
(Piaza d'Italia Charles Moore)
- Moore di mana-mana (ya Berlin-ya Kobe)
BUT - Spanyolnya Oscar Tusquet di Fukuoka
- Duplikasi ornamen & warna-warni Pos-Mo di mana2

POSMO di INDONESIA
Kebanyakan Posmo-Semu
Kebanyakan Neo-vernakular
Kampus Atmajaya (Arsitektur tropis? & ornamentasi tradisional)
Romo mangun, spt kroll sebagai “derigen”

Rumah Tropis & Tradisional, dan mengacu ikonik lingkungan

situasi mempertanyakan tradisi, muak akan repetisi &
sekaligus transcendennya modernitas lewat interior,
estetika furniture dan lain-lain.
 Post Modern
Architecture
One excellent example of postmodern
architecture is that of the Piazza d’Italia in New
Interpretation Orleans. Built in the 1970’s, this space recalls
of the rich of older forms of architecture, yet is so colorful that
it is sometimes seen as ridiculous. At any rate, it
the Past is quite obvious that this space was a result of
architecture taking a different turn and throwing
older rules out of the window. The Piazza d’Italia
is similar to some Las Vegas casinos in that they
seek to replicate things from the past yet assume
their own identities.

Charles Moore
 Interpretation of
the rich of the Past Tadao Ando, Sevilla
Interpretation
of the rich of
the Past

Nigel Coat, Tokyo

Interpretation of the
rich of the Past

Mario Botta, San Fransisco

 Post Modern
Architecture?
The Imported
Culture
Post Modern
Architecture??
The Imported
Culture??

Apartment, Jakarta
The Imported
Culture??

Ahmad Noe’man, Islamic Center, Jakarta

Interpretation of the
rich of the Past???

The Imported
Culture??

Cesar Pelli, Kuala Lumpur

 Post Modern
Architecture?

Participatory
Design
 Post Modern
Architecture
The Color full
composition
In recent decades, new forms of
advertising that draw on older
forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent.htm

Arata Isozaki
 The Color full
composition
In recent decades, new forms of advertising that
draw on older forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent.htm

Arata Isozaki, Osaka

 The Color full
composition
In recent decades, new forms of
advertising that draw on older
forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent
.htm

Makasar
 The Color full
composition
In recent decades, new forms of advertising that
draw on older forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent.htm

The Imported
Culture??

Makasar
 The Color full
composition
In recent decades, new forms of
advertising that draw on older
forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent
.htm

Interpretation of
the rich of the
Past??
Jeron Benteng Jogja
 The Color full
composition
In recent decades, new forms of advertising that draw
on older forms have done similar things.
http://www.ciadvertising.org/sa/spring_03/382J/woodsrw/architecture/postmoderncontent.htm

Kuta Bali
 Post Modern
Architecture?

Creating a
“Myth”
Source: ikaputra
Source: ikaputra
Source: ikaputra
DESCRIPTIVE CRITICISM

DESCRIPTIVE BIOGRAPHICAL
CRITICISM CRITICISM
Creating a Post Modern
“Myth” Architecture?
 depictive criticism, dynamic aspect

Tugas: GUGGENHEIM MUSEUM/BILBAO/FRANK O’ GEHRY; Tian Erianto\23890; Danial Fahmi\23821; Joko Rustamaji\25155
 Understanding the local context

Lho bangunan apa ini? Ini namanya

“Dancing House”
Mana lokal konteksnya? Karya Frank
Bagaimana nih konsep Gehry…. Di kota
Infill designnya? bersejarah Praha
 Dancing House, Prague

Source: Google earth; crazyjunkyard.com ; intransit.blogs.nytimes.com;

 Dancing House, Prague

Source: stopin-prague.com;
Source: http://clamsend.com/eBay/doodleblog/images/Doodle_115_If_We_Get_to_Mars,_and_it_is_Jewish,_Would_That_Change_Everything.jpg
 Gehry's Superblockage

Gehry-We know starchitect

Frank Gehry has an ego,
recently we learned he has a
sense of humor, but does he
have a CONSCIENCE?

Source: http://www.nolandgrab.org/archives/2007/05/_we_know_starch.html
Eric Lewis made his debut in The New Yorker in 2000. He has written jokes for "Saturday Night Live" and currently works as an industrial designer in New York.
Source: http://www.condenaststore.com/-sp/I-guess-cats-just-can-t-appreciate-Frank-Gehry-New-Yorker-Cartoon-Prints_i8544630_.htm
 VIDEO
LINKS

It started out as a pup tent, but it ended up as some sort of homage to Frank Gehry

Source http://www.cartoonstock.com/directory/F/Frank_Gehry.asp
Source http://www.cartoonstock.com/directory/F/Frank_Gehry.asp
“The International
Style” of Post-Mo

Jakarta
“The International
Style” of Post-Mo

KOBE
Re-Interpret
the tradition

MINANG PADANG
Re-Interpret the tradition

MINANG, PADANG
 Javanese Traditional House (Dalem)
The Difference among dalems
Dalem’s Typology:
From Aristocratic House to
Village leader house

Dalem Pangeran: Noble’s Residence Dalem: High rank aristocratic house Dalem: village leader house

Dalem Pakuningratan Dalem Kaneman Dalem Yudoningratan Dalem Pengulon Dalem

Dalem Ageng
(big house)

Dalem
Dalem
Ageng
(big Dalem
house) Pendopo
Dalem Ageng
(big house) Pendopo

Pendopo Dalem
Pendopo
(Open layout Pendopo Regol (gate) Rich People
Building)
Dalem House
Regol (gate) Regol (gate) High rank Aristocratic
Residence
Dalem Basic
Regol (gate) Components
Dalem Pangeran Dalem Pangeran
Noble Residence Noble Residence
Dalem
Pringgitan
More Green &
Pendopo
Dalem Pangeran Open Space
Regol (gate)
Noble Residence
 New Dalem?
The Difference among dalems

Gedung Pusat
Dalem Pangeran: Noble’s Residence Dalem: village leader house

Dalem Pakuningratan Omah UGM

Perpustakaan

Pendopo
Dalem Ageng Graha Sabha
(big house)

Pendopo Dalem
(Open layout Rich People
Building) House

Dalem Basic
Regol (gate) Components

Dalem
Pringgitan
Pendopo
Dalem Pangeran Regol (gate)
Noble Residence Graha Sabha
Re-Interpret
the tradition

TOKYO
Re-Interpret
the tradition

JEMBRANA, BALI
Re-Interpret
the tradition

KAMPUS UI DEPOK
 Re-Interpret
the tradition

KANTIN FISIP KAMPUS UI DEPOK

Re-Interpret
the tradition

D3 EKONOMI, Ikaputra, Wondo Amiseno, Jatmika

Re-Interpret
the tradition

PASAR DI BATAM, Andi Siswanto

Re-Interpret
the tradition

PASAR DI BATAM, Andi Siswanto

Re-Interpret the
tradition

Mesjid Jami Semarang,

Wondo Amiseno, Jatmika, Adi Hatmoko, Imam Djokomono, Ikaputra
Re-Interpret the
tradition

Mesjid Jami Semarang,

Wondo Amiseno, Jatmika, Adi Hatmoko, Imam Djokomono, Ikaputra
Re-Interpret the
tradition

Mesjid Jami Semarang,

Wondo Amiseno, Jatmika, Adi Hatmoko, Imam Djokomono, Ikaputra
Re-Interpret the
tradition

Mesjid Jami Semarang,

Wondo Amiseno, Jatmika, Adi Hatmoko,
Imam Djokomono, Ikaputra
Interpretation the local MARCH-MAY 2011
needs with bamboo
structure post Merapi
eruption 2010
Interpretation the local MARCH-MAY 2011
needs with bamboo
structure post Merapi
eruption 2010
 The House
Omah UGM of UGM Omah UGM
Heritage Foster
Parent’s Program
for Kotagede’s
Folk House
Preserving
2006 Earthquake’s
Ruins
Retrofitting of the Omah Retrofitting of the Gandok
(Total Indonesie) (ExxonMobil)

2007
Reconstructing Built an Earthquake
Renovated
Pendopo Monument/Museum
Dalem I(JICA-Japan) (ExxonMobil)
?? (by Total
Indonesie
Wall French)
Messing
(by Kyoto Ruins
City)
Renovated
Gandok
(by Exxon
Mobil USA) Earthquake Monument/Museum
(Design by Ikaputra)
Added
Pendopo Earthquake
(by JICA Museum
Japan) (by Exxon
Mobil USA)

2008 Supported by: Total Indonesie (French Oil Company),

JICA (Japan), ExxonMobil (US Oil Company)
 Interpretation the
Traditional Architecture

Pasar Niten
Pasar Niten
Pasar Niten
 Existing RECONSTRUCTING KINDERGARTEN
Reconstructed School
Post Earthquake SIDOMAJU’S KINDER GARTEN
Adding the Small Reconstructed School Post Earthquake
With large school building

Funded by HYOGO
PREFECTURE

2.003.00
6.00
4.00
4.00

4.00 6.00 4.00 2.00

Designed by IKAPUTRA
 RECONSTRUCTING
KINDERGARTEN
SIDOMAJU’S KINDER GARTEN

Designed by IKAPUTRA
 RECONSTRUCTING
KINDERGARTEN
SIDOMAJU’S KINDER GARTEN

Interior Designed by IKAPUTRA & SOEMARDJONO

Re-Interpret
the tradition

PASAR SENI GABUSAN, Ikaputra

Bird view
Building Design Ideas
The Tower Gate

A distance from
main road
Building Design Ideas
The Tower Gate

The tower gate

Building Design Ideas
Two Towers &
Viewing Deck

A distance from
main road
Pasar Seni Gabusan
The Market continuing as a place for Art Installation by artists
PASAR SENI GABUSAN
OMAH GERABAH
KASONGAN
RETHINKING TRADITION,
TROPICALITY & LOCALITY

IKAPUTRA
IAI 3140 922 100

Published April 2019 1

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IKAPUTRA
DYAH TITISARI WIDYASTUTI
ARSITO BAYU
LUKAS BIMO
SOEMARDJONO
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TUNGGU

AKSES DARI & KE

SKY-BRIDGE

KONSEP SIRKULASI
LANTAI DUA AKSES DARI & KE
SKY-BRIDGE
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STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
STASIUN BANDARA
SOLO BALAPAN
 STASIUN BANDARA
SOLO BALAPAN

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