Joglo
have framework consists of a main building pillar, namely the four main
pillars supporting the structure of the building, as well as
intercropping be an array of beams supported by the pillar. The four pillars are located in the center of the house, as the center of the universe of Javanese cosmology. At the center, the building houses then widened by adding other masts
in the vicinity, on the right, left, front and rear, to form a home.
Javanese way to build a house similar to the Java community perspective in view of the public. Sultan
placed is in the center of the world, which controls the order
(Hamengkubuwono) or that "holding the earth" (Pakubumi) or "natural
control" (Paku Alam). In the center, then move widened with a view supported other areas in the vicinity, from district to village. Thus, the order of the house, political, social and spiritual Java resemblance or similarity to one another. This is called a mandala design in cosmology studies of traditional and archaic.
Joglo houses are generally divided into three sections or space. The first is called Hall or Pendopo in the Java language. Pendopo is the living room where the hosts meet guests. Pendopo does not have a wall or open, which means that the Javanese want to be friendly to others. Generally, Pendopo is only given mat, without tables and chairs. The purpose is that there is no clear boundary between the host and the guests because they can talk intimately.
The second is Pringgitan space. Located in the middle or space that is used to hold a puppet show. Conceptually,
meaning pringgitan where a teacher stands, is a space that symbolizes
the homeowner as a symbol or shadow of Dewi Sri (the goddess of rice)
that gives life life, fertility, and happiness (Hidayatun, 1999: 39). According
Rahmanu Widayat (2004: 5), pringgitan is the space between pendhapa and
palace (omah jero) as a place for the puppet show (ringgit), associated
with the puppet show for children titual ruwatan sukerta (children who
fall prey to Bathara Kala, a giant god supreme).
The last part is omah jero, the back room or the palace as a family room. This space has several parts, the living room and several rooms or called senthong. In the past, the room or senthong only made three rooms only, which is the first room to sleep or rest males, both rooms were empty but still filled or divan bed complete with bedding for guests and other needs, and the third is destined bed or rest for women.
In the room called ndhalem stored spiritual treasures and first rice harvest. Also
there are rooms called senthong krobongan containing beds, mattresses,
pillows and bolsters, as the room for the first night (open mosquito nets) for the bride and groom. That is because, for the Javanese, the loss of virginity is a sacred
event, referring to the unification Kamajaya Dewa Dewi Ratih Kama, the
god and goddess of love marriage (Mangunwijaya, 1992: 108).
In
the Java home of the noble class Yogyakarta, senthong krobongan filled
with an assortment of objects sacred to mediate with the owner's holy
(sacred). Various objects are different from the objects belonging to farmers. That is, the ownership of the object is a marker of status differences. However, both are associated with fertility and happiness. (Wibowo et al., 1987: 63).
