“Berarsitektur ialah berbahasa dengan ruang dan gatra, den garis dan bidang, dengan bahan dan suasana, seudah sewajarnyalah kita berarsitektur secara budayawan, dengan dan tanggung jawab penggunaan bahasa arsitektural yang bai (Mangunwijaya, YB: wastucitra) jongArsitek!
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jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
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JongEDITORIAL! oleh : Danny Wicaksono
bangunan itu selesai). Dengan jumlah pekerja mencapai lebih dari 5,5 juta orang, Kaisar ke-3 dari dinasti Ming, Zhu Di, akhirnya dapat merampungkan Forbidden City setelah 14 tahun pembangunan. Mesjid termegah di Jakarta dan terbesar seasia tenggara, Istiqlal, membutuhkan waktu 17 tahun untuk akhirnya selesai. Villa d’Alva 9 tahun. Parthenon 16 tahun. jongEditorial 3 piramida besar di Giza masing-masing Hal-hal indah dalam kehidupan berjalan dengan membutuhkan waktu antara 23-28 tahun. sangat perlahan. Setidaknya itu yang saya yakini, Dan Borobudur 75 tahun. dan saya saksikan. Melihat rentang waktu itu, kualitas seperti Bunga indah ketika mekar, namun geraknya tidak apa yang kita harapkan dalam sebuah bansampai kasat mata. Matahari bergerak ringan me- gunan yang selesai dalam waktu 6 bulan? nanda hari tanpa mengganggu, tanpa mengusik, Dan arsitektur seperti apa yang akan mekadang tanpa kita sadari. nanda kemajuan budaya berpikir kita, jika ia Kita cenderung tergesa ketika memutuskan ses- selesai terpikirkan dalam waktu 3 hari? uatu hal. Kadang ingin banyak hal terselesaikan dengan instan, padahal semua sadar, bahwa tidak ada yang baik dalam ke-instan-an. Kesempatan untuk melihat kembali pemikiran yang telah tertuangkan, memikirkan ulang setiap hal yang sudah di keluarkan dan mencari bentukan lainnya, adalah hal yang dianggap membuang-buang waktu dalam irama kerja kontemporer. Kebaikan visual yang subjektif, dianggap sudah cukup, dan kata-kata, penanda alasan yang dicari-cari, adalah senjata untuk meyakini siapa saja yang harus di yakini.
Rem Koolhas pernah berkata bahwa umat manusia modern sudah membangun jauh lebih banyak dari para pendahulu mereka, tapi belum ada bangunan yang mampu menyamai kemegahan piramid. Lihat semuanya kembali.
Selamat membaca jongArsitek! edisi 2.2
Tidak ada kerja arsitektural yang hebat, selesai , dalam waktu singkat. Frank Lloyd Wright membu- Danny Wicaksono tuhkan 15 tahun, 700 sketsa dan 6 set gambar kerja untuk menyelesaikan Museum Guggenheim New York(dia bahkan tidak sempat untuk melihat
Kontributor
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
tanpa basa basi, anda bisa mengecek profil mereka langsung ke Facebook dan media sosialweb lainnya.
Ardes Perdhana http://www.facebook.com/ profile.php?id=1395037422
Farid Rakun Adi Fajar Utama http://fairdkun.multiply.com/ http://www.facebook.com/ profile.php?id=1395037422
Noviardi Prasetya http://www.facebook.com/ profile.php?id=1395037422
Apurva Bose Dutta
Paskalis Khrisno Ayodyantoro http://www.facebook.com/ profile.php?id=1395037422
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jongEditorial
sambutan dari redaksi kita
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jongFoto Pshar Thmei
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jongGambar Meet me in between
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jongTulisan
Open City : design Co-existence
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jongTulisan The Expedition of Indian Architecture
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jongTulisan Matering Material
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jongVaca
photo : adikritz
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- OPEN CITY -Design Coexistence Curator :Kees Christiaansen/ Team ETH zurich (Chair of Urban Design) Subcurator : Daliana Suryawinata (SHAU Rotterdam, the why factory) noviardi prasetya
Liputan 7 may 2009: The Open City is not a literal city, but a condition, a balance between integrating and segregating forces. An urban condition that enables the coexistence of cultures and lifestyles. An Open City is not a mixture of everything with everybody, but a network of buildings and public spaces in which multiple communities and identities can settle, interact and establish complex relationships, thus stimulating the
formation of an extraordinary quality of coexistence that we call urbanity. Istilah Open City muncul dari Jane Jacobs ,seorang urbanis dalam argumennya terhadap Urban Vision - Le Corbusier. Dalam pandangannya, kota yang homogeny, determined, dan predictable tidak mencerminkan kehidupan natural yang ‘hidup’. Para urbanis cenderung ‘control freak’’ menciptakan ruang yang tegas dan kaku, namun ada faktor penting yang dilupakan yaitu faktor waktu. Waktu terus bergulir menghasilkan pe-
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i jjengArsitek! E d i s i 2 . 1 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
rubahan, dan ‘perubahan’ adalah satu-satunya hal yang tidak berubah dari waktu ke waktu. Beberapa karakter yang mencerminkan Open City menurutnya antara lain adalah Passage Territories, merupakan pengalaman ruang dalam melewati bagian demi bagian sebuah kota. Dalam pengalaman perjalanan sebuah kota akan nampak jelas bagaimana unsur satu dengan yang lain saling berdampingan, salah satu elemen yang kasat mata adalah tembok kota. Dalam konteks Open City, tembok kota memiliki dualitas, kedalam dan keluar, tidak seperti tembok kota pada masa medieval yang memang berfungsi sebagai pelindung kota dari serangan musuh. Sebuah batas dapat berupa solid ataupun void namun tetap memiliki hubungan antara dua sisi. Karakter berikutnya adalah incomplete form, digambarkan bahwa sebuah ruang yang finished bukanlah ruang yang demokratis. Ruang-ruang demokratis justru hanya dapat ditemui pada ruang-ruang incomplete tersebut. Incomplete
dalam arti bahwa sebuah arsitektur harus didesain flexible, dapat menyesuaikan perubahan dari waktu, kebutuhan, dan respon masyarakat terhadap arsitektur maupun disekitar arsitektur. Sebab masyarakat akan selalu merespon adanya sebuah arsitektur di sebuah tempat. Misalnya saja dibangunnya sebuah kantor atau mall di suatu daerah akan menstimulasi adanya usahausaha swadaya masyarakat. Disinilah sebuah incomplete form akan memiliki perannya dalam menghasilkan sebuah Open City. Ruang Demokratis juga merupakan tempat saling mengenalnya antar golongan sehingga muncul sikap toleran yang memungkinkan terjadinya perilaku gotong royong. What is Open City in terms of Jakarta ? Jakarta dipilih sebagai salah satu kasus dalam workshop International Architecture Biennale Rotterdam (IABR) yang akan diadakan di Rotterdam pada September 2009 nanti ,dengan tema
Kiri : gated community Kanan : Pulau Pulau Kota Bawah : Incomplete Space
Atas : Border Community Bawah :Border
OPEN CITY-Design Coexistence. Lingkungan Jakarta yang sangat beranekaragam budaya, agama, suku, dan ras memiliki daya tarik yang sangat besar. Bagaimana seluruh perbedaan yang ada, hidup saling berdampingan tanpa harus menghancurkan satu sama lain (coexist). Namun pada masa sekarang, kemampuan kota Jakarta untuk berintegrasi dan melebur terancam oleh pengaruh kekuasaan (tidak selalu identik dengan pemerintah, dapa berupa ekonomi, politik, mayoritas,dll), segregasi sosial, diferensiasi fungsi, dan fragmentasi ruang. Kota mulai mengkotak-kotakan dirinya, mengambil jarak dan mengelompokan diri menjadi pulau-pulau kecil yang terpisah namun menempel bersinggungan. Ruang publik tidak lagi ruang publik. Jurang perbedaan antara kaya dan miskin semakin lebar, konflik antara etnis,agama, dan golongan semakin jelas. Kondisi inilah yang menyebabkan munculnya istilah ‘gated communities’. Lalu bagaimanakah ‘Design Coexistence’ itu seharusnya?! Apakah peran para perencana kota dengan
segala teori dan masterplan-nya selama ini tidak berhasil ?! Pertanyaan mengenai ‘Design Coexistence’ ini telah dilemparkan kepada pemikir-pemikir global melalui sayembara internasional dengan tema ‘Gotong Royong City’ (yang masih merupakan bagian dari IABR) dan telah menelurkan ide-ide segar mengenai ‘Design Coexistence’ tersebut. Semangat ‘Reciprocity’/gotong royong menjadi kunci utama dalam ‘Design Coexistence’ ini. Seperti dalam desain NUNC architecten ,pemenang pertama sayembara ‘Gotong Royong City’ yang mengangkat tema: “Jakarta Bersih”. Dimana kampung yang semakin terdesak oleh kekuatan ekonomi, justru di gotong royong- kan dengan Billboard sebagai salah satu instrument dari kekuatan ekonomi. Hasilnya adalah kampung vertical yang saling berpunggungan dengan billboard dan berdiri diatas pengolahan sampah, sehingga menciptakan ruang hijau sekaligus mengolah sampah yang dihasilkan dari aktifitas lingkungan. Muncullah suatu siklus yang gotong
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
suatu wilayah menjadi pagar yang ekologis sesuai dengan keagaan demografi suatu wilayah. Diharapkan mampu menciptakan hubungan mutualisme antara keduanya. Semangat gotong royong juga tercermin pada ide ‘Ojek City’-LABO Architecture+Design, dan ‘Stitching The Strip’Dimitrij Zadorin yang berhasil mendapat special mention dalam ‘Gotong Royong City’. Diluar hasil sayembara Gotong Royong City, juga terdapat hasil workshop-workshop dari para arsitek , lembaga masyarakan dan beberapa universitas di Jakarta. antara lain Servant’s rights to Space- Ahmad Djuhara; Social Mall- Andra Matin, SHAU, Alex Wall; Triple A – Rik Frenkel; Culture of Legibility (Stephen Cairns, University of Edinburg, University of Indonesia); Kampung Penjaringan ( Mercy Corps); dan The Fifth Layer ( Jo Santoso, Tarumanagara University ).
royong sehingga menuju kepada Jakarta yang bersih. Berbeda dengan skenario “Sponge City” dari Adi Purnomo beserta tim dari Universitas Pelita Harapan sebagai pemenang kedua yang berusaha menjawab permasalahan banjir yang frekuensinya semakin meningkat. Dengan menganalisa dan berusaha menangkap air yang jatuh sebelum dialirkan ke kota, bersama-sama bergotong royong dalam membendung air dari langit tersebut, baik pada atap-atap bangunan rumah kampung, pada fasade bangunan hi-rise, atap-atap pabrik, dan segala kemungkinan yang bisa dilakukan. Skenario berikutnya datang dari GABPA architects dengan “Field Estate”yaitu mendesain sebuah platform diatas pemukaan atap-atap kampung sebagai penghubung, sebagai ruang terbuka,dan ruang komunal. Platform tersebut juga memiliki fungsi green sustainable. Lalu ada “Eco Gate” dari Budi Pradono architects yang merubah pagar beton sebagai batasan
Keseluruhan hasil dari ‘Gotong Royong City’ ini merupakan pemikiran menuju kepada ‘Desain Coexistence’ yang ternyata jawabanya telah dimiliki dan menjadi budaya di masyarakat kita. Untuk menuju kepada kota yang ‘open’dan ‘coexist’ , Jakarta perlu memupuk kembali jiwa gotong-royong dan selain itu masyarakat juga perlu menyadari lebih dalam mengenai gotong royong. Gotong royong bukan dalam kesamaan/homogenitas budaya melainkan dalam perbedaan/ heterogenitas. Gotong royong bukan untuk menciptakan kesamaan, tetapi untuk hidup berdampingan dalam perbedaan. -(nop)-
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-THE EXPEDITION OF INDIAN ARCHITECTUREApurva Bose Dutta 24
Architecture has been the indelible canvas on which life has been sketched out. One of the best accomplishments of the Indian civilization, Indian architecture since time immemorial has aquired an imperative stature in the vocation worldwide. Right from geographical to socio - economic elements, all have paved the way for a rich architectural vocabulary that the country possesses today. India with a rich repository of culture has offered a lot of inspirational sources for architecture to thrive in. Whether it is the folklore, myriad forms of dances, plethora impressions of art or various melodies in music, each have contributed to stupendous moments in architecture. MAJOR INFLUENCES IN INDIAN ARCHITECTURE The major influences in Indian architecture have been that of the Mughal Architecture noticeable in works like the Qutub Minar, Jami Masjid and the Taj Mahal; French architecture rampant in Daman and Diu, Portugese Architecture in Goa or the British Architecture as observed in Victoria Memorial, Kolkata; Taj Mahal Hotel, Mumbai or the Viceregal Palace, Shimla.
RELIGION AND ARCHITECTURE The Indian architecture owes a lot of its existence to the different religions in India. The religious diversity in the motherland is responsible for a brimming architectural diversity practiced here. Buddhist Architecture: Buddhism manifested the formal arrival of Indian architecture. Buddhist architecture gained its footing in India in the form of Stupas, Monasteries, Cave Temples, Edifices and other temples. Stupas such as the world renowned Sanchi Stupa made in stone were large halls under the umbrella of a dome which were appended by smaller structures like pillared gates, ornamented railings and lion thrones. These were the places of religious learning. Monasteries took their stimulation from forts and were embedded in stone walls. Though stone emerged as the base of most of the Buddhist temples yet wooden architecture also received much of its due in the Buddhist era. This era also gave birth to edifices in bricks which were circular free standing pillars rising to majestic heights pinnacled with a stone lion.
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i Jain Architecture: Unfortunately, most of Jain architecture that remains today is in ruins or excavated sites. Their architectural style involved carving out temples from rock faces. Known for building temple-cities on hills they hardly used bricks as their material. In terms of grandeur and material wealth the Jain temples are measured to be the richest in the world. With them, an accent was thrown on the expression to the interior spaces instead of concentrating only on the facades. However, in sense of architecture, they were left much behind the Hindu or Buddhist temples. Examples are numerous like Dilwara temples, Mt Abu, and the Khajuraho Temples at Madhya Pradesh. Hindu Architecture: Hinduism, the major religion followed in India has given birth to a number of architectural wonders in India. Religion and spiritualism are the wheels on which Hindu architecture rests. A religion based on worshipping deities, Hinduism gave birth to architecture involving the idols into the art; thus temples were classified as per the deities. A temple in Hindu architecture is the abode of God, which is apparent in the planning too. Cave temples of Ajanta and Ellora created out of a single rock idolize the technical adeptness of the creators.
mobile van designed by Gurjit U, Courtesy Gujrit U
High Court,Chandigarh,India taken from view profile Eye-for-it under creative common license in http://www.flickr.com/photos/gb_p/1231002331/
Islam: Alien Islam having reached India gave birth to architectural marvels. The native architecture of the places was churned with the Islamic ideology of architecture to create designs. The Mosque or Masjid till today stands as a depiction of the Muslim architecture. Muslim architecture condemns the use of idols hence open spaces in Masjids conjure up to provide a direct gateway to God. The mosque is a simplistic plan wherein an open courtyard surrounded by a pillared verandah rests under the shade of a dome. The Tomb or Maqbara construction in Mughal architecture was welcomed due to its novel concept. The resounding Taj Mahal, the most photographed monument in the world falls under this category. The Mughals gave India the ‘darwaza’ which was created with a four centered arch without the beam support. Palaces and forts also speak of some intricate work of the Mughals as seen in Fatehpur Sikhri. The development of Muslim style of architecture gave birth to Indo - Islamic architecture. These were characterized by
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round domes, high minarets, pillars, red sandstone which later got swapped by white marble. Islamic architecture also gave rise to Mughal gardens which are characterized by their rectilinear layouts embedded in walled enclosures. Some of their typical features were the pools, fountains and canals. The Shalimar Garden and Nishat Bagh in Srinagar are some exemplary examples of the same. Christianity: The Portuguese brought the Roman Catholic Church to India. A number of churches and monasteries adorn Goa till today, some of the major buildings being the Se Cathedral, Basilica of Bom Jesus, Convent of Saint Cajetan. Infact, the influence of Portuguese has been so much entrenched in Goa, that it gets reflected in the Goan culture too. The architecture here echoed the post-Renaissance European architecture in the form of old mansions, remains of fortifications and defenses. . The churches have been heavily inspired from architectural characteristics of ‘classical examples’. 26
STYLES IN ARCHITECTURE Multitude styles of architecture classify the Indian architecture. Being a land of traditions India’s traditional architecture is its heritage which has span across a number of centuries. Different periods in the nation have offered a number of architectural specimens. Cave Temples: These were the habitats of many Buddhist and Jain monks who after renouncing their secular lives chose to settle down in caves. These were natural caves at first which were later on excavated by man’s hand. It wouldn’t be wrong to say that the cave temples In India remain unparalleled. The intricacies involved, the scale, the ingenuity of the carvings coupled with the architectural perfection have yet to find a contender as seen in the Elephanta and Ajanta and Ellora caves. Stone Temples: Though the oldest temples were built in brick and wood stone became the preferred material gradually. Till today, South India has these grand stone temples intact. The carvings for these stand out and the whole of the building comes across as a sculpture. Examples are many as in Golden Temple, Amritsar; Sun Temples at Konark and the Durga
Temple, Aihole. Wooden Architecture: This style of architecture is noticeable in Kashmir, Ladakh, Himachal Pradesh, Gujarat and Kerala. All main Indian monuments might be built in stone but the principles that have been followed are those of wooden construction. Ancient India abounded in stone and since the architecture was started with wooden origins, their style of posts and beams kept on being carried further on. Rock Cut Architecture: One of the most spectacular specimens in Indian Art, rock cut architecture was more of a sculpture than architecture. Buddhist and Jain monuments were prodded as a result of rock cut architecture. Inside these structures - windows, balconies and gates were carved out. The Rathas at Mahabalipuram are one of the finest examples of this style of architecture. POST INDEPENDENCE ARCHITECTURE Post independence, master architect Le Corbusier created the City Beautiful, Chandigarh. In what was the first and the only planned city of the country, modern architecture received its footing here. Corbusier’s influence was further on also seen in a number of other buildings in India. Ahmedabad was coming up in its own ways with some buildings to reckon with. Delhi was refurburished where a number of projects were started – housing, pavilions. Projects like the Asiad Village, the Bahai Temple were some of the achievements. MODERN ARCHITECTURE Post independence also proved to be a daunting task for the architects, who were left at a junction of basking in the glory of the past or lunging forward with new-fangled concepts. To some extent, architects were successful in creating an architecture which could define the post-independence era. But sadly even today the metropolitans in the city are represented or known by buildings which were made before independence- Victoria Terminus and the Gateway of India symbolize Mumbai, Kolkata is known by the Victoria Memorial, New Delhi by Rashtrapati Bhavan and Chennai by the Victoria Memorial Hall.
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Modern architecture in India is referred to the modern way of thinking. Right from commercial architecture, urban design and redevelopment, low cost architecture to housing, institutional, industrial and sensitive issues like conservation; all have acquired an exceptional connotation. Late Achyut Kanvinde has been regarded a pioneer of the modern movement in India. His influence on the wide use of flexible concrete column and beam grid in India has been much acclaimed. However, his main contribution to India’s built environment remains giving priority to people’s need over imposing intentions of designers. The Iskon Temple and National Institute of Bank Management at Pune are some of his hallmark architecture.
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Laurie Baker was renowned for his initiatives in cost effective architecture in India. His architecture has been associated with brick (largely exposed), landscaped courts, jaalis, traditional Indian sloping roofs. He did profess that an architect’s design responsibility is realised when the user is not just kept in mind but understood by his manner of living, within the space as well as in the regional spirit of collective growth, in the physical as well as time frames. Traditional architecture has become synonym with Raj Rewal. His buildings have a distinguishing look owing to their trademark pinkred image and the use of natural stones especially sandstone. His work is not a replication but a subtle reiteration of the past on its way to contemporary architecture. B V Doshi’s works are monitored as an essential gauge of Asian identity in the global milieu. He is better known for his preference of exposed materials and subdued natural tones. Charles Correa has brought forth a skilful use of colour in Indian architecture. His architectural vocabulary implies adeptness in comprehending traditional architecture and in merging the modern typology with South Asian elements. The visual imagery and treatment of surfaces brings an element of youthfulness in all his projects. His famous project namely Cidade de Goa shows his artistic play of light and shade on the walls.
Christopher Charles Benninger has brought to light the use of materials in their natural form. Laying stress on the context of his design, his creations marry nature with buildings. CONTEMPORARY ARCHITECTURE Contemporary Indian architecture to a large extent is reflected in its new boom of corporate campuses, shopping malls, and skyscrapers, many of which reflect a growing trend of sustainable architecture. It can at best be defined by architects who have induced a multi disciplinary approach to architecture which includes consideration of climate, ecology, energy efficiency, engineering and programming skills, use of 3d for better visualization, alternative technology and lost cost architecture. Hafeez Contractor is associated with the term ‘high rises’. Having brought the culture of skyscrapers to India, he has taken a lead in the globalization process as far as Indian architecture is concerned. His buildings speak of modern materials, bold forms and innovative techniques. Prem Nath with his creative construction marvels believes in functionality and sustainability. His eye for nuances has simulated impressive paraphernalia of projects from all quarters. His recent works have focused on environment friendly architecture. Karan Grover is credited for giving ‘green buildings’ their due recognition in India. His belief in the heritage and built landscape of India surfaces out in his projects. His thorough reinterpretation of vernacular building elements assimilated in the contemporary scenario has resulted in energy efficient buildings. Architecture hasn’t been able to boast of many women counterparts. Brinda Somaya with her traditional design idioms and conservation as her focus has held on her own in this field. Courtyards, corridors, jaalis, low wind sills, high ceilings and pergolas mark her contemporary spaces. Rajiv Kathpalia’s tryst with new forms which are worthy of a new India brings out the rare combination of the past and an impending future. His imaginations rooted in India interspersed with technological innovations have brought him a lot of glory. Kamal Malik, reverberating with ‘corporate architecture’ delves on concepts for his designs through an in-depth study of the need, climate, material and society. Proficient in handling huge urban forms,
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i his buildings convey an articulate individualistic style. Bimal Patel has been credited of using elements growing out of an Indo - Islamic architectural heritage. The use of courtyards, corridors with an intricate work of light and shade form the base for his climate responsive designs. Shahrukh Mistry’s designs speak of traditionalism combined with green standards and sustainability. His use of granite to break the monotony of brick housing has been an important segment in Indian architecture. Simple spatial diagrams and a unique solution reflected in the structure, spaces and form are the hallmarks of Sanjay Mohe’s architecture. Loud architecture is alien to him; it’s the quietness and the functionality in his buildings which invite you inside. Dean de Cruz and Gerard da Cunha are crucial names in Goa’s architecture. Dean De Cruz has stuck to climatic conditions, open plans and cost efficiency as his criterion for design whereas Gerard da Cunha has attained credibility in his use of natural stone and is known for his eco-friendly, site specific and vernacular architecture. Vidur Bharadwaj with his penchant for green and sustainable buildings has carved a many wonders for the country which have attained significance with regards to world architecture too. Manit and Sonali Rastogi can be accredited of having given birth to a new dialect of architecture with their out-of-the-box thinking aptitude. Contemporary architecture forms and a high tech style could be attributed to their camaraderie with technology. Innovation would be solitude without mentioning Sanjay Puri. Dominating the commercial and hospitality sectors, his architectural dialect is a mélange of planes, shapes, materials, colours and textures. Nisha Mathew and Soumitro Ghosh have carved out an impeccable stature in Indian architecture, representative in the global arena. Their concepts seem to emerge out of rich brain storming sessions which lead to pure functionality dealt with expertise. Their architecture speaks of a certain modernist language equipped with spatial possibilities and fine crafting. Sandeep Khosla with his penchant for residential architecture and interiors has sensitized architecture in this area by giving emphasis on the planning and topography of the site adaged by the smaller nuances of a home, rich materials, minimalism worthy of an international style. Anupama Kundoo could
well be a synonym of energy efficient, labour efficient and sustainable technologies of construction. Her use of local materials integrated with a global sensibility brings forth a new profound architecture. Gurjit Singh Matharoo can be credited with the amelioration of the ‘Indian Modernist Architecture’. His approach to architecture reflecting an enthusiastic zeal for a futuristic workplace is as infectious as his penchant for product designing. Kalhan Mathoo with his radical thinking has given birth to a firm which believes in a futuristic approach to design. The firm’s freshness full of youthfulness brings a sweeping departure in the Indian architectural scene. The vocation of architecture in India has produced a mélange of illustrious professionals whose’s holistic approach to the profession has created a revolutionary world. With all their efforts, Indian architecture has conjured up to become an invigorating, communicative field encircling all the ingenuity rampant in the country. Bangalore-based Apurva Bose Dutta is an architect pursuing architectural journalism. She writes for various national and international architectural and interior publications. She has also been in the core team of Architecture+Design and Indian, Architect & Builder. She can be contacted at apurvabose@ yahoo.com.
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- Matering material Ardes Perdhana
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Abstract I was triggered by the two opposing texts from two different medias. They are talking about architect’s role based on their directions of practice. This writing tries to explain why it is wrong to do that: commenting contemporary architecture without relating it to its architectural thinking/ theory. As a result, this writing tries to convince that material based digital innovations are the true advantages of our time of life that we should use as the starting point. By critiquing some related projects, which explains more about “what is not”, I try to define an abstract area that can still be explored. Promoting the material itself, in which can be injected of layers of values in order to be able to adapt and interact in context; it will leaves a new periphery in the readers mind worth to investigate. The unnecessary debate An interesting text was published by The New York Times in its architecture weekly column,
which was titled ‘Architecture; until the money ran out’ by Ouroussoff (2008). He was questioning the role of architects in solving our real problems. It fascinates me because it could be considered as a strong evidence of people opinion. If such mainstream media like The New York Times were interested to bring up this kind of topic as its article, it would have cleared that architect is being doubt as a profession. It probably has been charged as guilty for causing all the problems that are being faced by most of the society in the world. Ouroussoff stated that architects, who used to be promising with their visionary design formulas/ statements and celebrated as heroes in the cultural field, have tendencies to be segmented in serving people with their projects. He related these facts with the economic crisis the world is facing right now. Contemporary architecture is ignoring social agendas that were being advocated by architects in the modernist era. He argues: ”…But somewhere along the way that fantasy took a wrong turn. As commissions multiplied for luxury residential high-rises, high-end boutiques
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i and corporate offices in cities like London, Tokyo and Dubai, more socially conscious projects rarely materialized. Public housing, a staple of 20th-century Modernism, was nowhere on the agenda..” Ouroussoff (2008) Opposed to Ouroussof’s text, there was another text from the Architecture of Humanity website. It was written by Sinclair and Stohr (2008). They tried to convince that not all architects are practicing the same type that they described working on some attention grabbing projects. They introduced architects like the MMA Architect, Samuel Mockbee, Hassan Fathy, and Buckminster Fuller as the new architecture revolution. These architects are working on their social service type of practice, trying to solve problems in areas damaged by the natural disaster or poverty. They encouraged Ouroussoff to trust to these kind of architects to lead the new architecture revolution rather than the big named architects like Rem Koolhaas, Zaha Hadid, Herzog and de Meuron, Frank Gehry, etc. Sinclair and Stohr hardly argue: “... but why call on designers who spent the better part of their careers building ever-competing, energy-consuming, sky-piercing structures, when you could hire any of a myriad of qualified (if less well-known) firms already experienced and engaged in rethinking the built environment?...” Sinclair and Stohr (2008) Scientific based critique method At this stage, I start to think about how we as an architect should deal with it. Those facts I mentioned above leads us to the question that is my true point in this writing: How can we fairly judge and evaluate the contemporary debate and problems in our latest architectural scene? Can we solve those problems with the latest potentials in our architectural findings and still using logical system in science? I agree that some contemporary architecture projects, which are highlighted by the media, are not solving the problems in our real world. Cities that are dominated by the skyscrapers are proved economically and ecologically inefficient. It is sadly true! But I don’t agree that we should focus on the choice of (directions in practice) as the solution of
this particular condition. I do agree that architects mentioned by Sinclair and Stohr, working on the social serving type of practice, are noble. And I admire their sincere. But it misses the whole point because the reaction was not started from the realm of the theory as our logic base/ system in critiquing, but from pragmatic criteria such as our type of practice. Scientific theory, in its truly purpose, gives us the direction for evaluating on something, so we’re not repeating something that is already done. That’s the aim of the system. Re-interpretation of Vitruvian classic definition of architecture There are lots of thing that can still be explored in this manner. The fact that innovations in digital technology are not something new and that people from all over the world and from any kinds of background (culturally, economically, etc) are already familiar and even affected by it (internet, digital camera, cell phone, game, etc), is a true given potentials that we should push forward in our explorations. It’s so powerful because finally, for example, we can simulate thousands of phenomena within architecture using computer in a shorter time than ever before, resulting more progressive research findings to be implicated. So let me introduce some projects, from inside or outside digital architecture, which relevant to discuss. There will be explanation about the objectives of each project, and critiques given upon it, based on the 3 key aspects that are important in digital architecture: context, interactivity/ adaptive, and matter/ material. Why are those 3 criteria considered as the key important aspects in contemporary architecture? I agree that there is no such thing as new in architecture. It’s only chains of refinements based upon previous recorded comprehensive design thinking. And I agree to what Stephen Gage confirmed about these 3 aspects as the relevant interpretations of Vitruvius’s classic definition of architecture. As Stephen Gage explained, those 3 are the updated interpretation of English poet Sir Henry Wooton on commenting Vitruvius’s Ten Books
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top : “Low-cost single-family dwelling, Indaba, South Africa” (Luyanda Mpahlwa, L, Morojele, M. 2008. Curry Stone Design Prize Website [online]. [Acessed 16th January 2009]. Available from World Wide Web: <http://currystonedesignprize.com/?page_id=208>)
right : “Simple Nested Hierarchy and Complex Hierarchy” (Reiser, Umemoto. 2006. Atlas of Novel Tectonics. New York: Princeton Architectural Press)
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of Architecture about 3 most basic aspects that should appear in a project to be considered as architecture: firmness (context), commodity (matter), and aesthetic/ delight (interactivity/ adaptive). He defines further in describing the relation in those 3 key aspects in the context of an environment: “…It is worth examining this attributes more closely. When we ascribe the quality of firmness to the same object, we do this in terms of our understanding of the environment in which it sits. When we ascribe the quality of commodity to the same object, we extend the description of the environment to include our understanding of the behaviour of people. When we go further and ascribe the quality of delight to an object, we can only do this in terms of our own understanding of the understanding of others.” (Gage, 2008, quoted in Sheil, 2008) Regarding to this new interpretation, let me start examining the MMA Architect’s project, which I think is repeating something that is already done in the modernist era of architecture. They designed low-income housing for a Cape Town Shantytown, which is the winner of Inaugural International Design Award for Humanitarian Innovation which was given by The Curry Stone
Design Prize. MMA Architect offered indigenous mud and wattle building techniques. The building is using brick and mortar foundation to support two story frame of timber and sandbag infill construction. They argue it will reduce the consumption of energy because it’s not using any electricity and it’s efficient because it’s not involving any skilled labor to construct. This project is using a method, which Reiser and Umemoto introduced as collaguing techniques, that is strictly embedding one material with one values/ function only in a building. In terms of this kind of attitude towards material and how they relate it with the structural aspect from the building, it is considered as an excluding way of ignoring lots of other values. Each material embeds only one function, by reducing much other potential in it for many problems that can be solved by it. I would like to bring up Sir E.H. Gombrich’s quotation in his book titled “Norm and Form”, that
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i can be found in Reiser and Umemoto’s Atlas of Novel Tectonics. He explained: “It will be remembered that the Principe of exclusion is a very simple, not to say primitive, principle that denies the values it opposes. The principle of sacrifice admits and indeed implies of a multiplicity values. What is sacrificed is acknowledged to be a value even though it has to yield to another value which commands priority.” (Gombrich, 1971, quoted in Reiser,Umemoto, 2006)
At this stage I want to introduce some projects that was made with this kind of attitude of research. One of them is a research that is held by Neil McLoughlin Architects.
I don’t agree in using the modernist method of design because it is already proved that it has problems in its adaptability. It doesn’t have flexible system because of its embodiment of singular value within a material. It should respond to the changing situations or conditions in the future in the given context. It means that it is efficient in a short time, but not in a long period. I think we should start to focus in finding possibilities of facilitating the plurality of functions within the material. One way to achieve that goal is by using a method that Stephen Gaged introduced as a self control system. It is a system that allows an object to make continuous evaluation about the conditions of a place where it sits and make certain internal actions upon it in order to adapt and to be survived. Stephen Gage stated that the idea of this system ambition of having layers of aspects/ functions within material is started when time based was considered in architecture. Afterwards, people have been interesting to explore cybernetics that offer an autonomous control system and tries to apply it in architecture. One of the reasons why is it started to be explored was that is a kind of shifting paradigm from “men as the center of the world” into an equal position with another creature in the nature, which was explained by Usman Haque in commenting Gordon Pask Conversation Theory. He argues: “…Now at the beginning of the 21st century, Pask’s Conversation Theory seems particularly important because it suggests how, in the growing field of ubiquitous computing, humans, devices and their shared environments might coexist in mutually constructive relationship...” (Haque ,2008, quoted in Bullvant)
“Bloom, RIBA, London” (McLaughlin, N. 2000. Screens. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4). pp. 72)
They concentrated on the reactions between everyday found object and nature itself in order to give a sense of aesthetic. Their projects demonstrate evidences of material based research, which is trying to create responses from nature’s phenomena (physics, chemical, kinetic) from the material natural potentials. The first evidence is a result of collaborative works with an artist, Martin Richman, creating a self illuminating and scented field. By using some gardening equipments made from plastics scattered upon detergent covered area in the RIBA building’s floor, it is absorbing the UV lights from the sun in day time. And when the night comes, it will start spreading the light that is lit by its physics interactions between UV light-plastic-detergent and the strong scent for the whole floor in the building. This finding is worth to be explored in terms of its ability to provide light without any electricity. It’s an evidence demonstrate the interaction between material and nature by its physical reactions. The second one would be a canopy made from computer-etched copper sheet. The two layers
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of the copper was prepatinated with different chemical processes, so that through time it will has different colors from it designed geometric pattern. It gives us an evidence of opportunity of a self-continuous chemical reaction between material and nature.
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“Delay, Soane Street Canopy, London” (McLaughlin, N. 2007. Screens. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4). pp. 78)
And another project that can be used as evidence is the one that demonstrates the relation between material and nature that can produce movement by its chemical and kinetic potentials. It is a creature made by Theo Jansen, which can be moved by wind and sea water as the stimulator of the internal mechanic operations in order to be survived in the beach.
I advocate these projects as evidence that demonstrate of a system embedding several layers of values. This kind of system allows a communication between the material and its given context in order to be able to adapt. It has big opportunities for further development since they still can not be defined as a complete architecture project. In search of material based aesthetic in digital architecture Critical point that I can still give for those projects would be its unspecific kind of aesthetic. Somehow I feel that it is not something that I can consider as an architectural aesthetic. I’m still trying to find a distinct formula that can define a very different aesthetic from the other field of art and previous architectural thinking (i.e. post modern era).
“Animaris Percipiere (Sea Foam)” (Jansen, T. 2005. Strandbeests. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4). pp. 72)
I agree the importance of user of an architectural object that is explained by Edward Winters, in his book titled “Aesthetic and Architecture”. An architectural object always has to have relation to the public. The user plays important role in defining an aesthetic of architecture.
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i He tries to categorized architecture as public art, and stresses that architect as its creator/ artist has to relate their works with the public where it sits. He argues:
But I’m still questioning about the common values that the public share together as their communal perception upon an architectural object. Is there any such thing?
“…These artists could not have produced the work they have without concerning themselves with the particular publics for whom the works made. Architecture just is a public art. It works are placed in public spaces and together they form our towns and our cities. Art, when it went public, had to address the issue arising from its newly found publicity…” Winters (2007)
Let me introduce about what Peter Eisenman differentiated between conceptual aspect and perceptual aspect related to aesthetic in his “Notes on Conceptual Architecture; Towards a Definition”. He argues that conceptual aspect of architecture is something that is already processed as layers of meanings inside the brain of every observer, while perceptual aspects of architecture is formed by the physical appearance of the object itself.
With such consideration, I’m start questioning about perception that people can achieve from an architectural object. What kind of values within architecture that can be understood by the public? How can we achieve that in the project? Having understanding about how a brain works in order to make a perception is important at this stage. Stephen Gage argues that an architectural object should be learnt first by its spectators. It’s the natural way. By the time they understand about it, it gives the sensation of delight. Gage continues to bring us into explanation that is I consider as an opportunity of an exploration in the digital realm. He was questioning about what happen next when it’s already understood by the spectators? Is it going to lose its sensation again? How can we keep those sensations disregarding how many times the spectators came to the same object? Gage introduced something that he called continuous epiphany. He explains about the variety that should be contained in architecture in order to achieve particular sensation of aesthetic. He argues: “…Perhaps if the variety is great enough the observer will always learn new things – a continuous epiphany…” (Gages, 2008, quoted in Sheill) At this stage it is quite clear that variety holds important role in order to give the continuous delight that is needed to make a distinguished aesthetic. The more the merrier! And there has been no better time to achieve more varieties than right now, since the digital innovations allow us to simulate millions array of variation probabilities.
He’s taking a word symbol as an example on how observer reactions of a word. If we were looking at letter “X”, an observer would have said that it is a letter “X” that they were using conceptual aspects. It is a common agreed upon meaning. But if they were saying that the letter “X” is “something that is centralized”, they would have reacted using the perceptual aspects. The objects appear with their own natural and physical meaning. With this definition, I promote the perceptual aspect that can define about which perception that should be advocated. It is coherent with the set of arguments which I already explained before about the physical potentials from a material that should be consists of layers of values. It would have repeated something that is already done in the post modern era, If we were implementing the conceptual aspects. Because meaning which is a seed form of a culture, can be formed by those physical potentials within the material in architecture. Using this logic, it is worth taking a glimpse to the project that Marcos Cruz and Marjan Colleti are doing in their design investigation in the Bartlett School of Architecture. They tried to explore the possibilities of implementing typological approach in the topological realm. I consider this as repeating something that is already done in the post-modern era of architecture. Typological approach tries to implement certain shapes or symbols that are already exist in a society and it is representing certain meanings to their history as a community. I do object to it with such consideration that culture and history can be
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“Animaris Percipiere (Sea Foam)” (Jansen, T. 2005. Strandbeests. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4). pp. 72)
formed by architecture, not the other way around. Reiser and Umemoto clearly stated this particular argument in their Atlas of Novel Tectonic.
36 Reference List Curry, C. 2008. Curry Stone Design Prize Website [online]. [Accessed 16th January 2009]. Available from World Wide Web: <http:// currystonedesignprize.com/?page_id=208> Eisenman, P, D. 1971. Notes Towards a Conceptual Arhictecture: Towards a Defiition. Casabella. n 359. p. 49-57. top and right : “Convoluted Tectonics, Rome” (Williams, J. 2007. Convoluted Flesh. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4). pp. 42)
Sheil, B. 2008. The Wonder of Trivial Machines. Protoarchitecture: Analogue and Digital Hybrids. Vol 78 (No 4), pp. 17, 19.
Conclusion
Haque, U. 2007. Bullvant, L, (ed). The Architectural Relevance of Gordon Pask. 4D Social: Interactive Design Environments. Vol 77 (No 4), pp. 55.
Material has to be placed at the top priority of further investigations. Evidences and arguments built above, based on the real problems and theoretical problems, direct us to explore the connection between material, context, and interactivity/ adaptability. It has the potentials for innovations regarding to theoretical logic. And since it all started from the real problems, hopefully at the end it’s going to give a problem solving kind of architecture.
Ourousoff, N. 2008. ARCHITECTURE: It Was Fun Till the Money Ran Out. New York Times Website. Accesed 14th January 2009. Available from World Wide Web: <http://query.nytimes.com/gst/fullpage.html?res=9504E4DD153BF932A15751C1A96E9C8B63&sec= &spon=&pagewanted=1> Reiser, Umemoto. 2006. Atlas of Novel Tectonics. New York: Princeton Architectural Press Sinclair, C., Stohr, K., 2008. Architecture for Humanity Website [online]. [Accessed 16th January 2009]. Available from World Wide Web: < http://www.architectureforhumanity.org/updates/2008-12-21a-letter-to-the-new-york-times> Winters, E. 2007. Aesthetics and Architecture. London: Continuum International Publishing Group
jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
Vaca kita semakin menyadari dalam ketradisian arsitektur seperti Marx berbicara, tradisi dari generasi yang telah mati, memberat bagaikan mimpi buruk di atas otak mereka yang hidup. ada hal yang sudah hilang, jalan atau proses yang menentukan bagaimana arsitektur berdiri telah perlahan hilang dengan keilmuan yang teruji waktu, menetap di pendidikan kita dan kemudian menjadi hanya sebuah hadiah, sebuah ilmu cepat saji untuk kita ber arsitektur. hari ini adalah hari dimana kita ber euforia terhadap arsitektur masa lalu, terhadap pemberian yang sayangnya belum teruji oleh kita sendiri. Kita menjadi takut untuk merubah tradisi karena ketatanan sosial kita meng haramkan cara tersebut, untuk selalu menghormati yang telah mati, dan disalah kaprahkan untuk menelan tradisi hasil warisan yang suci. 37 ketika pedoman arsitektur menjadi alkitab, ketika teori menjadi sebuah ayat suci, dan ketika seorang starchitects menjadi nabi nabi, dan disatu sisi setiap arsitek berusaha mencari keseragaman dalam arsitektur mencari keindonesiaan yang satu. mengapa menguniversialis? kesedihan mendasar saya adalah ketika kebenaran adalah konsensus, dari ketiadaan menuju propaganda, dan menjadi keputusan bersama. Bahkan kebohongan yang diulang secara masif berakhir menjadi kebenaran. kita tak beda halnya dengan goebbles, memprogandakan hal yang mengerdilkan otak kita terhadap keragaman. dalam kesemarakan dan kehiruk pikuk yang memekakkan telinga, arsitektur berdiri dengan wajah wajahnya yang palsu, ia berdiri berusaha memendam aktor dan sasaran dibaliknya. arsitektur harus lah tak getar dan dia tak gentar. jaman berubah. ruang harus terus berevolusi dengan manusianya.
Paskalis Khrisno Ayodyantoro
socialitur
media acara dan sosialisasi event arsitektur
- workshopAMI Mei 2009 -
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jongArsitek! E d i s i 2 . 2 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i
- Workshop AMI â&#x20AC;&#x153;Kemarin, bertempat di Ruang Serambi Salihara, Teater Salihara di jalan Salihara no.16, para reviewer yang terdiri dari Adi Purnomo, Avianti Armand dan Jay Subijakto (Marco Kusumawijaya berhalangan untuk hadir), telah memilih 17 proposal untuk di workshopkan selama 2 bulan ke depan. Ini adalah ke 17 proposal terpilih : 1. Kota skala kita -Aris Nuryahya,- Bandung 2. linear city-tria ardhita, odie banoreza, emilia faneysa shafira- Jakarta 3. metabolisme kota jakarta -Vidya Spay Fitria Hedyanti, Christina Sunario, Donatus Gurnito- Jakarta 4. mobile house-Andreas Susandika â&#x201E;˘ Rama Adhitya -Jakarta 5. nenek moyangku orang pelauta-Denny Husin -Jakarta 6. ruang mimpi-Yu Sing- Bandung
11. ketika bandung menjadi berfashion dalam arsitektur -Putri BothieBandung 12. blackout architecture-Noviardi PrasetyaJakarta 13. didedikasikan untuk komuter-Elisa Sutanudjaja- Jakarta 14. fenomena komuter dan warung rokok -Rooseno Aji,Andri Satria,Sasha Media,Meutia Chaerani, Coki WicaksonoJakarta 15. rumah ini tidak dijual-Setiadi SopandiJakarta 16. tropical capsule bungalow-Fransiska Prihadi- Bali 17. Ruang Waktu Tinggal -Andesha Hermintomo, Bunga Agustina Salwa, Endy Ersal, Fajar Rezandi, Gita M Sumitra, Mahadiyanto, Risa Guntari- Jakarta
8. ruang dalam bayangan kota -YD Purwocahyono & Teras- Jakarta
Kami mengundang siapa saja yang ingin datang untuk ikut serta, berpartisipasi, atau hanya sekedar melihat-lihat, untuk datang ke Serambi Salihara pada jadwal jadwal yang telah di rilis. Benar-benar gratis, dan benarbenar bebas untuk di singgahi.
9. ruang kembali -Alva Sondakh- Manado
tim workshopAMI
7. arsitektur binatang -Fajar Putra JudadiJakarta
10. sebuah kata-kata -hengky,amy dan tohaJakarta
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