Indonesia Design Magazine Ed. 54, 2013 Design Trends

VOL. 9 • No. 53 • NOV - DEC 2012

RESTAURANTS AND LOUNGES VOL. 9 • No. 54 • JAN - FEB 2012

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HDII Interior Award

Rp. 60,000,- (Java & Bali), Rp. 65,000,(Other Islands), S$ 12.00, RM 28.00, US$ 10.00 (U.S. & Other Countries)

2013

design trends

TABLE OF CONTENTS 16 DESIGN UPDATES 19 HDII AWARD 2012 52 EXCLUSIVE COVERAGE

RESIDENTIAL

Villa Puncak Rudy Dodo, Jeanne Elizabeth & Sinta Dewayani of Trivium Design Group

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HEALTH Pacific Health Care Donny Wenas Ariestanto of Tetra Design RETAIL Fisik Beyond Sport Wandi Krisdian & Jheffry Swid of iCon HOSPITALITY Artotel Ariya Sradha of Tata Wastu Asia

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INSTITUTIONAL Favour@Central Samuel A. Budiono of Samuel A. Budiono & Assc.

STUDENT

Andira Maqdissa Gusti Most Innovative & Favorite

Trisna Waty Most Green & Most Functional

Indrawati Most Ethnic

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TABLE OF CONTENTS

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67 DESIGN TRENDS 2013

City Hotel Trends in next-generation hotels

Resort Hotel How resorts should innovate themselves

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Home Trends for the future home

Apartment Design trends in apartments

Shopping Center Where shopping centers are heading to

Working Space Designs for offices of the future

Lighting How lighting plays a role in design

Office Tower Design trends for office towers

Restaurant Up-and-coming restaurant trends

Mixed Use

Landscape Trends in Mixed-Use Developments Future landscaping trends

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TABLE OF CONTENTS 128 DESIGN FOCUS 1 32 UP CLOSE & PERSONAL

Ariya Sradha Journey of a Champion 138 Design ethnic

Kampong Wae Rebo

By Josef Prijotomo 1 42 DESIGN REview

The Face of Mexico How Mexico redefines its architecture identity 146 design overseas

Integrated Public Space for Arts The Wolfe Center of Arts 152 Cool hangout

For the Love of Food Ginger Li Asian Bistro & Wine

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Contributors Ir. Sidhi Wiguna Teh MT Urban Planner, Architect and Feng Shui Practitioner

Josef Prijotomo An educator in the Architecture Department at the Surabaya Technology Institute, Josef received his doctoral degree in 2006 and became a professor in 2008. Josef obtained his Master’s degree in architecture from Iowa State University in 1982, and has written nine books. His is a core member of the modern Asian Architecture Network (mAAN) and Lembaga Sejarah Arsitektur Indonesia (Indonesia Institute of Architecture History). He is now a guest lecturer at many Indonesian universities and is frequently on architecture awards and design competition juries.

Sidhi is an architect whose thirst for knowledge has never ceased.

He completed his architectural education at Tarumanagara University, then proceeded to study Feng Shui from Grand Master Yap Cheng Hai and obtained a license in elementary and intermediate teaching modules under the name of Grand Master Yap Cheng Hai. He completed a Master’s of engineering with a concentration in urban planning and real estate development at Tarumanagara University in Jakarta.

Sidhi successfully brought the science of feng shui to the Department of Architecture at Tarumanagara in 2004 and became a lecturer of feng shui. He is also author of the book Feng Shui & Architecture, Caturmatra published by Gramedia.

From The Editor Without warning 2013 is suddenly upon us. A new year means a new promise, new hope, new resolution. We at Indonesia Design have many great things lined up for the rest of the year and we are proud to start with the edition that you have in your hands right now. You can probably already tell from the feel of the cover.

LINA GAN EDITOR IN CHIEF

Indeed, this is a special edition. To commemorate our 10th year in publication in 2013, we bring to you in this issue our predictions for trends in design and architecture that will shape Indonesia’s future landscape. Read on as we write our opinions, backed by professional insights from experts in their respective fields, regarding future trends for hotels, resorts, restaurants, shopping centers, apartments, residences, mixed-use complexes and more.

Also, don’t miss our exclusive coverage of the 2012 HDII (Indonesia Interior Design Association) Awards in the five categories of the competition, namely Residential, Retail, Hospitality, Health Care and Institutional as well as a special award this year, Favorite. In addition, we also present the designs of several winners of the Student Design Competition, which awards the best thesis works of some of Indonesia’s brightest and most promising students from all over Indonesia.

There are many more interesting articles in this issue, including coverage of the newly opened restaurant Ginger Li in our Cool Hangout column, a Feng Shui article about choosing the right office tower for your business, and more. We present all of this just for you, loyal readers of Indonesia Design. Happy reading and Happy New Year 2013.

Design Focus

Perfect Visual TexT & Styling Lianggono Susanto image rayner yosafat

DESIGN FOCUS LIVING ROOM

Normally an architect or interior designer who is a follower of the pure minimalism style would perceive a space dominated by simple, compact and clear lines as his “playground”, a space that can be contrasted to maximum visual effect. But in the hands of furniture and fabric maker Savana Furniture, harmonious spatial proportions are reflected in the selection of colors and motifs that are linked together to form a spatial dimension. Moreover, seating and gathering areas have a vital role to entertain relatives with a homey atmosphere. A blue 2-seater sofa with furnishings from the Harlequin collection, Anouskha series grabs attention and can serve as an effective room divider.

Repetition of patterns of lines on the wall was applied to the 2 single sofa Roberto Chair with Warwick fabric collection.

Replacing the living room’s center table with a long Abella ottoman is one Savana idea to obtain an unusual design element.

These designs strengthen a minimalist space and can elaborate decorative elements in a room, making it a truly special space for the home.

Savana Furniture Jl. Kemang Raya 66B Jakarta Selatan 12730 T 021 718 1117 F 021 718 1114 www.savanafurniture.com

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Design Focus

The Orient Revisited TexT & Styling Lianggono Susanto Images Agung Surya Widjaya

Goodrich, the leading wallcovering brand in Asia, aims to extend the eastern culture in modern homes. The dominance of earth colors and the use of natural lines are so close to making up the cultural context of Asia into every corner of the room. The pattern of hand-painted wallcovering Imperial Peony with detailed views of forests in Asia, Zoffany Fabrics collection of pillow covering, as well as several ornaments on golden urns are just some of what’s on offer. For balance, striped pattern on a single sofa with a Camengo collection cloth, as well as the arrangement of a simple space with minimal detail, prevails. Meanwhile, the 2-seater sofa wrapped in the cloth collection of Bamboo J Ennis enriches the motif in this living room.

Office & Showroom Jl. RS. Fatmawati 32B Jakarta Selatan 12410 Tel. +62 21 750 7508

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Natural Design image agung surya widjaya

These days, finding furniture that has enough character and personality to complete the interior of your dream home is difficult. Furniture makers in this era of globalization often resort to simply copying other designs as an easy shortcut to selling furniture. For your consideration, Rumah Lunar, offering a diverse array of environmentally friendly furniture, lighting and bags, has been producing handmade designs since 2006 at its workshop in Yogyakarta.

In the photo: Longa Credenza, Philip Sofa Custom, Allegra Natural Armless, Mezo magazine rack, Shelving Unit and Verly Lamp.

Material: Solid teak wood, water-base finishing.

Office & Showroom Jl. Kemang Timur Raya 43B, Jakarta 12730 Ph. +62 21 718 1951 Fax. +62 21 719 4110 info@rumahlunar.com www.rumahlunar.com

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UP CLOSE & PERSONAL

ARIYA SRADHA

The Artotel in Surabaya immediately grabbed the spotlight after it was launched in July 2012. Indonesia Design’s Dhion Gumilang talks with the principal designer from Tata Wastu Asia who created the Artotel, Ariya Sradha.

Journey of a Champion

images Bagus tri laksono

Artotel was crowned with two HDII Awards. Can you discuss the concept for the design?

It all started with the hotel owner, who was focused on art, so art became the main concept. We thought, what if we design a hotel as the canvas for artworks, not just a place to hang or display art? Then we discussed the idea with the brand consultant and owner and Artotel was born, and is now the canvas for paintings and other art. This is not about a hotel that has art; the hotel itself is the artwork.

Did you provide guidelines to the artists about the paintings that you were going to use as part of the design?

No. They have paintings and we chose them based on guest comfort. We selected paintings and matched them with the rooms’ color schemes and arranged everything clearly to go along with the surroundings. There are 124 rooms in total and we used 4 different contemporary paintings so that guests can understand and appreciate them whether they are art lovers or not.

Artotel meraih dua penghargaan HDII. Bisa berbagi soal konsepnya?

Semuanya berawal dari kesukaan pemilik hotel akan seni sehingga muncul tema art. Bagaimana kalau membuat hotel sebagai wadah karya seni, namun bukan sekedar tempat memajang. Ide awal ini kami diskusikan dan godok berulang-ulang bersama brand consultant dan pemilik.

Terciptalah Artotel, hotel yang menjadi kanvas bagi lukisanlukisan dan karya seni lainnya. Ini bukan sebuah hotel yang memiliki karya seni. Karya seni itu adalah hotel itu sendiri.

Apakah Anda memberikan guideline kepada para seniman yang lukisan-lukisannya Anda gunakan sebagai bagian dari desain?

Tidak. Mereka telah memiliki karya-karya dan kami memilih gambar-gambar yang memberi efek nyaman bagi pengunjung. Lukisan yang kami pilih, kami sesuaikan dengan warna kamar dan menatanya agar terlihat jelas

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How did you combine art and interior design in this project?

We tried to create a dynamic design and not a rigid one as with other brands in this category. We used our imagination with the pieces of art in order to integrate them in our interior design. The objects and background setting of all the paintings are united so that a wall with a painting is an entire piece of art. The artworks needed to blend in with the building.

The design became more interesting when the paintings were digitally printed and placed above the beds in each room. We deliberately put no other artworks in the rooms so guests would not be surprised or intimidated. The paintings on the doors were Gambiro W. Putranto’s idea; he is the project designer for Artotel from Tata Wastu Asia. We drew the doors with a dynamic square box that matches the color scheme and paintings inside the rooms.

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UP CLOSE & PERSONAL namun serasi dengan sekitarnya. Untuk total 124 kamar yang ada, kami memakai 4 macam lukisan, semuanya beraliran kontemporer supaya bisa diterima dan dimengerti semua tamu, yang paham maupun yang tidak mengerti lukisan.

Bagaimana Anda memadukan seni dan desain interior dalam proyek ini?

Kami berusaha untuk membuat desain yang dinamis, tidak kaku seperti kebanyakan hotel di kelas ini. Kami sudah memiliki ancang-ancang dan imajinasi kira-kira akan seperti apa karya seni yang kami integrasikan di dalam penataan interior kami. Objek maupun background setting dari gambargambar yang kami pasang, merupakan satu kesatuan sehingga sebuah bidang dinding dengan sebuah lukisan misalnya, merupakan satu karya seni utuh. Karya-karya seni yang ada harus menyatu dengan bangunan hotelnya.

Kemudian desain ternyata menjadi lebih menarik ketika lukisan-lukisan yang kami padukan, kami cetak melalui digital printing, di bedhead. Namun kami sengaja tidak menaruh banyak benda seni di dalam kamar agar tamu tidak kaget atau terintimidasi. Less is more. Sedangkan gambargambar di pintu, itu ide dari Gambiro W. Putranto, project designer Artotel. Kami gambar daun pintunya dengan garisgaris kotak yang dinamis dengan warna yang sesuai dengan lukisan yang ada di dalam kamar.

What about the design process of Studio 20, the smallest unit in the hotel?

In order to get a sense of cheerfulness and open access, we chose joyful paintings, for example we used orange as the major color of the rooms and put the color on the doors as well. All the layouts of the rooms are the same, what differs is the paintings above the beds. We selected the paintings and decided where to put them, either in the smallest, mid-size, or most spacious What about the graffiti on the main stairs in the lobby?

The graffiti on the main stairs in the lobby is the focal point of the hotel. The artist is Darbotz, known for his iconic squids. We came up with the idea to have the squids walking in an urban city to fill the empty space on the stairs. We basically took all the parts of the hotel and filled them with art. We did not let many empty spaces remain without art, but we also did not put art in every single space as that would look too chaotic.

The squids represent the hotel’s guests who come to Surabaya for business or a holiday.

Is this your first award?

This was my first participation in the awards. I was not confident enough before. For this project I felt that I deserved to participate and luckily I won. I am happy for sure and internally it will motivate us to be more creative in designing

Bagaimana desain studio 20, ukuran yang terkecil dari kamar hotel?

Supaya tidak terkesan suram atau sempit, kami memilih lukisan yang, misalnya, ceria dengan nuansa oranye sehingga pintunya pun kami cat oranye. Yang pasti layout di dalam kamar semua seragam, hanya berbeda lukisan yang kami pasang di bedhead saja. Kami menyeleksi semua lukisan yang ada, di mana harus meletakkannya, apakah di kamar ukuran kecil, sedang, atau besar.

Kalau graffiti di tangga utama lobby?

Grafiti di tangga utama di lobby merupakan focal point dari hotel. Pelukisnya, Darbotz, terkenal dengan ikon cumi-cumi.

Lalu muncul ide bagaimana bila meletakkan graffiti cumicumi yang sedang berjalan-jalan di kota besar, di tangga sehingga tidak terlihat polos? Bagian hotel yang bisa kami gunakan untuk mengekspos karya seni, kami pakai. Kami tidak akan membiarkan bidang kosong yang tak tersentuh karya seni. Tapi tentu tidak lantas semua bidang diisi karena akan terlalu ramai dan kotor. Gambar cumi-cumi itu sendiri merupakan representasi dari tamu hotel yang kebanyakan datang ke Surabaya untuk berbisnis maupun wisata.

Ini penghargaan yang keberapa untuk Anda?

Saya baru pertama kali ikut ajang ini. Sebelumnya saya masih kurang percaya diri. Sementara untuk proyek ini, saya merasa layak untuk disertakan dalam sebuah event dan ternyata menang. Tentu saja saya senang karena secara internal membuat kami lebih termotivasi lagi untuk lebih kreatif dan mendesain sesuatu yang unik. Sedangkan pengaruhnya ke luar, harapan kami, akan ada banyak proyek-proyek yang dating yang lebih variatif dan unik dari segi konsep maupun tema.

Bagaimana Anda melihat HDII Awards?

Ini penghargaan bergengsi di Indonesia karena HDII merupakan “kepala” dari semua interior desainer. Tentu saja karya-karya yang dihasilkan tidak main-main. Mereka yang ikut serta, banyak yang sudah berpengalaman, namun juga ada yang masih junior namun akrab dengan teknologi serta terbuka dengan masuknya pengaruh asing sehingga karyanya tidak bisa diremehkan. Saya menyebut Artotel layak diikut sertakan karena hotel ini berbeda, konsepnya juga segar, belum ada di Indonesia sebelumnya.

Kabarnya Anda mendapat kesempatan belajar di Domus Academy Milan dari penghargaan ini…

Ya, saya senang sekali meski hanya akan belajar 2 minggu di sana. Tapi itu sekolah desain postgraduate yang diminati banyak desainer dari seluruh dunia. Saya sudah mendapat gambaran dari beberapa teman mengenai academy itu berikut program-programnya. Saya berharap apa yang saya pelajari di sana nanti akan membuat saya dan tentu saja dunia interior Indonesia lebih maju lagi.

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unique projects. I do hope that there will be more various and unique projects to come to us in term of themes and concepts.

How do you see the HDII Awards?

They are prestigious awards since HDII is the head of all Indonesian interior designers and of course all the projects competing were of the highest quality. As you can see from the finalists, most of them are experienced and junior designers who are familiar with technology and adaptable to influences from other countries so that their works cannot be underestimated. I wanted Artotel to join the competition because it has a different and fresh concept and also is the first of its kind in Indonesia.

I heard that you were given the chance to study at the Domus Academy in Milan because of this award...

Yes. I am very happy with the two-week study opportunity. It is a postgraduate school and most of all the world’s designers dream of studying there. I already have the information about the programs there and the academy itself. I hope I can learn something that will make me and Indonesian interior design move forward.

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Design FENG SHUI

Feng Shui Office Tower

K

antor sebagai wadah untuk kita beraktifitas bisnis tentunya perlu dipilih dengan seksama agar dapat memberikan pertumbuhan yang optimal bagi perusahaan. Pertimbanganpertimbangan seperti mudah dicapai baik dari sisi jarak maupun waktu tempuh, kelengkapan sarana pendukung, kemudahan parkir, bahkan lamanya waktu menunggu lift dan lain sebagainya, perlu diperhitungan demi kelancaran bisnis.

Namun bagaimana dengan pertimbangan fengshui? Informasi mengenai ilmu feng shui yang otentik, kini semakin banyak diketahui masyarakat. Banyak korporasi tidak lagi ragu menerapkan prinsip-prinsip feng shui di kantornya, mulai dari memilih gedung kantor yang ideal, memilih lantai dan unit kantor, dilanjutkan dengan menata pembagian ruang kerjanya.

Perlu dipahami terlebih dahulu, gedung tempat unit kantor kita berada bagaimanapun juga memberikan dampak terhadap diri kita. Karena itu sebelum memilihnya menjadi kantor, kita perlu mencermatinya. Pertama, bentuk gedung yang memberikan kesan kokoh dan dinamis, sebaiknya yang dijadikan pilihan. Sedangkan bentuk yang memberikan kesan labil, tidak balance atau tidak utuh, semestinya dihindari.

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The trend of working in an office block is on the rise along with the growing economic condition of the country. New office blocks are spreading like mushrooms in rainy season, and we are wondering which of these follow the concepts of feng shui?

BY SIDHI WIGUNA TEH

An office as a place for us to do our business activities should be picked carefully in order to bring optimum growth for the company. Considerations regarding strategic location for easy access in terms of distance and time, extensiveness of supporting facilities, a convenient parking area, and even the time it takes to wait for the elevator and other concerns need to be mulled over for the sake of smooth business operation.

But what about the implementation of feng shui concepts? Nowadays information about authentic feng shui principles has been known to the public. Numerous corporations do not think twice about implementing these principles in their offices, from selecting an ideal office building, picking the floors and units of the office, through to arranging the layout of the working space.

But first we must understand that a building where our office is located will inevitably affect our personal lives. Therefore before selecting an office building we need to scrutinize the details. First, buildings that have a solid and dynamic shape should be selected while towers with an unstable, imbalanced or incomplete look should be avoided.

The shape of the streets, paths as well as neighboring buildings should

Bentuk jalan, saluran maupun bangunan tetangga juga perlu diperhatikan agar mendapatkan qi yang positif. Efek sentrifugal yang terjadi akibat gedung berada pada posisi busur dari bentuk jalan yang ada dapat membahayakan kita, kaidah feng shui lebih menyarankan kita memilih bangunan yang berada pada sisi pelukan jalan maupun saluran.

Sedangkan gedung tetangga dengan banyak sudut lancip juga perlu dipertimbangkan karena akan menjadi pemicu munculnya qi negatif.

Setelah mendapatkan gedung dengan bentuk yang sesuai kaidah feng shui, langkah berikut adalah memperhatikan open space di depan main entrance. Luasan area terbuka ini harus proporsional terhadap gedung, perbedaan elevasi drop off dengan teras tidak boleh terlalu jauh, cahaya alami pada lokasi ini harus cukup terang, demikian juga dengan bentuk canopy harus sesuai dengan elemen sektor dari posisi main entrance.

Selain itu besaran volume ruang lobby serta jumlah cahaya yang ada perlu diperhatikan. Volume ruang lobby yang terlalu kecil membuat qi yang tertampung sedikit, padahal keberadaan qi yang cukup bagi seluruh penghuni gedung sangatlah penting. Kurangnya qi mengakibatkan produktifitas mereka yang bekerja di dalam gedung tidak optimal.

Dari besaran lobby yang perlu proporsional terhadap besaran gedung, kita beralih ke perhitungan letak sektor positif dari gedung.

Metode feng shui baik aliran San He maupun aliran San Yuan kita gunakan untuk mengetahui posisi sektor yang pas untuk kita. Tujuannya adalah mendapatkan efek positif dari keberadaan unit kantor kita terhadap kinerja perusahaan.

Selanjutnya pembagian ruang perlu diatur sedemikian rupa sesuai dengan pola manusia dari key person perusahaan. Para pengambil keputusan perlu mendapatkan ruang yang positif karena ketepatan pengambilan keputusan sangat penting. Bagian accounting maupun pembukuan yang membutuhkan tingkat ketelitian yang tinggi perlu mendapatkan ruang yang memberi efek konsentrasi yang bagus.

Sementara itu bagian marketing membutuhkan hubungan yang harmonis dengan customer. Mereka memerlukan ruang yang dapat memberikan efek positif bagi net working, team work maupun public relation. Semua ini bisa dicapai dengan melakukan perhitungan fengshui yang berdasarkan rumus-rumus klasik.

Selamat tahun baru 2013.

Save the earth, optimize your earth luck, be equilibrium.

be examined in order to achieve a positive qi. The centrifugal effect that might happen to the building as a result of its positioning at the receiving end of a bow-shaped street can be detrimental for us. Feng shui principles advise us to pick buildings located on the side of a curved street or path instead. Neighboring buildings with many sharp edges should also be a point of consideration because they will conjure a negative qi.

After obtaining a building that suits the principles of feng shui, the next step is to examine the open space in front of the main entrance. The measurement of this open area should be proportional towards the building and the drop off elevation difference between the open area and the terrace should not be too big. The area should also have adequate natural lighting and the shape of the canopy should be harmonious with the elements of the main entrance’s positioning.

In addition, the size of the lobby area as well as the available natural illumination should be taken into consideration. A too small lobby area can only contain a little qi while in fact it is important to have plenty of qi for all people working inside the office building. A lack of qi will result in nonoptimal work productivity for the employees.

In conclusion, the measurement of the lobby should be proportional to the size of the building. Next is the calculation to find the positive sector of the building. The feng shui method of San He or the San Yuan principle can be used to determine the best sector position for us. This is done in order to find a positive effect from our office unit towards the working performance of the company.

Then, room layout should be arranged in a way to suit the pattern of the workers in a company. The decision makers should occupy a positive area as accurate decision making is vital for the wellbeing of the company. The accounting and bookkeeping departments, both of which need a high level of precision, should be placed in areas that can bring out a good level of concentration.

The marketing department needs a harmonious relationship with the customers and therefore should occupy a space that can provide a positive effect for networking, team work and public relation. All of these positioning can be achieved through a feng shui calculation that adheres to the classical formulas.

Happy New Year 2013.

Save the earth, optimize your earth luck, be equilibrium.

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Design Ethnic

K

Kampong Wae Rebo The island of Flores is known throughout the world thanks to its indigenous fauna – the Komodo dragon. It is also known in the world of archeology for the remains of the “little people� found on the island. And, now it has received international attention yet again as the recipient of a Unesco award bestowed for the conservation of Wae Rebo village. In the architectural world, the one-of-a-kind conical shape of the structures in Wae Rebo has garnered a fair amount of interest.

BY Josef Prijotomo

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unjungan ke kampung Wae Rebo harus dilakukan dengan penuh perhitungan, mengingat sekurangnya harus berjalan kaki lebih dari dua jam menembus hutan yang mendaki hingga ketinggian seribu meter. Jalan setapak yang harus dilewati juga tidak terlalu jelas, sehingga memerlukan jasa pemandu. mBaru Niang, gugus demi gugus bangunan yang ada di kampung itu, hanya sebanyak tujuh unit saja karena tidak boleh didirikan lebih dari jumlah itu.

Pembatasan jumlah gugus bangunan yang boleh didirikan di suatu tapak, seperti yang berlaku di Wae Rebo, bukan kekhususan dari Wae Rebo. Dalam lingkungan arsitektur Nusantara lainnya, juga dijumpai ketentuan berapa banyak gugus bangunan yang boleh didirikan pada sebidang tapak. (Batak-)Toba, Baduy, Kajang, Tenganan, Ngada-Bena, serta Atoni termasuk beberapa yang memberlakukan ketentuan tadi.

Ketentuan ini telah menjadi kepercayaan semenjak dulu hingga kini sehingga jumlah gugus bangunan pun sedikit berubah.

Dalam memberlakukan ketentuan batas jumlah gugus, ada kesamaan yang kita jumpai. Dalam rempuq (cluster) gubahan tapak beserta gugus bangunan itu, masing-masing bangunan pada dasarnya memiliki tampilan yang sama. Dapat dikatakan bahwa gugus-gugus tersebut adalah penggandaan atas gugus induk (gugus induk di Wae rebo adalah mBaru Gendang). Tipologi perluasan bangunan yang lazim digunakan oleh arsitektur Nusantara adalah tipe ginanda: pembesaran luasan melalui penggandaan bentukan bangunan induk.

Kita simak penggal tapak dari dusun Wae Rebo yang berisi tujuh gugus bangunan ini. Penggal tapak ini merupakan sebuah lembah yang tidak terlalu lapang, mengingat pada dasarnya tapak dikelilingi

Visiting the Wae Rebo village is no vacation. First, it requires at least a two-hour hike through a steep forest 1,000 meters above sea level. Second, the narrow path leading to the village is difficult to find and calls for the help of a local guide. There are only seven structures, or mBaru Niang, in the village because local tradition stipulates the number of buildings at the site should not exceed seven.

The limitation of the number of structures allowed at the site is not a practice exclusive to Wae Rebo. There are other cultures in Indonesia that regulate how many buildings are allowed at a specific site. Some of them include the Batak Toba, Baduy, Kajang, Tenganan, Ngada-Bena and the Atoni.

These regulations work as beliefs for the native peoples of those lands, passed down from one generation to another and resulting in the same number of constructions at a particular site from ancient times until the present day.

Along with the limitation of the number of buildings, there are several similarities. Inside a particular cluster where the structures are located in, there is basically no differences in appearance. All units feature the same exterior, and each is actually a duplication of the main structure at the site (the main building at Wae Rebo is called mBaru Gendang). This type of typological expansion has been implemented in the native architecture of the country, and is called the ginanda: expansion through duplication of the main construction.

The Wae Rebo village comprises a total of seven buildings. The village sits in a valley and is not very large in size considering it is surrounded by hills on three sides. This valley also encircles the three sides of Wae Rebo, spanning from the northeast through to the southwest. The southeast side of the site has no valley; instead it is part of the hills that surround the site. The entrance to the site is in the southeast. Because of its hilly topography, the entrance is higher than the entire village of Wae Rebo.

One enters the site by walking down a sloping hill. The natural surrounding of the area immediately limits the site in terms of architecture.

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Design Ethnic

perbukitan di ketiga sisinya. Perbukitan juga tidak langsung menempel pada pinggir tapak, sebab di antaranya terbentang lembah yang relatif curam. Lembah ini juga melingkari ketiga sisi dari tapak Wae Rebo, yakni membentang dari sisi timur laut hingga barat daya. Sisi tenggara tidak berupa lembah, melainkan bagian dari bukit yang menjadi perbukitan yang mengitari tapak.

Dari sisi tenggara itu pulalah titik masuk ke tapak ditempatkan.

Karena berupa bukit, maka sudah barang tentu kawasan masuk ke dalam tapak menjadi titik yang lebih tinggi daripada muka lahan dari tapak Wae Rebo. Memasuki tapak dengan menuruni bukit. Konfigurasi alam yang mengitari tapak ini dengan langsung menjadikan tapak memiliki keterbatasan yang sulit untuk ditoleransi, yakni: tapak yang berdenah lingkaran ini tidak mudah untuk diperluas. Dengan akses masuk yang menunjuk pada perjalanan yang menuruni bukit, maka dari arah kejauhan sebelum memasuki tapak, kita sudah dapat menyaksikan sebuah suguhan rempuq berbangun melingkar dengan tujuh gugus bangunan menempati tapak secara berkeliling di pinggir tapak.

Ketujuh gugus itu lalu menghadap ke bagian tengah tapak, dan setiap pintu gugus bangunan harus ditempatkan sehingga dari dalam bangunan setiap orang dapat menyaksikan pelataran kecil di bagian tengah tapak.

Dalam konfigurasi perletakan gugus bangunan yang seperti ini, luasnya tapak rempuq Wae Rebo lalu sudah tidak memungkinkan untuk mendapat tambahan gugus bangunan lagi. Penempatan gugus demi gugus bangunan yang melingkar membuat kampung ini memiliki sebuah pelataran bersama (common space), disebut natar (di Bali pelataran ini dinamakan natah, di Sumba Barat Daya disebut nata).

Di pelataran ini pula sebagian banyak kegiatan harian dilakukan, dan termasuk pula di sini penyelenggaraan acara dan upacara adat. Oleh karena itu di pelataran ini dapat disaksikan adanya peninggian pelataran yang berdindingkan batu.

Luasan tapak dengan keadaan fisik lingkungan alam yang mengelilinginya telah menjadikan tujuh gugus bangunan sebagai isi maksimal dari tapak Wae Rebo. Dengan tujuh gugus yang mengisi tapak Wae Rebo ini, terbangun pula sebuah komposisi melingkar yang tidak saling berdesakan, dan karena itu masing-masing gugus memiliki kesempatan untuk hadir sebagai gugus yang mandiri.

Menyadari bahwa kemandirian ini adalah kemandirian yang berada dalam kebersamaan, dalam kerukunan keluarga besar warga Wae Rebo, tidak mengherankan pula bila bangun dari gugus bangunan itu menjadi saling tidak berbeda; menjadi pernyataan kebersamaan dan kebersatuan warga. mBaru Gendang masih tetap menjadi gugus induk melalui dua tanda. Yang pertama adalah hiasan di pucuk atap yang berbangun trisula; dan yang kedua, di depan bangunan dibuat sebuah pelataran yang ditinggikan dengan lantai pelataran berupa hamparan batu lam pipih dengan garis tengah sekitar 50-70 cm.

Tujuh gugus yang mengisi tapak juga terlihat dari kejauhan sebagai gubahan yang sangat manis dan menawan. Tidak mengherankan bila fotografer terkemuka di Indonesia, Arbain Rambey, yang telah berkunjung di Wae Rebo mengatakan bahwa kawasan ini merupakan surga fotografi bagi para fotografer. Dari pertimbangan daya tampung tapak, Wae Rebo memang hanya memberi tempat bagi hadirnya tujuh gugus. Dari sini dapat kita saksikan bahwa masyarakat Nusantara sudah memiliki konsep dan wawasan yang cemerlang yang berkenaan dengan pendayagunaan lingkungan di satu sisi, serta daya tampung sesuatu

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a harmonious and appealing composition. It is no wonder that renowned Indonesian photographer Arbain Rambey, who once visited Wae Rebo, described the place as a heaven for photography enthusiasts. The fact that Wae Rebo only has seven structures proves that the ancient people of the archipelago possessed a shrewd understanding and outlook in making use of their natural resources as well as how to fit certain measurements within a particular environment.

The uniqueness and distinctiveness of Wae Rebo’s architecture lies in the rather puffed, conical shape of the structure. Among the traditional architecture of the archipelago, similar shapes can be found only in Flores and Timor. In Africa there are structures that resemble cones, but the similarity is purely accidental. The conical shape of mBaru Niang has inspired a sense of awe and admiration from the general public because of the size and construction technique.

In dimension, the ground floor of mBaru Niang measures around ten meters in total, enabling the inner space of the building to accommodate

As a result, the circular-shaped site is unexpandable. When accessing the site, as you slope down following the contours of the hill, from a distance one can view the cluster of constructions within the site, all circular in shape with seven units placed to encircle the site. The seven units face the center of the site so that the small, communal space in the middle of the site can be viewed from the inside of each unit.

This circular arrangement gives the village a common space, called natar (in Bali it is called “natah”, and in Southwest Sumba it is referred to as “nata”).

It is here that most daily activities of the village are conducted, including traditional rituals and ceremonies. For this reason, the yard is elevated and is encircled by a stone wall.

The land area combined with the natural surrounding dictates that the maximum number of structures in Wae Rebo village to be seven. The village’s circular arrangement, however, does not feel cramped and that is also why each unit has the opportunity to present itself as an independent structure.

Bearing in mind that this independence is a collective independence within the extended family of Wae Rebo village, it is understandable that each unit at the site is uniform as a statement of togetherness and unity of the locals. mBaru Gendang is the main building, symbolized by the two signs attached to it. The first is the ornament at the top of the roof in the shape of a trident; the second is an elevated space built in front of the structure. The base of the yard is made of thin natural stones with diameters ranging from 50 cm to 70 cm.

The seven structures that make up the site are visible from a distance as

lingkungan di sisi lain.

Kekhususan sekaligus keistimewaan dari arsitektur Wae Rebo adalah pada wujud bangunannya yang berbangun kerucut agak menggembung. Dari seluruh arsitektur Nusantara, wujud yang berbangun kerucut ini hanya dapat dijumpai di Flores dan di Timor saja.

Dalam hal ukuran, garis tengah bagian lantai dasar dari mBaru Niang memiliki ukuran sekitar sepuluh meter, sehingga di ruangan dalam dapat menampung hingga 150 orang. Adapun ketinggian bangunan dapat dipastikan setara dengan umumnya bangunan setinggi empat lantai. mBaru Niang sendiri memiliki lima lapis lantai bangunan, makin ke atas semakin mengecil luasannya. Lantai paling atas digunakan untuk menaruh dan menyimpan pusaka dan benda berharga lainnya.

Dalam hal konstruksi, bangunan yang tergolong kelas menengah dalam ukurannya itu sepenuhnya menggunakan teknik ikat saja. Rotan menjadi tali pengikat yang digunakan. Dengan teknik ikat ini, pada dasarnya setiap anggota masyarakat Wae Rebo dapat melakukannya, tidak diperlukan tenaga ahli yang khusus. Keikutsertaan setiap warga dalam membangun pada akhirnya menumbuhkan rasa memiliki yang kuat dan ikut bertanggungjawab atas kelangsungan hidup bangunanbangunan yang dibuat dan berada di sini.

Di titik inilah gotongroyong memperoleh maknanya yang luar biasa. Ini pula yang menjadi salah satu pertimbangan pelestarian yang menjadikan Wae rebo sebagai penerima Award of Excellence tahun 2012 dari Unesco.

up to 150 people. The height of the structure is comparable to a normal four-story building. mBaru Niang has five levels, progressively getting smaller closer to the top. The fifth level is used to store artifacts and other precious items.

Construction-wise, the medium-sized building was built entirely with a binding technique. Strong rattan fibers were used to hold the construction together. Using this traditional binding method, every member of Wae Rebo village can be involved in the construction and no outside experts are required. The involvement of locals in the end helps spur a sense of belonging and responsibility for the well-being of the structures. Here in the village, the principle of togetherness and mutual help finds its most profound meaning.

And this is also one of the considerations that has made Wae Rebo the worthy recipient of Unesco’s 2012 Award of Excellence.

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Design Review

Residence Virreyes by Tapia Arquitectos

The Face of Mexico

Architecture has always played a role in shaping a culture and architects are always at the forefront in defining and directing the identity of a culture. As a developing country, Mexico has made great progress in defining its own architectural identity.

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Images DOC. EDUARDO LANGAGNE

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uasana Universitas Tarumanegara dan Universitas Bina Nusantara, Jakarta, 31 Agustus 2012 lalu sedikit berbeda dari biasanya. Kuliah umum dengan judul Masters of Mexican Architecture yang diselenggarakan Kedutaan besar Mexico, menarik banyak dosen dan mahasiswa untuk menghadirinya. Pembicara utamanya: Prof. Eduardo Langagne, profesor arsitektur di Universidad Autonoma Metropolitana, yang telah merilis 35 buku arsitektur dan aktif menulis beragam artikel di media cetak.

Pembangunan yang terus berkembang dijelaskan

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he atmosphere at Tarumanegara University and Bina Nusantara University in Jakarta was different than usual on the morning of 31 August 2012. There was a buzzing of activity at the campus’ Hall as a public lecture organized by the Mexican Embassy titled “Masters of Mexican Architecture” drew both faculty and students in droves. The keynote speaker was Prof. Eduardo Langagne, a professor of architecture at Universidad Autonoma Metropolitana, who has released 35 architecture books and who actively contributes various articles in print media.

Chapel of The Lake by Paolino Di Vece

Prof. Eduardo Langagne, membuat Meksiko perlu mendefinisikan identitas arsitekturnya. Menurutnya, tidak ada ketetapan spesifik dalam desain arsitektural. Yang terpenting adalah bagaimana seorang arsitek mampu berupaya untuk mendefinisikan karakter negara mereka.

Dan pada kesempatan itu dipresentasikan karya 5 arsitek yang dianggap mewakili visi akan sebuah desain dari negeri Mexico: Javier Senosiain, Oscar Bulnes, Tapia Arquitectos, Paolino Di Vece, dan Jose Luis Ezquerra.

Karya-karya Javier Senosiain sangatlah menarik.

Pendekatan desain yang digunakannya mengejutkan karena terintegrasi secara alami ke tanah dengan bentukbentuk organik yang seringkali berbentuk makhluk hidup.

Seperti terlihat pada proyek rumah yang dinamai Nautilus.

Berbentuk cangkang dengan bidang kaca patri warna-warni di satu sisi, ruangan di dalamnya turut menyesuaikan bentuk eksteriornya hingga memberikan pengalaman tersendiri.

Lihat pula karyanya yang lain: The Mexican Whale yang mengadopsi bentuk paus atau La Canada de Quetzacoatl, sebuah hotel yang mengadopsi bentuk ular sebagai massanya. Kedua bangunan ini memanfaatkan keramik mozaik warna-warni pada seluruh bagian bangunannya, membuatnya sangat atraktif. Keramik-keramik seperti ini

Rapid and continuous development in Mexico, Prof.

Langagne enthused, necessitated the effort to define the country’s architectural identity. According to Langagne, there is no specific boundary in architectural design. What matters is the architect’s ability to define his country’s character.

And at the event, the work of five architects deemed to best represent Mexico’s character were showcased. The architects were Javier Senosiain, Oscar Bulnes, Tapia Arquitectos, Paolino Di Vece and Jose Luis Ezquerra.

The work of Javier Senosiain stands out for his approach in integrating nature directly in his designs. As a result, his designs look and feel organic and often take the shape of a living organism. This can be evidenced in his residential project titled “Nautilus”, which resembles a seashell and is outfitted with colorful stained glass windows on one side. Inside, the rooms follow the contours of the exterior, providing an extremely unique feeling.

Another work titled “The Mexican Whale” adopts the shape of a whale. “La Canada de Quetzacoatl” is the architect’s hotel project that has the shape of a snake.

The buildings each feature a colorful mosaic of ceramics in all parts of the buildings, making them very attractive.

Ceramics are a traditional craft of Mexico and Senosiain’s

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Design Review merupakan kerajinan tradisional Meksiko. Karya-karya Javier menjadi landmark tersendiri di daerahnya.

Karya-karya yang dihadirkan 103 Grupo ed Diseno pimpinan Oscar Bulnes, juga unik. Konsultan arsitektur ini telah mendesain beragam bangunan tinggi maupun infrastruktur monumental di Meksiko. Contohnya adalah Integral Medical Center Torre AVE, menara pusat medis terintegrasi di tengah daerah Nuevo Leon. Menara tinggi ini berbentuk dua tabung yang seperti dipotong pada bagian atasnya sehingga tampak meruncing.

Ada pula Puente La Unidad di Nievo Leon, Meksiko, yakni proyek jembatan besar dengan struktur tiang miring yang ditahan dengan sistem kabel baja, merupakan karyanya yang lain. Jembatan dengan struktur megah ini menjadi penanda kawasan yang unik dan sangat kuat secara visual. Sementara untuk rumah tinggal, konsultan ini menggunakan pendekatan desain modern dengan bentuk geometris yang kuat, mengingatkan era arsitektur modern yang awalnya berkembang di tahun 1930an.

Paham desain modernis juga diusung Paolino Di Vece yang memimpin Di Vece Arquitectos. Karyanya yang ditampilkan kebanyakan adalah rumah. Penekanan desain tampak pada ruang dan sekuens ruangan sehingga setiap bagian bangunan memberikan pengalaman tersendiri.

Nautilus by Javier Senosiain

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works have correspondingly become landmarks in their respective regions.

The works showcased by 103 Grupo ed Diseno, led by Oscar Bulnes, are no less unique. The group has designed a variety of high-rises and works of monumental infrastructure in Mexico. An example is Integral Medical Center Torre AVE, a medical center in the area of Nuevo Leon.

This tall tower takes the shape of two tubes that have been cut at the top so that it looks tapered.

There is also Puente La Unidad in Nievo Leon, which is a large bridge supported by oblique posts and held by steel cables. This is a magnificent structure that promptly became a unique and visually powerful landmark. As for residences, Bulnes’ designs utilize a modern approach with strong geometric shapes reminiscent of the era of modern architecture that was originally developed in the 1930s.

The modernist design credo is also adopted by Paolino Di Vece, who leads the team at Di Vece Arquitectos. Most of his showcased works were homes. The emphasis of the designs is space and room sequences so that every part of a building provides its own experience. No less interesting is the Chapel of the Lake in Zamora, Mexico. This chapel takes the form of a flat-roofed structure supported by columns made to frame the view of the surrounding lake.

Torre AVE by 103 Grupo De Diseno

Nautilus by Javier Senosiain

Tak kalah menarik adalah Chapel of The Lake di Zamora, Meksiko. Kapel berupa sebuah struktur atap datar yang ditopang kolom-kolom, tampak dilakukan untuk membingkai pemandangan danau di sekelilingnya.

Sedangkan Tapia Arquitectos menghadirkan karya-karya dengan pendekatan romantisme masa lampau. Konsultan pimpinan Alejandra dan Prόspero Tapia ini, spesialis dalam menyajikan desain bergaya era kolonial Spanyol. Rumahrumah besar karya mereka tampak cantik sekaligus hangat dan ramah dengan desain arsitektur khas mediterania.

Setiap desain rumah tinggal maupun peristirahatan menggunakan warna-warna bumi dan material alami untuk menghadirkan kesan nyaman sekaligus mewah.

Sementara itu eksplorasi lebih jauh dari gaya-gaya masa lampau dan kolonial dilakukan oleh José Luis Ezquerra.

Beliau mengembangkan gaya arsitektur Lejanismo, yang artinya adalah arsitektur dari negeri jauh. Terinspirasi dari arsitektur yang berkembang di daerah-daerah Afrika Utara dan daerah selatan Iberia, sang arsitek memadukannya dengan ekspresinya akan gaya tersebut seperti terlihat pada Amphitrite Palace Hotel di Skhirat, Maroko.

Bangunan yang cantik itu, didominasi warna putih dengan bentuk-bentuk massa yang melengkung dan kombinasi kubah-kubah sebagai atapnya. Namun bentuk-bentuk kotak yang bersudut di halaman, taman, air mancur, dan lainnya, dihilangkan sehingga tidak ada bentuk yang murni kotak. Hotel Kea Lani di Maui, Hawaii, dan lainnya yang menunjukkan keunikan tersendiri merupakan contoh dari pendekatan arsitektural ini.

Sungguh menarik melihat perkembangan arsitektur di Meksiko yang sangat beragam .

Tapia Arquitectos showcases works that evoke the past.

Led by Alejandra and Prόspero Tapia, the group specializes in colonial Spanish designs. Their works feature large houses that are beautiful and also warm and friendly thanks to typical Mediterranean architecture. Each residence or retreat utilizes earth tones and natural materials to convey a sense of coziness while at the same time luxury.

Meanwhile, further explorations of old colonial style are pursued by José Luis Ezquerra. He developed the Lejanismo architectural style, which is a form of architecture referencing design elements from faraway countries.

Inspired by the architecture that developed in North Africa and southern Iberia, the architect combines these elements with his own definition of style as can be seen from the Amphitrite Palace Hotel in Skhirat, Morocco. This beautiful structure is dominated by white shaped into curving mass forms and topped with curved domes. At the same time, boxy and angular forms are completely eliminated on the outside so that the entire structure is sterile and of pure box form. The Kea Lani Hotel in Maui, Hawaii, and others are further evidence of this architectural approach. It truly is fascinating to observe Mexico’s amazing and diverse architectural development.

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Design Overseas

Wolfe Center of Arts

Integrated Public Space for Arts The Wolfe Center for the Arts looks like a mass of boxes that have burst from the ground.

Behold the work of Snøhetta, an architecture firm that previously had a breakthrough with the design of the Opera House in Oslo, Norway.

TexT BENEDICTUS RIO

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Images Bruce Damonte (DOC. SNOHETTA)

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nilah Wolfe Center of Arts, gedung yang menjadi titik bertemunya para mahasiswa dan para pengajar dari Institut Kesenian, baik Jurusan Teater dan Film hingga Seni Musik di Bowling Green State University, Ohio, Amerika Serikat. Dirancang oleh Snøhetta, konsultan arsitektur asal Norwegia yang sebelumnya membuat terobosan dengan desain Opera House di Oslo, Norwegia.

Tidak heran, prinsip desainnya hampir sama. Tim arsitek mengintegrasikan bangunan dengan ruang terbuka publik. Namun di sini, penempatannya tampak lebih menyatu. Bila dilihat dari satu sisi, tampak seerti sebuah taman besar yang menanjak dengan bangunanbangunan berupa paviliun di ujungnya. Namun ruang terbuka yang ditutupi dengan rumput yang hijau tersebut sebenarnya adalah atap dari gedung pusat kesenian universitas ini.

Dengan demikian, di atap bangunan ini banyak sekali orang yang menggunakannya layaknya sebuah ruang terbuka biasa, mereka duduk bersantai, makan

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he Wolfe Center for the Arts complex is located at Bowling Green State University in Ohio. Every day, the landmark building, whose principal façade faces east, sees hundreds of students and faculty members from various departments converge. The design is such that parts of the building appear to float while others are buried in the ground.

A team of architects fused the building with an open public space. The integrated design makes the building look like a large garden with an elevated slope, topped with buildings such as pavilions at the ends. In reality, the open space covered with grass is actually the roof of the central arts building at the university.

But not all building surfaces are covered with grass.

Some are coated with metal cladding for a futuristic look. Huge glass windows give out the impression of lightness and welcome. It is not surprising then that many people use the rooftop for lounging, eating lunch, getting together and so on like any normal public space.

To get into the building, visitors need only walk a short

ABOVE The main hall, sunlit and spacious, creating an open and modern look for the project left The building emerged from the ground, creating an open public space on its roof

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Design Overseas

SITE PLAN a rendering of the art center, Presenting an integrated concept between the public space and the activities inside the building.

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PROJECT DATA Architects: Snøhetta Location: Bowling Green, OH, USA Architect Of Record: The Collaborative, Inc Design Team: Craig Dykers, Vanessa Kassabian, Elaine Molinar, Nicolas Rader, Scott Melancon Project Year: 2011 Photographs: Bruce Damonte Project Area: 98,000 sq ft Client: 600 sqmBowling Green State University Landscape: Claire Fellman, Knut Bjørgum Architect Of Record Team: Michael DiNardo, Jim Sarks, Don Myers, Lisa Crawford-Nusser

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siang, berkumpul, dan lainnya. Ruang menjadi terasa sangat dinamis. Bila ingin masuk ke gedung ini, mereka tinggal berjalan sedikit ke atas dan ada akses langsung ke lantai atas bangunan.

Tampak utama bangunan seluas 9.104,5 sqm ini terletak di sisi timur, nampak layaknya sebuah massa kotak yang menyeruak dari tanah, sebagian bangunan seakan melayang sebagian lagi terbenam di dalam tanah. Permukaan bangunan yang tidak ditutupi dengan rumput dilapisi dengan metal cladding, terlihat sangat futuristik. Kemudian bukaan-bukaan kaca yang sangat besar membuatnya terkesan ringan dan welcoming.

Sebuah hall besar akan menyambut para pengunjung dari pintu utama, diterangi dengan cahaya alami saat siang hari dan ukurannya yang cukup besar. Dari sini dapat dilihat berbagai area seperti lounge, ruang-ruang kelas, studio tari, musik, dan lainnya. Didominasi dengan material kaca dan penerangan yang cukup, membuatnya terasa sangat terbuka bagi pengunjung.

Kesan yang terbuka ini tentu sejalan dengan aktivitas yang diperuntukan bagi gedung ini,

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1. Stage 2. Auditorium 3. Lobby 4. Restroom 5. Box Office/Manager 6. Choral Rehearsal 7. Costume Storage 8. Food Service 9. Stage Man 10. Seating 11. Piano Storage 12. Costume Construction Shop

13. Make-Up Room 14. Change Room 15. Shop Super 16. Dye Room 17. Mech. Plan 18. Chiller Well 19. Tool Room 20. Prop. Workshop 21. Paint Room 22. Telecomm 23. Shop Office 24. Scene Shop 25. Design Classroom 26. Check Out 27. Demonstration Classroom 28. Storage 29. Actor’s Theater

FIRST FLOOR PLAN

distance upstairs. Here they’ll also find direct access to the top floor of the building. A large hall greets visitors from the main entrance that is bathed in natural light during the daytime. From here, various areas such as lounges, classrooms, a dance studio, music rooms and more can be seen.

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Design Overseas

ABOVE The proscenium theatre for large scale productions of musical theatre, drama, opera, etc.

Right A WALKWAY with HIGH CEILING AND SKYLIGHT CREATES a sense of openness in the interior.

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tempat pertunjukan seni. Denahnya disusun atas tiga performance center, pertama adalah proscenium theatre yang berkapasitas 400 tempat duduk. Ini adalah tempat untuk mengadakan pertunjukan-pertunjukan besar seperti opera, teater musikal, tarian, drama-drama klasik, dan banyak lagi.

Kemudian terdapat dua studio lagi yaitu studio teater untuk beragam pertunjukan kesenian seperti film, drama, termasuk teater untuk penonton muda.

Terakhir adalah teater aktor yang menjadi tempat pertunjukan yang lebih ekspresif dan eksperimental seperti paduan gerakan dan kata-kata dengan teknologi digital. Sangat beragam dan menarik.

Dengan semuanya itu, dapat dikatakan Wolfe Center of Arts adalah sebuah contoh sukses dalam integrasi ruang publik dengan aktivitas-aktivitas di dalamnya. Membuat pola sirkulasi yang sangat dinamis dan atraktif bagi masyarakat.

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Dominated by glass and ample lighting, the rooms feel open and spacious.

It is a deliberate effect. The building’s main purpose is to serve as a performing arts center, hence the open spaces. Its core layout is arranged atop three performance centers. The first is the proscenium theater with a capacity of 400 seats. This is a place to hold performances such as operas, musical theater, dance, classical dramas and much more.

There are two more studios, the theater studio for a variety of performing arts and a theater for young audiences. The last is the actor’s theater, which is the place for more expressive and experimental performance arts such as hybrid dance and spoken word with digital effects.

With all that, it can be said Wolfe Center of the Arts is a successful example of the integration of public spaces, incorporating circulation patterns that are very dynamic and attractive to the public.

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Cool hangout

For the Love of Food

The fusion of two worlds in a well-planned, well-designed restaurant can sometimes yield a spectacular result. The culinary world indeed never ceases to surprise with its ingenuity.

TexT Dhion gumilang PHOTO agung surya widjaya (unless stated otherwise)

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D

espite its reputation as an example of a city gone wrong, Jakarta as the capital of Indonesia as well as a world city actually has myriad, if hidden, treasures that offer something for everyone. Culinary lovers thus are spoiled as food from all over the archipelago as well as the world’s cuisines can be found here.

Take, for example, the newly opened Ginger Li at Gedung Kemang 37 in Kemang, South Jakarta, occupying a space on the first floor. Dominated by maroon, brown and

black shades, the European-style restaurant has a romantic and feminine atmosphere. Fuchsia color decorates the floor and velvet fabrics wrap the overstuffed sofas that are so comfortable to sit on. Which begs the question: Why is the name of the restaurant so Asian?

“Ginger Li is this girl character we created,” restaurant owners Jessica Lesmana and Marsha Hasjim said, “she is of Asian descent and she loves going on culinary adventures and sampling many different unique foods.” In her journeys, she meets and falls in love with a young Frenchman who

an Oriental girl in cheongsam dress will accompany diners as they enjoy their meals.

Opposite page A subtle hint at the front entrance reveals what can be expected inside.

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Clockwise the VIP room can accommodate up to 16 people.

Ginger Li kway teow Fruity Lily & Rainbow Opposite page vintage-style Photos in gold frames accentuate the oriental theme decor.

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promises to take her to Europe. The young man never does pick her up, however, and she gingerly waits for her lover to return at Ginger Li. Get it? Gingerly?

This is why Ginger Li features oriental and western dishes. The restaurant, which opened in mid-2012, refrains from displaying a strong oriental design. “We did not want to present a typical oriental design in the interior openly,�

Jessica Lesmana explained. After all, the oriental elements are represented in the boxes of typical Chinese octagonal glass walls opposite the painting of a picture of a woman in her cheongsam.

Metaphor Interior Architecture, which designed the

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image: setiyo supratcoyo

image: setiyo supratcoyo

Cool hangout

interior of Ginger Li, divided the restaurant into two areas.

The right side is dedicated to dining while the left is the bar and lounge. In the middle of dining area is the ceiling made of wood, where rustic lamps in black hang from the ceiling.

The emanating glowing yellow light shines on the circular rack of wine bottles underneath.

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Cool hangout

right Hanging lamps in bar area BELOW a door connects the inner dining area with the inner court.

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The cozy and intimate dining area can accommodate up to 160 people. This room is further divided into two areas, the non-smoking room in the front and the back area adjacent to the VIP room. The lounge and bar in the middle exudes an intimate and informal ambiance. Teak wood is used for the wine rack.

“There are about 80 types of wine that we bring in from Chile and others,” Jessica said.

The wine complements the big flavored Asianinfused dishes such as the Bangkok beef salad or Ginger Li kway teow, which happens to be the two favorite dishes. Another can’t miss item are the Hokkien noodles, served with seafood and featuring the special sauce of a Singaporean chef. Also not to be missed is the Spicy Heaven Cocktail, a martini made from the extract of rujak (a traditional Indonesian fruit salad), which goes very well with the Hainan lamb shank with Sichuan sauce. Ginger Li is undoubtedly a special and comfortable place to dine and, if you have to, wait for that special somebody – just like Ginger Li.

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Design Reference

Infusing Soul into Space Title Soul of Space, Cosmas D. Gozali Author Serial Rumah Publisher PT. Prima Infosarana Media, Group of Magazine Kompas Gramedia Pages 192 Language Indonesian/English How often do we do find a book that discusses an active Indonesian architect? Very rarely. But Arch. Dipl. Ing. Cosmas D. Gozali has broken the mold with Soul of Space, which documents the architect’s vision and work during his 20-year career.

The first section, “Residence”, discusses Cosmas’ residential projects. His first two projects, Villa Ganesha and Origami House, which nabbed the IAI and ICI Color Awards in 2002, show his basic approach that infuses soul into his design spaces. His project the Compact Urban House in Central Jakarta shows his prototype concept for the urban house with limited land. His next projects, the Sanctuary House in South Jakarta, which aims for a resort in the city feel, and the Swiss Ambassador’s residence, which nabbed the IAI Jakarta Awards 2012 under the Heritage category, are no less interesting.

“Real Estate” features one of Cosmas’s largest projects, De Oaze, a townhouse complex with a communal area that is car-free, enhancing the quality of life in the complex. The “Office Building” section features office designs and from those one stands out: the KBN Office in Marunda, designed in an irregular shape and featuring secondary skin, a first for Indonesia. The final chapters are “Interior” and “Competition” and should not be missed.

Each project is discussed in detail and will shine a light on Cosmas’ logic and thinking.

The book is a great tool for aspiring architects to learn from their fellow architects and hopefully allow architects to further the development of architecture in the country and inspire others to write their own books.

The Best Designs in the World Title The Master Architect Series Revisited, Selected & Current Works Coordinator editor Andrew Hall Publisher Image Publishing Pages 258 Language English The Development Design Group (DDG) is an international architecture firm with offices in Hong Kong, Taiwan, Dubai and Australia. In addition, the firm fosters collaborations with many local design companies to work on projects throughout the world. In Indonesia, this US-based firm lists the Pondok Indah Mall 1 and 2, Menara Bank Mega, Bandung Supermall and many others among its clients.

In a running tradition, every few years DDG releases a compilation documenting all of their works in a book titled The Master Architect Series Revisited, Selected & Current Works. Like the title suggests, the book details their best projects that are also the most current. Details such as initial sketches, photographs, project plans and comprehensive explanations of each concept should keep the architecture enthusiast entertained for hours.

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Design Reference

World of Muriel Brandolini

INSPIRING DESIGN

Muriel Brandolini Beautifully photographed, this look into Brandolini's sophisticated world includes profiles of select residences, including her own legendary townhouse, which is considered to be a design laboratory. This avant-garde style-setter shows how an unfettered imagination can create an alluring home environment.

Author Muriel Brandolini was a fashion stylist before turning to decorating. Her work has been profiled in Harper's Bazaar, The World of Interiors, Vogue, and Elle Decor. Photographer Pieter Estersohn's work is featured in leading lifestyle magazines as well as in many interior design books.

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The World's Best Beach Houses

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The Images Publishing Group There is nothing quite so relaxing and inviting as being by the water. As the title implies, this compilation showcases beautiful beach houses (both holiday homes and permanent abodes) from around the world.

Locations featured include: USA, Australia, New Zealand, Peru, Brazil, Mexico, Chile, Malta, Italy, Greece, Scotland, Indonesia, Canada, Hawaii, Uruguay. Architects featured include: Estes/Twombly Architects, Bernardes Jacobsen Arquitetura, Studio 9one2, Paul Uhlmann Architects, SJB Architects, studioKAP, RAD Architecture, Inc., Artichoke Design Studios, Girvin Associates and Manolo Mestre, Helliwell + Smith: Blue Sky Architecture, Gabbiani & Associati, Humberta Farias, Centrum Architects, Longhi Architects, Alexandros N. Tombazis and Associates Architects Ltd.

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Order Now at Indonesia Design For Order Information, Please Contact : +628 11 922 648 Or Email : general@indonesiadesign.com / DESIGN TRENDS 2013 159735 9 All payments transfer to: PT. TATANAN DAYA PRIMA. BCA KEDOYA BRANCH a/c: 309 300

Design Updates

Sparch is now SPARK

Best Residence

The award-winning international architecture and design consultancy formerly known as Sparch has changed its name to Spark following feedback from customers who claimed the old spelling caused confusion. Along with the name change, Spark’s Singapore office has moved, from the relative calm of their old school enclave on Mount Sophia to a more happening location on the edge of Chinatown. The new studio, in a converted 1930’s shop-house, displays the usual characteristics of a Spark studio; it is open, colorful and welcoming.

Spark is the company behind some of the world’s most recognized buildings and award-winning projects, including the rejuvenated Clarke Quay in Singapore, the Shanghai International Cruise Terminal, Starhill Gallery Kuala Lumpur and the Raffles City projects in Ningbo and Beijing, China. Spark has a presence in Beijing, London, Shanghai and Singapore.

Sandy Island, YTL Land’s maiden luxury development at Sentosa Cove, has won the Best Residential (Low Rise) Award at the 2nd FIABCI Singapore Property Awards. The win means Sandy Island will now represent Singapore on the international stage at the prestigious international FIABCI Prix d’Excellence Awards 2013 in Taichung, Taiwan in May, which is the equivalent of the Oscars of the real estate industry.

“We are extremely honored to represent Singapore in the FIABCI Prix d’Excellence Awards; it is a true testament of the world-class aesthetics that Sandy Island offers to its homeowners,” said Joseph Yeoh, Vice President of YTL Land.

Sandy Island is a collection of 18 ultra-luxurious villas nestled in a tropical rainforest setting at Sentosa Cove, Singapore’s exclusive gated waterfront community. It was designed by internationally celebrated architect Claudio Silverstrin, who is behind the Giorgio Armani flagship stores around the world.

Sandy Island’s lush landscape is the work of world-renowned Australian landscape designer, Jamie Durie.

Japan’s New Pride

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Zaha Hadid Architects has won the international competition to build the new National Stadium of Japan. The architecture firm, which also designed the London Aquatics Centre for the 2012 Olympic Games, was selected ahead of 45 other international architecture firms for the US $1.62bn development.

The announcement was made in Tokyo by celebrated Japanese architect Tadao Ando, who chaired the judging panel. British architects Richard Rogers and Norman Foster were also judges. Making the announcement, Mr. Ando praised the fluidity and innovation of Hadid’s design and how it complements Tokyo’s landscape. “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world,” said Mr. Ando at a press conference on Thursday.

“It is an honor for us to be selected to build the new National Stadium of Japan,” Hadid said, “The stadium will become an integral element of Tokyo’s urban fabric, directly engaging with the surrounding cityscape to connect and carve the elegant forms of the design. The unique structure is both light and cohesive, defining a silhouette that integrates with the city. The perimeter of the stadium will be an inhabited bridge: a continuous exhibition space that creates an exciting new journey for visitors.”

The competition rules specified the stadium must be able to seat 80,000 people; have a retractable roof, be environmentally efficient and complement the surrounding landscape. It must also be up and ready by 2018 to host the Rugby World Cup the following year.

Inspired Violet, Color of 2013 Held at Galeri Vastu Home in Jakarta on November 8, 2012, AkzoNobel as the Dulux brand paint manufacturer launched ColourFutures 2013. The colors that will become popular with interior designers and architects alike were displayed in attractive palettes.

The major takeaway from the event was that Dulux predicted that in 2013 the color dubbed “Inspired Violet” that conveys a sense of dignity, honesty and splendor will be popular. From this “Colour of the Year”, five derivative themes were developed: Collective Passion, Switching Off, The Art of Understanding, Home Factory and Visual Solace.

To demonstrate how the five themes fit in interior design, Dulux collaborated with three interior designers: Yuni Jie, who handled the “Collective Passion” and Colour of the Year 2013; Eko Priharseno of AEDI design, who handled “Home Factory” and “Switching Off”; and Diana Nazir of Artura, who handled the themes “The Art of Understanding” and “Visual Solace “. In addition to the three designers from Indonesia, AkzoNobel is also working with 14 other interior designers from throughout Southeast Asia and the Asia-Pacific region to apply their color trends to local lifestyles.

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Design Event

ary indra

ramadipta s.

erwin hawawinata & aji warpani n. e. aji

lanny marlita ridjab

Citra Kayon

Luncheon Gathering Citra Kayon, the building materials producer best known for its focus on wood products, collaborated with Indonesia Design to hold a spirited luncheon gathering with architects, interior designers and interior contractors at Galeri KOI Kemang on 24 October 2012. On the occasion, Citra Kayon introduced a line of wooden doors, wood flooring and customized products of teak and merbau wood.

Ramadipta Soeriaatmadja, Operational Director of Citra Kayon, said that the use of both types of wood is highly suitable for tropical Indonesia. Citra Kayon products are created using traditional methods with modern machinery to produce exoticlooking and ecologically sustainable products. In addition, the use of lamella, which is thicker than veneers, gives the appearance of exclusivity for each product.

The event was attended, among others, by Lanny Marlita Ridjab of PT. Paramita Abirama Istasadhya (PAI); Ari Indra of Aboday Design; Erwin Hawawinata and Aji Warpani of Hawawinata & Associates; and N. E. Adji and Wisnu Haryono from Fleur de Lis. Benny Tany and Suwignyo Prabowo from P.T. Aneka Cipta Manunggal were also present to enliven the luncheon.

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wisnu haryono

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Design Event

SAMMY HENDRAtMIANTO, NADA LAHLOU, LINA GAN, LIDIA SIREGAR

GILES SELVES & EVI AZHALI

ANDRY R. MUTHEARDY & JENNY SIMATUPANG

Lina gan & erza s.t

Indonesia Design 9th Anniversary Celebration They say time flies when you’re having fun... How true that is! Indonesia Design, Indonesia’s foremost lifestyle design magazine, celebrated its 9th year of publication on 14 November, 2012, at Gallery Rachel, in the UOB Plaza.

We collaborated with Gallery Rachel and presented the works of several up-and-coming artists including: Iskandar Loedin, with his lighting installations “First Response”; Joe Wilendra, with his laser cutting work “Lifeline”; Sanchia T. Hamidjaja, with her work “Go Down, Town”; Santi Alaysius, with “Vora”; and Steven Huang, with his work “Meraih Kunci.” (Reaching Keys). We believe that these young and talented artists are promising and show greatness through their electric creativity.

We would like to convey our gratitude to our sponsors including Indonesia Printer, Goodrich Global, Australia Graha Nusa (AGN), Lelco Trindo Graha Nusantara, Johnnie Walker, Ketel One Vodka, La Luce Wine & Dine, P.T. David Roy Indonesia and Aman Tirta. Indonesia Design highly appreciates their support on making this event successful.

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“meraih kunci” BY STEVEN WANG

PITER & NADINE GAN

Willis kusuma

PETER STETLER & Detlev Truernit

Wisnu Haryono

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/ DESIGN TRENDS 2013 SAMIRA DUCROS, BUDIANTO K. WIJAYA, SHERLY K. WORTH, alexis gannevast, ANDREA GIANNINI

sezai & Yanti Zorlu

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CLAUDE CHOUINARD

Design Event

WISRI SANROW & AUDRA L. B. RIMBA

ERWIN HAWAWINATA & AJI WARPANI

N.E. AJI & NATASHA

BUDI TIRTAWISATA & Hera Nitihardja

Deasy Kerstiawati, Fadhila Soraya, Rica Ishak, Devita Indrastuti

Cosmas D. gozali

H.E. Kai Sauer & Ada S. Sauer

Anggraito Suhartono, SYLVIA MAKMUR & Handoyo makmur

RUDDY HARTANTO & HENNY WIJAYA

ARVADA HARADIRAN, MEUTIA MAHARDIKA, FRANSISKA KANSIL, RICHARD OUTHWAITE

H.E. Filip Cumps

“VORA” by Santi Alaysius & Hamphrey Tedja

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Lina gan & NICOLA SCARAMUZZINO

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/ DESIGN TRENDS 2013 MIMI SJARIFUDIN & RUDY GHOZALI

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CHIPIK ALSI, PETER MORRIS, TONNY SURIADJAJA, SAMUEL & YATTY BUDIONO KIKY & MAYA SUHERLAN

Budiman Hendropurnomo & Lydia Walla

MARTHA F. RENON, PIERRE BATUT & ANALIESA SOST

THERESIA RUSTANDY

erasmus radjimin

Budinato Widjaja, Avi, Yovita Leothena, Leonardo A.K

CHRIS TJU

DENNI WICAKSANA, JOHANSEN SAMS, ARY INDRA, LINA GAN & VONNY RIMBAWIDJAJA

IMAM & PIPIH TJANDRA FIFI KRESNAWATI TAN & VIVI PUDJIADI

Maciel Duszynski & Zlawa Duszynska

ROY WIDOSUWITO, JENNIFER, LILY TJHANG, ROB FLETCHER

PRAPANCA MUCHTAR & Fabyani N Sediarto

HENDRA & CLAUDIA LIE

“GOING DOWNTOWN” by SANCHIA

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Design News

Kai Sauer

The Ambassador of Finland on World Design Capital Helsinki 2012 So, combining form and function.

Precisely. For example, one time back in Finland I remember seeing a door handle that had three different heights, one set in the normal adult height, and then there’s the lower handle, followed by the bottommost handle. Turns out this is to allow everyone from adult to kids to open the door! Now that’s an example of a design that improves people’s lives, and this is also one of the underlying motivations for the World Design Capital in choosing Helsinki. You can see these kinds of designs all over Finland.

What does the WDC Helsinki 2012 mean to Finland?

I think that it is a recognition from the world’s designers of Finnish design and how this design is so thoroughly ingrained in our culture. We are a pragmatic society; a solution-oriented society, and this is reflected on our designs, buildings, utilities, products, processes and so forth. To us, design should be systemic and functional and provide a solution to people’s lives, not just be cosmetic.

What defines the Finnish design?

Like other Nordic countries, Finnish design follows a general functionalist form: minimalistic, clear lines, light colors, lots of glass and, most importantly, functional.

It makes sense. I can’t help but think of IKEA. That’s Swedish and yes, they did a great job with that. But we have our own design icons too! For example, the Father of Finnish design,

Alvar Aalto, was one of the most influential architects of Nordic modernism. There’s also Marimekko, the Finnish design company whose original prints and colors have been worn by Jacqueline Kennedy. We also have Moomin, a popular cartoon character with its own series of books and comic strips. Last but not least, let us not forget the recent world phenomenon - Angry Birds!

Now that you mentioned Angry Birds...

That’s actually a product of the newly formed Aalto University, a new university that was a merger from three old universities: the Helsinki University of Technology, Helsinki School of Economics and TaiK. The idea of this merger is to create a synergy that teaches students three important aspects: the commercial or business aspect, the technical aspect and the design aspect. The success of Angry Birds shows how good design is not only appreciated and has a place in society, but also improves the quality of life.

Helsinki, a vibrant, multicultural and internationally connected metropolitan area was chosen because of its accomplishments as well as commitment to embedding design in everyday life and using it to improve people’s lives. “Design truly has always been a part of the Finnish way of life, something that people grew up with and carry along all their lives,” Kai Sauer, Ambassador of Finland to Indonesia, said about World Design Capital Helsinki 2012. Just like design itself, World Design Capital Helsinki 2012 is literally everywhere. You can find it at art galleries, shops and cafes, especially in Helsinki’s Design District.

Together with neighboring cities of Espoo, home to Nokia and Angry Birds; Vantaa, home to the Heureka Science Center and Helsinki Airport; Kauniainen, a quaint half-day trip destination; and Lahti, home to the Institute of Design, WDC Helsinki 2012 consists of some 300 events, projects and exhibitions. The meeting place in Helsinki’s city center is a temporary wooden pavilion built in the spring of 2012 in an empty lot between Design Museum and the Museum of Finnish Architecture. The pavilion and the museums form a complex, which was the meeting point and a hub for the visitors, professionals and press alike during the summer of 2012. The site also has a café and a wide range of programs and events from open talks and film screenings to Sunday brunches and design markets.

World Design Capital Helsinki 2012

T

here was a time when Helsinki was once considered a distant place at the edge of the universe. Today, the British lifestyle magazine Monocle has crowned Helsinki as “The Most Livable City in the World”. It’s small wonder then Helsinki was chosen as the host of the 2012 World Design Capital (WDC) event, an initiative of the International Council of Societies of Industrial Design that recognizes and awards accomplishments made by global cities in the field of design.

The previous World Design Capitals hosts have been Turin in Italy (2008) and Seoul in South Korea (2010).

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Design News

When Nature Inspired Zadok Ben-David Text Erza S.T. PHOTO courtesy of Sotheby’s Asia

Mother Nature has been a source of endless inspiration for artists over the centuries. The natural world is so rich in colors, forms and scenes that it is of constant fascination for artists from Michaelangelo’s time to the present. And over hundreds of years human civilization has been witnessing the process in which an artist captures the beauty of Mother Nature in his or her art. One of the most interesting ways artists work with Mother Nature is to actually use that world as a blank canvas for a piece of art. Thus, the concept of outdoor sculpture exhibitions was born.

Sculpture gardens are perhaps the best example of the marriage between outdoor sculpture and Mother Nature, and are part of a long tradition dating back to at least antiquity. In the past, sculptures themselves were often overlooked and used more for artistic reasons as decoration to complete an overall design. However, nowadays the sculpture garden concept has developed, with more attention paid to the presentation of the sculpture itself in durable materials with

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landscape surroundings. And this could be private, or owned by a museum and accessible to the public.

With time, the art world has become smitten with great sculpture garden exhibitions from renowned artists such as Rodin, Gustav Vigeland, Melvin Charney, Yayoi Kusama and Manolo Valdes, among others. One recent, and ongoing, sculpture garden exhibitionis the Zadok Ben-David show from Sotheby’s at the Singapore Botanic Gardens.

Originally from Bayhan, Yemen, this London-based, award-winning artist is known for his famed solo exhibitions such as “Invinsible Reality” (2007) at the Guangdong Art Museum in Guangzhou, China, and “Human Nature” (2010) at the Tel Aviv Museum in Israel – where record-breaking attendance made museum history when the show ended in February 2010. Ben-Davidbegan gaining in popularity in the early 1980s as part of the rising New British Sculpture movement, which was reacting to the minimal and conceptual art of the previous decade and going back to the use of a wider range of fabrication techniques. The Venice Biennale in 1988 marked his career as an international and established contemporary sculpture artist, where he participated representing Israel.

Ben-David’s latest sculpture garden exhibition at the Singapore Botanic Gardens with Sotheby’s follows the artist’s recent installationat the Grand Sculpture Salon of the Mysteskyi Arsenal Museum in Kiev, in which he garnered widespread critical acclaim. For the exhibition, he created a series of figures, plants and butterflies – taking nature as the inspiration and playing with our perceptions of scale and reality, echoing themes from many of his most powerful sculpture series.

As part of Sotheby’s first exhibition in Asia of outdoor sculptures for

sale, Ben-David created twelve specific artworks (out of seventeen works in total) and carefully selected each sculpture’s location. Made of Corten steel, the color of the pieces was created from the rust of the metal that is exposed to the elements, forming a thin regenerating but protective coating. This thin layer of rust gives the works a unified look. Prepare to see a large flower sculpture emerging from the lake, or three-dimensional whirling butterflies that stand in the middle of the Singapore Botanic Gardens lawn. It’s quite interesting to see how Ben-David’s works blend so nicely with the surrounding nature.

The artistsaid that his inspiration has always come from nature, which he uses as a metaphor for human beings and attitudes. “For this show at the Singapore Botanic Gardens, I explore a theme which has fascinated me over twenty years – butterflies. As in my other works, these include human figures within them. They provoke a feeling of freedom and happiness and of using space in a different way.”

Though this is Sotheby’s first outdoor sculpture exhibition sale in Asia, this is not their first in the world. Sotheby’s has staged exhibitions of monumental sculpture, including the late Barry Flanagan’s work in Chatsworth last September.

The “Sotheby’s Presents Zadok Ben-David”exhibition at the Singapore Botanic Gardens will be shown until 31 January 2013.

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Design News

The Park Lane Jakarta Awarded HACCP Certification

Universitas Indonesia Student Excursion to Mentawai Each year, students of the Architecture Department at Universitas Indonesia embark on an annual study program designed to help them understand lecture materials pertaining to Indonesia’s local architecture.

In 2012, the students went to the island of Siberut, which is a part of the Mentawai Islands archipelago, from July 19 to August 20.

The journey was long but the students found it highly valuable, as they were able to collect comprehensive data as well as obtain a greater understanding of the Uma design of the traditional Mentawai house. Uma, which means “home” in the local language, is not only a house but also the center of communal activities for the tribe.

After returning home, the students then presented their findings in two exhibitions. The first was an exhibition for fellow students and the academic community held at Universitas Indonesia’s Aula Terapung in the Central Library from November 7 to 9.

The second was a public exhibition at Museum Bank Mandiri in Jakarta’s Old Town that opened on November 17, 2012. The exhibition was accompanied by a public lecture by Prof.

Dr. Ir. Gunawan Tjahjono, Ph.D. and Ir. Adi Moersid titled “Cultural Heritage in Vernacular Architecture” on November 24. The peak of the event on November 25 was the launch of Mentawai. Guratan Identitas featuring the work of the students on the excursion.

TAUZIA Hotel Management launches Yello Hotels A new brand of budget-focused hotels from hotel chain operator Tauzia, Yello, has been launched and sports the slogan “Techvolution – Art – Design”. “’Yello is a friendlier way to say ‘hello’,” Marc Steinmeyer, President Director of TAUZIA Hotel Management, said during the hotel’s launch at Rolling Stone Café in Kemang. “And it is designed for today’s ‘netizens’ – Internet citizens.” Equipped with the latest technology and offering healthy breakfasts (termed ‘Wokfast’), a tablet corner, king-size beds with 100 percent cotton linens, free Wi-Fi and the revolutionary individual “Front Desk Cups”, the hotel itself has a “street art” atmosphere with a distinctive yellow color and cutting-edge architectural design. YELLO Hotels is a network of four hotels under development with a target of 20 hotels by the end of 2015 in major cities in Indonesia, namely Jakarta, Surabaya, Bandung, Makassar and the island of Bali.

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On November 19, 2012, The Park Lane Jakarta received its first Hazard Analysis & Critical Control Points (HACCP) certification

by Badan Sertifikat Nasional (BSN). The HACCP certification is important in the food industry since it certifies a hotel’s food safety and hygiene to international standards, an important factor for foreign travelers to the country.

HACCP identifies all aspects of potential food safety hazards, from procurement to preparation to serving, and sets down the appropriate systems and actions that reduce or eliminate food safety and hygiene risks. Jon Richards, general manager of The Park Lane Jakarta, said, “We are honored to receive HACCP recognition following on our Eco-Hotel Certification in 2010. Combined, we are able to convey to guests our awareness of the importance of both the environment and food safety in our hotel operations.”

Executive chef Deden Gumilar added, “The HACCP certification process has taken a year of hard work, determination, training and commitment to achieve.”

Schneider Electric Launches Pieno Series Schneider Electric, the world’s leading energy management company, has launched the Pieno series, a new solution for electrical devices, switches and outlets. “Pieno boasts a thinner and lighter design that makes it more impressive, elegant and luxurious,” said Riyanto Mashan, country president of Schneider Electric Indonesia at the launch at Hotel Borobudur in Jakarta on November 29, 2012. Another advantage is that Pieno has larger buttons that appear to be fused with the framed box, which facilitates the installation of the unit.

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173

Design News

Eko Priharseno, Peter Tjahjadi, Audrey, Anita Bunkarman, Lidya, Shirley Gouw, Lanny Ridjab, Reza Wahyudi, Zalfrid Pardomuan

Jimmy Gouw, L. Shinta

Shirley Gouw, Randy, L. Shinta, Jimmy Gouw

Elite Grahacipta’s 35th Anniversary Upscale interior design and direct-import furniture company Elite Grahacipta celebrated 35 years in the business by launching an exclusive book chronicling their journey at the XXI Ballroom Djakarta Theater on 7 November 2012. Elite Grahacipta has dedicated itself to bringing high-quality furniture directly imported from countries in Europe and the US and around the world. Elite Grahacipta opened its doors for the very first time in a small shop in the Glodok area of West Jakarta in 1977 35 years ago, and has since grown to include two other locations.

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Soul of Space

Melinda Tedja, Leeyen, Sofie, Sari Atmadja, Leilani Tedja

Renowned Indonesian architect Cosmas D. Gozali launched his first book, titled Soul of Space, at the National Museum in Jakarta on 2 November 2012. The 192-page book chronicles his 20-year journey and work in Indonesia’s architectural sphere. “I am aware that all of the blessings I have received will become useless if I don’t push myself further and create more works,” he said about the book.

The book launch also marked the opening of Cosmas’ architectural exhibition, showcasing some 40 works, and was held from 2 to 4 November 2012. “Architecture is a combination of art and technology that constantly evolve over time,” said Her Pramtama, Chairman of IAI Jakarta, in his speech before the opening of the exhibition. Cosmas was awarded the IAI Jakarta Award in 2012 for revitalizing the Swiss ambassador’s residence.

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2 1

HDII Interior Award

Rp. 60,000,- (Java & Bali), Rp. 65,000,(Other Islands), S$ 12.00, RM 28.00, US$ 10.00 (U.S. & Other Countries)

2013

design trends

HDII

AWARD every two years, the Indonesian Society of Interior Designers (HDII) bestows the most prestigious awards in the country. In 2012, a total of 150 projects were included encompassing five categories: Residential, Retail, Hospitality, Health Care and Institutional and a special award, Favorite. the best and brightest Students are honored, too, with the following categories: Most Ethnic, Most Green, Most Innovative, Most Functional and Favorite.

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19

HDII

AWARD residential

Villa puncak

Surrounded

by Nature The interior design of the villa is meticulous. Being inside makes one feel like one is out in the open air, surrounded by a beautiful vista of hills. writer benedictus Rio images doc. trivium

K

awasan Puncak, Bogor, dikenal sebagai daerah dengan bukit-bukit yang hijau. Di atas site yang flop dan sedikit curam, sebuah rumah peristirahatan berdiri seperti menggantung di atas perbukitan. Dinding kaca, menyelimuti tampak depan dan belakang bangunan dengan bentuk yang tak geometris.

Lengkungan-lengkungan di beberapa sudut dan sisi membuatnya tampil unik.

Bentuk yang iregular itu, karena konsultan arsitektur yang mendesainnya tidak ingin terlalu banyak mengubah kondisi lahan agar tidak merusaknya. “Kami membentuk massa bangunan vila dengan mengikuti garis-garis kontur lahan,” Rudy Dodo bersama dua rekannya, Jeanne Elizabeth dan Sinta Dewayani dari Trivium Design Group, menjelaskan. Namun bentuknya yang tak biasa itu justru memberikan pengalaman ruang yang berbeda saat berada di dalamnya.

Bangunan seluas 450 m² di atas tanah seluas 1 hektar itu terdiri dari 3 lantai. Lantai bawah berupa teras yang tak terlalu besar dengan 2 kamar. “Lahan tempat vila ini berdiri cukup luas, tapi yang diizinkan untuk dibangun hanya 90 m² untuk luasan tanah yang dicor, sisanya harus berupa resapan,” ungkap tim desain, namun mereka dibolehkan membuat kantilever seluas yang bisa terbangun di atasnya.

Dirancanglah 2 lantai di atasnya dengan luasan yang lebih besar, hingga tampak seperti bentangan yang melayang.

Di sekitar bangunan sendiri terdapat bukit hijau di satu sisi dan lembah di sisi lain. Tim desain memutuskan untuk membingkainya di setiap sisi dinding hingga tampil sebagai wallpaper alami. Karenanya hampir seluruh bidang melebar bangunan yang menghadap ke pemandangan indah

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The area of Puncak, Bogor, is known as a lush, hilly retreat. Making the most of the surroundings, a holiday home is built on top of a flopping, steep site, giving the impression of a structure hanging amid the hills. Glazed surfaces in nongeometrical shapes cover the front and back of the building while several curves on the corners and sides of the house make it appear one-of-a-kind.

The irregular shapes came as a result of the architect’s decision to not alter too much the original condition of the site in order to maintain its beauty. “We shaped the blocks of the villa by following the contours of the land,” explains Rudy Dodo, who along with Jeanne Elizabeth and Sinta Dewayani of Trivium Design Group, was in charge of the house’s design. The unusual shapes of the holiday home provide a distinctive experience for the occupants.

Built on a one-hectare site, the 450-square-meter building has three floors. The ground floor houses a medium-sized terrace and two bedrooms. “The site where the villa stands is quite vast, but only 90 square meters of land was allowed to be developed as casted ground while the rest of the land should be left as catchment,” explains the design team. Luckily

tersebut menggunakan kaca. “Kami ingin membuat siapapun yang ada di dalam vila bisa menikmati pemandangan di kedua sisi dengan maksimal,” kata Rudy Dodo.

Maka dari ruang manapun di dalam vila, warna-warni bunga dan hijau pepohonan yang berpadu dengan langit biru, tampil memesona. Warna-warna yang tampil di dalam ruangan begitu kaya karena selalu berganti setiap waktu sesuai posisi matahari, kadang keemasan atau kelabu.

“Karena itu pula kami memilih warna natural untuk bidangbidang di dalam ruangan,” ungkap Jeanne Elizabeth dan Sinta Dewayani berbarengan.

Warna putih memang mendominasi bidang-bidang

they were allowed to build a cantilevered structure as large as the catchment below it. The solution was to design two floors above with larger measurements, giving the whole structure a floating, wing-like addition.

Surrounding the building is a green hill on one side and a valley on the other. The design team decided to frame the glorious views from each side of the house, creating natural wallpaper as a result. That is why almost all the surfaces that open toward the surrounding area are glass. “We wanted to provide an optimal view of the surrounding area for everyone staying in the villa,” said Rudy Dodo.

Indeed, seen from any room inside the villa, the colorful

A beautiful scenery framed in the interior and serves as a natural wallpaper.

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HDII

AWARD residential

1 s t f lo o r

1

2

2

Project DATA Project Villa Location Puncak, West Java Arhitecture & Design Consultant Trivium Design Group Principal Rudy Dodo Designer Jeanne Elizabeth Sinta Dewayani Structural Consultant & Contractor Blue Arch Landscape Softscape Misto (Insanusa) – softscape Trivium Design Group – hardscape Floor Area +/- 420 sqm

2 n d f lo o r

5 4

The living area with colorful sofas and poufs add a lively atmosphere in the villa.

22

dinding vila, plafon dan furnitur yang ditanam di dinding.

Sedangkan pada lantai, hadir warna bumi dari parket kayu sehingga ruangan terkesan hangat dan nyaman.

Warna-warna itu senada dengan warna-warna bahan yang digunakan untuk melapisi sofa yakni cokelat atau abu-abu.

Toh, satu dua sofa memberi aksen tersendiri dengan warna bata maupun polanya yang bergaris.

Sofa-sofa seperti yang digunakan di ruang utama vila di lantai 2 bangunan, dijelaskan tim desain, dipilih yang mempunyai ketinggian cukup rendah. “Ketinggiannya hanya 30 cm saja, sementara kebanyakan sofa normal tingginya 43 cm,” jelas mereka. Pilihan ini diambil agar ruangan tetap memiliki pandangan yang maksimal ke bukit dan lembah di sekelilingnya.

Ruang utama sendiri berupa sebuah ruang besar yang selain berfungsi sebagai ruang berkumpul juga untuk ruang makan yang digabung bersama pantry. Tidak ada dapur di

/ DESIGN TRENDS 2013

mosaic of flowers and the lushness of the greens blending beautifully with the blueness of the sky are breathtaking. This is made even more amazing as the colors of the outdoors change depending on the position of the sun—sometimes gleaming golden or cloudy grey. “That’s why we picked natural colors for the spaces inside the house,” Jeanne Elizabeth and Sinta Dewayani said.

White dominates the walls and ceilings of the villa as well as the furniture. Floors are decked in the earthy color of wooden parquet, making the rooms warm and cozy. The two shades perfectly complement the materials used to cover the sofa, which are mostly draped in brown and grey fabric. Yet one or two sofas stand out from the rest and accent the room with their maroon hues or striped patterns.

The design team adds that sofas with low height were selected for the rooms, such as the ones found in the main room on the second floor of the villa. “These sofas are 30 cm in

3

3 rd f lo o r

6

7

1. Entrance 2. Bedroom 3. Living & Dining Room 4. Pantry 5. Outdoor Dining Area 6. Master Bedroom 7. Bedroom

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23

HDII

AWARD residential

height while most normal sofas are 43 cm tall,” they said. The choice was made so that the rooms retain the optimum view of the hills and valleys.

The main room of the house is large and serves as a gathering spot as well as a dining room and pantry. There is no kitchen inside the villa because as a holiday home, the owner does not want to be bothered with the task of cooking a large meal. The interior element in the pantry echoes the concept of framing the picturesque views of the surroundings with a clean design and large openings.

Similar to the design aesthetic of the main room and the

clockwise the Bathroom with a wide window opening maximizes the view.

The stair area, moody ambience assembled to create sequence of space The bedroom is designed with simple and clean lines, creating a light and spacious feel.

24

dalam vila karena sebagai rumah peristirahatan, pemilik tidak ingin melakukan kegiatan masak yang besar. Elemen interior di pantry turut mendukung konsep membingkai pemandangan dengan desainnya yang ringkas serta jendela-jendela yang besar.

Seperti halnya ruang utama dan pantry, kamarkamar pun dirancang agar tidak terlalu penuh. Bahkan diputuskan untuk menggunakan bahan lateks sebagai kasur karena kasur biasa akan terlalu besar dan sulit untuk dipindah-pindahkan sementara penggunaan kasur gulung membuat tampilan ruang kurang baik. “Meski demikian kami juga menata kamar tidur utama seperti sebuah ruang tidur biasa namun dengan ornamen yang tidak berlebihan,” jelas Rudi Dodo.

Alhasil semua ruang di dalam vila ini dapat menampilkan pemandangan di sekeliling bangunan dengan maksimal. Penataan yang sederhana memang, namun sesuai dengan konteks di sekitarnya. Berkat desain ini Trivium Design Group memenangkan penghargaan dalam HDII Award 2012 untuk kategori Residential.

/ DESIGN TRENDS 2013

pantry, the rooms are designed to appear spacious. It was even decided to use latex as the material for the mattress as a regular mattress will be too large and difficult to move around while a roll-up one will not be suitable for the overall aesthetic of the room. “We also arranged the interior of the main bedroom to give it the appearance of a regular, comfortable bedroom without any over-the-top ornaments,” Rudy Dodo said.

As a result, all the rooms inside the villa are able to capitalize on the surrounding views. This proves that a simple layout that suits its neighboring context works well in a design. It is not surprising that for their work in this holiday home, Trivium Design Group won the 2012 HDII Award in the Residential category.

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25

HDII

AWARD TRIVIUM D ES I G N GROUP

A Challenging Process Designing a holiday home in Puncak, West Java, is not an easy task. There are a lot of challenges ahead the designers. The same can be said for this project that won the 2012 HDII Award. Benedictus Rio of Indonesia Design talks to Rudy Dodo, Jeanne Elizabeth and Sinta Dewayani, the designers behind Trivium Design Group, the team in charge of the design of Villa Puncak. Below is an excerpt from that interview.

Bagaimana proses desain rumah ini?

Ini proyek yang menantang, owner ingin membuat rumah peristirahatan untuk berlibur dengan keluarga besarnya.

Lahannya sangat besar namun izin kami membangun lantai dasar sangat kecil, sedangkan luasan lantai atas terserah selama bisa dibangun. Karena keterbatasan itu kami sempat berpikir menggunakan sistem tenda semi permanen untuk ruang-ruang tidurnya seperti camping. Tapi kemudian kami memutuskan membangun seperti yang ada sekarang agar lebih praktis.

Tapi struktur bangunannya terlihat cukup rumit ya?

Kami menggunakan kantilever yang ditopang sebuah kolom pada ujung-ujungnya. Lantai bawah yang paling kecil kami manfaatkan hanya untuk entrance dan dua kamar. Sementara lantai dua adalah ruang utama vila ini. Lantai tiga di tempati kamar-kamar utama. Tapi ada hal lain yang cukup jadi pertimbangan.

Soal apa?

Medan untuk mencapai lokasi cukup berat. Harus melalui jalanjalan dari lingkungan setempat. Ini membuat kami tidak bisa menggunakan baja sebagai struktur utama bangunan karena kendaraan yang membawanya tidak mungkin bisa mencapai lokasi. Bila mungkin-pun biayanya akan terlalu mahal.

Solusinya?

Akhirnya kami menggunakan sistem beton cor di tempat, ini lebih mudah dilakukan namun perhitungan strukturnya sedikit

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/ DESIGN TRENDS 2013

in the neighboring area and therefore we weren’t able to use steel as the main structural material for the building as the vehicle carrying the steel couldn’t reach the location. If we had pushed for it, it would have been extremely expensive.

What was the process like in designing the house?

This was a challenging project as the owner wanted to build a holiday home for vacationing with his extended family. The land is quite vast but the permit to build a cast ground is limited although the measurement of the floors above was flexible as long as it suited the design. Because of the limitation, we even thought about using a semi-permanent tent for the bedrooms, similar to going camping. But then we decided to go with the present design because it is more practical.

But the structure of the building seems to be rather difficult to build…

We used a cantilever system supported by columns on the edges. The smallest floor of the house, the ground floor, is only used for the entrance and two rooms. The main room of the villa is located on the second floor while the third floor houses the main bedrooms. But there were other considerations.

Like what?

It is rather difficult to reach the villa. We had to pass small lanes

lebih rumit. Terutama untuk mewujudkan kesan ringan dan terbuka seperti yang ada sekarang. Tapi akhirnya semua terselesaikan dengan cukup baik.

Bagaimana dengan interiornya sendiri?

Kami ingin tetap menekankan suasana natural. Ketika di dalam, kita bisa menikmati pemandangan sekitar dengan santai. Karena itu kami memilih perabotan yang tidak terlalu tinggi, sofa yang hanya 30 cm tingginya, kasur-kasur yang bisa mudah dipindah untuk kamar.

Materialnya?

Kami mencoba memilih material alami seperti lantai parket, marmer, dan lainnya. Tapi kami harus menyesuaikan dan sedikit cermat karena tempat ini adalah rumah peristirahatan, pemilik dan keluarganya tidak rutin tinggal di sana. Jadi sayang bila menggunakan material yang terlalu mahal, namun kami harus membuat suasananya nyaman agar ketika digunakan semua merasa betah. Hasilnya seperti yang Anda dilihat.

And the solution?

We finally used concrete that we casted on site, which was easier to do in practice but a little more complicated in the structural planning, especially in order to present a lighter and open feel for the house. But in the end everything went pretty well.

What about the interior?

We wanted to emphasize the natural scenery. Even inside we can still enjoy the view in a relaxed environment. That’s why we picked furniture that was not too high, 30-cm-tall sofas, mattresses that are easy to move outside the rooms.

And the materials?

We tried to select natural materials such as parquet floors, marble and the like. But we had to adjust to the existing condition and be more attentive as it is a holiday home and the owner and his family do not live there year round. So we tried to avoid using materials that are too expensive, but we still had to make sure that the ambiance was cozy enough to please everyone when they visit.

And you can see the results for yourself.

/ DESIGN TRENDS 2013

27

HDII

AWARD H e a lt h

Pacific Health Care

A New Kind of Health Care writer benedictus rio images DOC. tetra desain indonesia

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/ DESIGN TRENDS 2013

Its unusual location for a health clinic in Indonesia, taking place at The Plaza, an office tower attached to the shopping center Plaza Indonesia, is precisely what sets the Pacific Health Care apart from the rest.

S

uasana hangat dan nyaman langsung terasa begitu memasuki Pacific Health Care di lantai 7 Plaza Indonesia. Lobby klinik yang menggunakan material marmer yang memberikan nuansa alami.

Pada dindingnya lapisan kayu yang dipadu dengan backwall berukir pola gelombang dalam warna putih, membuat kesan kontemporer yang kuat sementara beberapa tanaman di pot hadir menghijaukan ruangan.

Tak terlihat pasien yang sedang antri mendaftar di konter atau membayar di kasir. Tamu duduk di sofa-sofa empuk yang nyaman. “Klinik dirancang seperti sebuah

A warm and cozy atmosphere is immediately felt upon entering the Pacific Health Care, situated on the 7th floor of Plaza Indonesia. The lobby’s interior is dominated by marble, giving off a calming, natural atmosphere. The wall is covered by wood panels, while the backwall is painted white and sculpted in wavy pattern that exudes a strong contemporary impression. Several plants in pots add to the scenery.

There isn’t a single patient in view standing around to register or to wait in line of any kind. There are only people lounging around on cushy sofas. “This clinic is designed to feel like a five-star hotel that answers the needs of clients

LEFT TO RIGHT The waiting area is designed as a lounge, creating a comfortable ambience.

The exclusively designed Lobby sofa sports a contemporary design.

The reception backwall with a unique wavy pattern adds a unique depth to the interior.

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31

HDII

AWARD H e a lt h

yang dituju melalui koridor dengan lantai yang dilapisi karpet khusus anti bakteri dan higienis. Sebagai partisi terdapat bidang-bidang kaca yang dilapisi stiker sandblast, di tengahnya dibuat pola batik yang memunculkan nuansa Indonesia namun tetap terlihat modern.

Masing-masing poli dirancang sebagai sebuah kluster tersendiri yang terasa privat dan nyaman. Setiap poli memiliki konter resepsionis dan ruang tunggu, serta sebuah ruang konsultasi. Poli klinik yang tersedia di sini yaitu Dermatology (poli kulit), Obstetric Gynecology (poli kebidanan dan kandungan), Dentistry (poli gigi), Pediatric (poli anak), Orthopedic and Sports Medicine (Poli Ortopedi dan Kedokteran Olahraga), dan terakhir Medical Care Unit lengkap dengan unit Radiologi dan General Check-up.

Di ruang tunggu tiap poli, terdapat sofa yang lebar untuk duduk menunggu sambil menonton TV atau mengagumi artwork yang menggantung di dinding.

Terdapat juga sebuah coffee corner. Lantainya menggunakan carpet tile. Ruang konsultasi dibuat tampil lebih steril, lantainya menggunakan vinyl. “Walaupun ada karpet yang memenuhi standar untuk keperluan medis, hasil diskusi kami dengan para dokter mengarahkan kami untuk menggunakan material yang mudah dibersihkan dan bebas debu,” jelas Donny.

Lokasi seluas sekitar 1800 m² ini memberikan tantangan tersendiri karena setiap poli memerlukan saluran pembuangan untuk wastafel. Tidak mungkin membuat saluran di bawah plat lantai karena ada tenant lain di bawahnya. Alhasil hampir seluruh lantai kecuali lobby, dinaikan 30 cm dari plat lantai aslinya. Barulah pipapipa untuk saluran air dan pembuangan bisa dibuat di bawahnya. Desain yang unik inilah yang berhasil menyabet gelar HDII Award 2012 kategori Health Care.

Project DATA Project Pacific Health Care Location The Plaza, Jakarta Design Consultant PT. Tetra Desain Indonesia Designer Donny Wenas Ariestanto Contractor PT. Inovasi Karyadinamika Citadel Asia Floor Area +/- 1800 sqm hotel bintang lima memenuhi permintaan klien yang ingin menghadirkan suasana dan sistem pelayanan berbeda,” Donny Wenas Ariestanto, arsitek dari Tetra Design yang mendesain klinik, menjelaskan.

Tim arsitek pun merancang lobby agar pasien tidak perlu mendaftar ke konter. Staff klinik yang akan datang untuk menanyakan kebutuhan setiap tamu, demikian pula dengan sistem pembayaran. Karena itulah di area lobby tidak dibuat konter untuk kasir, hanya meja resepsionis yang panjang dan ruang yang cukup luas dengan sofa-sofa.

Klinik sendiri dikonsep sebagai one day care clinic, atau klinik untuk perawatan singkat. Tidak ada pasien yang menginap karena klinik hanya melayani operasi-operasi minor seperti kulit, gigi, dan lainnya, bila diperlukan.

Dari area lobby, pasien akan masuk ke tiap-tiap poli

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who want a different kind of atmosphere and service,” Donny Wenas Ariestanto, architect of Tetra Design, an architectural consultant responsible for the design of clinic, explained.

The architect team envisioned a lobby where no patients need to come to any counter to register. Instead, the clinic’s staff will come to the patient. The same goes for the payment process. Hence, there is no checkout counter, only a long reception desk and a fairly spacious room with sofas. The clinic itself is conceptualized as one-day care clinic, or outpatient clinic for brief treatments. Inpatient services are not available as patients undergo only minor surgeries.

From the lobby area, patients will head into their each respective ward via corridors lined with antibacterial and hygienic carpets. For partitioning, huge glass windows coated with sandblast sticker with batik motif conveys an authentic

Indonesian feel, while remaining thoroughly modern.

Each ward is designed as a separate cluster that feels both private and cozy. Each ward has a reception counter and lounge area, as well as a consultation room. The wards consist of Dermatology, Obstetrics Gynecology, Dentistry, Pediatric, Orthopedic and Sports Medicine, and last but not least, the Medical Care Units equipped with the Radiology and General Check-Up units.

In the waiting room of each ward, patients are made to feel like they are in a cozy lounge. There is a sofa that is wide enough to sit and wait while watching TV, admiring the hanging artwork on the wall, a coffee corner and carpeted floor that pamper every guest. The consulting room, however, is made to appear more sterile, using a vinyl floor. “While there are carpets that meet the standards for medical care, our discussion with the doctors eventually leads to the use of material that is easier to clean and dust free,” said Donny.

But during the design and construction phase of this approximately 1800 m² site, a particular challenge arose that is specific to the health industry: each ward needs its own drainage channel for the sink. It is impossible to construct the channels beneath the flooring, since it will hit the tenant below.

The final solution was to raise the entire floor except the main lobby 30 centimeters from the original floor plating. The pipes for water supply and sewage were then placed below. This daring and unconventional design is what clinched the win for the HDII Award 2012 in the category of Health Care.

TOP Clockwise: a daycare center for children stocked with toys to keep kids entertained for hours while waiting.

BElow A corner of a lounge that looks more like a cozy and chic living room.

OPPOSITE PAGe Wood pattern HPL is used on the walls of consultation rooms, giving a warm and modern look.

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Comfort & Privacy

The hustle and bustle of the Jakarta traffic prompted many people to stay at the office even when it is time for them to obtain their regular healthcare schedule. From this need, the idea to create the Pacific Health Care clinic at The Plaza, in centralized shopping center Plaza Indonesia in Jakarta, arises. As an exclusive clinic, Pacific Health Care needs to present an elegant front while still prioritizing comfort and privacy for guests. Here is an interview by Benedictus Rio Sutanto of Indonesia Design with Donny Wenas Ariestanto about this project.

What was the design process initially?

The basic design of this place has actually existed for a while – since 2010, when we won the bid to design. However, the administrative process to form this company resulted in us having to re-design the clinic in 2011. But finally the project is completed this year.

PHOTO : setiady Ranu

Bagaimana proses desain pada awalnya?

Desain tempat ini sebenarnya sudah cukup lama, dimulai pada tahun 2010 saat kami memenangkan tender untuk desainnya.

Namun proses administrasi pembentukan perusahaan yang mengelola klinik ini membuat proses desain baru dimulai lagi pada tahun 2011 hingga akhirnya proyek selesai pada awal tahun ini.

Apa brief yang diinginkan oleh pihak klien?

Ini adalah sebuah multi-clinic dengan konsep one-day care, tidak ada pasien rawat inap, namun nuansanya dibuat sangat eksklusif di

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mana setiap pasien yang datang dilayani, tidak ada antrian di konter, tidak ada antrian pembayaran. Karena itu dipersiapkan banyak sofa nyaman untuk duduk dan para staff yang akan mendatangi ke sana.

Lokasinya bagaimana?

Letaknya ada di lantai 7 dari Plaza Indonesia.

Uniknya, sebagian areanya masuk ke area ritel, sebagian lagi masuk area kantor. Karena fungsinya sebagai klinik ketika mendesain, ada beberapa hal yang harus dikerjakan dengan sangat teliti seperti pengaturan saluran air dan pembuangan, serta lainnya.

What did the client want?

This is a clinic that provides multiple treatments but offers no inpatient services.

Hence, they want the atmosphere to be highly exclusive where every patient is serviced thoroughly. They do not want anyone standing in line to get to the counter, no line to pay. That’s why there are many sofa for the patients to sit while the staff comes to them.

What about the location?

It was on the 7th floor of Plaza Indonesia.

Interestingly, half of the area ventures into the retail area, while another half ventures into the office area. Because of its function as a clinic, during the design phase we have to be very detailed in terms of knowing where the water supply and drainage should go, as well other factors.

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HDII

AWARD R ET A I L

FISIK BEYOND SPORT

A Winning Design Unlike ordinary sporting goods stores, Fisik Beyond Sport got the inspiration for its interior from an unusual source: the Coliseum. The store’s victory in the Retail Category at the 2012 HDII Awards is thus well deserved. writer benedictus rio images doc. wandi krisdian

T

ABove Recycled concrete panels get new lives as a unique wall display.

ABove The store’s unofficial mascot is a rock gladiator, greeting guests at the entrance.

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C

olloseum di Roma adalah salah satu bangunan paling terkenal di Italia. Walau telah setengah runtuh, amfiteater berbentuk ellips yang dibangun antara tahun 70 dan 72 Masehi atas perintah Kaisar Vespasian itu tetap memukau. Kemegahan desain bangunan setinggi 25 meter yang dulu digunakan untuk mempertontonkan kepiawaian gladiator, mempesona jutaan orang yang melihatnya, hingga kini.

Mengunjungi Fisik Beyond Sport di Paris van Java, Bandung, susunan bidang-bidang dinding mirip Colloseum, menyambut tamu-tamu yang datang. Tampak jelas pola

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he Roman Coliseum is no doubt one of the most popular mega-structures, not only in Italy but also the world. Built between the years 70 and 72 AD by the order of Emperor Vespasian, the majestic, 25-metertall structure today lies mostly in ruins, yet its bygone grandeur still inspires wonder in all those who lay eyes on it.

A similar sensation can be felt at the Fisik Beyond Sport (FBS) store located in the Paris van Java shopping center in Bandung. The 200-square-meter store features an unmistakable pattern of an ancient Roman building’s layout and elements such as Coliseum-style pillars, walls and even raised floors (stratum) to mimic the tiered seating of an amphitheater.

This highly unique design for a sporting goods store was the brainchild of designer Wandi Krisdian of iCon. Together with his colleague Jheffry Swid, they designed the FBS’s Coliseum look. “We were told that the type of products being sold there is sporting goods equipment, which will be used in a gym, an arena on top of that. So we decided to explore the history of sports and arenas,” Wandi explained about the FBS design.

The Coliseum in Rome, which was completed around the year 80 AD, is said to be the first stadium in the world ever to accommodate large numbers of people watching performances via tiered seating. This concept later served as the basis for every modern stadium design. FBS, whose basic concept is a sporting venue, certainly benefits from the Coliseum theme.

Following the design of the mall, with cobblestones used as flooring in each store, FBS also features the extensive use of rock motifs in the interior. This is evident as soon as one enters the store, where two life-sized mannequins fashioned like gladiators and made out of rocks guard the entrance. River

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AWARD R ET A I L

Project DATA Project Fisik Beyond Sports Location Bandung, West Java Consultant & Contractor iCon Principal Designer Wandi Krisdian Jheffry Swid Floor Area 200 sqm

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layout bangunan Romawi kuno itu diadopsi untuk toko dengan luas sekitar 200 m² ini. Terlihat bentuk yang melengkung-lengkung dan beberapa raised floor sehingga terkesan seperti bagian dari deretan tempat duduk yang berundak-undak dari sebuah stadium.

Desain interior yang unik untuk sebuah toko olahraga ini merupakan ide dari desainer Wandi Krisdian dari konsultan iCon. Bersama rekannya Jheffry Swid, mereka mendesain Fisik Beyond Sport ini dengan tema Colloseum.

“Kami melihat yang dijual adalah peralatan berolahraga yang akan digunakan di sebuah tempat olahraga juga, sebuah arena. Kami memutuskan menggali sejarah dari olahraga dan arenanya,” jelas Wandi.

Colloseum di Roma yang selesai dibangun sekitar tahun 80 Masehi, memang dapat dikatakan sebagai stadion pertama di dunia yang dirancang untuk mengakomodasi penonton menyaksikan pertarungan di lapangan. Konsep

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stones spread strategically throughout the store also add to the illusion of an ancient ruin.

At the cash registers, a graphic drawing containing information about the Coliseum, from its history to the reason it was chosen as the store’s theme, decorates the wall. “The cash register area is a main area where many people stand around while waiting to pay,” Wandi explained, “the graphic thus serves as a nice distraction for those people.” And indeed many buyers enjoy the entertaining graphic element while they wait in line.

The checkout area itself is decorated with more modern materials such as wood painted in black and counters that are set in dark and monochromatic colors (such as grey), giving depth and dimension to an interior that is dominated by rock motifs. This color scheme also nicely brings out the Coliseum’s interior contours.

Perhaps most brilliantly, the Coliseum’s design not only

ini menjadi dasar dan inspirasi stadion modern. Sementara konsep dasar setiap toko FISIK adalah sebuah stadion ataupun tempat berolahraga, maka pemilihan tema Colloseum terasa sesuai.

Mengikuti keadaan eksisting dari mall tempat toko berada yang menggunakan lantai batu, batuan dipilih sebagai material utama. Terlihat dari pintu masuk dua manequin yang juga maskot toko didesain dalam wujud patung gladiator yang seolah terbuat dari batu. Ada pula batu-batu kali sebagai tambahan dekorasi yang memperkuat kesan sebagai sebuah reruntuhan kuno.

Sedangkan pada bagian kasir, ditempatkan elemen grafis pada backwall-nya yang berisi berbagai informasi mengenai Colloseum mulai dari sejarahnya hingga penjelasan mengapa dipilih sebagai tema toko. “Kasir adalah daerah di mana banyak orang menunggu, elemen grafis itu dapat menjadi pengalih perhatian tersendiri dari antrian,” jelas Wandi. Dan memang banyak pembeli yang menikmati bacaan pada elemen grafis sambil mengantri.

Pada area kasir sendiri mulai terlihat penggunaan material-material yang lebih modern, kayu-kayu yang diduco hitam. Meja kasir hadir dalam nuansa gelap dan warna monokromatik seperti abu-abu sehingga memberi dimensi yang berbeda pada interior yang didominasi batuan. Namun semua itu justru membuat bentuk

opposite page The interior design is inspired by the ruins of the roman Coliseum, the first stadium built in the world.

LEFT Concrete blocks set as display racks enhance the coliseum concept.

serves as decoration but as store display as well. Note, for example, the arrangement of a light gray brick wall that resembles a real Coliseum wall. And the wall smartly doubles as a display for a variety of sports shoes, with the back of a row of pillars serving as product display shelves. Similarly, the raised floors are covered with metal plates, conveying a synergistic theme with the store’s high-tech sports equipment.

“Sporting goods are ultimately high-tech products.

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HDII

AWARD R ET A I L

ABOVE The history of the Coliseum is displayed on the cashier’s backwall, explaining the concept of this unique store.

RIGHT A corner of the store, with patterns depicting the details and activities in the colloseum.

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Colloseum tampak sangat menonjol dalam ruangan.

Menariknya bentuk Colloseum bukan sekedar untuk dekorasi sebab juga berfungsi sebagai display.

Pertama adalah susunan bata ringan berwarna abu-abu yang dibentuk layaknya salah satu dinding Colloseum, menjadi tempat memajang beragam sepatu olahraga.

Sisi belakang dari deretan tiang yang melingkar di depan pun, merupakan rak-rak display produk. Demikian juga dengan raised floor yang dilapisi pelat-pelat lantai metal yang terkesan industrial.

“Produk olahraga bagaimanapun adalah produk berteknologi, material untuk memajangnya pun harus menunjukkan penerapan beberapa elemen berteknologi seperti metal, kaca, dan lainnya,” jelas Wandi. Selain material modern, tim desainer juga memanfaatkan material daur ulang seperti panel-panel beton bekas bongkaran gedung yang digunakan menjadi bidangbidang dan dilubangi. Di setiap lubangnya menjadi tempat untuk meletakan produk unggulan setiap musimnya.

Sejalan dengan desainnya, tata cahaya toko ini juga tidak seperti kebanyakan toko olahraga yang diterangi lampu terang benderang. Di sini, tim desainer menerapkan lampu-lampu berwarna warm white bernuansa hangat yang diarahkan untuk menyorot tiap-tiap produk. Cara ini efektif karena membuat produk yang dipajang menarik perhatian para pengunjung, sementara interior menjadi background yang mendukung suasana.

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The materials used to display them should reflect this nod to technology, such as metal, glass and others,” Wandi explained. But in addition to these materials, the design team also utilizes recycled materials such as panel concrete from the old building to be used as a display wall for the newest products for sale.

To complement the unusual design, the lighting utilizes warm white light to highlight each product, luring buyers with non-confrontational, “friendly” lights while bringing out the store’s interior in a subtle way. It is definitely a departure from the usual stark, strong lighting used in most sports stores.

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HDII

AWARD WANDI KRISDIAN

Questioning the Status Quo Going against accepted standards in society, Wandi Krisdian and Jheffry Swid designed their sporting goods stores with unique themes. The Fisik Beyond Sports (FBS) store at Paris Van Java in Bandung has a design taken from the Coliseum in Rome, while the FBS store in Summarecon Mall Serpong features a Greek Olympics theme. The following is an interview

by Benedictus Rio Sutanto of Indonesia Design with the two brilliant designers.

Bagaimana dengan olimpiade?

Ya, olimpiade di Yunani memang bagian dari sejarah olahraga, merupakan pesta olahraga akbar pertama di dunia. Namun ketika berlangsung untuk pertama kalinya, bukan diselenggarakan di stadion besar seperti Colloseum, melainkan di arena-arena tersendiri dengan tribun-tribun penonton.

Bagaimana awalnya konsep untuk FISIK? Kami saat itu diundang untuk mempersiapkan desain tokotoko dari FISIK. Mereka tadinya ingin mengikuti tren yang sudah ada yaitu semua toko sama. Kemudian kami berpikir, bila mengikuti yang sudah mapan seperti itu, akan sulit bagi merek baru ini untuk menarik perhatian. Maka kami menawarkan konsep berbeda, setiap toko memiliki desain unik tersendiri namun memiliki benang merah yang sama.

Apa itu?

Ini adalah toko yang menjual peralatan olahraga. Jadi kami berpikir desain toko tersebut harus mewakilkan sebuah wadah berolahraga seperti lapangan, jogging track, atau stadion misalnya. Itulah tema yang kami ditawarkan. Kami mendesain setiap toko berbeda namun semua memiliki satu ciri khas: tempat berolahraga.

Kemudian mengapa memilih Colloseum?

Kita kembali ke sejarah olahraga sendiri. Dahulu kala bangsa Romawi kuno membuat Colloseum, wadah besar untuk menyelenggarakan pertunjukkan spektakuler antara lain pertarungan gladiator. Colloseum ini merupakan tempat dan dasar dari stadion yang ada sekarang.

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PHOTO : setiady Ranu

What was the initial concept for FBS? When we were first invited to design for FBS’s stores, the management initially wanted to follow the standard practice to make every store look uniform. However, we knew they would have a hard time differentiating themselves from more established competitors, thus we suggested a concept in which each store would have its own unique theme, yet unified by a single design thread.

What is that thread that holds it all together?

It’s a sporting goods store, so we think the store’s design should have a unifying theme, which is physical activity, be it tennis, jogging, or a stadium, for example. That’s the theme that we

Bagaimana tema toko-toko FISIK lainnya?

Tema yang telah kami buat antara lain stadion sepakbola Santiago Bernabeu di Madrid yang memiliki nilai historis dan bentuk arsitektural yang dinilai menarik. Ada juga tema lapangan olahraga yang dibalik menjadi plafon, dan lainnya.

Masing-masing unik, disesuaikan dengan olahraga yang paling terkenal di daerah tempat toko FISIK berada.

Desain yang berbeda-beda itu apakah tidak membingungkan konsumen?

Saya pernah membaca wawancara seorang pemilik jaringan toko di Jepang yang desainnya selalu unik dan berbeda.

Ia mengatakan bahwa orang bisa saja kehilangan barang yang ia beli entah memang hilang atau memang sudah tidak dipakai. Namun sesuatu yang tidak akan hilang adalah memori. Begitulah kira-kira yang ingin kami capai: memberikan pengalaman unik agar orang terkenang akan desain toko-toko FISIK yang mereka datangi sehingga mereka akan kembali lagi ke sini karena juga menyukai pengalaman tersebut.

offer. We designed each store differently, but all have one characteristic: a place to exercise.

Why choose the Coliseum?

If we trace the history of sport itself, the ancient Romans built the Coliseum for one purpose: to hold spectacular sporting events, including gladiator fights. The Coliseum is the basis of all existing stadiums.

What about the Olympics?

The Olympics in Greece were indeed an important part of history as they were the first grand sporting events in the world.

But then the competitions took place in small, separate arenas and not in one large one like the Coliseum.

What about other themes in other FBS stores?

There’s a Santiago football stadium-inspired theme, which has historical and architectural value, as well as an upside-down sports field theme. Each is unique and tailored to the most popular sport in the area.

Will the different designs not confuse customers?

I once read an interview with a chain store owner in Japan whose designs are always unique and different. He said that his customers may well lose the items they bought from his stores, but the one thing they never lose is their memory of his stores.

That’s what we want to achieve: give a unique experience so that people will always come back to the store.

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Design lighting

TECHNOLOGY MAKES YOUR LIFE EASIER T

o have one thing changed every time is not a high-sounding requirement. It’s naturally needed due to our surrounding and condition are keep changing from time to time.

When we are listening to the music from an audio set, sometime we set it in high volume and another time we do it in very low, it is needed by our mood and emotion that we have in that time or…. another example when we are driving a car, we can not keep in a certain speed due to our traffic condition is changing all the time. So an adjustment is needed in many ways.

How about with Lighting ?

One day when sun is shining brightly goes through into your room and contributing in lighting level, we can reduce artificial lighting usage which it can save in energy usage and at the end it will reduce operational cost, many other things need lighting level adjustment in our daily activities.

Several years ago to make adjustment into a certain lighting level to fit our needs is not an easy thing, but now by technology innovation it has

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Actillum, is new automatic dimming system that has been designed for maximum comfort aand automatic energy savings. It consists of sensor and controller unit build in luminaire. It’s for both daylight sensor and motion detector. It is true Plug & Play lighting control system on market.

Occuswitch, is a movement detector that allows energy savings of up to 30%, e.g. in office buildings, schools and hospitals. Focusing on end-users’ needs in terms of energy efficiency, reliability and ease of installation, Philips has revisited its successful Occuswitch concept.

become very easy. We can create any ambience and atmosphere as you like . Technology innovation has made everything easier.

Controllable Lighting System ….Why not?!

Lighting has very strong influence in creating an ambience and atmosphere, especially during night time or indoor activities. A certain lighting level will give a different ambience which at the end it will bring us to a good or bad of mood, emotion, perception and performance.

Beside to fit the needs in creating ambience , a controllable lighting system can help us to avoid any unnecessary lighting usage especially when a certain room unused. So we can have an energy saver lighting system.

Fit your needs with Philips Lighting Control System Actillum, Lux sense and Occuswitch are Philips lighting controller to fit your illuminance level need. It can be adjusted up and down to follow the daylight condition and/or room occupancy. It will makes your artificial lighting system become more efficient.

Luxsense, is a daylight regulation system for luminaires equipped with 1-10V dimming ballast - offering an additional energy saving of at least 30% over and above normal electronic ballasts.

It plays an important role in energy saving and is reliable and easy to install. It is a user-centric system for use in offices, supermarkets, schools and factories, where daylight access is available.

Actillum

Lets turn on to a world of possibilities with Philips Lighting Control System For further information Hotline : 0 – 800 – 10 – LAMPU ( 52678 ) WEBSITE : www.philips.com

Occuswitch

Luxsense

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HDII

AWARD h o s pi ta l i t y

Artotel

Artmazing Hotel We have actually featured the Artotel in Surabaya in our 9th Anniversary edition, but this stunning hotel won a well-deserved spot at the HDII Awards 2012 in the Hospitality and Favorite categories. We are thus pleased to feature the Artotel just one more time. writer Dhion gumilang images bagus tri laksono (doc. artotel) 46

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K

awasan Jalan Dr. Soetomo kedatangan penghuni baru. Di ujung jalan di atas lahan bekas dua rumah pribadi, berdiri bangunan bertingkat dengan ketinggian enam lantai. Tampil kokoh dan menonjol dibanding gedung-gedung di sekitarnya, bangunan hadir dalam gaya kolonial yang menawan: berbentuk persegi dengan garis-garis lurus berkarakter menghiasi fasadnya. Tak ayal lagi, bangunan modern ini memberi warna apik pada kawasan heritage di Surabaya.

Artotel, bangunan itu, dengan segera memberi warna pada kawasan heritage Kota Pahlawan.

Dr. Soetomo Street in Surabaya has long been regarded as one of the city’s most important heritage areas. Recently, it added a new occupant to the list that should become a landmark in the years to come: the award-winning Artotel.

Occupying the old space of two former houses, the new six-story building was constructed following the colonial-style architecture of the heritage area with a square shape and strong straight lines adorning the façade. Artotel’s look is nonetheless modern and it undoubtedly stands out in the neighborhood, adding certain flair to the entire area.

Entering the lobby, guests will be treated to a very different

ABOVE the entire hotel is like a canvas, with many paintings and sculptures dotting the space.

Opposite page the mesmerizing facade of the hotel comes complete with spiraling stairs as its focal point.

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HDII

AWARD

h o s pi ta l i t y

décor from what they are used to in other hotels. Dominated by warm wood, the lobby also serves as an art gallery in which to showcase various artworks from up-and-coming Indonesian artists. At the time this article was written, there were three paintings and several contemporary sculptures, but the works will be rotated periodically. A spiral staircase located in one corner connects the lobby to the third floor.

A mural on the staircase’s wall by a well-known Indonesian graffiti artist depicts a squid floating around an urban city.

Sipping a cup of coffee at RoCA Restaurant, located exactly in front of the stairs, is the best way to enjoy the art. “We offer an experience that guests won’t get anywhere else,” Christine Radjimin, the owner, explained.

Christine was not exaggerating, of course. Unlike other smart hotels, Artotel’s interior is filled to the brim with various works of art. Even the corridors that lead to the guest rooms are decorated with paintings and wallpaper with tree branch motifs. Moreover, all the doors were designed and painted differently in the distinctive shape of numbers as created by Gambiro W. Putranto, the head interior designer from Tata Wastu Asia.

All of these small details gel together to create a singular dynamic atmosphere so that the entire hotel feels energized.

The contemporary art as presented becomes an integral part

Project DATA Project Name ARTOTEL Surabaya Location Surabaya Architecture Consultant Aaron Purbo Architect Interior Consultant PT. Tata Wastu Asia Principal Designer Ariya Sradha Project Manager Gambiro W. Putranto Structural Consultant Benjamin Gideon & Associates Main Contractor PT. Wijaya Karya M&E PT. Sigmatech Floor Area N/A Opening 7 July 2012

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LEFT these Quirky and colorful doors are simple, yet thoughtfully designed and adds to the hotel’s character.

Below the interesting graphic on the bedhead, made possible by digital printing.

OPPOSITE PAGE, top the ambience inside RoCA Restaurant.

OPPOSITE PAGE, BOttom a detail inside an elevator.

Memasukinya, tamu dikejutkan oleh interior hotel yang didesain berbeda dari hotel-hotel sekelasnya. Lobby hotel, didominasi unsur kayu yang memberikan kesan hangat, menjadi sebuah area untuk memajang karya seni yang pada rentang waktu sekarang ini terdapat 3 lukisan dan beberapa patung kontemporer yang kesemuanya karya anak negeri. Tak ketinggalan adalah tangga dengan desain yang berputar ke atas hingga ke lantai 3 bangunan sebagai focal point dari fasad hotel.

Pada tangga terlihat mural yang bercerita tentang cumi-cumi yang sedang berjalan-jalan di sebuah urban city.

Sembari menyesap secangkir kopi di RoCA Restaurant yang tepat berada di depan tangga, indera penglihatan tamu pun seakan dimanjakan oleh berbagai karya seni kontemporer.

“Kami memang menawarkan pengalaman tinggal yang tak didapat di hotel lain,” Christine Radjimin, sang pemilik hotel menjelaskan.

Apa yang disampaikan pemilik hotel benar. Tak seperti smart hotel pada umumnya, interior Artotel dipenuhi dengan berbagai gambar dan karya seni. Berjalan menuju kamar hotel, tamu akan melewati selasar yang digantungi lukisan dan motif wallpaper menyerupai batang-batang pohon. Tak berhenti di situ, pintu-pintu kamar yang berjejer dirancang dengan warna yang satu sama lain berbeda dengan bentuk angka yang nyentrik sebagai nomornya, hasil ide dari Gambiro W. Putranto dari Tata Wastu Asia

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AWARD h o s pi ta l i t y

selaku project manager untuk penataan interior hotel ini.

Semua yang terlihat berwarna itu menciptakan suasana ceria di hati, tidak membosankan karena seni kontemporer ditampilkan bukan sebagai pajangan, tetapi menjadi bagian tak terpisahkan dari hotel. “Kami membuat hotel ini sebagai kanvas untuk semua karya seni, baik itu lukisan, patung, maupun mural,” Ariya Sradha, principal designer dari Tata Wastu Asia, menjelaskan.

Terdapat 124 kamar yang terbagi dalam tiga tipe: Studio 20, Studio 25 dan Studio 30. Masing-masing luasan kamar sesuai dengan nama tipenya. Seperti lobby dan selasar, interior kamar-kamar hotel pun hadir dengan bermacam karya seni kontemporer. Teknik digital printing dipilih Tata Wastu Asia untuk menampilkan karya seniman-

above A spiraling staircase depicting an urban squid gamboling through a city.

RIGHT A lone contemporary sculpture guards the stairs.

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seniman muda Indonesia, yang mengekspresikan gambargambarnya pada dinding bedhead kamar.

Maka tak heran bila seluruh hotel menjelma seperti sebuah galeri seni kontemporer. Tamu yang datang untuk menginap, tak hanya dibuat penasaran oleh karya-karya yang dipajang di lobby atau selasar, tapi juga lukisanlukisan digital printing yang di desain berbeda untuk setiap kamar. Tentu mereka bisa menikmati semua karya seni yang ada dengan datang kembali dan menginap di kamar yang berbeda.

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of the hotel, as opposed to mere displays. “We made this hotel a canvas for all artworks – paintings, sculptures or murals,” Ariya Sradha, the principal designer of Tata Wastu Asia design consultancy, who designed all of the art elements of the hotel, explained.

Artotel has 124 rooms categorized into three types: Studio 20, Studio 25 and Studio 30. The numbers represent the size of the respective rooms. Just like in the lobby area and the corridors, each room also features various contemporary artworks. Tata Wastu Asia chose a digital printing technique to showcase the various young and emerging Indonesian artists’ works.

It is no surprise then that the hotel feels more like an art gallery than an actual hotel. It is, of course, a hotel first and foremost; but guests who stay at the Artotel can expect to have their five senses stimulated in a very good way.

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AWARD

insitutional

favour@central

Dynamic Design The design of the Praise & Worship Favour@Central Hall is indeed extraordinary. This masterpiece by architect Samuel A. Budiono, M.Arch, BSAS, IAI, Founder / President of Samuel A. Budiono & Associates and Principal-In-Charge of the Favour@ Central project, won the HDII Award 2012 in the Institutional category and the People’s Choice Award at the World Festival of Interiors 2011 in Barcelona, Spain. writer benedictus Rio

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onsep “urban forest” dari Favour@Central di kawasan Central Park – Jakarta merupakan suatu “oasis” di tengah kota yang diwujudkan melalui ranting-ranting metal berwarna putih merambat dari dinding sampai meliputi langit-langit. Merupakan suatu fasilitas auditorium tempat berkumpulnya anak muda sambil berkreasi dan berinspirasi. Efek rambatan rantingranting menggambarkan suatu pertumbuhan akan generasi muda yang sehat dan berguna serta dapat memberikan kontribusi positif terhadap masyarakat di sekitarnya.

Melewati foyer begitu kepala menengadah ke atas, suatu “floating” sculpture mencuat ke permukaan dan mengambang diatas oval lobby. Anyaman logam seolah jejaring yang mengalir plastis ini bagaikan sebuah bejana yang sedang dibentuk. Metafora dari sebuah proses manusia menuju kesempurnaan. “Arsitektur yang bernyanyi saya ciptakan untuk bisa meninggalkan pesan bagi para pengamatnya seperti layaknya suatu lagu yang berkesan di hati,” tutur Samuel. Dalam penanganannya

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The “urban forest” concept of Favour@Central in the area near Central Park Mall in Jakarta is in the form of iron “twigs” painted white that jut out from the wall all the way up to the ceiling. An auditorium built for creative and inspirational youngsters, the structure’s metal twigs or branches represent the hope of growth for the next generation, who are the ones who can make a positive contribution to society.

If you look up as you pass through the foyer, you’ll see a “floating” sculpture that juts out from the surface and hovers above the oval lobby. The elastic flow of the metal, deliberately woven like a net, signify a container of some sort being molded.

It is a metaphor for achieving perfection. “I like to think of this as a ‘singing’ architectural work; a mechanical work that ‘sings’ to its observers,” explained Samuel, who was aided by Yatty L. Budiono, M.Arch, Ir, IAI, as Partner-in-Charge to ensure all design details were implemented correctly by the contractor.

The designation as a worship/musical inspiration plays right into the architectural design, which “communicates” with visitors. The “singing” and “dancing” elements are expressed

ABOVE The urban forest concept is partially represented in the colorful fabrics of the chairs. opposite page The singing and dancing wall can change its colors and movements to follow the rhytm of a song.

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AWARD insitutional

LEFT TO RIGHT The lobby’s distinctive vine and branches concept is represented through the use of clay and potter.

The interior’s concept reflects the statement of spiritual fulfillment through the poetry of light and space flowing through exhilarating forms.

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dibantu juga oleh Yatty L. Budiono, M.Arch, Ir, IAI, sebagai Partner In Charge untuk memastikan semua detail desain dilaksanakan kontraktor dengan baik dan benar.

Peruntukannya sebagai wadah inspirasi musik sangat sesuai untuk terciptanya suatu karya arsitektur yang dapat berdialog dengan pengunjung. Ekspresi “bernyanyi” dan “berdansa” ini dipertegas melalui desain the singing & dancing wall berupa dinding dan langit-langit yang bergelombang meliuk-liuk. Bentuk dinamis the singing & dancing wall ini bukan sekedar penampilan estetika saja tetapi juga disesuaikan dengan kebutuhan akustiknya.

Setiap gelombang dan lengkungan dirancang dengan sudut distribusi pemantulan suara yang cermat dari arah panggung ke titik-titik yang tersebar merata ke

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on the “Singing and Dancing Wall”, which is shaped in an undulating, wavy pattern. This dynamic form is designed not only to appeal aesthetically but is also tailored to acoustic needs. Each wave’s angles and arches are designed with a careful calculation of sound reflection distribution from the stage to the audience. An organic shape is realized through a combination of iron and rattan woven materials, giving a fluid and plastic expression.

The main congregation hall is the center of all activities and is designed very attractively. Seats accommodating 1,500 people flow dynamically and are supported by an artistic combination of colors while maintaining a focus on the main stage. Such an arrangement is made possible by drawing a primary axis line from the entrance to the window by the side

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1. Entry Foyer 2. Oval Lobby 3. Main Congregation 4. Stage 5. Eagle Kids 6. Eagle Teens

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AWARD insitutional

The mezzanine level, located on the the main room entrance, sports a design that applies the concept of lyrical transformation.

Project DATA Project Favour@Central Location Central Park, Jakarta Design Consultant Samuel A. Budiono & Associates Principal Architect Samuel A. Budiono, M. Arch, BSAS, IAI Principal Designer Yatty L. Budiono, M.Arch, Ir, IAI Acoustic/Lighting Samuel A. Budiono & Associates Contractor Gita Laras M&E Elka Buana Floor Area 1500 sqm

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arah penonton. Bentuk organik diwujudkan melalui kombinasi bahan anyaman besi dan rotan sehingga ekspresi yang fluid dan plastis dapat tercapai secara maksimal.

Ruang kongregasi utama yang menjadi pusat seluruh kegiatan, berdesain sangat menarik. Tatanan kursi untuk 1.500 orang yang terdapat di dalamnya mengalir dinamis dengan didukung perpaduan warna yang artistik namun tetap terpusat ke panggung.

Penyusunan demikian terjadi melalui garis aksis yang ditarik dari pintu masuk ke ruangan ini serta sebuah jendela di sisi panggung utama yang membingkai panorama kota Jakarta.

Sekaligus memberikan suatu poros imajinasi cahaya sebagai konsep “light of the world” yang memancar kedalam bangunan.

Konsep “the living water” menciptakan ruang menjadi mengalir (“fluid”) yang dibaca bagai aliran air sungai kehidupan, melambangkan suatu sumber yang tidak pernah kering. Liquid spatial concept merupakan eksplorasi tentang suatu pergerakan progresif yang selalu mengalir. Penerapan pergerakan ini diwujudkan melalui ekspresi musik sebagai suatu pendekatan dalam arsitektur. Akibatnya hampir tidak ada bentuk rigid yang kaku di dalam ruangan. Dinding menyatu dengan plafon bergelombang bagaikan aliran air yang bergerak secara ritmis dan dinamis.

Selain kesan dinamis, tercipta juga suasana suatu “drama” pertunjukan dari arsitektur yang mendukung penampilan sesungguhnya di panggung. Kesan “dramatis” lainnya pun muncul dari permainan efek lampu LED yang dipasang pada bagian dalam dinding sehingga memberikan “sensasi” massa dinding yang bergerak, bergoyang dan berdansa mengikuti irama musik yang dialunkan. Terciptalah suasana interaksi yang hidup antara elemen bangunan dan manusianya. Memang sebuah karya desain yang hakiki.

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of the main stage that frames the Jakarta skyline. This also represents an imaginary shaft of light that shines bright into the building; the “light of the world” concept.

The “living water” idea presents a fluid room that represents water as the source of life, an everlasting spring. The liquid spatial concept is an exploration of a progressive movement that is always flowing. The application of this movement manifests through the expression of music as an approach to architecture.

As a result, there are hardly any rigid shapes within the room. The walls blend in with the ceiling, undulating like a stream of water moving rhythmically and dynamically.

In addition to the dynamic feel, a “dramatic” feel never strays far from the stage. The design and architecture supports the real drama that takes place on the main stage in the form of embedded LED lights on the wall. The LED lights allow for an effective light play that gives the sensation of a “moving” wall during performances, swaying and dancing rhythmically to the music. Therein is a lively atmosphere where the interaction between material (building) and man is created; an essential piece of design.

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AWARD Samu e l A .

B udiyo n o

Apa visi dari pihak klien?

Mereka ingin membentuk suatu wadah, apalagi di sekitar sini banyak sekali universitas, banyak anak muda. Tempat ini diharapkan menjadi sebuah wadah yang positif untuk kegiatan rohani, seminar, pertunjukan dan lainnya.

Jadi memang untuk anak muda ya?

Mayoritas memang anak-anak muda. Karena itu saya sesuaikan desainnya menjadi sangat dinamis agar spirit of refreshment and young itu terasa. Anak-anak muda itu kreatif, tempat ini harus bisa mengikuti mereka. Kemudian sesuai konsepnya, di ruang utama ada singing and dancing wall yang benar-benar mengikuti irama musik dan performance di atas panggung.

Apa konsepnya dalam membuat itu?

Saya percaya konsep secara keseluruhan sebuah desain itu bukan hanya sekedar dekorasi. Lebih ke pengolahan space, apa yang mau dihadirkan dalam ruangan juga apakah orang dapat menikmatinya atau tidak. Komunikasi desain itu harus dua arah.

Bagaimana maksudnya?

Seperti dalam penghargaan People’s Choice Award yang saya terima dalam World Festival of Interior 2011 di Barcelona, publik memilih secara langsung. Mereka melihat apa yang kami bawa dan menikmatinya. Bagi saya begitulah arsitektur dan desain. Kita membuat sesuatu, tapi berhasil atau tidak menurut saya adalah dari bagaimana orang merespon dan mengapresiasi.

Tapi tentu penilaian ahli juga sangat penting karena memberikan kritik dan masukan-masukan tersendiri.

Two-Way Communication To architect Samuel A. Budiono, M.Arch, BSAS, IAI, a design must be able to communicate with its users. And by understanding how designs are created, users will be able to enjoy them more. Benedictus Rio Sutanto of Indonesia Design spoke with the president of Samuel A. Budiono & Associates about Favour@Central, a unique function hall in the Central Park area in Slipi, Jakarta.

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Anda membuat singing and dancing wall yang sangat komunikatif. Apa lagi penerapannya dalam proyek ini?

Tempat ini seperti sebelumnya diharapkan menjadi wadah untuk berkembangnya anak-anak muda.

Dalam desain banyak terlihat pola ranting-ranting, simbolisasi pertumbuhan yang berakar, bertunas, dan diharapkan berbuah.

Kemudian jejaring metal seperti bejana yang sedang dibentuk dengan tampilan yang belum sempurna, semua itu lambang-lambang yang mengkomunikasikan pesan.

What was the client’s vision?

The client wanted a medium for young people from the surrounding universities; a positive forum for spiritual activities, seminars, performances and more.

So it is specifically targeted at young people?

The majority of users, yes. This is why I designed it very dynamically so that it exudes a “spirit of refreshment and youth”. Youngsters are creative; therefore this place must be able to keep up with them. In line with the concept, the main space features a singing and dancing wall that can actually follow the rhythm of the music and performances taking place on stage.

What was the original concept?

I believe the whole concept of design is not mere decoration. It is about space management, what we want to present in that space and whether people can enjoy it or not. Design should be two-way communication.

What does that mean?

As with the People’s Choice Award that I received at the 2011 World Festival of Interiors in Barcelona, ​​the people speak for themselves. They saw what we designed and enjoyed it. For me, that’s architecture and design. We make something, but whether it is successful or not in my opinion is how people respond to it. Of course, expert assessment is also very important because it provides criticism and input.

You created a communicative singing and dancing wall. What are the other applications?

There are many patterns of branches symbolizing growth that will hopefully branch out and bear fruit. Also, there is an incomplete metal weaving sculpture that symbolizes a work in progress.

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HDII

AWARD STUDENT WINNERS

Andira Maqdissa Gusti

An Oasis of Knowledge

A refreshing idea for a communal reading room comes from Andira Maqdissa Gusti, the winner of the 2012 HDII Awards student competition in the Most Innovative and Favorite categories.

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ampus, tempat mahasiswa menimba ilmu seringkali terlewatkan dari pikiran para arsitek dan desainer interior.

Padahal di dalamnya terdapat ratusan mahasiswa yang juga membutuhkan ruang yang nyaman untuk belajar.

Andira Maqdissa Gusti memberikan sebuah penyegaran di tengah belantara buku di perpustakaan kampusnya dengan merancang proyek Ramaysthana Ganesha atau Oasis Ganesha. Seperti kita ketahui Ganesha adalah lambang pengetahuan yang juga menjadi lambang Institut Teknologi Bandung, tempat yang dipilih untuk perancangan proyeknya.

Dalam konsep ringkasnya dipaparkan, ruang baca dan tempat bukubuku dirancangnya berbeda dari umumnya perpustakaan. Dari pintu masuk utama, pengunjung tidak akan diburu-buru untuk langsung memilih buku dan membaca, namun mereka akan sampai di sebuah aula

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besar yang di tengahnya terdapat sebuah monumen di atas kolam. Potpot tanaman dilengkapi dengan bench, juga diletakkan di sekitarnya hingga suasana ruang besar yang dilengkapi dengan akses internet ini terkesan santai sekaligus tenang.

Untuk mencapai ruang baca, terdapat ramp melingkar yang akan membawa pengunjung ke ruang koleksi buku yang disusun layaknya sebuah amphitheatre. Kesan terbuka dan luas serta rak-rak buku yang dirancang atraktif membuat ruangan terasa lebih luwes dan ramah kepada pengunjung. Di lantai atas ini juga terdapat ruangruang membaca lain, diperutukkan bagi mereka yang membutuhkan konsentrasi lebih.

Sebuah oasis tentu harus memberikan kesan sejuk, karenanya warna dinding memberikan pengaruh besar pada suasana ruang.

Konsep yang dirancang, menggunakan warna-warna bernuansa hijau dan teal, serta warna-warna yang lebih vibrant seperti merah maupun warna-warna netral seperti hitam dan putih. Semua ini dipilih dengan pertimbangan bahwa warna-warna tersebut dapat lebih mengekspos tekstur dari material yang dipilih.

Tampak dalam gambar, material yang dipilih kebanyakan bernuansa alami seperti kayu, baik warna tua maupun muda. Kemudian batubatuan yang digunakan sebagai pelapis kolom, marmer dengan warnawarna bumi seperti krem, cokelat tua dan lainnya. Perpustakaan ini dirancang sedemikian rupa sehingga membawa kesan nyaman dan menyenangkan. Sesuatu yang inovatif dalam perancangan interior bangunan institusional. Pantas bila mendapat penghargaan.

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he thesis project of this student in the Faculty of Arts and Design at the Bandung Institute of Technology (ITB) attracted the attention of the jury with her visionary idea for a comfortable space for students to study and read. A campus is a place where hundreds upon hundreds of students seek knowledge, yet it is the one place that architects and interior designers often pay no attention to.

Gusti’s idea envisions a library-in-library oasis in the middle of her campus’s wildly huge library stocked with books, and is dubbed the “Ramaysthana Ganesha” project or simply “Oasis Ganesha”. As we know, Ganesha is a symbol of knowledge and is also the symbol of the Bandung Institute of Technology, the place chosen for the design project.

In her concept, Gusti envisions a different kind of library. From the main entrance, visitors will not be rushed to instantly pick up a book and read, but will instead be directed to a large hall in the middle of the structure where there is a monument on top of a pool. Potted plants equipped with benches are placed around the perimeter, conveying a cooling and relaxing atmosphere at this large institution.

To get to the reading room, a circular ramp will take visitors to a room where volumes of books are arranged in an amphitheater-setting, conveying an open and spacious impression perfect for learning. Attractive bookshelves make the room friendly to visitors. And the upper floor houses more isolated reading rooms for visitors who want to concentrate more.

Shades of green and teal dominate the walls to convey an oasis feeling, while red and neutral colors like black and white bring out an individual

material’s textures.

As can be seen in the photo, most of the materials are from natural elements such as both dark and light wood. There are also stones that are used as coatings for the columns, and marble in earth colors such as beige and brown. This is one library that was designed with comfort and harmony in mind.

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AWARD STUDENT WINNERS

Trisna Waty

Sustainability in Harmony Trisna Waty, a student at Universitas Pelita Harapan in Jakarta, envisions a unique, eco-friendly golf clubhouse that synergizes form with function.

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eperti namanya, bangunan golf club house diperuntukkan bagi kegiatan olahraga golf. Untuk tugas akhirnya, mahasiswi Trisna Waty mendesainnya dengan menerapkan prinsip sustainability. Lobby sebagai area pertama yang menyambut pengunjung dirancang sebagai paviliun terbuka dengan suasana hangat dan alami, sehingga penggunaan energi listrik untuk pencahayaan maupun AC berkurang drastis karena udara dan cahaya matahari masuk bebas ke dalam ruangan.

Untuk memperkuat suasana alami, digunakan material seperti batu alam kelabu yang sejuk dipandang pada lantai, dan bambu sebagai elemen penutup langit-langit dan juga beberapa bidang dinding. Seperti yang kita ketahui, bambu merupakan material yang mudah diperbaharui sehingga sesuai dengan tema yang ingin diangkat di desain golf club house ini. Ide menarik lain adalah penggunaan rolling door bekas yang dibingkai dengan bidang putih melengkung pada bagian belakang meja resepsionis serta bola-bola golf tak terpakai lagi sebagai penutup beberapa bukaan bulat di jendela maupun pada instalasi Golf Shop.

Sedangkan toko tempat menjual cinderamata dan berbagai pernik keperluan golf, dirancang atraktif bagi para pengunjung. Berbentuk kubah, area komersial yang juga terbuat dari batang-batang bambu, tampil menarik perhatian di dalam ruang. Tampilan yang unik ini sesungguhnya menunjukan fleksibilitas material bambu yang bisa dibentuk dalam beragam wujud. Strukturnya juga didesain dengan banyak celah agar cahaya dan udara alami dapat masuk ke dalam ruangan.

Selanjutnya adalah VIP Driving Range yang merupakan bagian terakhir dari desain. Tentunya sebagai tempat latihan memukul bola, area ini terbuka sehingga sistem pencahayaan dan pengudaraan alami terwujud dengan sendirinya. Namun untuk optimalisasinya, setiap dinding yang memisahkan area-area driving range dirancang sebagai pot-pot tanaman sehingga sejuk dan lapang. Meski tampak terbuka berkat adanya tanaman, area tetap terasa memiliki privasi. Desain menarik ini memenangkan HDII Award untuk Kompetisi Mahasiswa dalam kategori Most Green dan Most Functional.

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s the name suggests, a golf clubhouse is a place where people play golf. To that end, student Trisna Waty designeda place with a strong sustainability principle. The lobby, as the first area to welcome visitors, was designed as an open pavilion with a friendly and natural atmosphere. The walls in the reception area are designed with perforated patterns, allowing natural light and fresh air to flow through and reducing the need for lighting and air conditioning.

To enhance the atmosphere, natural materials such as smooth stones for the floor and bamboo as a roof cover and for some wall coverings are used. Bamboo, as we know, is a highly renewable material, so this plays right into the golf club’s overall theme. Another interesting concept is the use of a secondhand rolling door framed with white at the back of the curved reception desk, as well as used golf balls as coverings for several window handles and for the Golf Shop.

The souvenir shop was designed following the shape of a dome, and does not stray from the golf theme. Made of bamboo poles, the interior boasts the versatility of bamboo as a highly useful and naturally friendly material that sees usage throughout the complex. The structure is also designed with plenty of perforation to allow natural light and air to filter through the rooms.

The VIP Driving Range is the last part of the design that warrants a second look. As a practice facility, this area employs an open design with natural aeration and lighting. To maximize this, the partitions that separate the driving range areas arepotted plants, conveying coolness and airiness.

Although the appearanceis open, privacy is not an issue as the flowers do a good job separating each cubicle. Hence this was the winning design at the HDII Awards Student Competition in the Most Green and Most Functional categories.

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AWARD STUDENT WINNERS

elips, dengan lampu-lampu yang menggantung di indrawati atasnya. Secara visual, ini merepresentasikan hiasan kepala pada pakaian adat Lampung; desain yang cukup efektif menghadirkan nuansa etnis. Turut mempercantik area ini, empat tiang penopang struktur berwarna putih dihiasi pola tradisional. Lantai yang direncanakan menggunakan marmer juga membuat penampilan lobby lebih elegan.

Lalu di sisi kanan lobby diletakkan Taruko Restaurant.

Layout restoran ini terinspirasi dari Pohon Aru yang dipercaya sebagai akar kehidupan dalam masyarakat setempat, mewakili besar kecilnya kehidupan. Aplikasinya terlihat pada ruangan yang cukup besar dengan bidang jendela yang lebar membuat area restoran memiliki pencahayaan alami yang cukup baik. Sementara dindingnya, dilapisi kayu gelap hingga senada dengan lobby. Turut mempercantik tampilan adalah pola kain yang dibuat menjadi aksen. ndrawati, mahasiswa Fakultas Desain dan Teknik Perencanaan Kamar-kamar hotel sendiri menggunakan poster bed kayu hingga Jurusan Interior, Universitas Pelita Harapan, membuat tugas akhir terkesan tradisional sekaligus mewah. Pencahayaannya menggunakan yang berjudul Embracing Warmth in The Spirit of Lampung. Dalam teknik indirect yang membuat ruangan terasa teduh dan rileks. proyeknya itu ia merancang sebuah hotel yang mengedepankan Headboard pada kamar-kamar yang menggunakan kayu-kayu yang karakter lokal yang langsung terasa. Untuk mewujudkannya, kayu dipilih diukir juga menghadirkan kemewahan tersendiri. Keunikan desain ini menjadi material utama ditambah area lobby yang didesain tinggi menarik perhatian para juri HDII Award 2012 yang kemudian memilihnya hingga terasa megah namun tetap hangat menyambut. sebagai pemenang dalam Kompetisi Desain Mahasiswa untuk kategori Konter resepsionis diletakkan di tengah ruangan dan berbentuk Most Ethnic.

The Warm Spirit of Lampung

With ethnicity as the central theme, this student’s final project features a unique ethnic Lampung character in a hotel design.

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ndrawati, a student majoring in interiors in the Faculty of Design and Planning Engineering at Universitas Pelita Harapan in Jakarta, completed a thesis titled “Embracing Warmth In The Spirit of Lampung”. For her project, she designed a hotel that emphasizes friendliness and comfort. Dark-colored wood was chosen as the main material to provide depth, and the lobby, which was designed with a high ceiling, conveys grandeur while remaining down-to-earth and unimposing.

Visually, the design offers an immediate ethnic feel. The elliptically shaped reception counter is placed in the middle of the room, and is decorated with hanging lamps that are reminiscent of the traditional Lampung headdress. Four supporting pillars painted white are decorated with traditional patterns complementing the white marble of the lobby’s floor.

To the right of the lobby is Taruko Restaurant. The layout of the restaurant is inspired by the Aru tree, which is believed to be the root of life in the local community, representing the ebb and flow of being.

The application of this concept materializes in large windows that let in natural light to brighten the large room. Meanwhile, dark wood wall paneling harkens back to the lobby. Finally, ikat fabrics complete the overall accent.

The hotel rooms themselves have wooden bed posters that convey both intimacy and luxury. The room uses an indirect lighting technique that makes the space feel calm and relaxed. Carved wooden headboards add an additional sense of luxury. All of these unique design details are what ultimately prompted the jury at the HDII Awards 2012 to name Indrawati the winner in the Student Design Competition in the Ethnic category.

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Entering our 10th year publication in 2013, we want to share with you our insights for trends in design and architecture that will shape Indonesia’s future landscape.

Read on as we write our opinions, backed by professional insights from experts in their respective fields, regarding future trends for hotels, resorts, restaurants, shopping centers, apartments, residences, mixed-use complexes and more.

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Evidence of the earliest hotels can be traced back to biblical times, when Mary and Joseph traveled to Bethlehem to escape a Roman census during the reign of Governor Quirinius in Syria.

The first modern hotel is widely considered to be The Tremont, which opened in 1829 in Boston and was designed

by Isaiah Rogers. The four-story hotel sported a neoclassic façade wrapped in granite, and featured the world’s first revolutionary indoor plumbing, i.e. toilets and baths. Seven years later, The Astor House upped the ante by featuring Greek Revival architecture complete with Doric columns in an evolution of the neoclassic style.

At that time, hotels needed to be as lavish and exclusive

clockwise, from below hotel neo, a new “selectservice” hotel offering from archipelago international. the trend for the modern city hotel is smaller size in everything, yet functional. the facade of many city hotels now features clear, simplified lines that convey practicality and modernity. the trend of shrinking hotel room sizes is offset by removing traditional hotel elements such as working desk and chair , since many guests now work from bed with their tablets and laptops.

City Hotel From its humble beginning as a simple shelter for wayfaring travelers, the architecture phenomenon known as the hotel has come a long way from emulating lavish palaces and kingdoms to trying to win the hearts of every man, woman and child with simple, no-fuss functionality and user-friendly modern creature comforts.

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ukti keberadaan akan sebuah hotel bisa kita telusuri jauh sampai pada masa Injili, saat Bunda Maria dan Santo Joseph melarikan diri ke Betlehem pada masa pemerintahan Romawi.

Tolok ukur sebuah modernitas hotel sendiri dapat dilihat dari berdirinya The Tremont yang dibuka pada tahun 1829 di Boston yang didesain oleh Isaiah Rogers.

Fasad gedung neoklasik setinggi 4 lantai itu dihiasi batu granit dan merupakan hotel pertama yang mengenalkan indoor plumbing serta indoor toilet and baths. Tujuh tahun kemudian, The Astor House yang bergaya Greek Revival dengan kolom-kolom Greek Doric yang menyokong entablature pendek sebagai perkembangan dari gaya neoklasik, hadir.

Keberadaan hotel tersebut disebabkan kebutuhan dari masyarakat kelas atas untuk bepergian dan melakukan perjalanan bisnis. Dikarenakan mereka berasal dari kalangan ningrat, maka arsitektur maupun interior hotel dibuat menyerupai keadaan yang ada di dalam sebuah kerajaan.

Lobby hotel yang megah dan pelayanan secara personal sengaja ditekankan agar timbul kesan bahwa hotel adalah hanya bagi mereka yang mampu.

Hotel-hotel bergaya arsitektur Barat ini kemudian mulai muncul di Indonesia seiring dengan kolonisasi Belanda.

Hotel-hotel pun dibangun di kota besar seperti Jakarta, Surabaya, Medan, dan Makassar. Oranje Hotel di Surabaya yang kemudian berubah nama menjadi The Majapahit adalah salah satu contoh hotel berfasad art-deco kolonial.

Sedangkan Hotel Indonesia yang diresmikan tahun 1962 merupakan hotel berbintang lima pertama di Indonesia dengan fasad post-modern.

Seiring dengan perkembangan jaman dan arsitektur,

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gaya art-deco kolonial maupun neoklasik mulai ditinggalkan dan diganti oleh gaya arsitektur modernis dan fungsional. Di Indonesia, perubahan ini mulai terlihat sekitar tahun 1997, ketika jaringan operator hotel lokal seperti Archipelago International (dulu Aston International), Santika Indonesia Hotels & Resorts, disusul oleh Tauzia Hotel Management, PHM Hospitality dan lainnya mulai membesut hotelhotel fungsional yang harganya jauh lebih terjangkau dibanding hotel berbintang lima, namun tanpa mendiskon kenyamanan tamu.

Maka keberadaan hotel-hotel generasi baru ini pun ditandai dengan struktur bangunan yang lebih praktis dan modern, “ciri khas” yang gampang dikenali seperti warna-warna mencolok, dan di banyak kasus, hotel-hotel ini dibangun di atas mall atau perkantoran (mixed-use complex), sehingga meningkatkan kepraktisan mereka sebagai city hotel.

Kini, wisatawan tidak lagi harus berhadapan dengan pilihan satu-satunya yaitu hotel berbintang lima ketika mereka bepergian, namun mereka bisa leluasa memilih hotel-hotel generasi baru ini, yang notabene berbintang dua ke atas, namun tidak lebih dari bintang empat.

“Konsumen modern ingin hotel yang berharga ekonomi namun dirancang dengan baik dan menarik, sebagai pilihan alternatif dari hotel yang lebih besar dan lebih mahal seperti hotel bintang 4 dan 5,” tutur Norbert Vas, Wakil Presiden Penjualan & Pemasaran Archipelago International.

Seiring dengan pergeseran pola pikir ini, elemenelemen tradisional dari sebuah interior hotel juga mengalami perubahan. Lobby hotel, misalnya, yang dahulu diposisikan sebagai titik sentral yang mengedepankan

as possible to attract their target market: royalty and the wealthy, who were the only people who could afford to travel at that time. Grand hotel lobbies and personalized services served to affirm that these hotels deserved their patronage.

Western-style hotels started to make their appearance in Indonesia during the Dutch colonial period, with the Dutch building many iconic hotels in major cities in Indonesia. The Oranje Hotel (now The Majapahit) in Surabaya is a good example of an historic hotel sporting Art Deco-Colonial architecture. Meanwhile, Hotel Indonesia, which was inaugurated in 1962, was the first five-star hotel in the country and featured a postmodernist style.

Along with the passage of time and progression of architecture, the neoclassic and Art Deco-Colonial style fell out of favor, replaced by more functional, modernist architecture. In Indonesia, this shift could be observed starting in 1997 when many local chain hotel operators such as Archipelago International (previously known as Aston International), Santika Indonesia Hotels & Resorts, followerd by Tauzia Hotel Management, PHM Hospitality and others started to place greater emphasis on functionality, efficiency and modern creature comforts along with discounted prices.

This resulted in hotels adopting a modern façade that exuded practicality with simplified lines and forms, readily identifiable ‘quirkiness’ such as bright colors for easy brand identification, and, in many cases, hotels attached to office towers or shopping malls (mixed use complexes), furthering their practicality as city hotels.

many next generation hotels brand themselves with readily identifiable “quirkiness” such as bright colors for easy identification .

Opposite page the modern hotel may be a lot cheaper than the full service hotel, but that does not mean traditional creature comforts are forgotten.

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kemewahan, kelegaan, dan desain aristokratnya kini menjadi lebih sederhana dan tidak melulu berada di tengah-tengah. Bahkan, ada yang berada di samping atau menggunakan sistem in-room check-in. Luas kamar pun menyusut, didorong oleh harga real estate yang kian melambung dan kemajuan teknologi seperti tablet dan laptop, yang membuat keberadaan meja bekerja dan kursi pun tidak penting lagi.

Kamar-kamar di favehotel Denpasar milik grup Archipelago International, sebagai contoh, hanya seluas 16 m² namun dilengkapi dengan AC, TV LCD, plug listrik ganda untuk charging berbagai gadget modern, dan ranjang dan bedding berkualitas. Ini ditambah dengan akses Wi-Fi gratis, kotak brankas, dan kamar mandi yang dilengkapi dengan shower dan perlengkapan mandi komplit. Seperti yang Marc Steinmeyer, Presiden Direktur Tauzia Hotel Management, katakan, fokus dari hotel generasi baru ini adalah menyediakan “Kualitas tidur dan mandi yang nyaman.”

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Gone were the days when large, luxurious resort-like fivestar hotels were the only option travelers in Indonesia had.

Today in most major cities in Indonesia these local chain hotels dominate and are the preferred accommodation for many travelers. “The modern consumer expects an economically priced but well-designed, interesting hotel as an acceptable alternative to larger and more expensive 4 and 5 star hotels,” said Norbert Vas, VP of Sales & Marketing for Archipelago International. Archipelago International was also the first to use the term “smart hotel” to describe their range of affordable hotel offerings.

Along with this shift, many traditional hotel interior elements are also undergoing transitions. Take a look at the hotel lobby, for example. Once the proud, grand symbol and central point of any hotel, the hotel lobby is now taking on a more modest role, shuffled to the side with the proliferation of online check-in, room check-in, or even eliminated altogether. Inside the rooms, ever-shrinking room sizes due

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Advertorial

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Cafe at Home A good quality coffee is the quintessential lift-me-up spirits for the home!

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ABOVE the Bedroom in Aston Jayapura Hotel & Convention Center.

RIGHT this alfresco dining area at the newly opened harris hotel sunset road illustrates the shift from grand hotel dining to simple, young and chic design.

Tauzia, yang mendaftarkan hak cipta untuk “kapsul mandi” hotel-hotelnya, juga meraup sukses besar dengan jaringan hotel budget-nya, POP! Hotels.

Maka, sebagai penutup, jika kita tilik trend hotel sekarang, maka bisa dipastikan bahwa satu trend hotel yang pasti akan terus berkembang adalah luasan kamar hotel akan terus mengalami penyusutan, didorong oleh ketersediaan lahan yang makin berkurang sementara biaya pembangunan semakin melonjak.

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to ever-skyrocketing real estate prices in major cities in Indonesia means that the traditional in-room work desks and chairs are increasingly being eliminated – a nod to the current trend with most guests preferring to work from bed with their tablets and laptops.

Standard rooms at Archipelago’s favehotel Denpasar are only 16 square meters, but the rooms are fully equipped with creature comforts that most modern travelers require: a clean room, air conditioning, LCD TV with cable, multiple electrical plugs and top quality bedding; not to mention free Wi-Fi, safety deposit boxes and bathrooms with standing showers and a full range of amenities. Like Marc Steinmeyer, President Director of Tauzia Hotel Management, said, the focus for this new generation of smart hotels is a “comfortable bed and bath”. Tauzia, which owns a patent for its “shower pod”, is also seeing major success with its budget offering, POP! Hotels. If there is anything one can safely deduce from the current trend of city hotels proliferating across Indonesia, it is that room sizes will certainly continue to shrink; a trend that will only be exacerbated as land availability continues to diminish while construction costs continue to rise.

offee has been sought as one of the best option to lift up spirits for daily routines started at home. As the daily shifting routine emerged, where more people have to wake up early to start their routines and stay awake until late, drives the demand of compact coffee machines to be used in their home to get the true delicious taste of cafe’s grade coffee in their residents. Aside from being a beverage, espresso, as the extract of the coffee, can also be used as the ingredients for other cullinary cooking such as cookies, cakes and even as marinating sauce.

Preparing a cup of coffee that usually served in a cafe is an art, where great coffee requires great efforts in the process of grinding, dosing, tamping, brewing plays a very crucial role that defines the taste of the coffee. These factors are the basic knowledge that has been learned by barista who has a great experience in serving a coffee that differs cafe class coffee with home made coffee. But these issue is no longer a problem for home made coffee as Coffesso provides

a machine that offers a cafe experience coffee that can be made in simple steps.

Coffesso introduces a POD Brewer T400 espresso coffee machine with POD technology which greatly simplifies espresso making process and can eliminate human error factors that may mess up the process. It enables every family members to make a great cup of coffee without having to learn a complicated coffee making skills.

Modern design of POD brewer T400 espresso coffee machines utilizes every available space in your resident as no

more unused space will be left for placing a massive coffee machine. With compact yet low wattage to comply with modern home design concept, coffesso promises to bring a whole new experience in enjoying a cafe class coffee in your house.

Accompanied by Milk Frother enable us to warm and froth fresh milk in automatic way and get barista’s like results with professional espresso machine to creates a various kind of beverage like cafe latte, cappuccino, macchiato. Just with this set of machine will allow you to bring a cafe class coffee right in your home!

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etiap ada libur nasional, bisa dipastikan tempattempat wisata dipadati pengunjung. Bukan hanya itu, hotel, vila dan resor hingga hostel, penuh oleh tamu yang menginap. Mereka yang tidak memesan kamar jauh hari, jangan harap mendapat tempat peristirahatan yang sesuai keinginannya. Semua rumah peristirahatan di tempat-tempat wisata favorit biasanya telah terisi jauh hari sebelumnya.

Apa sebenarnya yang dicari para penikmat resor saat berlibur? Mengutip arsitek Ary Indra dari konsultan arsitektur Aboday Design, ketika berlibur seseorang akan mencari kawasan yang sama sekali jauh berbeda dari daerah asalnya. Orang Jakarta sebagai contoh, saat liburan ke Pulau Dewata tidak mungkin mencari tempat yang bising penuh dengan high-rise building yang semuanya serba modern.

Mereka pasti lebih memilih resor dengan ambiance Bali yang kental. Mereka ingin ketika membuka mata, mereka tahu sedang berada di Bali.

Hal senada juga dikemukakan arsitek Antony Liu yang banyak mendesain vila di Bali. Pada dasarnya tamu di sebuah resor mencari sesuatu yang tidak mereka temukan dalam kehidupan kesehariannya sebagai pekerja kantoran, pengusaha, atau profesi lainnya. Sementara Ketut Arthana dari Arte Architect & Associates menambahkan, yang dicari para tamu adalah suasana yang berbeda dengan lifestyle mereka sehari-hari. Tamu-tamu dari golongan menengah, yang sehari-harinya berkecukupan biasanya mencari hotel-hotel dengan suasana mewah yang menawarkan mimpi. Sedangkan tamu dari golongan menengah ke atas mencari suasana yang baru, dengan atmosfir yang nyaman.

Clockwise, from below the Bedroom of the Royal Kamuela in Ubud., a luxury brand of the archipelago international.

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the balcony of the St. Regis Bali.

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The expansive swimming pool of St. Regis Bali. note how massive it is compared to swimming pools of the city hotels.

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Resort Hotel Resort hotels are a completely different type than city hotels.

While they serve the same function – providing a place to stay for travelers – the focus differs greatly, which is thus reflected in the architecture and interior of a resort.

The tourism climate in Indonesia is such that every time there is a national holiday it is guaranteed that tourist destinations all across the country will be filled to the brim with people, who will in turn pack hotels, villas, resorts, restaurants, bars and so on. Many visitors find themselves simply out of luck if they haven’t arranged their hotel needs well in advance.

Some travelers prefer to stay in a resort when they travel, while others are indifferent about whether they stay at one of the ubiquitous low-cost hotels that have sprung up like mushrooms or at a full-blown resort. But what does the resortloving traveler really look for when they choose to stay at a resort? Architect Ary Indra of Aboday Design seems to think the reason is atmosphere. Jakartans will never choose to stay in a modern, high-rise hotel located near a busy tourist spot in Bali, for example. Instead, they prefer a resort with Balinese ambiance where they can feel that they are in Bali when they wake up in the morning.

Antony Liu, a respected architect of villas in Bali, agrees.

Resort guests want to experience something that they can’t get in their daily lives. Ketut Arthana of Arte Architects & Associates, meanwhile, adds that those who are looking to take a break from their daily routine look to the resort to provide this. The middle class usually select resorts that look and feel luxurious to fulfill their “get rich” dream, while the upper class tends to choose resorts that provide an avant-garde experience or a “wow factor” so long as the resort is comfortable and private.

Responding to the demands and desires of resort customers as outlined above, architects and designers accordingly feature the values and cultures of a resort’s locale in their designs. The logic was that these elements are specific to the location of

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Pertimbangan mereka bukan kemewahan tapi keunikan yang tidak terdapat di tempat lain dan hal-hal yang personal.

Mengikuti keinginan para tamu, para arsitek dan desainer mengadaptasi nilai-nilai dan budaya setempat pada desain arsitektur mereka. “Arsitek selalu akan mencari sebuah desain yang long lasting. Mereka tidak akan mengeluarkan sebuah rancangan yang katakanlah dalam kurun waktu 10 tahun terlihat kuno sehingga perlu renovasi. Detail-detail lokal pada desain, sampai kapanpun akan selalu ada dan tidak terkesan usang. Bukankah semakin kuno, semakin tinggi nilai budayanya?” ungkap Ary Indra.

Indonesia sendiri memiliki banyak budaya yang bisa menghadirkan variasi dari doc. aston arsitektur tradisional. Resorresor di Raja Ampat, Papua Barat misalnya, berbentuk layaknya Honai, rumah tradisional Papua. Terletak di bibir pantai, rumah-rumah peristirahatan dengan atap alang-alang itu membuat tamu-tamu yang datang benarbenar merasa berada di sebuah kabupaten dengan 610 pulau, dan hanya 35 pulau yang dihuni. Meski sederhana, suasana yang dihadirkan resor-resor itu tak pernah gagal memesona wisatawan.

Resor yang tak kalah memesona adalah Amanjiwo yang terletak di lembah Menoreh di jantung pedesaan Jawa Tengah, tempat Candi Borobudur berada. Amanjiwo sendiri dikelilingi ampiteater alam dengan latar belakang barisan bukit kapur dan hamparan dataran Kedu, Jawa Tengah dengan 4 gunung berapi: Sumbing dan Sundoro di arah Barat, Merbabu dan Merapi di arah Timur pada horisonnya. Untuk memberikan rasa hormat kepada alam sekitar yang menakjubkan, Amanjiwo didesain seperti candi yang dikelilingi oleh pilar-pilar yang terbuat dari paras Jogja dalam bentuk rotunda.

Konsep arsitektur vernakular atau tradisional yang jujur dan jernih, juga bisa ditemui di Ayodya Resort salah satu properti yang dikelola oleh World Hotels, hotel chain ternama di dunia. Tak hanya dirancang menyerupai istana air Bali yang megah, ruang-ruang kamar, restoran, spa, maupun ruang meeting resor, dihiasi cerita Ramayana yang akrab di dalam kehidupan masyarakat lokal dalam bentuk patung batu, air mancur, relief atau kolam laguna.

Budaya, detail lokal dan pemandangan alam yang dituangkan melalui hospitality service ini berkembang baik dikarenakan apresiasi yang signifikan dari masyarakat domestik maupun mancanegara. Dengan sendirinya

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each resort and thus offer a different experience for guests.

“Resort architects will always go for the classic design; a longlasting design. They’re not looking to feature a design that will expire or be obsolete within 10 years’ time. Local values are eternal and will never go out of style. If anything, they only get better with age,” said Ary Indra.

In this regard, Indonesia is thus blessed in that it possesses many, many cultures that can distinctly set apart one resort from the other even if they are under one brand. Amanjiwo in the Menoreh Valley of Central Java, for example, is part of the world-famous, resort-only Aman Group, famous for its drive to reflect the local culture in each of its resorts. In Amanjiwo’s case, the entire resort’s design pays homage to what is most prominent in the area: Borobudur. Shaped like a miniature Borobudur, Amanjiwo is surrounded by a natural amphitheater with rows of limestone hills as the background and the Kedu plain with 4 volcanoes: Sumbing and Sundoro to the west and Merbabu and Merapi to the east. The grand interior features lots of Paras stone found only in the region.

Move east a bit and we find the Ayodya Resort in Bali, a property of the global hotel chain World Hotels. Not only is the resort designed as a grand Balinese water palace, the rooms, restaurant, spa and meeting rooms are adorned with the lore of the Ramayana, a popular legend in Bali. This lore manifests itself in details on statues, fountains, carvings and inside the lagoon pool.

Move further east and there are the resorts in Raja Ampat, West Papua, that usually feature some elements of the Honai house, the traditional Papuan home. The resorts, which are usually located right on the beach and feature thatched roofs, are guaranteed to make anyone feel like they really do belong

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image: krishna adithya

langgam arsitektur resor-resor Indonesia beberapa tahun ke depan, cenderung tetap berkonsep vernakular. “Bila mengambil konsep modern atau minimalis, dalam 5 – 7 tahun mendatang tren yang ada sudah berganti. Resor harus direnovasi bila ingin tetap bersaing di pasaran,” Ketut Arthana, arsitek yang banyak mendesain vila, menjelaskan.

Resor dengan bentuk fasad arsitektur tropis, merupakan hal yang sangat umum dijumpai. Bahkan dengan konsep vernakular pun juga bertebaran resor dengan luasan antara 50 - 150 m² setiap unitnya misalnya Ayana Resort & Spa Bali.

Ukuran ini termasuk kecil dibandingkan dengan luasan Nihiwatu Resort yang ada di Bali dengan luasan mulai dari 450 m² - 700 m². Desain unit yang kecil biasanya disediakan

in one of only 35 inhabited islands in this 610 islandstrong regency.

Integrating local cultures and values into the very fabric of the modern-day resort has hit gold and will only serve to strengthen the continued existence of this design treasure, fueled by enthusiastic local support as well as from abroad. Unlike hotels in cities, whose trend seems to gravitate toward modern and practical designs, resorts will see little change over the next few years, or even decades. “If my design takes on a modern or minimalist design, following the current trend, within five to seven years the world would have moved on to something else. Then the resort would have to be completely renovated to reflect this change,” Ketut Arthana, an experienced villa architect, explained.

However, the one trend that the resort will probably borrow from city hotels is a simple yet crucial strategy to compete and remain relevant with the very same city hotels that increasingly encroach on the resort’s traditional turf: grow up, not out. Skyrocketing land prices all over Indonesia mean that developers need to be smart about optimizing what little land they have while still trying to win back their investments.

Like everyone else, that means they need to add more rentable spaces and the only way to do this is by building taller resorts, sometimes four or five floors up.

Clockwise, FROM TOP an alresco balcony at the St. Regis Bali, allowing a majestic view.

A bridge to a private garden in St. Regis Bali, a seemingly “wasteful” design for city hotels. a Private swimming pool at the Kamuela Villas Sanur. note how the swimming pool is placed inside the room, a luxury for the city hotel. a Bedroom in Amanfayun Resort, featuring a tall ceiling.

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the massive bedroom size at Amanwana Resort.

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bagi pasangan yang berbulan madu, hanya terdiri dari ruang tidur dan kamar mandi, tidak dilengkapi dengan kolam renang dan dapur. Namun menggilanya harga tanah di beberapa area di Bali, bukan tidak mungkin nantinya resor-resor baru akan dibangun ke atas setinggi 4-5 lantai karena pemilik berupaya memaksimalkan penggunaan lahan. Bagi para arsitek, dari sisi desain semua potensi yang ada pada site harus dimanfaatkan penuh sedangkan dari segi operasional, pasti akan muncul cara-cara untuk menarik tamu sesuai dengan tipologinya. Tamu, apakah diharapkan berada di dalam kamar dengan segala kenyamanannya, ataukah kamar hanya sebagai tempat untuk beristirahat sementara segala fasilitas diletakkan di public space?

Menariknya definisi resor belakangan meluas menjadi sebuah tempat yang terintegrasi antara penginapan, hiburan, pariwisata, dan olahraga seperti Disneyland Resorts yang terdapat di Tokyo, Hong Kong, California atau kotakota lainnya di dunia. Di Indonesia sendiri, kita memiliki Taman Impian Jaya Ancol, di Jakarta Utara. Pengertian yang sebenarnya masih sejalan karena tetap merupakan tempat dengan suasana yang berbeda dari daerah di mana seseorang tinggal. Penawaran atau ide-ide baru yang muncul untuk ditambahkan ke dalam area resor tujuannya satu, menghadirkan sesuatu yang berbeda untuk tamu.

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Take a look at the Ayana Resort & Spa Bali, for example.

Featuring room sizes ranging from 50 to 150 square meters, these rooms are much smaller compared to one of Bali’s oldest resorts, the Nihiwatu, with room sizes ranging from 450 to 700 square meters. For any new resort thinking about breaching the expensive Bali property market, they may be wise to consider building up instead of out and over to optimize land size.

The modern-day resort needs to ask itself several important questions such as: Who is my customer now? What do they want now? How have they evolved from a decade ago? Will it be acceptable for them to not have the pool and the kitchen inside the room if they can still access them in public spaces, and especially if they only use the room as a place to sleep and not much else?

Interestingly, the trend for resorts today gravitates more and more toward the integrated, mixed-use complex where guests can find everything from accommodation, entertainment, tourist attractions or sport, like what is offered at Disneyland in Tokyo, Hong Kong, California and around the world. In Indonesia, Taman Impian Jaya Ancol in North Jakarta perhaps exemplifies this. The kicker is this: these places still offer a markedly different environment and experience from your own home, even if you live in the same city. Is that not the traditional proposition offered by resorts worldwide?

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Home If we look at the evolution of the house, then it becomes evident that today’s design emphasizes wide, open, integrated spaces. Rooms are maximized by conveying a relaxed, open-air atmosphere.

PHOTO : bagus tri laksono

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umah, sebuah tempat di mana manusia hidup, tumbuh bersama keluarga dan beristirahat. Desain bangunan yang paling personal ini berkembang paling dinamis dan variatif, mengikuti gaya hidup individual pada setiap masanya. Kesibukan dan semakin cepatnya pergerakan manusia masa sekarang, membuat orang jarang berada di rumah. Maka ketika di rumah setiap orang ingin menikmati ruangannya sendiri bersama keluarga atau kerabatnya saja. Rumah menjadi ruang yang semakin privat bila tidak mau disebut introvert.

Ini membuat layout berubah. Ruang-ruang utama rumah justru sekarang diletakkan di bagian belakang bangunan.

Ruang-ruang terbuka seperti taman pun dikonsentrasikan ke area dalam rumah. Sebaliknya area servis seperti ruang kerja pembantu, cuci-jemur, dan kamar pembantu justru dipindah ke depan, tersembunyi di dalam bidang-bidang masif. Tampilan bagian depan rumah juga seringkali minim bukaan jendela, sedikit tertutup. “Semuanya tergantung pada konteks yang berlaku. Beberapa faktor eksternal seperti gaya hidup, rasa aman, jalanan yang macet dan lainnya sangat mempengaruhi hasil desain,” kata Gregorius Supie Yolodi, salah seorang principal dari konsultan arsitektur dan desain d-associates.

Padahal di masa-masa sebelum tahun 2000-an, susunan ruang di rumah kebanyakan dimulai dengan ruang tamu yang kemudian dibatasi dinding ataupun lemari, barulah ada ruang keluarga di baliknya, kemudian ruang makan yang juga dipisahkan sebuah bidang lain. Semua ruang dibatasi penyekat-penyekat yang bersifat masif. Di masa sekarang, hanya rumah-rumah yang berukuran sangat besar yang masih sering membuat susunan ruangan seperti itu.

Rumah-rumah biasa, terutama yang terletak di tengah kota sudah mulai didesain agar lebih ringkas dan fleksibel.

“Lahan di tengah kota semakin mahal, luasnya semakin terbatas sehingga ukuran rumah turut terpengaruh.

Dengan demikian, tentu layoutnya harus fleksibel,” jelas Arch. Dipl. Ing. Cosmas D. Gozali, IAI, principal architect dari

PHOTO : FERNANDO gomulya (doc. acg)

House, the most personal place in which humans live, grow up and rest, is without a doubt the most dynamic and varied design to follow the changing lifestyles of modern man.

Movements and rapid changes in society contribute to less time spent at home for each individual, and this in effect changes the way people enjoy their homes, meaning the house has become an increasingly private space.

This has resulted in considerable layout changes for the modern home, with the main spaces now shifted to the rear of the building. And, open spaces such as gardens are increasingly being transferred indoors. On the other hand, service areas such as maid’s quarters, washing and drying rooms and preparation rooms have been moved to the front of the house, yet hidden in massive planes. The façade of the house has also experienced a contraction, with many homes now only sporting minimal window openings for reasons of security and because of rowdy streets, frequent traffic jams, or just lifestyle. “It all depends on the context in which it applies,” said Gregorius Supie Yolodi, a principal at the architecture and design firm d-associates.

If we look back to the years before the 2000s, the structure of most homes started with a living room that was partitioned by a wall or huge decorative drawer, followed by another living

ABOVE Open and transparent are the main principles of the modern urban home.

OPPOSITE PAGE Garden sometimes placed as a buffer from the surroundings to create privacy and more relaxing ambience in the house.

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PHOTO : bagus tri laksono

PHOTO : FERNANDO gomulya (doc. acg)

CLOCKWISE, from top The sanctuary house, designed by architect Cosmas Gozali, managed to create a resort ambience in a limited area of the site.

To create a spacious feel, many house designs lately apply a mono-room concept that consists of living, dining, and pantry area in one big room.

An example of a modern house facade, sporting a simple yet elegant look that does not overwhelm its surroundings.

A smart furniture solution in a House by Nataneka Architects, where large cabinets functions as the heart of the house.

PT. Arya Cipta Graha (ACG), selain memang gaya hidup masa kini lebih terbuka dan serba praktis. Maka ruangan yang seringkali tidak lagi ditemukan di rumah-rumah masa kini adalah ruang tamu. Jalanan macet dan faktor lainnya membuat orang memilih untuk bertemu di luar rumah dan jarang melakukan kunjungan kecuali kerabat atau keluarga dekat yang tentu akan langsung diterima di ruang keluarga.

Ruang tamu pun kemudian tidak lagi dibuat, perannya digantikan teras depan rumah atau sebuah foyer untuk ruang peralihan. Ukurannya tidak lagi besar seperti dulu, sofa-sofa untuk tamu digantikan kursi yang lebih ringkas. Karena memang ruangan ini hampir tidak pernah digunakan. Dengan berkurangnya ruang tamu, luasan untuk ruang-ruang utama lainnya akan menjadi lebih besar.

Kini kebanyakan ruang utama tersebut juga dirancang sebagai satu ruangan besar yang memberikan kesan lapang dan terbuka. Ruang keluarga menyatu dengan ruang makan, pembatasnya bukan lagi yang langsung terlihat jelas secara fisik seperti dinding penyekat ataupun lemari besar yang masif, tetapi seringkali hanya pola lantai, plafon, atau sekedar penyusunan sofa. Keuntungan lainnya, pencahayaan alami dari jendela-jendela dapat menerangi ruangan secara keseluruhan dengan maksimal. “Semakin kecil, semakin compact, seperti itulah kira-kira rumah urban di masa mendatang,” tambah Cosmas.

room on the other side, then a dining room separated by some kind of partition. Everything at that time was separated and isolated by massive partitioning. Today, only very large homes employ such an arrangement. Ordinary houses, especially those located in cities, are now designed to be more compact and flexible.

“Land in the city is getting more expensive and its availability is limited, which dictates that a house’s layout would need to be flexible,” said Arch. Dipl. Ing. Cosmas D. Gozali, IAI, principal architect at PT. Arya Cipta Graha (ACG).

In addition, today’s lifestyle, which is more open and practical, means that several traditional rooms in the house can be eliminated altogether like the living room or parlor. Everworsening traffic in Jakarta and the proliferation of shopping malls or cafes, for example, has prompted people to meet outside the house. On the other hand, visiting close friends or relatives can still occur in private family rooms.

In this case, the living room’s specific, traditional role can be substituted with transitional spaces such as a front porch or foyer. The elimination of the living room means that the space can be allocated to other, more desirable rooms such as bedrooms.

Current home trends also see the main rooms being combined or designed together as one large room that exudes the impression of airiness and openness. The family room is PHOTO : rino kamaroedin

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PHOTO : FERNANDO gomulya (doc. acg)

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Kecenderungan lainnya adalah bertambahnya jumlah lantai rumah. Keterbatasan lahan membuat luasan tanah yang dapat dibangun untuk ruang hidup berkurang padahal kebutuhan ruang cukup banyak. Solusinya adalah membagi zona kegiatan secara vertikal. Lantai paling bawah untuk ruang-ruang penunjang seperti garasi, ruang pembantu dan terkadang ruang hobi yang dirancang sebagai semi basement dengan bagian belakang terbuka ke void untuk pencahayaan alami. Ruang-ruang utama justru ditempatkan di atas, kamar-kamar tidur berada di lantai paling atas karena pertimbangan privasi yang lebih tinggi.

Untuk rumah-rumah yang ukuran lahannya lebih kecil, umumnya tidak lagi memiliki area servis yang

merged with the dining room and no longer separated with solid walls, but with mere patterns on the floor, for example, or through ceiling height, furniture arrangement or other subtle differences. An immediate advantage of this type of arrangement is that natural light flows freely throughout the room. “Smaller and more compact – that’s the future trend of the urban home,” said Cosmas.

Another trend is the increasing number of floors in a house.

Limited land size means less living space, so to compensate many homeowners have started building up. The ground floor is usually dedicated to housing the support spaces such as the garage, service area and maid’s quarters, which are designed as semi-basements with the rear section opening up to a void to

FURNITURE BY WICKER KANE-GRACIA

Flexible rooms with transparent or semitransparent partition have the potential to be a strong future home trend.

besar. Bangunan, terdiri dari dua lantai dengan denah yang juga terbuka. Membuat pembagian ruang yang lebih terbuka sebenarnya juga bertujuan memberi rasa nyaman yang lebih kepada pemilik rumah. Ruang yang lapang dan terbuka memberi efek psikologis untuk lebih rileks dan santai.

Tampilan rumah-rumah ini sendiri, secara jujur sulit untuk disimpulkan akan seperti apa. Namun melihat perkembangan gaya hidup masa kini yang semakin ringkas dan praktis, tentu berpengaruh pada fasad bangunan yang mencerminkan identitas pemiliknya. Pertimbangan lainnya adalah ukuran lahan yang semakin kecil, juga rumah-rumah yang kebanyakan berada dalam kompleks yang berderet, membuat detail-detail lebih dikurangi agar tampak lebih ringan. Namun bagaimanapun semuanya bergantung pada faktor-faktor di sekitar lokasi berdirinya rumah dan tentu kreativitas arsitek yang merancangnya.

allow natural light. Meanwhile, the main spaces like the family room are placed above, and the most private spaces such as the bedrooms occupy the top floor.

Smaller homes generally no longer sport a large service area.

Usually a building consists of two floors with an open floor plan.

The open space psychologically adds a degree of comfort for the homeowner so he or she can be more relaxed and casual.

Looking at today’s lifestyles – increasingly more compact and practical and spurred by diminishing land size and increasing real estate prices – it can safely be deduced that homes in the future will ultimately become more efficient, practical and perhaps more closed from outside view while becoming more open on the inside. Ultimately though it is hard to predict exactly what the trend spells for a home’s façade, since external factors such as location, size, owner preference and architect creativity all play a role in determining what a home of the future looks like.

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PHOTO : FERNANDO gomulya (doc. acg)

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Design Info

You are only limited by

YOUR IMAGINATION! Your walls can make a fashion statement. Declare your stand or be a symbol of your Personal Self-Expression.

The question is; where do you begin? Try our simple 4-step plan to select the perfect Wallcovering.

Step 1: What is your room trying to say?

Get to know your room. Determine the use of the room before deciding on a theme for it. Do you want your living space to be light and airy with a beach theme or sleek and chic? Put aside redundant or mismatched items and keep promising ones if they complement the overall vibe of the room through design, colour or theme. Evaluate if furniture and accessories currently in the room match the mood and theme you are trying to create. Envision a Wallcovering that will determine the overall ambience of the room and its theme.

Country Cottage, Ethnic, Vintage Charmingly Cosy You will certainly feel right at home with this relaxed and informal style.

As you are more likely to choose pastel shades over strong dark colours, we envision an interior that is dominated by garden-inspired hues, rustic and floral designs, natural fabrics like cottons and pretty hand-made items. Overall, it’s a welcoming style that comprises a little bit of frill, a little bit of fun and plenty of old-fashioned charm.

Step 2: Create an interior plan Have your detailed floor plan ready with an indicative budget in mind. The floor plan should include windows, doors and other permanent fixtures in the room such as air-conditioning vents.

Measure wall to wall and from floor to ceiling so that you can brief your Goodrich consultant accurately.

Step 3: Step Out & Shop Head to your nearest Goodrich Gallery with a trusted friend and browse through our sample books for choices relevant to your theme.

Approach a Goodrich consultant so that he can assist you in narrowing

down your choices. Go ahead and explain your vision to our expert staff.

You do not have to make up your mind immediately, take home some samples to try on your wall.

Step 4: The Wallcovering Patch Test Affix the Wallcovering sample on your wall as advised by your Goodrich consultant. Observe how the play of light and shadow in your room creates effects on your chosen selection. Look at it under different types of light and at different times of the day. Take some time to decide, pay attention as to whether your choice blends well with the furniture you have in the room.

What’s Your Style?

Old World, Classic, Regal Ornately Opulent A presentation of classical European styles will be well suited to your taste, with small-print floral patterns and damask to complete a comfortable traditional interior. Recommended for the Old World look are classical styles such as period French, 18th-century Chippendale or Queen Anne, not discounting Oriental and formal contemporary designs, You obviously appreciate antique pieces and would typically opt for soft colours

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Contemporary, Modern, Retro Simply Striking The contemporary style that suits your fancy would be one that is sleek and chic. Every carefully chosen item will have its place in a spare, modern interior that features clean and straight lines. Décor can be Asian too. Color schemes could range from all-white with a touch of brights to simply neutrals. Natural light plays a role in the design, with rays casting shadows and highlights to create a feel that can only be described as Zen-like.

Eclectic, Uniquely Unconventional You are a true individual when it comes to personal style; certainly not one to be bound by someone else’s rules of what should go with what.

You like to mix and match as you see fit and somehow you would pull if off nicely –classic or hip-hop, retro or avant-garde, muted or bold, ethnic or contemporary. And it’s all due to your wide-ranging interest, you passion for things that thrill you and your eye for details. You take pleasure not just in finding the perfect designs but also in putting them together in a playful manner.

Other Goodrich Tips to note: • Festive occasions are a popular time for wallcovering shopping. Start early and have a deadline. Make preparation for celebrating Christmas and New Years season or Chinese New Year.

• When it comes to installing a wallcovering, read the enclosed instructions. We host wallcovering hanging clinics from time to time.

Don’t be shy: ask your friendly Goodrich consultant!

• You can never be too careful when preparing wall surfaces for installation. Find out exactly what kind of wall you intend to work on plaster, dry wall or new dry wall. We will tell you exactly how to do it.

• Give yourself ample time to install the wallcovering. Depending on the complexity of the project, you may need a day or an entire weekend to complete without rush. Or let a professional installer do the job and bask in the perfection of the final product.

Get more design info with join Goodrich Indonesia Facebook fanpage http://www.facebook.com/Goodrich.Indonesia and visit our website at www.goodrichglobal.co.id

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apartment the current phenomenon of aparment buildings sprouting up all over the big cities in indonesia is spurred by rising land prices as well as diminishing land availability. the modern urban dwellers, too, loves the conveniences offered by these tall skyscrapers.

D

ahulu muncul stigma bagi mereka yang sudah bekerja ataupun berkeluarga hendaknya memiliki sebuah rumah sendiri berupa landed house. Rumah gedongan dengan luasan lahan hingga di atas 800 m² masih menjadi tren hingga penghujung tahun 1980an. Bergaya art-deco kolonial maupun mengambil tema baroque dan rennaisance, rumah gedongan ini menjadi impian banyak orang.

Menggeliatnya pertumbuhan ekonomi kelas menengah membuat tren rumah gedongan beralih ke desain minimalis.

Meski area yang ditempati dimulai dari seputaran angka 10 x 10 meter, semua ruang dari rumah yang selayaknya, bisa terakomodasi. Namun pada kuartal awal tahun 2000 an, dengan semakin tingginya laju pertumbuhan penduduk sementara lahan yang tersedia menjadi semakin sempit dan mahal, apartemen mulai diincar dan dicari.

Maka hunian-hunian vertikal pun seakan berlomba berdiri, meramaikan angkasa. Dengan adanya bermacam

There was a perception in the past that families or working people should be able to own a standalone home, or landed house. Hence the trend of owning or at least trying to buy a landed house at least 800 square meters wide in a residential area in Indonesia boomed until the 1980s. At that time, most houses were designed in the Art Deco, Colonial, Baroque or Renaissance styles and subsequently became the dream of most Indonesians.

Middle class growth in the 1990s changed the luxury houses into minimalist ones. Although the area has shrunk to start at 10 x 10 meters, the space can still accommodate most of the rooms found in the previous home trend. The first quarter of 2000 was marked by high population growth, decreasing land and more expensive properties, and subsequently made apartments a logical property of choice.

Thus began the vertical residential trend. As options in style and design grew, so did the perception that buying an apartment was the best choice. This was further exacerbated by the pressure To offset small living spaces, tenants try not to use massive partitions that blocks spaces in an apartment unit, like this unit shows.

doc. ciputra

Opposite page glass is used to Maximize the facade of apartments, as can be seen on the Ciputra World 2 apartment.

doc. Airmas asri

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pilihan, keputusan untuk tinggal di apartemen di tengah kota bukanlah sebuah kesalahan. Desakan waktu untuk lebih cepat sampai di kantor sementara lonjakan jumlah kaum urban yang memenuhi kota setiap hari menimbulkan keriuhan dan kemacetan menjadi alasan yang kuat.

Unit apartemen sendiri hanya bisa dibeli sebagai hak guna bangunan minus lahan dari bangunan. Meskipun demikian banyak orang merasa senang tinggal di apartemen. Sistem keamanan dengan kamera CCTV di apartemen maupun penjaga keamanan 24 jam membuat mereka yang sibuk bekerja, tenang meninggalkan hunian. Belum lagi fasilitasfasilitas yang disediakan atau kemudahan-kemudahan yang biasanya terdapat di sekitar apartemen. Gaya hidup inilah yang kemudian menggeser tren dari landed house.

Jakarta, sebagai ibu kota negara dan juga salah satu kota besar di dunia, turut andil menandai pertumbuhan bangunan pencakar langit ini. Park Royale adalah sebuah apartemen pertama di Jakarta yang terletak di kawasan Slipi, dibangun sekitar tahun 1980 an, menawarkan kepraktisan dan cerminan gaya hidup. Didesain mewah, massa blok dengan 2 tower itu bisa mengakomodasi sampai puluhan unit.

Setelah Park Royale bermunculan apartemen-apartemen lain dari seluruh penjuru ibukota. Dari ujung utara Jakarta tepatnya di kawasan perumahan elite Pantai Mutiara, muncul Regatta Apartment. Kompleks apartemen ini memiliki 4 tower dengan 2 tipe; Ocean View dan Aqua Park View dengan luasan per unit 100 - 200 m². Didesain serupa kapal layar yang melengkung, pemandangan laut terbentang di sekitar lokasi.

Tak kalah bergengsi adalah Senopati Suites di selatan Jakarta. Dikonsep sebagai landed house, apartemen rancangan Aboday Design ini terdiri dari 93 unit hunian dengan luas 129 m²- 400 m². Menariknya seperti rumah tinggal, setiap unit apartemen dilengkapi dengan balkon ukuran 3 x 4 meter.

Upaya untuk menghadirkan kesan landed house di dalam unit apartemen juga terlihat dari tingginya langit-langit unit doc. Ciputra

the Facade of Residence 8 Senopati in south jakarta.

doc. Airmas asri

opposite page massive partitioning should be avoided to give a spacious feel within a unit

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to get to the office on time while fighting the traffic resulting from population growth.

The perceived disadvantage of apartments – of owning only a unit of “space” in a tall building that does not belong to the owner – has not been enough to deter more and more buyers who value the conveniences of apartments and the amenities such as 24-hour security and proximity to urban centers. This lifestyle priority shift is what ultimately crowned the apartment as the newest residential trend in Indonesia.

Jakarta as the capital and one of the biggest cities in the world had a major role in popularizing this trend. Park Royale was the first apartment building in Jakarta, built in 1980 in Slipi, and it opened residents’ eyes to this lifestyle possibility.

Luxuriously designed, the two-tower apartment complex can accommodate hundreds of tenants.

After Park Royale, apartments started to proliferate around the city. In North Jakarta, the Regatta Apartment appeared and boasted prestigious living in the elite residential estate of Pantai Mutiara. Designed to look like a sailboat set against the

apartemen yang mencapai 7 meter.

Apartemen lainnya adalah Residence 8 yang berdiri di kawasan bisnis SCBD, Jakarta Selatan. Tingginya nilai tanah di wilayah ini membuat unit apartemen didesain dengan luasan 65 - 135 m². Meskipun tak terlampau besar, ruangruang di dalam unit ditata apik hingga menghilangkan kesan sempit. Pembatas antara kamar tidur dan kamar mandi pun tidak menggunakan dinding masif tetapi berupa kaca.

Hingga saat ini di Jakarta sendiri telah terjadi lonjakan kuantitas apartemen yang dibangun. Unit apartemen yang dipasok para pengembang untuk wilayah Jakarta sepanjang 2012 mencapai 22.483 unit, naik 41% dibandingkan periode yang sama tahun lalu. Dari total pasokan tersebut, porsi apartemen kelas menengah mencapai 40% menurut penelitian Colliers International.

Apartemen Taman Rasuna yang terletak di salah satu kawasan strategis di ibukota, di daerah Kuningan, saat ini memiliki hingga 17 tower dan kemudian muncul lagi 18th

ocean, this apartment complex has 4 towers offered in 2 types: Ocean View and Aqua Park View, with 100 to 200 square meters for each unit.

Senopati Suites in South Jakarta had a breakthrough with its “landed home” concept as designed by Aboday Design that offers 93 luxurious units equipped with balconies, just like real homes. Each unit boasts a size range from 129 to 400 square meters and a 3 x 4-meter balcony. The landed house concept is also enhanced by tall, 7-meter ceilings.

Residence 8 in the SCBD business district continues the trend.

Priced even higher due to the prime location, the units offer less living area with only 65 to 135 square meters, but good design that opens up the entire space with the help of massive glass panels.

Jakarta is still seeing the rapid proliferation of apartment buildings. There were approximately 22,483 apartment units in Jakarta by the end of 2012, an increase of 41 percent from the previous period. Forty percent of that number is dedicated to the middle class, according to Colliers International.

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Tower, The Wave, dan The Groove. Dengan unit yang tidak terlalu luas pada seputaran angka 40 - 170 m², kelengkapan fasilitas penunjang seperti mini market, hiburan, maupun kuliner yang menjamur di sekelilingnya memudahkan pihak developer menjaring pasar.

Bahkan ada beberapa developer yang membangun apartemen dengan single tower karena terletak di pusat kota di mana jumlah lahan sudah terbatas, harganya pun sangat tinggi.

Namun lokasi ini memberikan kesan eksklusif dan kemudahan akses ke beberapa supporting points bagi pemiliknya. “Privacy dan praktis sekarang menjadi sebuah kata kunci bagi para penduduk Jakarta untuk menentukan tempat tinggalnya,” Anggraito Suhartono, interior desainer dari A + A Architects menambahkan.

Selain lokasi yang strategis dengan aksesibilitas yang mudah serta fasilitas penunjang yang tersedia, segi arsitektur maupun interior pun turut dipertimbangkan mereka yang mencari apartemen. Tidak dimungkinkannya mengubah eksterior karena setiap unit terhubung dengan unit yang lain, membuat penghuni bekerja sama dengan desainer interior menciptakan ruang dengan penataan yang smart.

Pemilihan furnitur yang tepat tentu saja akan membawa kesan yang luas dan nyaman. “Sekarang penghuni menginginkan ruang unit apartemennya lega dengan penempatan furnitur multi guna dan praktis,” Lucky Irmanto, Senior Architect dari PTI Architects menjelaskan. Built-in furniture dan pemilihan material yang bernuansa alami menjadi favorit penghuni apartemen seperti halnya furnitur modular, produk furnitur yang multifungsi.

Hidup di masa kini yang menuntut kepraktisan memang berbuntut pada pilihan. Kecenderungan akan segala sesuatunya yang efektif dan efisien ini pun tampaknya mulai menular kota-kota besar lain di Indonesia. Di Semarang muncul Mutiara Garden Apartment. Apartemen pertama di ibukota propinsi Jawa Tengah yang dikonsepkan terintegrasi dengan pusat perbelanjaan ini ditargetkan rampung pada kuartal awal 2013. Di Yogyakarta, grup manajemen Sahid juga akan menambahkan bangunan apartemen di area hotelnya bersamaan dengan mal baru di tahun 2013. Maka kita bisa membaca tren hunian yang akan berkembang.

image : Bagus tri laksono

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trends

The humongous Taman Rasuna Apartment, located in the prime Kuningan area, has just completed construction on its 18th Tower, dubbed The Wave and The Grove. Although each unit sports only 40 to 170 square meters, the surrounding lifestyle infrastructure such as a mini-market, entertainment and restaurants make this apartment complex an easy sell for the developer.

In recent years, the diminishing availability of land in the city and high prices has led some developers to build only single tower apartment complexes. However, they carry the benefit of privacy and exclusivity for the modern, stressed-out urban dweller. “Privacy and practicality are the names of the game now for residents of Jakarta,” Anggraito Suhartono, an interior designer from A + A Architects, said.

In addition to strategic location and accessibility, architecture and interior design also play into the success of an apartment offering. Tenants and interior designers need to work together to maximize the interior of the living space, since the exterior cannot be changed.

Choosing the right furniture and smart interior design obviously helps in creating a comfortable, spacious living space.

“The modern tenant wants spacious living quarters with smart, multifunctional furniture,” Lucky Irmanto, a senior architect from PTI Architects, said. Built-in furniture in natural materials has become the preferred modern furniture for tenants, as is modular furniture.

Living in today’s world demands practicality and efficiency.

This Jakartan characteristic has started to spread to other cities in Indonesia such as in Semarang, which now has the Mutiara Garden Apartment. The first integrated, mixed-use apartment complex in the capital of Central Java is projected to be completed in the first quarter of 2013. In Yogyakarta, the Sahid management group will add to its portfolio an apartment building set on top of a new mall in 2013. We can expect this trend to only continue in the near future.

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working space In rapidly growing Indonesia, the prevalence of offices as the main working space for the emerging middle class that is driving the nation’s growth is an unmistakable part of modern life. But along with economic growth comes specific sets of challenges

LEFT TO RIGHT THE LOBBY AT THE KASKUS OFFICE IN KUNINGAN, JAKARTA, FEATURING A MINIATURE GOLF THEME. A TOILET IS HUNG ON A WALL IN ONE OF KASKUS OFFICE’S CORRIDOR AS A TONGUE-IN-CHEEK OF THE STOIC CORPORATE CULTURE. ONE OF THE INFORMAL, OPEN MEETING corners IN KASKUS OFFICE.

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ejak satu dekade lalu, gedung-gedung perkantoran mulai menjamur di kawasan tersebut. Pada masa itu, desain ruang perkantoran boleh dibilang masih menuai kata-kata semacam kaku, terstruktur, atau konservatif dengan interior yang didominasi warna-warna nonkonfrontasional seperti abu-abu. Para pimpinan mendapat ruang-ruang tertutup di tepi jendela, sementara para karyawan lainnya menempati deretan bilik-bilik (cubicle) tanpa pemandangan. Karena didesain tertutup, sumber penerangan utama berasal dari fluorescent lighting.

Untungnya, kini banyak perusahaan mulai menyadari bahwa kantor bukanlah sekedar sebuah tempat bekerja namun juga sebuah femonena arsitektur, desain, dan yang terpenting, sosial. Inilah tempat sekelompok manusia berkumpul dan berinteraksi selama 8 jam lebih setiap hari. Para pengusaha sadar bahwa konsep perkantoran satu dekade lalu tak lagi mumpuni untuk menghadapi tantangan masa kini:

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If we look back to a decade ago, the nation’s capital, Jakarta, had a collection of skyscrapers that could have gone toe-to-toe with international cities such as Los Angeles. But as Indonesia’s workforce rapidly modernizes, globalizes and evolves, workspaces now often have not kept a fast enough pace to meet the challenges of 2013 and beyond.

We’ve all seen it: the workspaces of the past are often clunky, conservative and, honestly, depressing. There is a system to

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CLOCKWISE, FROM TOP THE “CAFE” AT KASKUS OFFICE, SERVING FREE LUNCH FOR EMPLOYEES. NOTE THE IRREGULAR, “DECONSTRUCTED” DECORATIVE PIECES ON THE CEILING IN KASKUS OFFICE. DECONSTRUCTED SHAPES WILL GAIN TRACTION as A FUTURE TREND IN OFFICES TO GIVE A SENSE OF PLACE. A RENOVATED OFFICE OF THE CIFOR (CENTER FOR INTERNATIONAL FORESTRY RESEARCH) IN BOGOR, AS DESIGNED BY DESIGN PARTNERS INDONESIA, featuring OPEN WORK SPACE CONCEPT AND TRANSPARENCY THROUGH THE USE OF GLASS WINDOWS. ONE OF THE NEWLY DESIGNED OFFICES OF CIFOR. THE FURNITURE ARE MADE FROM RE-USED FURNITURE.

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pergeseran demografis, perubahan gaya hidup, globalisasi, perkembangan teknologi dan, mungkin yang paling signifikan: biaya operasional yang kian melambung.

Jika kita tilik sekarang, terlihat desain yang bertolak belakang dari desain perkantoran dekade sebelumnya.

Manager tak lagi ditempatkan di lingkaran luar parameter kantor, tapi di tengah ruang sementara para karyawan di tepian jendela. “Agar karyawan mendapat pemandangan dan sinar matahari sehingga tidak depresi karena merasa terkurung sepanjang hari,” Prapanca Muchtar, Direktur Q Space, perusahaan konsultan desain yang banyak merancang ruang perkantoran di Jakarta, menjelaskan.

Tak hanya itu, ruang karyawan dan para manager pun didesain terbuka. Tak ada lagi dinding tinggi dan sekat yang memisahkan atau membatasi mereka. “Konsepnya open floor space, semua dibuka untuk memfasilitasi group

collaboration dan teamwork,” ujar Prapanca. Dengan desain terbuka ini interaksi antar manusia yang ada di dalamnya lebih besar. Para manager mudah memantau kinerja anak buahnya sebaliknya karyawan merasa menjadi bagian dari suatu tim dan akhirnya bekerja lebih produktif dan cenderung bertahan di perusahaan.

Keuntungan lain dari open work space ini adalah menjadikan ruangan lebih luas dan membuat cahaya matahari menerangi hingga seluruh sudut ruangan.

“Penerangan alami adalah salah satu bentuk green design yang penting bagi desain perkantoran di masa depan.

Dengan natural lighting ini perusahaan bisa banyak menghemat energi listrik,” Prapanca menekankan.

Selain green design, tren desain perkantoran yang juga akan menjadi semakin penting ke depan adalah konsep “branded work environment” atau pencerminan identitas corporate brand di ruang bekerja. Kini semakin banyak

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perusahaan di Indonesia sadar bahwa branding merupakan salah satu aset perusahaan yang paling berharga. Mereka proaktif menginvestasikan brand-nya tidak hanya di ranah marketing & sales, namun juga di salah satu aset perusahaan yang juga paling paling mahal: kantor.

Tengok saja kantor baru Coca-Cola Indonesia di Jalan Sudirman, Jakarta. Branding Coca-Cola sangat kental terasa di seluruh kantor ini, mulai dari lobby yang didekorasi dengan susunan botol-botol Coca-Cola yang membentuk merek dagang Coca-Cola Ribbon, hingga interior dalamnya yang menerapkan konsep kantor modern dengan open work space. Menariknya branding Coca-Cola Ribbon dikonsep tidak pernah putus dari lobby sampai ke seluruh interior di dalam, berupa kepingan-kepingan merah (warna corporate Coca-Cola) yang juga dibentuk menyerupai pita Coca-Cola yang berseliweran di plafon seluruh kantor. “Kepingankepingan itu, bisa dibilang salah satu bentuk materialisasi dari konsep branded décor yang mengatakan bahwa sebuah ruang bekerja harus mencerminkan budaya perusahaan,” Abby, Design Director Design Partners Indonesia (DPI) yang mendesain kantor Coca-Cola, menjelaskan. Dengan citra perusahaan yang kuat di sebuah ruang bekerja, maka perusahaan menciptakan a sense of place yang tidak hanya memperkuat tujuan dan misi perusahaan, namun juga membantu karyawan aktif berpartisipasi dan menarik

everything and everything has a structure. Workers must come in at 8 a.m. and leave at 5 p.m. The place is a workspace, not a social hub where people come to socialize in excess of 8 hours a day. Office interiors are often wrapped in “non-confrontational” colors such as grey which is, not surprisingly, not inspirational.

Managers get window seating based on merit while workers are trapped in the middle, surrounded by managers’ watchful eyes. The primary source of lighting comes from dead, sterile fluorescent lights.

Fast forward to 2013 and a completely opposite picture emerges. Managers are now placed in the center of rooms while workers get window seats. The reason? “So that they get the sun and the view outside. They feel happier this way and this affects their productivity significantly,” Prapanca Muchtar, director of Q Space, a renowned design firm for offices in Jakarta, said.

“We also found that by eliminating solid walls that so defined the managers’ exclusivity in the past and replacing them with transparent windows we achieve the same effect with the managers. They still get the natural light. They still get the view. And they can still monitor their workers. The trend for the modern office space is the open floor concept,” he said, “to

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CLOCKWISE, FROM TOP RIGHT THE INTERIOR OF COCA-COLA INDONESIA. NOTE THE DECONSTRUCTED PIECES FLOWING ON THE CEILING, FORMING THE TRADEMARKED COCA-COLA RIBBON. ALSO NOTE THE INFORMAL MEETING CORNER. MANY OF COCA-COLA’S FURNITURE ARE MADE FROM RECYCLED BOTTLES. THE LOBBY OF COCA-COLA INDONESIA, FEATURING AN ARRANGEMENT OF BOTTLES FORMING THE “COCA-COLA RIBBON.” ALSO NOTE THE RIBBON ON THE CEILING.

talenta SDM yang baru.”

Penerapan konsep seperti ini juga bisa dilihat di kantor baru Kaskus di kawasan Kuningan, Jakarta. Bertempat di sebuah gedung parkir yang dialihfungsikan menjadi perkantoran, kantor perusahaan situs online terbesar Indonesia ini didesain super unik dan futuristik, komplit dengan lobby berbentuk lapangan golf mini, ruang rapat yang tersembunyi di balik tegel-tegel putih di sebuah koridor yang berbentuk seperti toilet, game room, dan bahkan sebuah “café” dimana karyawan makan siang gratis.

Elemen-elemen desain playful, exciting, dan unconventional sukses memberikan pengalaman unik bagi semua penggunanya baik tamu maupun karyawan. “Kami ingin menarik minat lulusan TI (Teknologi Informasi) berbakat untuk bekerja di Kaskus. Selama ini, impian mereka adalah bekerja di perusahaan TI asing seperti Google atau Yahoo, yang mereka anggap lebih cool. Maka kami menciptakan kantor Kaskus sedemikian rupa, keluar dari norma perkantoran lazimnya untuk memikat mereka,” Andrew

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foster greater collaboration between teams.”

Another significant benefit from the open floor layout is that it makes the workspace feel spacious and brighter with the help of natural light. “Natural lighting is a green design feature that will become important in the offices of the future. It has the potential to save companies lots of money in energy costs,” Prapanca stressed.

Another equally important future office trend in addition to green design is the concept of a “branded work environment” that gives workspaces a sense of place. A growing number of companies in Indonesia are coming to the realization that the brand is one of the most valuable corporate assets and companies are now proactively investing in not only the realm of marketing and sales, but also in one of their greatest company assets: the office.

Just take a look at Coca-Cola Indonesia’s new office on Jalan Sudirman in Jakarta. An unmistakable Coca-Cola atmosphere permeates the space, from the lobby area decorated with an arrangement of used Coca-Cola bottles to

Darwis, salah satu pendiri Kaskus, menjelaskan.

Raul Renanda, arsitek kantor Kaskus, memperkuat pemahaman mengenai trend desain perkantoran di masa depan yang akan menggunakan kantor itu sendiri sebagai ekstensi dari corporate branding sebuah perusahaan.

“Yang terbaik adalah penggabungan antara dana untuk membuat kantor baru dan sekaligus bagian dari marketing kantor itu. Akan jauh lebih efektif menggunakan elemen desain sebagai bagian dari brand development sebuah perusahaan,” jelasnya.

form the trademark Coca-Cola ribbon to the inner areas with modern designs and an open floor concept. CocaCola branding is maintained throughout the space with the addition of “ribbons” flowing through the ceiling. This ribbon is a materialization of the branded décor concept, which dictates that a workspace should reflect the culture of the company,” Abby, design director of Design Partners Indonesia (DPI) that designed the Coca-Cola office, explains.

“Creating a strong brand image and establishing a sense of place not only reinforces the goals and mission of the company, but it also aids in engaging employees and attracting new ones.”

The application of this concept can also be seen in the new Kaskus office in Kuningan, Jakarta. Occupying a former parking structure, the corporate office of Indonesia’s largest online community-based website is designed uniquely and futuristically. The lobby is in the shape of a miniature golf course, while the meeting room is hidden behind a massive wall of white-tiles that resembles a toilet. There is a game room in the middle of the office, and one floor down a cafeteria serves free lunch for employees. These playful, exciting and unconventional design elements successfully capture Kaskus’ free-roaming, virtual spirit. “We wanted the best IT talents to come work for us, but most graduates look to foreign companies such as Google or Yahoo, which they perceive as cooler. That is why we designed our office this way, to show these talents that ‘hey, we’re also cool. Come and work for us’,” Andrew Darwis, one of the founders of Kaskus, explained.

Raul Renanda, the Kaskus office architect, emphasized the idea of the office as an extension of a company’s corporate branding as an important future office trend. “The best thing is to combine the cost of building a new office with the marketing of the office itself. It is a much more effective use of design as part of a company’s brand development,” he said.

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office tower More and more office buildings populate the major cities in Indonesia, especially Jakarta, Surabaya, Medan and others. Not only do they fill the need for working spaces, but they have also become a symbol of prestige.

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ertumbuhan ekonomi Indonesia yang pesat adalah faktor yang memicu semakin tingginya kebutuhan ruang kantor di kota-kota besar. Satu dekade lalu, banyak perusahaan menengah lebih memilih bangunan bertipe ruko maupun rukan (rumahkantor) sebagai tempat usaha mereka, kini dengan sistem strata untuk penjualan unit kantor, membuat kecenderungan banyak perusahaan memilih berkantor di gedung-gedung tinggi yang berada di pusat-pusat bisnis kota. Selain lokasi yang lebih strategis, juga memberikan citra tersendiri bagi perusahaan.

Karena itulah kini banyak developer mengembangkan gedung kantor. Bahkan perusahaan-perusahaan tunggal yang berkembang pesat juga turut membangun menaramenara kantor sewa. Menariknya izin pendirian gedunggedung ini di Jakarta dapat mencapai 50 lantai. Ini membuat gedung-gedung saling berlomba ketinggian. Selain mengejar efisiensi dan keuntungan dari penjualan maupun penyewaan lantai kantor, semakin tinggi menara akan membuat gedung terlihat menonjol dan menjadikannya landmark di kawasannya. Prestise dan nilai properti pun meningkat.

Tidak heran bila pada akhirnya desain gedung-gedung perkantoran semakin unik. Salah satu yang paling menarik perhatian adalah Bakrie Tower karya konsultan asing HKS Architects di kawasan Epicentrum, Kuningan, Jakarta.

Strukturnya yang memutar, sangat unik dan belum pernah dibangun sebelumnya di Indonesia. Selain langsung menjadi bangunan paling menonjol di kawasannya, menara 50 lantai

PHOTO : Bagus tri laksono (unless stated otherwise)

Indonesia’s rapid economic growth has spurred high demand for office spaces in big cities. A decade ago, many midsize companies preferred low-density units in standalone plazas. But now, thanks to a new, efficient system of selling office units, many companies prefer to set up shop in one of the tall buildings located in business districts in the center of the city. In addition to a more strategic location, it also conveys a certain image for businesses.

Developers have responded by building more office towers, and some companies have even started building their own.

Interestingly, the permit to build these structures in Jakarta allows for up to 50 floors. This ultimately prompted builders to engage in a competition to build the tallest structure in the city.

In addition to achieving economic efficiency and profit from the sale or rental of office units, the higher the tower, the higher the chance for the project to stand out and become a landmark in the area, and increase the building and the business’s prestige and property value.

Not surprisingly, office tower design has become more and

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LEFT TO RIGHT Bakrie tower, an example how an office tower Can become an icon Unique concepts for office towers created to represent the vision and characteristic of the owner.

Green concept such as natural lighting and ventilation for public areas are popular in the pursue of green rating.

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itu sedikit memberi kita gambaran tentang visi perusahaan maupun pemilik yang membangun gedung seperti ini.

Contoh lainnya adalah Thamrin Nine atau dikenal juga sebagai UOB Plaza karya arsitek Budiman H. Hendropurnomo.

Bangunan ini tampak terbentuk dari susunan blok-blok yang iregular, menjulang tinggi dengan warna biru. Bentuk uniknya secara otomatis penanda untuk memasuki kawasan Sudirman-Thamrin. Demikian pula dengan Talavera yang berdiri di Jl. TB. Simatupang. Bangunan kantor setinggi 28 lantai rancangan konsultan Airmas Asri ini memiliki crown melengkung yang sangat ikonik.

Namun selain memperhatikan penampilan, gedunggedung kantor baru terutama di Jakarta, juga sangat mempertimbangkan segi rating hijau yang dikeluarkan Green Building Council Indonesia (GBCI), Green Marks Singapore ataupun rating-rating dari luar negeri seperti LEED. Kepedulian ini juga merupakan pengaruh dengan semakin banyaknya perusahaan multinasional yang membuka kantor di Jakarta. Perusahaan-perusahaan ini memiliki kebijakan dari kantor pusat mereka yang mengharuskan gedung yang dipilih sebagai kantor mereka di negara apapun harus memenuhi syarat ramah lingkungan dengan sertifikasi green.

Sebagai contoh adalah Shell, Allianz, UOB, Caltex, dan lain-lainnya adalah beberapa perusahaan yang mengedepankan syarat tersebut dalam memilih ruang kantor. Para pengembang gedung pun tanggap dengan isu ini karena tenant semacam ini rela mengeluarkan uang sewa yang lebih mahal asalkan berada di gedung green yang memiliki sertifikasi. Semakin tinggi sertifikasi green yang dimiliki, gold atau platinum misalnya, maka gedung tersebut akan menjadi pilihan utama dan tentu harga sewanya dapat lebih tinggi. Inilah kecenderungan yang akan berlangsung mendatang dan tampaknya akan menjadi standar untuk perkantoran.

Untuk gedung-gedung baru yang sedang didesain,

LEFT TO RIGHT Thamrin Nine designed

by DCM, As a landmark in its area Lobby area of the Bakrie Tower, high and spacious, ensuring natural lighting in the interior Talavera Green Office Park, another office tower that integrates green concept in the working place.

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platinum are the coveted certifications), the higher the chance of the building being chosen by these high-paying tenants. This is a trend that will likely become the standard for future office towers.

As of now, new buildings are being designed with green certification in mind. High-tech green building materials such as double-glaze glass that allows sunlight to permeate an office while trapping heat between the gap between two sheets of glass is becoming commonplace, and effectively reduces power consumption for air conditioning as well as lighting.

Another application of green principles can be seen at the Grand Rubina, which is planned for the Epicentrum area.

Designed by Pandega Desain Weharima, the exterior of the

more unique with each completed project. One of the most striking of these is the Bakrie Tower in the Epicentrum district of Kuningan, Jakarta, as designed by HKS Architects. Its spiraling structure is indeed unique and has never been created before in Indonesia. In addition to becoming one of the most prominent buildings in the city, the 50-story structure also allows a glimpse of the company’s vision.

Another example is the Thamrin Nine building, also known as the UOB Tower, by architect H. Budiman Hendropurnomo.

This towering blue structure appears to be composed of irregular blocks, and is an iconic landmark in its own right in the Sudirman-Thamrin district. Similarly, the 28-story Talavera building on T.B. Simatupang Street boasts an iconic curved crown, the brainchild of designer Airmas Asri.

But, in addition to their good looks, today’s office buildings, especially in Jakarta, also compete for certification from the Green Building Council of Indonesia (GBCI) or Green Marks Singapore, or for a green rating from abroad such as LEED – an influence from the increasing number of multinational companies setting up shop in Jakarta. These companies bring their headquarters’ green principles with them, and ultimately the requirement to obtain green certification. Shell, Allianz, UOB, Caltex and others are but a few multinational companies that prioritize these requirements in choosing office space.

Local developers, in turn, quickly responded to this sensitivity as these tenants are willing to pay more as long as it is a certified green building. The higher the green certification (gold or

teknologi material bangunan menjadi tumpuan dalam mencapai rating green. Material kaca double glaze menjadi pilihan utama untuk menyediakan pencahayaan alami yang cukup ke dalam ruangan kantor karena dapat menahan panas sinar matahari yang jatuh. Adanya rongga di antara dua lembaran kaca tersebut membuat panas dapat diperangkap di tengah sehingga penggunaan daya untuk pendingin udara menjadi lebih rendah.

Solusi lain bisa kita lihat pada Grand Rubina yang rencananya akan berdiri di kawasan Rasuna Epicentrum. Dirancang oleh konsultan Pandega Desain Weharima, eksterior bangunan ini ‘dibungkus’ secondary skin berupa sirip-sirip kaca yang melindungi bangunan dari sengat matahari. Secondary skin dalam bentuk lain misalnya perforated alumunium tampaknya juga akan menjadi jalan keluar yang cukup praktis seperti telah digunakan di gedung baru Universitas Media Nusantara karya arsitek Budiman H. Hendropurnomo. Sistem skin bangunan pendidikan ini dapat menjadi inspirasi di gedung-gedung perkantoran karena cukup signifikan mengurangi silau dan panas matahari namun membuat ruangan tetap terang dan udara mengalir lancar.

Kebutuhan bangunan yang green dengan desain ikonik tampaknya akan terus berkembang untuk perkantoran. Kerjasama antara pemilik gedung dan arsitek yang merancang akan menjadi faktor penentu kesuksesan gedung saat dipasarkan maupun saat operasional. Dengan pertumbuhan ekonomi nasional yang stabil seperti ini, bukan tidak mungkin masih akan banyak menara-menara kantor baru dengan desain menarik dan ramah lingkungan, yang bermunculan.

building is “wrapped” in secondary skin in the form of glass fins, which shield the building from the sun’s intense rays.

Another form of this secondary skin is the perforated aluminum sheets at Universitas Media Nusantara – the work of architect Budiman H. Hendropurnomo. These aluminum sheets provide an ingenious and simple solution to significantly reduce the glare and heat of the sun while allowing natural light to shine through, as well as providing adequate ventilation that impacts energy consumption.

The trend for building iconic office towers while courting green certification is likely to continue for the foreseeable future. The cooperation between developers and the architects who design buildings will be the determining factor of a building’s success, and, ultimately, its rentability to multinational companies. With the steady growth of the Indonesian economy, chances are good that more of these structures will make their appearance very soon.

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mixed-use development Maximizing the available land in the middle of the city prompted the development of mixed-use complexes. These types of complexes are favored in the modern world because of their versatility, not to mention increased conveniences for the urban dwellers.

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esatnya pertumbuhan ekonomi di Indonesia belakangan ini menjadi peluang bagi para pengembang properti. Dalam suatu kawasan, mereka tidak lagi membangun hanya hotel, mal, gedung perkantoran atau bangunan hunian saja. Pusatpusat perbelanjaan yang didirikan, dilengkapi dengan pusat-pusat makanan, hotel, bahkan hunian. Ide ini muncul karena para pengembang melihat kecenderungan masyarakat yang enggan berpindah tempat terlalu jauh dalam beraktivitas. Masyarakat ingin segala kebutuhannya terpenuhi di satu area sehingga waktu mereka efektif.

Bila perencanaannya dieksekusi dengan baik, maka masing-masing fungsi di dalam kompleks bangunan mixed use akan saling mendukung satu sama lain. Pada simbiosis mutualisme antara hunian dengan bangunan komersial dalam suatu kawasan, masing-masing unsur memberikan nilai tambah. Harus diakui, bangunan entertainment atau mal, memang memberikan daya tarik terhadap residensial bahkan hotel untuk bergabung. fX lifestyle x’enter di area Sudirman, Jakarta yang berdiri di atas lahan 8000 m² misalnya. Keberadaan pusat doc. PTI ARCHITECTS

Indonesia’s rapid economic growth in recent years has spurred many property developers to seize the opportunity. For many, this means maximizing land use. No longer do hotels, shopping centers and apartments have the luxury to be built separately. Today’s trend in property development, especially in cramped cities like Jakarta, dictates that these structures be combined as much as possible. People, too, seem to like the idea that they don’t have to travel far to get from one building to the next, especially amid Jakarta’s gridlocked traffic.

A mixed-use development, if properly planned and executed, will provide an enormous convenience for users. Developers and investors, too, stand to gain from increased land/building worth.

It is only logical – who can resist the proposition of an integrated commercial/ lifestyle/residential complex? The poster slogan for this new breed of living hub should be “live/work/play”.

Take a look, for example, at the fX lifestyle x’enter located in the Sudirman area. This 8,000-square-meter all-in-one complex boasts a shopping center, a business center with meeting rooms in the form of signature “pods” designed by Indonesia’s renowned architects, a hotel (Harris Suites) and an apartment tower dubbed fX Residence on top of the mall. The same is offered by The H Tower in the Kuningan area, a 3,750-squaremeter area that integrates apartments, a hotel and hospital in a single tower.

Meanwhile in Cakung, East Jakarta, a mega-project known as Jakarta Garden City by Keppel Land Singapore is slowly taking shape on a 270-hectare area and promises a huge mixeduse complex that offers it all: a residential area, a hospital, a school, a sports center, recreation areas, a shopping mall and maybe even more, depending on opportunity. On the other hand, Grand City in Surabaya has been operating for a while now and has set the benchmark as the first mixed-use complex

Shopping mall as one of the components in mixeduse developments.

Opposite page Public spaces for leisure are important to balance tough and solid concretes around it.

doc. airmas asri

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Clockwise Skyscrappers are usually found in mixed-use area and used as residentials.

Applying attractive exterior and theme might gather more visitors Another example of a mixed-use that maximizes natural landscape Artificial landscape to accommodate residents for public spaces needs

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in Surabaya, constructed on a 5-hectare area that combines MICE (Meeting, Incentive, Convention and Exhibition) facilities together with a mall, a 5-star hotel and serviced apartments.

From the above examples, it’s clear that thus far there is no standard size that dictates how big a mixed-use complex should be. “The main point of the mixed-use idea is simply land optimization. There is no set standard on how big it should be,” A. Pris S. Marzuki, director of PTI Architects, said. As a result, some mixed-use complexes are measured in hectares while others simply grow taller, occupying the former space of a previous building.

The current mixed-use trend in Jakarta is strangely almost devoid of office towers. Most mixed-use complexes seem to only care about having apartment towers and/or hotels and entertainment centers, an oddity considering Jakarta’s oftgridlocked traffic and its prevalence as a business capital.

“Developers tend to focus on apartments or hotels or lifestyle centers,” Satrianto, an associate of PTI Architects, said. Offices and workspaces tend to stand alone or are clustered inside one of those ubiquitous mini-plazas known in Indonesia as “ruko”

perbelanjaan dengan business pod yang dipadukan dengan hotel Harris Suites serta apartemen fX Residence di bagian atas mal ini saling mendukung satu sama lain. Demikian juga dengan The H Tower seluas 3.750 m² di daerah Kuningan yang mengintegrasikan apartemen, hotel dan rumah sakit dalam satu kawasan.

Sementara itu dari kawasan Cakung, Jakarta Timur, proyek raksasa seluas 270 hektar: Jakarta Garden City di bawah manajemen Keppel Land Singapore yang saat ini masih dalam proses konstruksi, mengintegrasikan kawasan hunian, rumah sakit, sekolah, pusat olahraga, rekreasi dan belanja, serta mal untuk menciptakan gaya hidup modern.

Sedangkan Grand City, ikon mixed-use pertama di Surabaya yang berdiri di atas 5 hektar lahan, menggabungkan fasilitas MICE (meeting incentive, convention and exhibition), shopping mall, hotel bintang 5 serta serviced apartment.

Dari contoh-contoh kawasan mixed-use yang sedang maupun telah terbangun kita melihat tidak ada konsep yang standar mengenai luasannya. “Inti dari mixed-use itu optimalisasi lahan. Tidak ada standar luasan, bisa besar atau kecil,” A. Pris S. Marzuki, Director dari PTI Architects menjelaskan. Sehingga ada kompleks bangunan ragam fungsi dengan luasan hektar, ada pula yang hanya mengoptimalkan gedung dengan menambahkan lantai dan fungsi-fungsi lain ke dalamnya.

Menariknya kita melihat kecenderungan untuk meletakkan office tower di kawasan mixed-use Jakarta masih belum begitu tampak. “Para pengembang cenderung mendirikan menara apartemen atau hotel dan hiburan,” Satrianto, Associates dari PTI Architects menegaskan.

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doc. airmas asri

Dengan kata lain komposisi bangunan di dalam area bangunan ragam fungsi ini masih ada pada seputaran hotel, apartemen, mal, dan culinary spots. Area perkantoran dan rukan masih banyak berdiri sendiri.

Agar bisa berkembang dan direspons positif oleh masyarakat, para pengembang superblok menerapkan beberapa konsep di antaranya: identity/branding, mix of uses, massing framework, efficient vehicular circulation, dan multi-layer pedestrian linkage. “Banyaknya produk properti yang beridentitas menyebabkan kawasan mixed-use pun harus memiliki identitas tematik,” kata Ridwan Kamil, arsitek perkotaan alumni dari Institut Teknologi Bandung. Tema ini menjadi nilai jual karena kawasan memiliki posisi pasar yang kuat yang berbeda dengan kawasan-kawasan lainnya.

Sebut saja Kemang Village, mixed-use seluas 15.5 hektar di daerah Antasari, Jakarta Selatan. Lansekap kawasan dengan sebuah pusat perbelanjaan, apartemen, dan bangunan sekolah di atasnya ini dihadirkan dengan kesan pedesaan yang kental, kontras dengan ramainya suasana jalan raya di depannya. Sungai alami dan elemen hijau dari rimbun bambu yang terdapat di dalamnya, dipertahankan.

doc. chendra cahyadi

(Rumah-Toko or home-store).

To differentiate themselves and to attract buyers and tenants, mixed-use developers are increasingly using branding, mixing uses, efficient vehicular circulation and multi-layer pedestrian linkages. “The proliferation of property products that brand themselves forces the mixed-use developers to also come up with their own branding efforts,” explained Ridwan Kamil, an architect of urban planning who graduated from the Bandung Technology Institute (ITB). These branding efforts often translate to thematic complexes, which increases their value.

A good example of this is Kemang Village in Antasari, South Jakarta. The 15.5-hectare complex boasts a retail area,

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Modern mixed-use by putting glasses and LED lights as the exterior components

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Area juga dibuat yang nyaman bagi pejalan kaki.

Area barat kota Jakarta tepatnya di daerah Pantai Indah Kapuk, juga akan memiliki kawasan mixed-use dengan 2 hotel, mal, dan apartemen yang dirancang dengan tema yang beda. Fasad bangunannya dibungkus kaca-kaca seperti nako dengan kemiringan 45˚ dan memantulkan cahaya LED merah seolah seekor naga, binatang yang banyak muncul di dalam mitos dan cerita klasik Tiongkok.

Di sana nantinya pun akan dibangun 3 telur raksasa sebagai ikon keseimbangan mengikuti filosofi China.

Seperti Jakarta, kota-kota lain di Indonesia pun tak kalah sibuk membangun kawasan superblok. Cirebon, kota yang berada di jalur bisnis antar propinsi, memiliki Cirebon Super Block sejak 2010, seluas 6 hektar. Makassar di Sulawesi Selatan juga tak mau ketinggalan. Di atas lahan seluas 2,7 hektar di kawasan Metro Tanjung Bunga, telah berdiri Trans Studio Theme Park milik kelompok PT. Trans Kalla yang merupakan gabungan wahana permainan dan edukasi dengan resor dan mal serta 2 hotel bertaraf internasional dan apartemen.

“Balikpapan di Kalimantan Timur pun sudah mulai bergerak mendirikan mixed-use,” Lucky Irmanto, senior arsitek dari PTI Architects, mengatakan. Balikpapan Superblok yang berlokasi dekat bibir pantai, mengintegrasikan mal, apartemen, hotel, shopping center dan office tower di atas lahan 14 hektar, akan rampung Maret 2014. Jogjakarta pun mulai menyusul dengan rencana Grup Sahid membangun mal, apartemen dan kondotel di daerah Sleman, yang akan diikuti kota Lampung, Lombok, dan Manado. Maka bisa dibayangkan, seperti apa kota-kota di Indonesia beberapa tahun ke depan.

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apartments and a school, and is presented like a quaint village complete with a river flowing through it and plenty of bamboo trees shading the complex. Another great example is the well-known Pantai Indah Kapuk area in West Jakarta, which will soon see the addition of a mixed-use complex sporting two hotels, a mall and thematic apartment complexes. The façade of the complexes will feature 45-degree tilted glass and reflecting red LED lights to symbolize the dragon, a popular mythical animal in Chinese lore. In accordance with this plan, three giant eggs will also be built that pertain to the dragon as well, believed to maintain balance in Chinese philosophy.

Other major cities in Indonesia are hot on the heels of Jakarta in terms of building these superblocks. Cirebon, a satellite city that lies on a strategic inter-province crossroad, has had the Cirebon Super Block since 2010 that occupies a 6-hectare area. Makassar, Indonesia’s eastern economic hub, can brag the 2.7-hectare Trans Studio Theme Park, a property of PT. Trans Kalla, in the Metro Tanjung Bunga area. The massive complex boasts a theme park, educational facility, resort, mall, two international-standard hotels and apartments.

“Balikpapan in East Kalimantan is also entering the mixeduse segment with its planned superblock to be completed in March 2014,” Lucky Irmanto, a senior architect from PTI Architects, added. The Balikpapan Superblok that is situated near the beach integrates a mall, apartments, a hotel and an office tower on a 14-hectare area. Yogyakarta, Lampung, Lombok and Manado are close behind with their own planned superblocks. It doesn’t take much imagination to understand what Indonesia’s largest cities will look like in the near future when it comes to these massive, all-in-one living hubs.

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shopping center Shopping centers are no longer conceptualized as large, enclosed structures. Along with the shift in thinking that the mall is no longer just a place to shop but a recreation area and urban lifestyle center, the open-air shopping mall concept is now a growing trend and is favored by consumers.

BELOW Cihampelas walk one of the first modern shopping center in indonesia to feature the ‘open mall’ concept OPPOSTE PAGE Tribeca Park, the largest open public space ever created in a retail development.

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ren baru pusat belanja dimulai sekitar tahun 90 an, saat Pondok Indah Mall dibangun. Pusat belanja di selatan Jakarta yang dirancang konsultan asing DDG, lalu menjadi tujuan hangout, bukan sekedar berbelanja lagi. Desain Pondok Indah Mall memang berbeda, pusat belanja dengan bangunan tertutup ini menghadirkan area tengah yang terbuka, dikelilingi toko-toko dengan sistem pengudaraan buatan yang tersentralisasi. ‘American Mall’ begitulah Ashin Rasheed, principal architect DDG menyebut tipe bangunan demikian.

Sejak saat itu pula tipologi bangunan mal atau pusat perbelanjaan seperti Pondok Indah Mall menjamur di Jakarta mulai dari Plaza Indonesia, Puri Indah Mall, Mall

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The current trend for the shopping centers blanketing Indonesia’s major cities began largely in the 1990s, when Pondok Indah Mall was completed and promptly set the benchmark for Jakarta’s – and indeed Indonesia’s – first true lifestyle hangout destination. Located in the Pondok Indah residential area, the mall was the first of its kind within a residential area. And so began a decade-long race for various other mall developers in the country to build the next biggest, grandest and most luxurious shopping center in Indonesia.

Designed by Chicago-based DDG, Inc., Pondok Indah Mall was created to have the appearance of an American shopping mall, featuring an open central area surrounded by shops and centralized climate control to regulate the atmosphere inside the enclosed structure. It was by and large a revolutionary design,

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Taman Anggrek, dan lainnya. Yakni bangunan masif besar dan tertutup yang menyediakan lingkungan buatan bagi para pengunjung untuk terus beraktivitas dengan nyaman di dalamnya tanpa peduli apakah cuaca sedang terik ataupun hujan. Ketika itu media massa ramai membahas fenomena ini, bahwa mal bukan lagi sekedar pusat belanja tapi pusat gaya hidup.

Perkembangan desain dengan blok masif serba tertutup itu seakan menjadi standar untuk pusat-pusat perbelanjaan.

Memang dirasakan nyaman dan tidak terusik cuaca, namun di sisi lain energi yang dibutuhkan untuk operasional bangunan sangat tinggi, terutama untuk pengudaraan dan pencahayaan. Pernah mengalami mati listrik di sebuah mal besar? Sangat gelap tanpa cahaya dan pengap. Matinya listrik menandakan konsumsi energi telah berlebihan dan sangat mahal.

Karena itulah 5 tahun belakangan, mal ataupun pusat belanja yang baru didesain beda. Salah satu yang memulainya adalah Cihampelas Walk di Bandung tahun 2004. Berada di atas lahan sebagian hutan kota, pusat belanja dan gaya hidup ini dibangun mengikuti keberadaan pohon-pohon cukup besar yang memang tumbuh sejak

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starkly different from existing shopping centers in Jakarta then such as the Sarinah Department Store in the Sudirman area, which was the first modern shopping mall in Jakarta and the first mall in Indonesia to have escalators. Further, it showed people the possibility that a shopping center could be more than just a place to shop: it could be a place to meet, hang out, socialize, seek entertainment, eat, spend time with family and much more.

Since then, shopping centers have sprouted throughout Jakarta and Indonesia’s modern-day town squares, replacing the traditional “alun-alun”. Until recently these malls had but one thing in common: they were massive indoor structures that provided artificial environments that allowed visitors to engage in activities no matter the weather; an important feature considering Indonesia’s tropical climate. But, in the past five years, a new paradigm shift has started to take shape in the design of new shopping centers – more natural, more environmentally friendly shopping centers.

This translates to a drive to design new shopping centers or complexes that are at least partially open-air. Starting with Cihampelas Walk in Bandung in 2004, which was built in the forested area of the city and features a true open-air setup, this new trend shines light on the growing concern and awareness

lama di sana. Jalur sirkulasinya diletakkan di ruang terbuka, tidak dibuat banyak ruang tertutup. Demikian pula dengan struktur Cilandak Town Square di Jakarta Selatan yang semi terbuka sehingga pengudaraan alami dapat mengalir di selasar-selasar antar toko.

Seiring dengan isu lingkungan hidup yang semakin meningkat, belakangan ini tipologi bangunan mal, pusat belanja, maupun pusat gaya hidup turut berubah.

Ruang terbuka di tengah bangunan semakin besar. Menurut para arsitek, dengan desain seperti itu para developer dapat menghemat biaya operasional secara signifikan karena pendingin ruangan hanya dibutuhkan pada tokotoko yang luasannya tentu lebih kecil ketimbang harus mendinginkan sebuah massa besar seperti sebelumnya.

Bukaan yang besar dan berada di tengah bangunan ataupun kompleks juga memungkinkan pencahayaan alami bekerja optimal sehingga pada siang hari tidak diperlukan lampu untuk menerangi area-area sirkulasi di dalamnya. Para tenant juga tidak perlu menggunakan terlalu banyak lampu. “Secara ekonomis, desain seperti ini lebih menguntungkan bagi pengembang,” jelas Reggy Wijaya, Planning Director Tetra Desain Indonesia yang banyak merancang banyak bangunan ritel di Indonesia salah satunya adalah The Living World di Alam Sutera, Tangerang.

Bidang transparan pada massa bangunan seperti bisa dilihat di Living World ataupun Senayan City karya DP Architects, sedikit banyak membantu pencahayaan secara alami. Tapi kemudian muncul lagi Central Park di Podomoro City yang membiarkan lahannya di tengah kawasan yang didedikasikan sebagai taman semi-publik: Tribeca Park.

Terbukti masyarakat dengan gaya hidup masa kini tetap menyukai ruang-ruang luar, terkena sinar matahari dan merasakan aliran angin alami bukan sekedar AC. Contoh menarik lainnya adalah Beachwalk Bali yang dirancang sebagai paviliun-paviliun terbuka oleh konsultan arsitektur enviro TEC dan ternyata sukses menangkap nuansa pantai dan wisata di Kuta, Bali. Tak bisa dipungkiri memang ada beberapa kendala yang harus diperhatikan seperti tampias air hujan saat musim penghujan tiba, atau debu bila berada di daerah kota. Namun semua problem itu tidak begitu besar bila dibandingkan dengan penghematan energi yang dapat dilakukan. Rasanya, di masa mendatang akan semakin banyak area-area terbuka maupun semiterbuka di pusat perbelanjaan, bukan lagi lingkungan artifisial seperti sebelumnya.

of green principles. Spurred by rising energy costs and the simple fact that operational costs for climate controls for indoor malls require massive resources, mall developers are now looking closely at the open-air design for retail complexes. As demonstrated by such complexes as the semi-open Cilandak Town Square in South Jakarta, smart designs that allow for natural ventilation and light to permeate the retail space is not only smart but also potentially offers significant economic savings.

Thus, we are beginning to see more and more shopping centers that utilize large open spaces in the middle of the structure.

Design-wise, architects assert, it makes sense because mall operators do not have to spend so much energy to keep that area cool or lit. Energy can be concentrated on regulating the climate inside stores, which obviously have a much smaller footprint.

“Economically, this kind of design benefits the developers,” said Reggy Wijaya, Planning Director of Tetra Desain Indonesia, an agency that has designed many retail spaces in Indonesia, including Living World in Alam Sutera, Tangerang.

The growing use of transparent glass windows in these massive retail structures to let in natural light, as can be seen at Living World or Senayan City, which was designed by DP Architects, is still evolving and pushing the envelope toward fully outdoor retail spaces as can be seen at Central Park in Podomoro City with its Tribeca Park or the recently opened Beachwalk Bali.

The latter, designed by architecture firm TEC, successfully captured both the beach and sightseeing feel in Kuta, Bali.

All of this points to a sign that consumers in Indonesia, after all, are willing to tolerate, and perhaps even yearn for, a return to the traditional way of shopping in the old days: outdoors where one can feel real breezes and real sun. Although this in and of itself has certain challenges, such as rain or dirt, it pales in comparison to the kind of energy saving that can be achieved from such designs.

BELOW Open mall concept creating an opportunity for more public space where people can interacts.

LEFT A rendering of a new mall’s interior in Jakarta.

Lately the concept took nature as theme.

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eberapa dekade lalu, pertanyaan ‘harus seterang apakah ruangan’, hadir saat kita merancang tata cahaya interior ataupun eksterior bangunan. Namun belakangan pertanyaan itu tak lagi muncul, tetapi berganti menjadi ‘ingin agar suasana yang tampak seperti apa?’ ataupun semacamnya. Demikianlah, pencahayaan telah berkembang bukan lagi sekedar untuk menerangi dan memiliki fungsi tapi juga untuk membangun atmosfer dan mood bagi para pengguna ruang sekaligus memberikan identitas bagi ruangan tersebut.

“Kini mendesain pencahayaan dalam ruang tidak lagi bergantung pada tingkat lux yang dibutuhkan tapi juga pada penempatannya,” kata Christopher Tju, desainer tata cahaya terkemuka yang memiliki kantor desain di Jakarta dan Singapura, Christju Pte. Ltd. Lux di sini adalah tingkat terang cahaya yang dihasilkan dari lampu. Contoh paling sederhana yang diambil sang desainer adalah ruang rapat. Dulu seringkali diperhitungkan berapa jumlah lampu untuk mencapai tingkat terang ruangan. Kini tidaklah demikian.

Bila sebuah ruangan ditata, lampu ditempatkan dengan cermat pada area-area yang memang digunakan. Misalnya pada area di mana terdapat papan tulis untuk presentasi, atau pada meja rapat di mana orang-orang akan duduk dan menulis yang

A few decades ago, the question of ‘how bright a room should be’ was the norm in the design of a building’s interior or exterior. But lately the question has changed into ‘how do you want the ambiance to be?’ or other questions in that same line. This proves that the role of lighting has evolved from merely a tool to illuminate and brighten up a room to a design element that works to create atmosphere and mood for the users of a room as well as to provide an identity for the room.

“Now designing a lighting scheme of a room does not only rely on the level of luxury it conveys but also on the placement of the lighting,” says Christopher Tju, a renowned lighting designer who helms Christju Pte. Ltd. with offices in Jakarta and Singapore. Luxury here can be translated into the level of brightness the lamps provide. The simplest example the designer comes up with is the lighting design of a meeting room. Before, it was often determined how many lamps were needed to achieve a certain brightness throughout the room. Nowadays, that’s hardly the case.

When a room’s interior is designed, lamps are meticulously placed in areas that definitely have a use for them. For instance, lighting is needed in areas where boards are placed for presentation or above the conference

BELOW Functional lighting, each light is strategically placed to iluminate the important spots and avoiding glare OPPOSITE PAGE (BOTH) The ability of changing colors lift LED to be the technology of choice in lighting design.

lighting Nowadays, the use of lighting in indoor and exterior is aimed at creating atmosphere.

Thanks to the advancement of technology, the lighting used to create mood and atmosphere is also evolving.

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ABOVE Lighting is also used as a modern decorative element, creating a memorable scenes in a room.

OPPOSITE PAGE Through lighting, mood and ambience can be set dynamically with colors and dimming level.

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semacamnya begitu besar dan instalasinya cukup rumit. Di masa kini, teknologi lampu LED telah berkembang pesat, sangat membantu dalam mewujudkan tata cahaya seperti apapun baik ruang luar maupun ruang dalam.

Dimulai dengan kemampuan dimming, atau pengaturan terang-redupnya cahaya lampu sehingga terangnya sebuah ruangan dapat disesuaikan setiap waktu dengan mudah.

Perkembangan ini kemudian dipadukan dengan kemampuan satu sistem lampu LED untuk berubah-ubah warna dengan dinamis. Teknologi ini mewujudkan desain pencahayaan yang unik bagi ruang-ruang yang membutuhkan suasana khusus seperti foyer sebuah galeri, kantor, gedung pertunjukan, bahkan sampai ruangan-ruangan rumah.

Perkembangan teknologi LED pun tak hanya terfokus pada sistem pencahayaan yang khusus. Lampu LED yang memang menggunakan daya jauh lebih kecil ketimbang lampu biasa, kini lebih terjangkau meski harganya masih sedikit mahal.

Namun lampu-lampu LED dijadikan pilihan banyak kalangan mengingat perbandingan energi yang dikonsumsi cukup jauh.

Sebagai contoh, terangnya cahaya lampu biasa 30 watt setara dengan lampu LED 9 watt. Di masa mendatang, tampaknya lampu yang bisa dengan mudah diatur untuk kebutuhan desain serta hemat energi, akan menjadi standar utama.

membutuhkan penerangan. Area-area pinggir ruangan yang hanya menjadi tempat lalu lalang, tidak diberi pencahayaan khusus namun cukup pendaran dari lampu-lampu utama. Efektif dan estetis sekaligus.

Lihat contoh lain semisal restoran-restoran yang ingin mengedepankan suasana privat. Pencahayaannya akan sengaja dibuat temaram, tidak terang benderang. Lampu-lampu bernuansa hangat yang dipasang hanya disorotkan pada mejameja sehingga suasana terasa akrab bagi tamu yang sedang duduk menggunakannya. Penataan demikian terlihat tidak hanya di Indonesia, namun juga dunia.

Sedangkan di dalam rumah, pencahayaan untuk ruangruang ditata tak sama satu sama lain. Bila ruang keluarga diberi cahaya lebih terang dan memiliki titik-titik yang disorot karena terkadang digunakan untuk membaca, tidak demikian dengan kamar tidur. Untuk menimbulkan suasana santai dan tenang di dalam kamar, cahaya tidak menyorot langsung ke bidang-bidang namun dipantulkan terlebih dahulu, sehingga terasa lebih lembut.

Warna lampu juga turut memiliki peranan penting dalam mewujudkan pencahayaan yang dapat membangun mood. Di masa lalu kendalanya adalah teknologi. Energi yang dibutuhkan untuk menggunakan lampu-lampu halogen, fluorescent dan

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huge and the installation was complicated. At present, however, the LED technology has evolved rapidly and is extremely beneficial in creating any lighting scheme we desire, both indoor and outdoor.

The technology started with the dimming ability, the capacity to adjust the lamp’s intensity, which makes it easier to regulate the brightness of a room.

This breakthrough was then combined with the ability of an LED lamp to change its colors dynamically. The technology allows for a unique lighting design for spaces requiring specific ambiance such as the foyer of a gallery, office spaces, theaters and even living quarters.

Yet the development of LED technology is not only focusing on special lighting design. LED lamps, which use up less energy compared to the usual lamps, are now more affordable although the price is still on the steep side. But because of their energy-efficient properties, which are much better than ordinary lamps, more and more people opt to use LED lamps. For instance, the intensity of a 30-watt ordinary lamp is equal to a 9-watt LED lamp. In the future, lamps that can be easily adjusted to cater to design requirements and are energy-efficient will be the primary choice.

table where people sit and write. On the other hand, the areas on the side that people only use to stroll do not have any special lighting arrangement but instead get their illumination from the main lamps in the room. This solution is both effective and aesthetic.

Other examples are restaurants that want to convey a sense of privacy in their rooms. Therefore the spaces there are dimly, instead of brightly, lit. Lamps with a warm glow are installed to cast their light on tables to evoke a hospitable and inviting ambiance for patrons. This kind of lighting arrangement is not only found in Indonesia but also implemented in other parts of the world.

For home interiors, room lighting schemes are designed differently for each room. Family rooms are usually brighter and come with illuminated spots as the space is often used for reading and other activities. On the other hand, a bedroom should have a calm and relaxing ambiance and therefore lights are not directly aimed at surfaces but bounced first to achieve a softer glow.

The shades of a lamp also play an important role in achieving a mood-inducing lighting environment. In the past, this notion was held back by technology. The energy needed for halogen, fluorescent lamps and the like was

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restaurant To delve deeper into restaurant design for 2013, erza st. spoke to 3 restaurateurs – Chris Salans of Mozaic, Gillex Marx of Amuz and Christian Rijanto from Ismaya Group – as well as restaurant designer Johnathan Garrison of Yabu Pushelberg, an international studio design firm.

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ebih dari satu dekade ini, dunia kulinari Indonesia berubah dramatis. Kini semakin banyak restoran hadir dengan konsep serta spesifikasi makanan yang berbeda. Temanya pun semakin meluas mulai dari tradisional sampai gastronomi molecular.

Peran restoran dulu dan sekarang, berbeda. Restoran kini tak lagi sekedar tempat untuk mengisi rasa lapar, karena menjadi juga tempat bersosialisasi. Sebuah restoran yang hanya mempunyai makanan enak saja akan dinilai kurang memadai dibandingkan dengan restoran yang mempunyai makanan enak serta suasana yang mendukung. Dan untuk mendapatkan suasana yang diinginkan, dibutuhkan desain restoran yang baik. Seperti apakah sebuah restoran yang dirancang mumpuni?

Pendiri serta pemilik Mozaic Restaurant dan Mozaic Beach Club di Bali: Chef Chris Salans, dan Chef Gilles Marx, pemilik Amuz Gourmet Restaurant di Jakarta sepakat, restoran yang dirancang dengan baik haruslah mempunyai elemen kejutan yang tercipta dari rancangan suasananya.

Perpaduan antara segi visual yang dihasilkan dari interior yang indah, tata meja, furnitur karya perancang terkenal, latar belakang musik yang tepat, hingga tata cahaya yang baik, semua itu akan menciptakan kesan pertama yang sangat penting bagi tamu.

Sementara itu Christian Rijanto, pemilik restoran dari Ismaya Group percaya bahwa restoran yang dirancang

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Over the last decade, Indonesia has seen a rather dramatic change in its culinary landscape. More and more interesting restaurants with culinary specializations and concepts have sprung up. The themes are diverse: from traditional to molecular gastronomy, with strong design concepts incorporated within them. This has also altered the way restaurants function, becoming not only just a place to eat but also a lifestyle space. To delve deeper into restaurant design for 2013, Indonesia Design spoke to 3 restaurateurs – Chris Salans of Mozaic, Gillex Marx of Amuz and Christian Rijanto from Ismaya Group – as well as restaurant designer Johnathan Garrison of Yabu Pushelberg, an international studio design firm.

In an era when food is no longer created just to satisfy your hunger, restaurants are playing a more important role in human life, and even for civilization itself. Over a decade past the millennium, restaurants now exist not only as places to eat, but also as social ground where people gather to see and to be seen. A restaurant with good food alone might not work as well compared to a restaurant with good food and great ambiance.

Of course, great ambiance comes from great design. So, one wonders, what is the definition of a well-designed restaurant?

The famous chef founder and restaurateur Chris Salans of Mozaic Restaurant and Mozaic Beach Club in Bali and Gilles Marx of Amuz Gourmet Restaurant in Jakarta both agree that a well designed restaurant should have an element of surprise that comes from the atmosphere. The combination of visuals that comes from a beautiful interior, table settings and furniture to the right background music and great lighting, to all the little details that create a welcoming, intimate atmosphere create the first important impression for a guest.

Both chefs and Christian Rijanto of Ismaya Group also believe that a well-designed restaurant should function properly in terms of operations and the service layout; and manage to achieve the objectives in providing a perfect experience. Uniqueness and great creativity in terms of using good quality yet affordable materials also adds up to making a restaurant a well designed one.

However a well-designed restaurant should also respond to the market that it is in. For the Chinese market, private dining rooms are much more important, as it is a part of their culture to dine this way, while in New York people want to see and be seen, so private dining rooms are less important.

Johnathan Garrison, the studio director from Yabu Pushelberg who designed the new Cassis, shared that there can be well designed fast food restaurants as well as well designed luxury restaurants. The design of a restaurant should also capture aspects of the food culture represented on the menu as well as local influences. A consideration to do something different than your other competitor might also help to get good positioning in a highly competitive market.

The year 2013 will also bring new elements in restaurant concepts and design. Johnathan Garrison estimates that the trend will lean more to organic and locally grown food, as that trend has developed already. Restaurant designs in this case will use more local influences. The year might also be the year in

THIS PAGE ONE OF THE PRIVATE DINING ROOMS DESIGNED

BY YABU PUSHELBERG, AN INTERNATIONAL STUDIO DESIGN FIRM. OPPOSITE PAGE ONE OF THE RESTAURANT DESIGNS FROM YABU PUSHELBERG.

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FROM LEFT TO RIGHT NOTE THE INTRICATE ATTENTION TO DETAIL IN THIS RESTAURANT. THE CURRENT TREND FOR RESTAURANTS IS TO “SERVE” NOT ONLY GREAT FOOD BUT ALSO GREAT VISUAL. THE MOODY INTERIOR OF A RESTAURANT AS DESIGNED

BY YABU PUSHELBERG.

dengan baik harus mempunyai fungsi yang tepat, terutama dari segi operasional dan tata letak untuk pelayanan.

Dengan begitu restoran dapat memberikan pengalaman yang lengkap. Selain itu, keunikan serta kreatifitas yang baik dalam penggunaan bahan – bahan yang berkualitas namun tidak mahal juga memberikan nilai tambah terhadap rancangan sebuah restoran.

Namun restoran yang dirancang baik juga harus bisa menjadi jawaban dari permintaan pasar yang ada. Di China misalnya, sebuah restoran harus mempunyai ruang makan pribadi sesuai budayanya, dibandingkan dengan di New York yang pangsa pasarnya lebih memilih untuk bisa terlihat dan dilihat, sehingga ruang makan pribadi tidaklah terlalu penting untuk ada.

Johnathan Garrison dari firma Yabu Pushelberg yang merancang ulang Cassis Restaurant di Jakarta,

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which we see more intimate open kitchens with a chef surrounded by the clientele.

Communal tables and a touch of greenery on the table will still remain trendy, according to Chris Salans.

Christian Rijanto believes that the trend of integrating the indoor and the outdoor, or combining different designs from different eras, still have a place in the modern culinary scene. Eclecticism and crossing eras or genres will still be a style of interior design that the market enjoys. He also believes that industrial design will still be in strong demand in 2013.

“I think in a way industrial concepts will still be somewhat of a trend because Indonesian designers are easily inspired by what they see overseas and that is what is trending there right now. Having said that, I think that the upcoming trend will still incorporate many design elements in creating unique spaces, including industrial elements.”

On the other hand, the fine-dining savvy Gilles Marx believes that simple, pure lines are the trend, as they offer more efficiency and timelessness. “The top end fine dining always has

menginformasikan bahwa desain sebuah restoran harus bisa menangkap aspek dari budaya makanan yang tertera di menu serta pengaruh – pengaruh budaya lokal yang ada. Melakukan sesuatu yang berbeda dari kompetitor juga membantu mendapatkan posisi yang baik dalam pasar yang sangat kompetitif .

Di tahun 2013 ini Johnathan Garrison mengestimasi akan banyak aspek baru lahir dalam penciptaan rancang serta konsep restoran. Kita akan melihat makin banyak restoran yang menerapkan budaya lokal dalam rancangannya, konsep dapur terbuka di mana sang koki dikelilingi oleh pelanggannya, dan makanan organik lokal masih menjadi tren. Sedangkan menurut Chris Salans meja– meja komunal serta sentuhan nuansa hijau dari tanaman masih disukai.

Pangsa pasar yang ada juga masih menggemari integrasi antara ruang terbuka dengan ruang tertutup; atau antara desain era yang berbeda dengan yang ada sekarang ini.

Eklektisisme serta lintas era maupun genre juga masih akan menjadi tren gaya rancang interior yang digemari oleh pasar.

Dan menurut Christian Rijanto, konsep desain bergaya

its niche market – trend-setting, innovative, glamorous and luxurious.” However, like Chris Salans, he also agrees that open kitchens are still very popular, as diners want to see the chefs and get close to the action. Thus, kitchens need to be part of the interior design.

A different idea comes from Johnathan Garrison who thinks that big, concept-designed restaurants are passé and instead people are looking for something more comfortable and accessible.

A more residential approach to the design of restaurants that makes you feel comfortable and enjoy a quality meal without the formality is the concept that the market will look for more this year.

Materials in restaurant design in this case will be softer and warmer than in previous years. We will definitely see more elements such as wood, leather and soft goods and less hard materials like stone and glass.

Johnathan Garrison adds that designing unique furniture pieces helps elevate the overall quality of the restaurant experience. As furniture is a key part of overall design, it will definitely show the restaurant’s commitment to addressing every detail of the customer experience.

As for island dining as in Bali, Chris Salans strongly believes that the ‘openness’ (alfresco) concept is still the best approach.

“Open the doors, open the windows, and let the outdoors become part of the experience. Tourists escape their cold countries to come and have a piece of our tropics, so let them fully enjoy the warm breeze!”

Back in metropolitan cities like Jakarta, malls are still a favorite place for people to open restaurants. According to Gilles Marx, “If you have a proven concept and can well manage your costs then to open in malls is ok. However, high rent fees and guaranties are potential to put pressure on your pricing; and there will also be a lot of competition around unless you have a unique concept. Someone might open anytime a similar concept right next to you and cut your sales by half! If you don’t have a strong brand it is very difficult to negotiate a decent rent and privileges with the mall. On the other hand, they provide a steady stream of customers; it’s only up to you to grab them.”

“At standalone restaurants you can choose to move in office buildings, apartment blocks or individual buildings or

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industrial juga masih tinggi di tahun 2013 ini. “Konsep industrial masih akan menjadi tren karena para perancang Indonesia seringkali terinspirasi dengan apa yang menjadi tren di luar negeri. Akan tetapi saya juga percaya bahwa tren mendatang masih akan menggabungkan banyak elemen desain, termasuk elemen industrial,” katanya.

Di sisi lain, Gilles Marx sebagai pengusung konsep fine dining percaya bahwa konsep murni, linear dan sederhana disertai efisiensi masih akan digemari. “Institusi fine dining mempunyai ceruk pasar tersendiri,” ujarnya. Tapi ia setuju akan prediksi Chris Salans tentang konsep dapur terbuka yang sangat digemari karena kebanyakan tamu ingin melihat aksi sang koki dari dekat. Maka konsep rancang dapur haruslah menjadi bagian dari rancang interior sebuah restoran.

Namun pendapat berbeda datang dari Johnathan Garrison. Menurutnya konsep restoran besar sudah ketinggalan zaman. Pangsa pasar sekarang lebih mencari restoran bergaya rumahan yang nyaman dan menu yang berkualitas tanpa adanya formalitas. Kita juga akan melihat lebih banyak lagi penggunaan elemen kayu, kulit, barangbarang yang lembut serta material yang tidak terlalu keras, dibandingkan dengan batu maupun bahan kaca. Penggunaan furnitur yang dirancang unik juga membantu mengangkat kualitas dan pengalaman yang ditawarkan restoran.

Sedangkan untuk konsep island dining seperti di Bali, Chris Salans sangat percaya bahwa konsep “terbuka” (alfresco) masih merupakan pendekatan yang terbaik. “Kebanyakan para turis datang dari tempat – tempat yang dingin untuk mendapatkan sepotong dari kehangatan tropis yang kita punyai. Jadi bukalah pintu, jendela dan biarkan area terbuka ini menjadi bagian dari pengalaman yang diberikan!” katanya.

Bergerak ke kota-kota metropolitan seperti Jakarta, mal-mal masih menjadi pilihan kebanyakan orang untuk membuka restoran. Menurut Gilles Marx, restoran di dalam mal bila dikonsep kuat, dapat berjalan dengan baik. “Mal memiliki arus pelanggan yang tetap, “ jelasnya. Hanya saja harga sewa ruang mal yang tinggi dapat memberikan tekanan pada harga makanan yang ditawarkan, ditambah adanya persaingan yang ketat dari restoran di sekelilingnya, kecuali bila konsep yang ditawarkan benar-benar unik. Ini berbeda dengan restoran yang berdiri sendiri di gedung kantor, apartemen atau bangunan individual.

Menariknya sekarang ini muncul tren baru: artisan bar.

“Saya pikir ‘artisan bar’ merupakan tren yang bagus dari segi ‘pengemasan’ atas sebuah konsep dan juga menarik dari segi komponen ‘ketrampilan tangan,” ucap Christian Rijanto.

Sayangnya menurutnya, konsep ini sekarang digunakan terlalu bebas sehingga banyak tempat- tempat yang menyebut dirinya ‘artisan’ sebenarnya tidaklah menjalankan sepenuhnya.

Majalah Indonesia Design sangat bersemangat untuk melihat lebih banyak lagi konsep – konsep restoran yang baru di 2013. Akan menjadi sangat menarik untuk bisa melihat pengejawantahan dari sebuah pemahaman di atas menjadi sebuah restoran yang baru. Dengan demikian, khasanah dunia kulinari kita akan menjadi semakin kaya.

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houses, close to your target market. Usually those owners are much more flexible; you can negotiate special deals on the rent and other fixed building costs that will make a big difference, especially in the beginning when you build up your clientele.

They will usually support the outlets with a good amount of business and help to promote. The pressure on your pricing structure is not so high so you can give better deals, better value for money to your customers.”

We also asked Christian Rijanto his opinion about the latest trend of “artisan bars” that have started to become popular, especially in Jakarta. “I think ‘artisan bar’ is a good trend in terms of the ‘packaging’ of a concept, it is also exciting because of its ‘handcrafted’ component. But I also think currently the term is being used too freely, and there are some who called themselves ‘artisan’ yet not deserving to be called so.”

In the end we asked all of them about the most essential thing in designing a restaurant. Chris Salans believes that aside from the food, which remains the most important thing

when designing your own restaurant, giving an experience that compliments the food and having the utmost attention to detail in the décor are the two most important things. Christian Rijanto added that it is essential to have good taste and a good understanding of the concept you want to create. It is difficult to design something just by putting together ideas but without any clear design connection or identity.

At the same time, it is essential to keep your restaurant design reasonable. Gilles Marx explained that when you design your own restaurant, things can get quickly out of hand as you want to use only the best. But in reality it is different and since it is eventually a business, it needs to make sense. Last but not least, Johnathan Garrison added that it is also essential to understand what the chef and owner are trying to achieve, what market that they are trying to appeal to, where restaurant trends are going and how to make a highly functional space.

Interior designers are a key component to making a successful restaurant, but only as one part of a bigger team.

THE INTERIOR OF A KITCHEN USED IN MOZAIC UBUD’s “THE WORSHOP COOKING CLASS”.

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Di Indonesia, arsitek lansekap mulai dikenal pada tahun 1960an ketika Presiden pertama Indonesia, Soekarno, mendengungkan kebutuhan akan seorang ahli dalam pertamanan maupun lansekap untuk membangun Ganefo, yang kini dikenal dengan Gelora Bung Karno, untuk menyambut Asian Games di Jakarta pada waktu itu.

Bidang arsitektur lansekap kemudian bergaung di kalangan pendidikan Indonesia dan hingga sekarang ada 23 universitas terkemuka yang menyelenggarakan pendidikan ini mulai dari jenjang diploma hingga master.

Dalam bidang arsitektur lansekap terdapat 3 skala pekerjaan: mikro, meso, dan makro. Skala mikro lebih kepada penataan ruang untuk individu atau keluarga, meso untuk tingkat regional, dan makro untuk basis negara bahkan dunia.

Ketiga ukuran tadi tidaklah dilihat dari ukuran wilayahnya saja, tetapi ada faktor lain seperti seberapa rumit proses pembuatan jalan setapak, perencanaan hingga perawatannya kelak.

Ada 3 hal yang menjadi kunci keberhasilan dari desain lansekap; skema warna dalam lansekap, bentuk tanaman dan tekstur, dan focal point, skala dan garis. Permainan warna sangat menentukan dalam sebuah desain, tak terkecuali bagi sebuah desain lansekap. Banyak keindahan alami yang menunjukkan contoh skema warna di alam dan semua berada dalam komposisi dan keseimbangan yang pas. Pastinya kita berdecak kagum melihat keindahan warna alam yang umumnya diwakili oleh berbagai tanaman bunga.

Mengikuti perkembangan dari gaya hidup dan kebutuhan masyarakat di daerah perkotaan yang semakin sadar akan adanya ruang hijau, praktisi lansekap mengolah tata ruang hijau menjadi suatu area yang nyaman dan sehat. Seperti yang sudah dilakukan oleh pengembang Agung Podomoro Group di dalam kompleks pusat perbelanjaan Central Park Mall dengan menghadirkan Tribeca Park. Taman seluas 2,1 hektar itu menguatkan pendapat bahwa saat ini bangunan beton harus diimbangi dengan adanya ruang hijau untuk bersantai dan bernafas.

Kesadaran ini bisa dibilang cukup terlambat mengingat lahan yang tersedia di daerah perkotaan sudah hampir habis

landscape

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rsitektur lansekap adalah ilmu yang mempelajari tentang seni, perencanaan, perancangan, manajemen, perawatan, dan perbaikan tanah serta perancangan konstruksi buatan manusia dalam skala besar. Ruang lingkup dari profesi ini termasuk desain arsitektural, perencanaan lokasi, pengembangan kawasan, restorasi lingkungan, perencanaan kota, perencanaan taman dan rekreasi, perencanaan regional, perencanaan ruang, dan perawatan sejarah.

Runutan sejarah lansekap mulai dikenal di kalangan pemerintahan, kerajaan, maupun kompleks relijius pada jaman sebelum 1800. Sebagai contohnya, karya dari André Le Nôtre di Vaux-le-Vicomte untuk King Louis XIV of France di Palace of Versailles. Dengan berdirinya American Society of Landscape Architects pada tahun 1899 dan International Federation of Landscape Architects di tahun 1949, profesi arsitek lansekap mulai diakui secara profesional.

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PHOTO : Bagus tri laksono

Landscape architecture is a discipline of art, planning, designing, management and land preservation together with human construction on a massive scale. The scope of the profession includes architectural design, location planning, estate development, environmental restoration, spatial planning and historic preservation.

The history of landscape design most likely started with governments, royalty and religious bodies before 1800 AD. An early example was André Le Nôtre’s design at Vaux-le-Vicomte for King Louis XIV of France, located at the Palace of Versailles. The establishment of the American Society of Landscape Architects in 1949 further recognized professional landscape architects.

Landscape architecture in Indonesia has been recognized since the 1960s when Indonesia’s first president, Sukarno, made known that he needed an expert in gardening or landscapes to build Ganefo, which is now known as Gelora Bung Karno, the stadium for

doc . tropical greeneries landscape

Landscapes are an important part of an architectural area.

Their existence is inseparable from concrete structures, and they function as a balancing force, producing a healthy flow of natural atmosphere.

the Asian Games in Jakarta at that time. The discipline of landscape architecture entered the academic world soon after that and there are now 23 universities across the country that offer diplomas, and even Master’s degrees in the discipline.

Landscape architecture has micro, meso and macro scales. The micro scale is aimed at planning a space for an individual or family, meso for regional planning and macro for a country or greater scale planning. Those three scales are not dependent on size alone but also depend on complex factors such as planning for pedestrian paths, the initial planning stages and future maintenance.

There are three keys to success when it comes to landscape design: color, the shape and texture of plants and the focal point, or scale and lines. Color obviously plays a big role in landscape design as well. There are many color schemes available for landscape designs, which have the ability to mesmerize with powerful combinations of colors, for example of flowers.

Following the development of the needs of residents of large cities in dire need of green areas, landscape architects thus design green spaces as healthily and as comfortably as possible. An

Roof garden is applied to cool down the room and filter polluted air Opposite page Simple and nice landscape in a limited space of a residential

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diisi oleh hutan beton yang berlomba meraih angkasa.

Keinginan untuk memiliki sebuah taman yang luas, asri dan menenangkan di suatu hunian residensial pun semakin terbatas hanya pada sebuah angan. Tak jarang yang bisa dibuat hanyalah sebuah taman kecil sebagai garnish di dalam huniannya dengan diciptakannya inner court atau hanging garden sebagai alternatif dari bentuk taman yang selalu berada di depan rumah.

Hanging garden bisa diaplikasikan di ruang terbatas seperti dilakukan restoran TeSate Menteng di taman lantai dasarnya yang dibungkus bidang tembus pandang. Selain tidak begitu memakan tempat, keindahan yang ditimbulkan memberikan sensasi yang berbeda. Ragam tanaman yang biasanya ada di jenis taman ini adalah tanaman yang bersulur, menggantung maupun merambat. “Tanduk rusa, paku-pakuan dan sirih bisa menjadi alternatif untuk hanging garden,” Anggia Murni, dari Tropical Greeneries Landscape Architect menjelaskan.

Trik lain yang digunakan dalam menata sebuah taman dalam lahan yang terbatas, terutama di area ibukota, adalah roof garden. Model taman yang seperti ini dikenal di Jerman sejak tahun 1960an dan digunakan di atap-atap bangunan karena mampu menurunkan temperatur udara di dalam ruangan sampai 26% saat musim panas dan menjaga agar suhu di dalam ruangan tetap hangat hingga 26% saat musim dingin. Tak hanya itu, roof garden dapat mengurangi kadar polusi yang ditimbulkan kendaraan maupun industri di sekitarnya.

Di Indonesia, roof garden hadir antara lain melalui karya arsitek Adi Purnomo: Rumah Setiabudi yang memperoleh penghargaan Ikatan Arsitek Indonesai (IAI) untuk kategori arsitek dan proyek pada tahun 2008. Rumah dua lantai seluas 250 m² di atas lahan 600 m² di Medan, Sumatera Utara ini, seolah memiliki halaman-halaman rumput yang sangat luas.

Tanaman-tanaman perdu yang menyelimuti atap, tak sekedar menghijaukan dak-dak beton bangunan, tapi menjadi media pendingin bagi ruang-ruang yang ada di di bawahnya.

Konsep roof garden juga bisa kita lihat di perkantoran Esa Sampoerna yang berlokasi di Surabaya karya arsitek Budiman H. Hendropurnomo.

Bangunan yang tersusun seperti seperti boks-boks yang saling bertumpuk diletakkan di atas sebuah massa yang sebenarnya adalah area parkir mobil setinggi 6 lantai. Massa parkir, ditutupi tanaman rambat yang berfungsi sebagai pengudaraan alami sehingga ruang-ruang di dalamya tidak menjadi panas oleh sinar matahari, di samping menyejukkan jalan di sekitar bangunan. Menariknya, ruang multifungsi, area yang terletak tepat di atas area parkir gedung,

example is what the Agung Podomoro Group, a leading developer in Indonesia, did with the Central Park Mall by presenting Tribeca Park, a 2.1-hectare park in the middle of the city, demonstrating that concrete construction must always be balanced by equal if not greater green construction.

This awareness can be said to be quite late in coming to Jakarta, considering that most of the city is covered in a concrete jungle. The dream to have a wide, beautiful and relaxing garden in a private residence is increasingly becoming nothing but a dream. As a result, it is common for the ordinary home to have a simple, small garden as a garnish for the house also known as an inner court or hanging garden as an alternative to a full garden in front of the house.

Hanging gardens can be included in a small space, like what TeSate restaurant in Menteng has done with its lower floor garden wrapped in transparent planes. Besides being compact, this type of landscaping also looks nice, with vines the usual type of plant found in this sort of garden. “Platycerium, ferns and betel are the alternatives for this kind of garden,” Anggia Murni of Tropical Greeneries Landscape Architects explained.

Another good trick in laying out a garden in a limited area is a rooftop garden. They have existed in Germany since the 1960s and were used to reduce heat and cold. In addition, they are used to reduce pollutants in the air caused by vehicles and factories.

The best example of a roof garden in Indonesia comes from architect Adi Purnomo. Rumah Setiabudi was given an award by the Indonesia Architects Association (IAI) in the Architect & Project category in 2008. The two-story house occupies a 600-meter-square area in Medan, North Sumatra, and conveys the feeling of a massive savanna. The shrubs, which cover most of the roof, not only green the roof but also serve as natural air conditioning for the rooms beneath.

Another great rooftop garden can be seen at Esa Sampoerna’s office in Surabaya as designed by Budiman H. Hendropurnomo.

The building, which looks like a stack of boxes piled on top

PHOTO : krishna adithya

memiliki taman dengan pohon-pohon besar, sehingga rasanya seperti tetap ‘menginjak bumi’.

Pemilihan tanaman yang ditanam di atas dak-dak beton memang merupakan kunci utama di samping sistem green roof yang diaplikasikan mengingat kita meletakkan tanah dan tanaman di atap bangunan. Karena Indonesia merupakan daerah tropis, kecenderungan untuk menggunakan varietas tanaman tropis seperti palem, kamboja, soka, anggrek, pisang-pisangan di taman atap, taman gantung, atau taman di lahan yang luas, memang selayaknya dilakukan.

“Tanaman non tropis tidak akan tumbuh dengan sempurna di daerah tropis,” San-San, arsitek lansekap senior Indonesia menjelaskan.

Pendapat San-San, diamini Karl Princic, arsitek lansekap asal Amerika yang sudah 20 tahun lebih menetap di Bali. “I prefer to make the landscape appear natural and not contrived – to look like it has been there all the while,” ujarnya. Karya-karya lansekapnya antara lain Bali Golf and Country, The Haven Bali, atau Amanusa Bali banyak menggunakan tanaman-tanaman yang tumbuh dengan baik di bumi Indonesia. Lansekap suatu area memang harus mencerminkan identitasnya, baik melalui desain maupun komponennya untuk memberikan kesan natural.

Bayangkan saja bila gedung-gedung perkantoran kita tak hanya didesain ramah lingkungan dengan sertifikasi green saja, namun hijau dalam arti yang sebenarnya. Demikian juga dengan rumah-rumah tinggal, restoran bahkan bangunan mall. Kecenderungan inilah yang akan terjadi di desain lansekap Indonesia di masa mendatang, dimana bangunanbangunan modern berdampingan dengan alam.

of one another, is actually a parking lot rising six floors high.

The lot is covered with vines that offer natural aeration in order to make the rooms cooler and the surrounding roads shady.

The most interesting part of this office is the multifunction room located above the parking lot that has a garden with large trees. Standing on this level, it actually feels as if one is on the ground as opposed to a roof.

Choosing the right plants for a concrete roof is key to building a good rooftop garden, as soil and plants are being placed on a building. Since Indonesia is a tropical country, using tropical plants is the right choice. Palm trees, frangipani and orchids are great options. “Non-tropical plants will not grow perfectly in a tropical country,” San-San, a senior Indonesian landscape architect, said.

Karl Princic, an American landscape architect who has lived in Bali for over 20 years, agrees with San-San. “I prefer to make the landscape appear natural and not contrived – to look like it has been there all along,” Princic said. His projects, such as the Bali Golf and Country Club, The Haven Bali and Amanusa Bali, use plants that grow best in Indonesia. A landscape in a certain area should reflect the local identity through the design and components to provide a natural sense.

In the future, imagine a city environment dotted with tall office towers and buildings that are not only certified as green but are also literally green. Imagine what it would be like if residential areas, restaurants and shopping complexes all sport these designs. In Indonesia, this is the future of landscapes and will only become more and more feasible as green design awareness increases and as the city expands by building more concrete structures.

The use of tropical plants combined with some local or traditional design give the identity of Indonesia’s landscape Opposite page Hanging garden can be a solution for having a simple garden in limited area of a restaurant.

PHOTO : Bagus tri laksono

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