Konteks Permukiman Urban / Urban Housing Context

astudioarchitect.com Dalam konteks urban housing, masalah-masalah yang harus dipecahkan arsitek bisa jadi sangatlah beragam, dimana cara untuk memecahkannya juga bisa jadi beragam antar arsitek. Rumah di daerah perkotaan seringkali memerlukan pemikiran yang rumit berkenaan dengan infrastruktur dan sistem kehidupan didalamnya, yang kadang telah tidak lagi memadai. Memberikan saran bagi desain rumah urban dan mempersiapkan kota-kota urban baru merupakan hal yang penting untuk dilakukan saat ini.

In Indonesia, and in some countries in the world, in the context of urban housing, problems to be solved by architects are varied, in which the way to deal with these problems could also be varied between different architect. Houses in the urban area needs complicated thoughts due to infrastructure and life system inside the city, which sometimes are no longer enough to support the city. Giving advices to urban houses design and prepare new urban cities is an important thing to do right now.

Bangunan yang Iconic / Iconic Buildings

astudioarchitect.com Seringkali sebuah arsitektur bangunan dikatakan sebagai Icon dari sebuah kawasan, menjadi sebuah cara untuk mengungkapkan keberadaan sebuah bangunan yang memberi warna, pengaruh, serta kepentingan di sebuah kawasan. Sebagai contoh: Monas adalah Icon kota Jakarta. Patung Sura (hiu) dan Baya (buaya) adalah Icon kota Surabaya. Burj Dubai merupakan Icon kota Dubai. Icon adalah simbol dari sesuatu yang penting dalam memberi identitas sebuah kawasan, kota, bahkan sebuah negara. Sangat sering orang yang berjalan-jalan atau 'plesir' ke tempat atau kota tertentu akan mengunjungi bangunan, tempat, atau kawasan yang menjadi Icon dari sebuah kota, barangkali untuk menandai sebuah kunjungan agar lebih bermakna, ‘bahwa saya pernah ke kota tersebut’.

Desain bangunan oleh astudio architect.

Rumah Kampung Palembang / Kampong houses in Palembang

astudioarchitect.com Dari perjalanan Nasrul Amin di Palembang, Sumatera Selatan. Pada umumnya, rumah adat di Indonesia adalah rumah panggung. Yang kemudian tradisi tersebut masih terus dilakukan pada rumah tinggal yang berada diperkampungan. Dengan bahan yang sederhana yaitu kayu, rumah itu didirikan. Begitupun dari pengamatan rumah-rumah di Palembang, sebagian besar rumah disana adalah rumah panggung dan terbuat dari kayu. Kondisi tanah yang basah (rawa) maka desain rumah panggung merupakan suatu pemecahan yang tepat. Atau karena kondisi suhu lingkungan yang panas, bisa jadi desain rumah panggung memberi penghawaan ruang yang baik. Dan biasanya rumah-rumah tersebut memiliki bentuk dan desain yang sama.

Mostly, traditional houses in Indonesia are 'stage houses' (houses that are raised above ground level). The tradition kept to be used in dwellings in kampongs (the calling for group of houses). With simple material like woods, the house stood. And that what we saw in Palembang, mostly the houses are stage houses and made of woods. The condition of wetland made the people need a good solution. Or because of the hot climate, the stage houses give good airflow inside the rooms. Usually the houses have certain kind of shape and designs.

experi[mental] - architecture experiment by Probo Hindarto, astudio

astudioarchitect.com experi[mental] is one activity in astudio to sharpen design intuition by doing small experiments with various materials, tools, miniature, etc. The album and the slideshow will continue to be updated with the latest experiment by astudio. All experiments carried out and spearheaded by Probo Hindarto. Come back to visit the exhibition of experiments on this flickr album later to see the latest serial of experi[mental].

experi[mental] adalah salah satu aktivitas di astudio untuk mempertajam intuisi desain dengan melakukan eksperimen desain dengan berbagai material, alat, miniatur, dan sebagainya. Album dan slideshow ini akan terus diupdate dengan experimen terbaru astudio. Semua experimen dilakukan dan dimotori oleh Probo Hindarto. Datanglah kembali mengunjungi pameran experimen pada halaman ini nanti untuk melihat serial experi[mental] terbaru astudio.

Candi Singosari / Singhasari (Temple)

astudioarchitect.com Sisa-sisa peninggalan ini berasal dari kerajaan Singhasari di masa lalu. Konstruksinya dibuat dari struktur lapisan batu. Menghadap kearah barat, bagian-bagian candi antara lain:

• Bagian terbawah, dikenal sebagai 'batur', berbentuk kotak
• Bagian "Kaki" dari candi, tempat arca-arca diletakkan
• Bagian 'tubuh' dari candi yang langsing dengan empat lubang ditiap sisinya
• atap atau bagian atas dari candi yang menjulang dan mengecil di bagian atas
• Berdasarkan dogma Hindu, candi adalah replika candi Himalaya di India, dimana keempat puncaknya disebut "Gaurisangkar" dan dipercaya sebagai tempat tinggal para dewa, juga dikenal sebagai Meru.

The remains was made of layered stone structures heading to west. Parts of the Candi (temple) are;
lowest level called 'batur' box shaped
'the foot' of the Candi and the place for the arcas (statues)
'the body' of the Candi in slim shape with four holes on each side
roof or the top of Candi that rises and becoming smaller to the top
According to the Hindu dogma, Candi is a replica of mount Himalaya in India, where there are four tops called 'Gaurisangkar' and believed to be the residence of the Gods, also known as Meru.

Dampak Dokumen Digital terhadap Budaya Tulis/ Impact of digital documentation on Written Culture

astudioarchitect.com Budaya menggambar dengan meja gambar layaknya arsitek jaman dahulu semakin ditinggalkan, dan digantikan dengan alat-alat baru yaitu komputer dan sarana digital. Para arsitek tidak lagi memegang gambar kerja, tetapi dokumen digital yang dianggap instan dan memudahkan, karena itu transfer pengetahuan tidak lagi berdasarkan transfer analog tetapi digital, yang menempatkan arsitek dalam mentalitas tertentu.

Drawing culture like architects in the old times on drawing tables is being abandoned, and replaced with new tools of computers and digital tools. The architects are no longer holding the hand drawings, but the digital documents that are considered instant and easy, because it is no longer based on analogue knowledge transfer but digital transfer, which places the architect in a certain mentality.

Keheninganmu, Candi Trowulan (Your Silence, Trowulan temple)

astudioarchitect.com Puisi oleh Probo Hindarto

Aku duduk dalam keheningan suasana hening yang syahdu
diantara sosokmu yang sederhana, tidak mengada-ada.
Kau jujur, kau mengatakan padaku tentang jernihnya air,
memandang kedalamnya seolah aku tertarik
dalam nuansa yang hitam, menyejukkan.

I was sitting in a deep and breezing ambiance
in front of your simple appearance, not to show off.
You are honest, you tell me about the pureness of the water,
seeing inside it made me drowned
in the black nuance, refreshing.

Obyek arsitektur makam Bung Karno, Blitar / Tomb of Bung Karno

astudioarchitect.com Kompleks makam Bung Karno di Blitar telah menjadi icon di kota kecil tersebut, berdasarkan pengamatan saya. Hal ini karena bangunan ini adalah salah satu landmark termodern dari sisi arsitektur yang dibuat dengan pendekatan a'la modern kota besar, yang dibuat di kota kecil. Keberadaannya seakan menjadi pembuka lembaran arsitektur modern di kota tersebut. Secara politis memiliki makna kuat dihubungkan dengan sejarah Proklamator negeri Indonesia. Artikel ini dibuat berdasarkan apa yang saya tulis pada tahun 2007, diangkat kembali karena posting lamanya banyak foto hilang :)

Bung Karno's grave complex in Blitar has become the icon in the town, based on my observations. This is because this building is one of the most modern architectural landmarks created with a modern approach a'la big city, built on a small town. Its existence was as a welcome piece of modern architecture in the city. Politically has a strong sense of history associated with the Indonesian independence Proclaimers. This article is based on what I wrote in 2007, was reappointed for his old post because lots of photos missing:)

Arsitektur tropis bangunan tinggi Ken Yeang / High Rise tropical Architecture of Ken Yeang

[artikel khusus] astudioarchitect.com Arsitektur yang memperhatikan lingkungan merupakan arsitektur masa depan, karena dalam arsitektur jenis ini akan didapatkan penyelesaian yang baik untuk menanggapi iklim tanpa menggunakan lebih banyak resource sumber daya alam yang tak dapat diperbaharui seperti minyak bumi untuk mempertahankan kondisi ideal bangunan, misalnya suhu, kelembaban, serta pencahayaan dan penghawaan. Kali ini kita akan mempelajari arsitektur tropis untuk bangunan tingkat tinggi yang dikembangkan oleh arsitek Ken Yeang, seorang arsitek kelahiran Malaysia yang belajar di Inggris dan Amerika. Belum banyak arsitektur high rise yang memperhatikan iklim tropis dan memberdayakannya dalam bangunan seperti Ken Yeang, dan karena itu jenis arsitektur ini menjadi unik untuk dipelajari.

What style are you?

[artikel khusus] astudioarchitect.com Gaya atau style, seperti gaya arsitektur modern, gaya arsitektur minimalis, gaya arsitektur klasik, seringkali kita dengar. Esensi dari 'gaya' yang dipahami saat ini seringkali dimaksudkan sebagai tampilan, atau cara, atau sesuatu yang memberikan kita image atau gambaran tentang seni, apakah itu arsitektur atau seni lainnya. Artikel ini saya buat untuk memikirkan kembali makna 'gaya' dan 'modern'. Meskipun keduanya tidak secara langsung berhubungan, tapi 'modern' seringkali disebut sebagai 'gaya', meskipun sebenarnya lebih berkaitan dengan metode dan pola pikir mendesain. Apa yang terpikir disini juga bukan sebuah jawaban atas apakah kita butuh 'bergaya' atau tidak.

Arsitektur Eklektik - Esai Bagian 2

astudioarchitect.com Artikel untuk arsitek dan akademisi

Ornamentasi dari tradisi arsitektur sebuah wilayah di Indonesia (atau di daerah manapun juga) berakar kuat terhadap budaya dan cara hidup masyarakat di suatu tempat. Karena ornamentasi biasanya merupakan kumpulan simbol dari berbagai cara pandang dan kepercayaan adat dari sebuah masyarakat lokal. Ornamentasi dalam arsitektur tradisional, sebagaimana sistem kontruksi bangunan dan nilai-nilai yang termuat dalam arsitektur, merupakan akulturasi dari berbagai budaya arsitektur yang pernah berhubungan dengan masyarakat lokal.

Arsitektur Eklektik - Esai Bagian 1

astudioarchitect.com Artikel untuk arsitek dan akademisi

Arsitektur eklektik bisa dikatakan sebagai hasil karya arsitektur yang mempergunakan metode merancang secara eklektik. Eklektisme adalah sebuah pergerakan arsitektur dengan metode menggabungkan (kombinasi) berbagai aspek, ide, teori maupun yang ditujukan untuk membuat arsitektur terbaik dengan kombinasi yang ada. Pergerakan ini diawali dari filsafat yang dikaitkan dengan penggabungan berbagai perspektif pondasi filsafat untuk membentuk filsafat baru yang lebih baik. Metodenya kemudian diterapkan dalam bidang-bidang ilmu pengetahuan yang lain, diantaranya kedalam arsitektur.

Diskusi tentang ruang - dalam ruang angan arsitek

Artikel untuk praktisi dan akademisi astudioarchitect.com -- Baru-baru ini saya melakukan diskusi kecil dengan rekan Samoke dan Suga Ibi disebuah lahan kosong punya Suga Ibi dimana terdapat kolam ikan yang cukup besar berukuran sekitar 15x5 meter. Pada siang hari yang tidak terik, hanya mendung saja, dibawah ruang tenda dengan kursi yang katanya merupakan 'produk gagal' hasil desain Samoke, yang menurut saya cukup keren... (hanya perlu sentuhan lagi Sam :). Nama Samoke adalah kebalikan dari "Mas Eko", karena kebiasaan 'bahasa walikan' atau bahasa yang dibalik. Tema kali ini membahas tentang makna 'ruang' dari sudut pandang arsitek, berhubung kami bertiga adalah praktisi, jadi kami berdialog dalam ranah praktisi arsitek. Dalam tulisan ini, saya mencoba menambahkan dengan beberapa pandangan lain dari dunia akademis sehingga lebih lengkap.

Recently I did a little discussion with colleagues Suga Ibi and Samoke on a vacant land Ibi Suga fish has, where there was a large enough size pond approximately 15x5 meters on the back of the land. The day was not hot, overcast by shadow of clouds, under a tent with a chair that Samoke called 'failed product', which I think is cool ... (only need a second touch again Sam:). What to talk about this time is the meaning of 'space' from the perspective of an architect, since the three of us are practitioners, so we have a dialogue in the domain of architect practitioners. In this writing, I try to add a few other views from the academic world to be more complete.

PENDAPAT SAYA TERKAIT PENGERTIAN RUANG DIKAITKAN DENGAN BEBERAPA FILSUF YANG SUDAH MENDEFINISIKANNYA

"Ruang" adalah sesuatu yang selalu berhubungan dengan arsitektur. Bila Anda seorang arsitek, maka makna ruang adalah termasuk paling penting dalam proses desain, hingga sebuah bangunan terwujud. Karena pada dasarnya kita berhubungan dengan 'ruang' bila bicara arsitektur.

Filsuf Leibniz menyatakan bahwa ruang adalah hubungan sebuah obyek dengan obyek lainnya, sehingga tercipta sebuah koneksi. Sebuah obyek individual tanpa relasi dengan obyek lainnya tidak dapat dikatakan memiliki ruang. Setidaknya sebagai sebuah obyek dengan material yang nyata bukan hanya ukuran dimensi, obyek dalam ruang tidak bisa tidak, harus memiliki relasi dengan obyek lainnya dan dengan demikian memiliki parameter untuk dikatakan sebagai ruang (semoga saya tidak salah mengartikan pendapat Leibniz ini ya).

Filsuf yang lebih baru yaitu Emmanuel Kant mengatakan bahwa ruang bukanlah sebuah koneksi antar obyek, melainkan adalah konsep sistematis untuk menjelaskan pengalaman (experiences) melalui pengamatan obyektif. Sedangkan

Fisikawan yang hampir mendekati filsuf melalui teori fisikanya yaitu Einstein mengambil teori relativitas dimana ruang dan waktu adalah tak terpisahkan, dimana hubungan antar obyek itu relatif, berhubungan dengan pergerakannya (pada dasarnya kita berada dalam kosmik yang bergerak). Mudah-mudahan kita bisa memahami apa yang baru saja saya tuliskan :)

Dalam konteks arsitektur, pendapat ketiga tokoh diatas dapat kita jabarkan sebagai berikut:

- Leibniz: Ruang adalah sesuatu yang diakibatkan oleh hubungan antar obyek. Misalnya, saya ada dalam ruangan ini, karena saya sebagai entitas, memiliki hubungan dengan ruang ini sebagai dua obyek yang berbeda.

- Kant: Ruang adalah konsep sistematis yang sebenarnya diciptakan dalam pikiran kita untuk menjelaskan persepsi yang diterima akibat sensasi panca indera dengan hal-hal lain yang berhubungan dengan kita sebagai subyek. Misalnya: Apa yang saya rasakan tentang ruang ini akan berbeda dengan Anda, karena saya memiliki konsep yang berbeda untuk menjelaskan ruang dibandingkan konsep Anda tentang ruang.

- Einstein: Ruang diakibatkan oleh pergerakan obyek dimana konsep ruang sifatnya relatif, yang mengakibatkan perbedaan waktu yang dialami oleh masing-masing obyek. Misalnya: Apa yang saya rasakan dalam ruangan ini, akan berbeda dengan apa yang Anda rasakan, karena masing-masing dari kita bergerak dalam sistem ruang dan waktu yang berbeda.

Bila kita lihat melalui pemahaman saya diatas tentang pendapat beberapa filsuf, maka bisa kita simpulkan bahwa ruang itu selalu berbeda bagi setiap orang, atau setiap manusia yang berada didalamnya. Saat saya berada di hall A, dan Anda juga berada di hall A, apa yang kita alami adalah sama sekali berbeda. Dalam hal ini, pengertian ruang yang lebih kompleks dapat dijabarkan melalui teori relativitas Einstein. Tapi, arsitek bukanlah seorang fisikawan, melainkan seorang yang memperagakan dalam parodi kehidupan, bagaimana membuat filsafat tentang ruang menjadi nyata dalam rancangan arsitektur.

MY OPINION OF UNDERSTANDING RELATION associated with several SPACE defined by PHILOSOPHERs


"Space" is something that is always associated with the architecture. If you are an architect, then the meaning of space is among the most important thing in the design process, until a building come true. Because we are basically related to 'space' when speaking of architecture.


Philosopher Leibniz says that space is an object relationship with other objects, so as to create a connection. Individual objects without relationship with other objects can not be said to have a space. At least as an object with a real material that is not only measure of dimensions, it must have a relationship with other objects and thus can be said having a parameter for space (hopefully my opinion does not misinterpret Leibniz).


More recent philosopher Emmanuel Kant said that space is not a connection between objects, but is a systematic concept to explain the experience (experiences) through objective observation. While


Einstein's theory of physics is taking the theory of relativity in which space and time are inseparable, in which relations between objects is relative, related to the movement (we are basically moving in the cosmic).


In the context of architecture, those three opinions above can be described as follows:



- Leibniz: Space is something that caused by relationships between objects. For example, I am in this room, because I am as an entity, has a relationship with the space as two different objects.


- Kant: Space is a systematic concept that was created in our minds to explain the perception received by sensory sensations with other matters relating to us as subjects. For example: What do I feel about this space will be different with you, because I have a different concept of space to explain than your concept of space.


- Einstein: space caused by the movement of objects where the concept is in relative nature, which resulted in differences in time experienced by each object. For example: What I feel in this room, will be different from what you feel, because each of us moving in different space systems and different time.



When reading through my understanding of the opinions by several philosophers above, then we can conclude that space is always different for everyone, or every human being who is therein. When I am in Hall A, and you also are in Hall A, what we experience is entirely different. In this case, understanding more complex spaces can be described by Einstein's relativity theory. But, an architect is not a physicist, but one who demonstrated in a parody of life, how to make the philosophy of space becomes evident in architectural design.

Ruang terbuka lahan kosong Suga Ibi dengan kolam dan tenda biru sederhananya, serta kursi-kursi desain Samoke

DALAM PEMBICARAAN SAYA, SAMOKE DAN SUGA IBI

Dalam dunia arsitektur, ruang lebih diidentifikasi sebagai sebuah kesadaran akan kondisi lokal yang melingkupi pengguna ruang tersebut. Dalam pembicaraan ini, kami mulai mengupas tentang apa itu ruang, yang sangat penting dalam arsitektur. Ruang bisa berarti banyak hal, ruang dalam konteks kamar-kamar rumah, ruang hall, ruang rapat, ruang terbuka hijau, atau mungkin ruang yang tidak nyata, seperti ruang batin, ruang pemikiran, dan sebagainya. Dalam pembicaraan ini, kami ingin mengungkapkan, setidaknya melalui kata-kata, definisi ruang atau space.

Baik saya, Samoke dan Suga Ibi mulai membuat definisi awal tentang ruang.

SUGA IBI

Definisi ruang adalah ”apa yang bisa kita rasakan dengan batas indera kita, indera perasa, indera penglihatan, indera pendengaran dan sebagainya. Dalam contoh ruang yang sedang kami rasakan saat ini, kami bisa mendengar suara burung berkicau, yang melengkapi sebuah ruang. Apakah sebuah ruang itu tinggi, rendah, pendek, atau apapun itu tidak masalah. Misalnya: ruang angkasa tidak bisa terkira, tapi dengan 'merasakan' melalui batas nalar kita, kita mengetahui ada yang disebut sebagai 'ruang' angkasa.

Suga Ibi ditemani minuman sederhana dan 'pohung keju' hangat yang sempat kami beli di jalan sebelum ngobrol disini.

Dalam konteks ruang yang lebih besar ada ruang kota, ruang negeri, dan ruang yang lainnya. Ruang itu pada akhirnya adalah sebuah batas. Bila kita berpikiran ruang dalam rumah, maka berupa kamar kamar. Tapi begitu kita berpikir tentang ruang tata kota, misalnya, maka kita berpikir tentang ruang yang lebih besar, dan begitu seterusnya. Ruang yang dihasilkan bisa dirasakan sebagai sensasi ruang yang diharapkan, secara fisik dan psikologis, dalam skala ruang kecil maupun ruang yang lebih besar seperti ruang kota. Ruang yang dirasakan oleh arsitek lebih bisa terdefinisikan, seperti ruang yang aman, ruang yang nyaman. Hal ini berbeda dari ruang dalam sastra, seni, ekonomi, dan sebagainya.

Adalah merupakan tugas arsitek untuk membuat ruang itu terasa seperti apa. Apakah kita merasa tertekan dengan kehadiran sebuah ruang, ataukah ruang bisa dibuat atau didesain agar ia terasa terbuka, dan sebagainya.

PROBO HINDARTO

"Ruang adalah sesuatu yang bisa diisi". Arsitektur adalah seni yang bisa diwujudkan (berdimensi). Sebuah ruang dalam arsitektur yang dihasilkan oleh arsitek, tidak bisa begitu saja lahir tanpa pemahaman tentang ruang dan elemen-elemen lain yang berhubungan dengannya. Sebut saja elemen lain ini seperti kondisi sosial, ekonomi maupun kejiwaan dalam hubungan antar individu yang terlibat dan antar individu dan lingkungannya.

Sebelum merancang, sebaiknya arsitek memiliki imajinasi dan pengetahuan tentang ruang, baik imajiner maupun ruang tempat perubahan akibat arsitektur yang akan terjadi. Arsitek harus mereka-reka terlebih dahulu sebuah ruang melalui alat yang didapat dari pengalaman inderawi untuk menghasilkan ruang yang lebih ideal. Inilah yang dilakukan dalam proses desain melalui proses men-sketsa, menggambar dan membuat maket. Sebuah maket merupakan replika ruang dalam bentuk yang kecil, dan lebih mewakili ruang yang ingin kita ciptakan, karena maket berada dalam dimensi yang sama dengan yang kita rasakan saat ini (tidak hanya sekedar gambar).

Hubungan dengan alam adalah penting, karena alam, memiliki kesan ruang yang un-predictable (tidak terkontrol), sedangkan arsitektur itu dibuat agar ruang menjadi ’predictable’ (terkontrol). Ini adalah sifat dasar manusia untuk mempertahankan teritori atau batasan ruang dengan menciptakan batasan yang dapat dikuasainya, dengan kata lain: 'diatur'.

Bila kita terlalu membebaskan alam untuk mengejutkan kita dengan kesan2 ruang yang terlalu liar, maka ruang arsitektur yang seharusnya 'predictable' itu tidak menjadi ruang yang secure (aman), karena kita sebagai manusia secara biologis membutuhkan ruang untuk membatasi kita dengan berbagai gangguan alam. Tingkat ideal sebuah ruang akhirnya ditentukan oleh gagasan awal dari imajinasi, dan hasil arsitektur terbangun yang dicoba dihasilkan oleh sang arsitek. Hal ini ditentukan oleh pengetahuan dan cara mengimplementasikan sebuah konsep desain yang dimiliki oleh arsitek berdasarkan misi yang diembannya terhadap sebuah project.

SAMOKE

"Ruang adalah dimensi suasana yang batasannya bisa kita jangkau", itulah logikanya. ”Sesuatu yang tertangkap, melalui indera kita”. Ruang itu batas, apakah itu besar atau kecil, adalah sebatas kita melihat. Semampu kita saat mendengar, menggema, sesuai apa yang bisa tertangkap oleh indera kita. Dalam arsitektur, kita mendefinisikan ruang melalui karya arsitektur. Misalnya ruang ATM itu kecil tapi dia terasa sejuk, atau ruang hall yang besar tapi dia terasa sumpek.

Setelah kita berpraktisi sebagai arsitek, maka pemahaman kita sebagai arsitek akan lebih dalam, tidak lagi seperti saat kita berhadapan dengan kertas dan pena dalam dunia akademis. Hal ini mengingatkan kita bahwa pendidikan arsitektur saat ini masih selalu berkutat pada ruang sebagai 'bentuk', bukan ruang dengan 'skala'. Tradisi dari ruang angan menuju ruang rekaan seharusnya dibarengi dengan bahasa akademis yang sifatnya klausalitas. Mestinya jika diajarkan tentang skala, maka harus diajarkan tentang niskala. Bila diajarkan tentang concrete, maka harus diajarkan yang concave.

Ruang yang terjadi, akibat selembar plastik biru yang membentuk sedikit pengatapan yang terlihat rapuh, dan menyandarkan diri pada realitas yang jauh lebih besar dalam ruang publik kota (Space occurs, due to a blue plastic sheet that forms a visible fragile roofing, and leaned back in reality much greater in the public space of the city.)

IN MY CONVERSATION, ME, SAMOKE and SUGA IBI

In the world of architecture, space is identified as an awareness of local conditions surrounding the user. In this conversation, we started to peel about what is space, which is very important in architecture. Space can mean many things, space in the context of house rooms, hall space, meeting rooms, a green open space, or maybe not real space, such as inner space, space of thought, and so on. In this talk, we want to express, at least through the words, the definition of space.


Neither I, and Suga Ibi and Samoke start making initial definition of the space.


Suga IBI

Spatial definition is "what can we feel the limits of our senses, sense of taste, sight, sense of hearing and so on. In the example we're feeling right now, we could hear birds singing, which complements a room. Was it a space high, low, short, or whatever it does not matter. For example: space can not measure, but with a 'feel' through the limits of our reasoning, we know no such thing as 'space' space.

In the context of the larger city space, land space, and other spaces. The room was in the end is a limit. When we think of space in the house, the rooms of room. But once we think about the urban planning space, for example, then we think about the larger space, and so on. The resulting space can be perceived as a sensation of space is expected, physically and psychologically, in a small space scale and a larger space such as city hall. Space felt by the architect could be defined more as a safe, comfortable space. This is different from space in literature, art, economics, and so on.


It is the task of architects to create a space that feels like. Do we feel pressured by the presence of a space, or space can be made or designed so that it was open, and so on.


Probo Hindarto

"Space is something that can be filled". Architecture is the art which can be realized (dimensionless). A space in architecture produced by the architect, could not just born without an understanding of space and other elements associated with it. Call it the other elements like social conditions, economic or psychological in the relationships between the individuals involved and between individuals and the environment.


Before designing, architects should have the imagination and knowledge of space, both imaginary and the space where the architecture changes due to happen. Architect must concoct a space in advance by means of experience gained from the senses to produce a more ideal space. This is done in the design process through a process to sketch, draw and make models. A model is a replica of the space in a smaller form, and more representative of space we want to create, because the model is in the same dimension that we are feeling right now (not just pictures).

Relationship with nature is important, because nature, have the impression of the un-predictable (not controlled), whereas the architecture was created to be the 'predictable' (controlled). This is human nature to defend territory or space limitations by creating boundaries that can be mastered, in other words: being 'set'.

If we are too free the nature to surprise us with impressions of space which is too wild, the architectural space that should be 'predictable' will not be secures room (safe), because we as humans are biologically need to limit our space from variety of natural disturbances. The ideal level of a space finally determined by the initial idea of the imagination, and the results are attempted to be in architecture produced by the architect. This is determined by knowledge and how to implement a design concept which is owned by the architect based on their missions to a project.


SAMOKE

"Space is the dimension of the atmosphere within the limit of our reach", that's logic. "Something caught, through our senses". Space is the limit, whether it is big or small, is the extent we see. We know space, when he heard, echoing, as what could be captured by our senses. In architecture, we define space through architecture. For example ATM room was small but it is cool, or a large hall space, but felt scary for claustrophobic.

After we practice as an architect, then our understanding will be deeper, no longer like when we are dealing with paper and pen in the academic world. It reminds us that the current architectural education is always struggling in space as the 'form', not the space with the 'scale'. The tradition of fantasy into the living room should be accompanied by a fictitious academic language clausality of nature. If properly taught, scale should be taught about the timeless. When taught about concrete, it must be taught the concave.

Penehgahnya adalah tingkat rekaan sosial, yaitu sejauh mana secara individual calon arsitek maupun arsitek memiliki rekaan sosial yang bisa diwujudkan dalam desain. Sejauh mana ia memiliki pengetahuan tentang kondisi sosial disekitarnya. Artinya, ruang dalam arsitektur lebih luas saat kita berpraktek. Menurut pak Eko Prawoto, disinilah peran arsitek dalam menghasilkan rancangan arsitektur, seperti memperhatikan arsitektur tropis. Seharusnya arsitektur tropis itu lebih banyak ruang luarnya daripada ruang dalamnya.

Misalnya, sebuah ruang yang kita tempati untuk berbincang saat ini (tanah kosong milik Suga Ibi), bisa membuat kita melakukan sesuatu secara terus menerus karena kondisinya yang tidak mengekang, tidak membuat kita pasif dalam duduk diam, atau tidur, atau tidak melakukan apapun. Wujudnya bisa ruang komunal, ruang genial (ruang yang menghidupkan). Sayangnya saat ini, tidak banyak lagi ruang alun alun, atau jalan yang menampung konsep konsep ruang genial. Ruang genial selalu membangkitkan orang untuk beraktivitas, secara sosial dan saling mendukung.

Terminologi Samoke: Ruang angan dan Ruang rekaan

Ruang angan adalah ruang yang ’dikhayalkan’ dulu oleh perancang (didalam imajinasi perancang), kemudian diawali dalam ruang rekaan (arsitektur yang dilahirkan ke dunia) sebagai sketsa. Ruang angan, untuk menuju ruang rekaan adalah sebuah seni yang diaplikasikan. Perbedaan arsitek dan seniman adalah adanya dimensi yang bisa diwujudkan.

Ruang angan dan ruang rekaan itu menjadi lebih penting, karena itu awal dari sebuah idealisme. Misalnya ada seorang arsitek ingin membuat ruang arsitektur yang seperti stasiun MIRR, maka untuk membuat sebuah arsitektur yang seperti itu kita membutuhkan awalan dalam ruang angan, sebelum ia diwujudkan dalam ruang rekaan.

Seharusnya arsitek akan menemukan ruang rekaan yang ideal ketika ia dalam ber-ruang angan dan ber-ruang rekaan dapat menyerap semaksimal mungkin lokasi desain yang akan dibuat. mendesain sebuah ruang. Artinya; seorang arsitek akan lebih baik dalam mendesain, ketika ia tahu benar kondisi lokasi dimana karya arsitekturnya akan dibangun. Kekuatan rekaan ruang rasa itu menjadi penentu berhasil tidaknya sebuah ruang menjadi ruang rekaan yang ideal.

KESIMPULAN

Ruang, sebagai salah satu dimensi paling berpengaruh dalam arsitektur, terasa sangat berbeda dalam konteks seni yang bisa diwujudkan ini, bila dibandingkan dengan konsep ruang menurut matematika dan filsafat. Untuk membuat sebuah ruang memiliki makna lebih dari sekedar boks 3x4m, dengan plafon dan lantai, adalah merupakan tugas arsitek... Mungkin juga lebih dari itu.... penciptaan ruang batin yang terjadi dalam diri seorang penderita, yaitu pengguna rancangan kita.

Konteks ruang dalam pandangan masing-masing praktisi boleh jadi berbeda, seperti yang terjadi dalam pandangan saya, Samoke dan Suga Ibi. Meskipun pada dasarnya menuju pada sebuah kesimpulan yang tidak jauh berbeda. Barangkali hal ini, karena kami punya ruang pemikiran yang berbeda, dan ruang gerak yang (sempat) berbeda. Meminjam dan mengubah sedikit terminologi Samoke.

The middle understanding is the level of social invention, namely the extent to which an individual prospective architects and architects have a social invention that can be realized in the design. To what extent he has the knowledge about the social conditions around it. That is, space within the broader architecture when we practice. According to Eko Prawoto, this is where the role of architects in architectural design to produce, such as to implement tropical architecture. Tropical architecture that cares about space than the form outside it.

For example, a space that we are talking in right now (vacant land owned by Suga Ibi), can make us do something continuously because the condition is not reined in, not make us passive in sitting still, or sleep, or do not do anything. The form could be communal space, genial space. Unfortunately today, not much more social space, or the way the concept of space to accommodate the concept of Genial space. Genial space always aroused people to be active, socially and support each other.

Samoke's terminology: Space imagination and invention of space

Fantasy space is space that is 'imaginary' used by the designer (in the designer's imagination), then starting in the invention (architecturally born into the world) as a sketch. Space we dream, to get to the invention is an applied art. Differences between architects and artists is a dimension that can be realized.

Thought Space and imaginary space becomes more important, because it was the beginning of an idealism. For example there is an architect wants to create architectural spaces such as MIRR station, then to create an architecture like that we need a prefix of the space, before realizing in the invention.

Architect should be to find the ideal imaginary space when he was living in imagination and invention were able to absorb the maximum extent possible for design locations that will be made. designing a space. Means; an architect will be better in the design, when he knew the location where the work conditions of the architecture will be built. Strength fictitious sense of space that determines the success or failure of a space into an ideal fictitious space.



CONCLUSION

Space, as one of the most influential dimension in architecture, is very different in the context of art that can be realized, when compared with the concept of space according to the mathematics and philosophy. To create a space to have more meaning than a 3x4m box, with the ceiling and floor, is a task of the architect ... Maybe more than that .... creation of inner space which occurred in a patient, the user of our design.

In the context of each view may be different practitioners, as happened in my view, Suga, and Samoke. Although in principle lead to a conclusion that is not much different. Perhaps this is because we have different thinking space, and space for a (time) is different.


________________________________________________
by Probo Hindarto
© Copyright 2008 astudio Indonesia. All rights reserved.

Water and Soil Utopia - A concept for cities 20 years from now

Bahasa Indonesia
This was actually my thought that I presented in a seminar held by Holcim and SAMM (Spirit of Malang Young Architect) about sustainable construction in November 2007. I hear recently more similar concept developed afterwards, many claims this concept, and I realize there is no original concept in architecture. And all I can say is that a 'concept' is something very fluid and can be copied and pasted in copycat culture. But then I have to claim that this thought is something I share and guarantee coming from my thought. After thinking so much about life in cities and how everything goes in very bad way, including disturbed water cycle, this concept is something that I thought will be the best concept for 20 years from now.

The origin of this is because we have to think in a different way from now and save the potential of water and soil for the future. Buildings must be in different manner, and water + soil potential should be preserved. The best way is actually not to use the soil at all, and this will mean that land will be a forest and buildings must be raised to certain height that will allow small plants to live below buildings, big trees between buildings and raised streets.

Water cycle is very vital in earth life as well as the continuity of all beings on earth. And this cycle become unstable because we put too much interruption to nature, like building too many buildings, streets, trotoars that cover the land and cut the water cycle. If water can not be absorbed by land, there will be flood, discontinuity of ground water stream, and dryness in more place above earth. The lack of water vapour (because water is too quickly flown to river and not vapoured much) will increase earth's temperature.

There are three steps we should do in preserving land and soil;

• preserve water absorbtion by soil
• plant more forest cities
• avoid soil erotion

This will be preventing us from making similar mistakes happened in EVERY city on earth. There has to be an utopia, and we should make it true. We already know there are architects who think about urban utopia; Tony Garnier with Cite Industrielle, Le Corbusier with Ville Radieus, and this concept I call "Water and Soil Utopia", is not something really related to urban design, but a concept of healthier urban city.

The utopia of future cities of the world:
give more water and soil preservation for nature and mankind
area of building as biggest erosion source of problem should be given attention
flood free urban cities, 20 years from now
New cities have to be different from now.


________________________________________________
by Probo Hindarto
© Copyright 2008 astudio Indonesia. All rights reserved.

Rasuna Epicentrum Revisited

Bahasa Indonesia

This article is written by Ade Yudirianto - early September 2008.
Two years after my last visit to Superblock Rasuna Epicentrum, finally I have the chance to visit again to know how far the building process.

Bakrie Tower and lifestyle

Bakrie Tower
Entering Rasuna Said street in Jakarta, we can already see a tower height 48 storey that looks like it is going to be broken because some of its side is tilted. This is the Bakrie Tower designed by foreign consultant HOK (Helmut Obatta Kassabaum), a 48 floor with each floor tilted 1 degree horizontally.

Last month, the tower has been finished topping off, even not all building is covered by glass facade, we can see that the first 10 floor has been covered by glass with triangle pattern. It looks different from my first presumption, there is a different because the pattern that was planned was honeycomb pattern and now it is replaced with triangle pattern.



If this is not a wrong judgement, then the 48 level tower will be the first tower in Indonesia that has public space as the first level. While the form will be the second tower in Indonesia that has plastic form after Regatta Tower in Pantai Indah Kapuk. Seeing all the appearance of bakrie Tower it seems that the calculation of efficiency value is below 80% because of its sculptural/iconic form. Some of the outer collums also tilted following displacement of every floor.


Look up and see it soaring

Running for 35 days
Other part of Superblock Rasuna Epicentrum that is being rushly buit, is LifeStyle Center or what people will call it Mall Rasuna Epicentrum. If we see it from above the siluet of the building plan will be like a human's feet (some call it like socks). This mall will be a center of activities in the blocks after the working hours. In here the building is being rushed in 35 days ahead because it has to be operated before Idul Fitri day (biggest holiday in Islam). The progress is so quick, regarding the construction now. This judgement is considering there are at least 2 facilities inside the mall that need to be done with care. One is Media Walk where visitors will walk with trams above that will be running around the entire Superblock. The second is the Galeri Neon that has fluorescent lights on the building skin. Two big national contractors hold the progress building of this facilities.


Lifestyle center RE


Lifestyle and Bakrie Tower

MORE (Marketing Office Rasuna Epicentrum)
After visiting the two buildings that is still dusty, filled with scaffolding, and concrete works everywhere, finally our eyes can be relax to see MORE that is planned in cleane and tidy space. MORE is where every visitors see to be introduced to promotion and latest development of the superblock. Here presented the model and mock-up apartment to visualize the real situation, but there is something different. The model of Rasuna Epicentrum has been bigger and for each building it has its own exhibition units. For this very big masterpiece Rasuna Epicentrum has got an award from MURi (National Record Museum of Indonesia) for the largest building model in Indonesia.


Gondola track


Rasuna complex block A model

What's so special in this revisited?
First, it is owned by the richest person in Indonesia. Then in years ahead Jakarta will be full by other properties and big superblocks. A lot of promotion and advertising filled Indonesian media. Some big players also play in this crowd such as Bakrie Group, Agung Podomoro, Duta Anggada, Ciputra and others. Jakarta will be the place where phisical construction and building is the everyday life of the urban people. A city of signboard construction. Rasuna Epicentrum will be a part of it. This superblock offers integration with the environment, can be accessed from all direction without boundaries or fence. It is said that this superblock offers a healthy public space, where social activities and public space belongs to the people.



Indonesia Jakarta will be the place where developers will make competition. If there is no new offer and innovation, then in some years ahead many investment projects will be just a dream and vanished along with the rise of the new ones. This will be the competition and life of the metropolitan. Will Indonesia be just Jakarta? or will there be media expose that Indonesia consist of other thousands of islands and cities, not just Jakarta...
________________________________________________
by Ade Yudirianto
© Copyright 2008 astudio Indonesia. All rights reserved.

Architecture and Alice in Wonderland

Bahasa Indonesia

06 July 2008 writing by Probo Hindarto
This article contains experimental way
(surrealistic story) of thinking
in architecture as well as analytic.

Please feel free to comment

The dawn came back, when I saw the sun eagerly starting his new day. When architects and they whom I knew will never give up for what they believe... Also when other architects gave up to the world that believe in them...


Artwork, pencil and paper + edited with Computer
by Probo Hindarto, June 7th, 2008

Alice find me with her naïf rabbit in the first encounter of adventure, she was the real citizen of the world, who's not died like a greedy merchant.
Nietzche jumps in excitement, he was insane from the beginning. But I was happy he spare a time jumping in my mind, for I am also insane.
Descartes smile very happily; "Gotcha! In the system that we built that you have never realized, has tied you strongly"
Mangunwijaya meditating in his place, watching me deeply... Flashy...

My Encounter with Alice and the Wonderland

It's also boring, when you see them NOT in a state you're hoping to find. When Alice came down the Rabbit hole, I came with her too, as a spirit. Then I also found the amazing falling down the rabbit hole, flying and wondering whether it's going to end somewhere, instead of falling on a top of a roof.

So I came down and fell, after a long-long time of falling, found myself in a passage with doors, hoping to find a way out. Like Alice, I found the key of the rat hole door, by which I was in temptation of the garden of Wonderland. But it's nonsense to tell you, all the thing allegorically happened to me as to Alice, even everything was quite the same.

Then I ask Alice to follow me to my own wonderland, she was not quite amused, as you can see, IT IS THE REAL WORLD.

What I mean by wonderland is something happened inside my mind, related to architecture. I surely take risk to ask anyone to enter this wonderland.

Picture source: http://robertsabuda.com/images_bk_int_pop/alice/alice_color_me_600px.jpg

Alice didn't tell me that I should meet things that I don't like in the journey... Or she might have and... yes I realize now, she had. She told me she was crying, when troubles came in her journey. And something which are not necessary happened in a fairy tale, when I took the journey to the old kingdom of Majapahit, that I will tell you after this.

I asked Alice; "Why can't I have the same excitement like you?"

She said; "What are you trying to do? Aren't you satisfied enough with ordinary literature, instead of making surreal fiction literature as mine to describe your experience" and she was moving like a ballet dancer.

"Certainly I'd like to do more things than just telling ordinary story for it will add the excitement" I replied, but yet, I begin to feel my feet moved by an energy, I fall into the world of the old Majapahit kingdom....

It started in a bright shiny morning in the land of the kings of the past. The air was still misty. The brick was still quite wet. Well, it should be, there's no bad air, you know. Bad air is the air of war and hatred. This one is very clear and nice. Alice was with me, and she was doing something else, I thought because she was accustomed to doing things by herself.

The building is huge, called Wringin Lawang, or I suppose the name similar to 'Banyan tree gate' formed as 'candi' or temple in a pair, serving as a gate to housing community. It was a great gate, and very pleasing to enter the inner court of it.

The Wringin Lawang, a gate to housing complex in the kingdom of Majapahit.

Suddenly there were horses with knights, about five Javanese knights came across the road. One of them saw me curiously.

"Where are you from?" he asked in a very old Javanese language. This was supposed because I used orange t-shirt that there was no person ever used the kind of bright color. I used it because I thought it would fit the color of the red brick of the temple buildings in Majapahit.

"I came from the future, Indonesia" I replied. He got down from the horse.

"The king will punish every spy" he said quite loudly. I was trembled, I looked to Alice who found herself with several children inside the temple gate of Wringin Lawang.

Picture of me, at the gate of Wringin Lawang

They say these people still kill people. I could do nothing to help my hands from shaking. But something came out of my mind... one song I remembered, and I begin to sing. Maybe to get rid of the anxiety.

"Du bi du bi du bi du baeeee....
Du bi du bi du bi du baeeeee..."

silent...

"Rainbow-rainbow,
You are very beautiful.
Red yellow green,
In the sky of blue.

Your Painter is Mighty,
Who would He be?
Rainbow-rainbow
Creation of the Lord"

silent...

Statue of Garuda Vishnu of the ancient Majapahit. (This statue is placed in the museum of Majapahit)

Painting of Vishnu when he fight the giant crocodile and elephant in search of Tirta Amerta, the water of immortality, in the ancient Hindu mithology.
Picture source: http://sss.vn.ua/india/murtis/vishnu_garuda_gajendra_makara.jpg

We didn't know where it came from, there was heavy wind in the air, the trees were moving badly, black clouds covered the sky, and there was the bird flying, a very big bird that I believed it was GARUDA, because there was Wisnu/Vishnu on his back.

"Let go of the traveler" Vishnu said in a voice like echoes and ring of bells. "For he is just visiting. Let he find the amusement of the past".

All the knights bowed in front of this mighty figure, Alice hold my hand and we didn't bow to Vishnu, maybe because we are modern people.

The claws of Garuda was so big and it then took me and Alice with his claw and fly to the sky. Vishnu showed the ancient area of Majapahit from the sky. There were many artificial lakes, which were 32 of them in Majapahit. The shape of the lake is rectangle, made of red brick unglued.

The researchers said that the lakes were meant to neutrilize the surrounding temperature as well as maintaining humidity, because the air is quite dry in Majapahit (was) or Mojokerto (now). This shows the sophisticated technology and knowledge of Majapahit. Legends say that The lake was used to throw away the gold plates and spoons after dining with foreign guests.

Click here to use Google Earth to experience the flying through the ancient majapahit area started from Segaran Lake.

- End of surrealistic writing -

Fascination of details

All the ancient ruin in old Majapahit that survive until this moment has a tendency to show details, like all ancient building in Java and Nusantara. Details have become a part of Javanese architecture and inseparable element of buildings.

Fine example, details in Bajangratu Gate Temple, with many symbols made inside relief. Aside of building presence that exist until now with some restoration, the temple is not only attractive from its monumental size and proportion, but also visually attractive with interesting corners even from the nearest distance.

Attractive not only visually appealing, but also attractive because observer can be triggered to understand many visual phenomena, like form, symbols, and details.

Buildings in Majapahit have mystical trace that is incomparable with 'modern' buildings, even the terminology would not be well known in western literature. And to 'experience' the feeling that happens because of the trace, there is no other way than visiting the site and feel the space, the solids and voids.

Valuable lesson from visiting the old sites is seeing and knowing how ancient societies build their building. Visiting the site also help us understand the space that may give inspiration when designing.

Detail as a part of Nusantara (Indonesian) traditional architecture is less used in the euphoria of 'modern' architecture, whereas modern architecture had been declared 'dead' by Jencks, and 'less is more' by Meis Van der Rohe had been 'less is bore' by Venturi. Detail presence in temple buildings become the main power beside the all form of building. This makes detail as an attractive visual pleasure aside of symbolism contained to give more value of historical information through figures.

It is very much a pleasure to know that detail presence is a bridge to continue tradition in modern context. Simply because detail is a part of traditional architecture (especially in Indonesia). And it is a pleasure to explore new architecture technology in detail.

That is why detail use needs to be thought as a step for historical preservation, simply because detail has been a part of traditional architecture. Detail in here is local vocabulary that become a part of modern construction.

This is possible as part of 'infiltration' of traditional architecture inside modern architecture, making aliened ideas as the side effect of modern architecture coming into a new level of postmodernism. Image from detail can be an added value of visual image of building, that will add more value to its observer. This because human is creature with emotion, feeling and subjective memory and a will to interpret space to form future memory.

We can not replace memory of being in a certain place, with seeing picture in books or magazine. Because all sensation related to space will only be perfected if the observer present in the space (like mentioned in the book "Merah Putih Arsitektur Nusantara" or Red White Nusantara Architecture, written by Galih Widjil Pangarsa). Even so, observer's behavior will determine interpretation of architecture object. This will determine whether an observer will appreciate an architecture object or not.

From perception, there might be interest to temple buildings in Majapahit. The reality is, an old building can be more interesting than the new one. This is like comparing an old remain of the Majapahit with new mall building, for instance. Inside a mall, there are interesting objects that may bring amusement, especially because technology has been able to make new architecture 'candies'.

By my experience, architecture and the existing space can trigger an interest to this kind of old architecture. Not like the perception that exist in the presence of space, meaning, symbol, details and other things. Of course, there is a difference of touching a wall that was made centuries ago, compared with modern glass wall. In this case, there is a difference of aesthetic value, and this will determine understanding of architectural object in different context, in other word, the ability to be interested in an architectural object.

In iconography context, there are many vocabularies can be 'seed' to tradition, or without being too extreme, a strong vocabulary of local values.

To bring icon of the past into present time is not impossible, for instance the one done by Renzo Piano with Tjibau Cultural Center, in Noumea, New Caledonia. This iconography brought new context of vernacular Kanak house architecture, creating aesthetic and beautiful new architecture that has a connection with local values.

Photo by Fanny Schertzer, under GNU lisence





Photo by Fanny Schertzer
Under GNU lisence

________________________________________________
by Probo Hindarto
© Copyright 2008 astudio Indonesia. All rights reserved.