CRAFT AND SITE ANALYSIS NAAVEN RAO 1001954474 DESIGN STUDIO 4 PORTFOLIO 2020 JAN-MAY YEAR 2 SEM 2
CRAFTING SKIN
CRAFTING PURA TANJUNG SABTU
CRAFT AND SITE ANALYSIS
SOUND OF WAU BUSUR Busur is a part of the Wau that produces the sound “‘wau� when it glides through air. Its is also where the kite receives its name from, Wau. Busur is also used as an indication that the Wau is still connected the rope. If the sound starts to diffuse or disappear, it means either the rope has snapped or the wau is losing its speed or altitude. Busur are made up from natural materials such as bamboos and daun ibus. Busur is located at the head(kepala) of the Wau.
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Compromising of four component:1. `Bok`. Which is made out of bamboo. 2. `Daun ibus` is the part that produces the `wau` sound. 3. ` Inas` typically made from chinese bamboo is the central part of the busur.
Busur located at the head of Wau
4. ` Buluh penyepit` used to attach the busur to the Wau is made from bamboo.
WHEN AND WHERE IS THE WAU PLAYED WAU OLD TIMES During the 90`s wau are generally played during the reap/ harvest season ( musim menuai) . During that time crops are harvested only once a year, thus during their free time, Wau are played by the communities. This can also be made possible because of the big barren and dry land that is suitable to fly the `Wau`
CURRENT TIMES Nowadays, most of the Waus are played around wide and long beaches or any open land, in collaboration with festivals that are being held.
KELANTAN INTERNATIONAL KITE FESTIVAL The annual Kelantan International Kites Festival, held since 1982. participants from Brunei, Cambodia, China, Indonesia, India, New Zealand, Singapore and Thailand took part to showcase their kite-making craft and kite-flying skills. Many local students are also involved in these festivals. It is held in Pantai Geting, Kelantan.
INTERNATIONAL KITE FESTIVAL AT PANTAI GETING, KELANTAN
KNOWING THE TOK DALANG Tok Dalang in Kamus Dewan - means a person who is responsible for manipulating the wayang kulit puppet while telling a tale/story. In Sanskrit it means a learned person or scholar. Starts as a messenger boy. While also making himself to be accepted as a pupil to Tok Dalang. They should have high creativity and enthusiasm. They should also learn skills outside of puppetry making also. Knowledge are learned through experience shared from other pupperters. If they acquired a certain skill , they will be called Dalang Muda. Taught various way of using the voice creatively.
The sons of dalangs were often apprenticed out around the age of 13 to another dalang. His role included helping to set up the screen ahead of the performance, performing the afternoon show before a main all night wayang, and sometimes acting as an accompanying musician or as a assistant puppeteer. He would also end up marrying his master’s daughter who has been trained as a gender player by her mother.
Much of the traditional training of dalang was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. This included meditation and a form of aesthetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Suck practices are to be essential in building up the stamina to perform for nine hours at a stretch. Further ascetic element is that dalangs never eat during the performance.
The woman of these families traditionally were expert players of the Gender, an instrument which has a particularly important role in accompanying wayang performances.
POPULAR TOK DALANGS IN MALAYSIA EYO Hock Seng
Muhammad Dain bin Othman
Yusoff bin Mamat @ Pak Soh.
THE STAGE DIMENSIONS
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The height of the front of the stage is usually around 3.8 m.
2
The stage is usually lifted above the ground around the height of 91.5cm till 1.22 m
3
The width of the stage is usually in between 3.6 m and 4.5 m.
1 5 3
2
4
4 5 TYPICAL STAGE DESIGN
The depth of the stage is usually around 3m. The height of the rear of the stage is usually around 2.3 m.
THE STAGE COLUMN ARRANGEMENT The theatre is erected using posts. Using stem trunks of pinang or nibong palm, bamboos and also wood.
INTERNAL STILTS LAYOUT
The stage has 4 main posts and sometimes a central posts called, Tiang Sari. The stem are split into 2, to make to 2 separate columns. At the end of the column are used to receive the roof beam , which tied together using rattan or bamboo rope. There are also 15 internal stilts used, called the Tongkat. 13 of the stilts are made from the Pinang. It has 11 semi circular column and 2 whole circle column. The other 2 stilts are made from bamboo.
MAIN STAGE COLUMN ARRANGEMENT
THE STAGE ENTRANCE
CRISS-CROSS STEP
STUMP STEP
The wayang kulit stage usually have one entrance that is used for both as an entrance and also as exit. It is located at the right hand side.
Simple construction
Easiest to build
Can be constructed using materials made up of bamboo, wood, nibong or pinang
It is more suitable if the stage is closer to the ground.
It is believed that having an exit and entrance on the left brings bad fortune and is deemed unlucky.
It rests on the end of the oor beam.
The diameter of the stump should be wide enough to step on it.
Since it is a taboo to turn back on something or people, back entrance/exit are forbidden. While it is inconvenient entrance/exit on the front.
to
Same sized pole are placed criss-crossed of each other and are tied with rattan ropes.
Its is buried to certain depth to make it stronger and stable.
have
CRISS-CROSS STEP
STUMP STEP
COMPARISON OF CULTURAL INFLUENCES INDONESIA (JAWA) AND MALAY
Indonesia’s shadow puppet have a very distinct difference compared to Malaysia’s wayang kulit . The puppets are generally more slender. With longer and slender limbs compared to the Malaysian wayang kulit. The puppets have lesser ornamentations and has smaller to no crowns. The javanese puppets also has lesser color contrast compared to the Malay wayang kulit.
SRI RAMA
RAMA
HANUMAN
ANOMAN
In Javanese wayang kulit characters with smaller eyes or has downcast eyes are identified as good character. Javanese would also include Garuda, large bird like mythical being into the wayang kulit. Gunungan is used as prop before and after the performance
SITI DEWI
SHINTA
RAVANA
RHAVANA
WHEN AND WHERE IT IS PLAYED WAYANG KULIT OLD TIMES During the 90's, wayang kulit is generally used for general entertainment purposes, during harvest seasons, during village festivals and others. Most of the wayang kulits are played deep in the villages
CURRENT TIMES After a ban that was imposed in Kelantan regarding playing wayang kulit because of its non-islamic culture, it has drastically reduced the wayang kulits even after the ban was lifted.
KELANTAN:A LIVING HERITAGE Being held at George Town, its show and exhibits the culture of Kelantan especially the wayang kulit. It is intended to showcase and further expose wayang kulit to other parts of the Malaysian states.
WAYANG KULIT SETTING IN A EXHIBITION
PURA TANJUNG SABTU SPACE ARRANGEMENTS AND RELATIONS
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1
CORRIDORS These few blocks of building are connected with long and wide corridors. They are constructed widely to accommodate and cater higher load of occupant.
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SERAMBI The next space is the Serambi. At The entrance and also along the corridors. Spaces used to encourage community involvement.
KOLONG One of the few interesting spaces is the Kolong. It is the space below the houses. This space can be used for storing,working and others.
CRAFTING SKIN
PROJECT 2: CRAFTING SKIN
CASE STUDY DEAR GINZA, AMANO DESIGN OFFICE The faรงade becomes a part of the interior decoration and obviates the need for window treatments such as blinds or curtains. The irregular faรงade design was determined by computing a design to avoid arbitrary forms and to approximate forms in nature. In the neighborhood of mostly modernist architecture with horizontal and vertical or geometric shapes, the building has a proper feeling of strangeness, attracts special attention, and has an appeal as a commercial building. The abstract flower graphic is used to balance the impression of the faรงade, i.e., to free it up from becoming too edgy. The colored LED upper lighting, which is installed inside the double skin, entertains the passersby with different programs depending on the season.
DESIGN DEVELOPMENT 1
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Certain color can be has represeanted emotionally in which it provides shapes for each color.
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Shapes are transformed into irregular forms to create the character.
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Creation of layer are formed, to create depth in which a 2d wayang kulit puppet could show.
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The form are then pulled out to create 3d wavy forms, represents the action of the wayang kulit puppet
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CRAFT AND MOTIF ANALYSIS 1. GEOMETRY DESIGN 2. SPACE FRAME STRUCTURE ARRANGEMENT 3. WAVY FACADE 4. SKIN COLOR 5. SQUARE FRAME
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YELLOW = TRIANGLE
PURPLE = CIRCLE
GREEN = HEXAGON
RED = SQUARE
Some color has an emotional representation of shape. Yellow represents sunlight and gets attention, purple signifies independence and nobility,green reflects nature and brings calm, red raises blood pressure and is an intense color
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The waves of geometry represents the harmony between the two main characters. The black colored panels waves are bigger on the sides and becomes smaller as it reaches the middle.
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In the internal framing, geometrical shape of the two main characters are displayed, Dewa Rama and Sis Dewi.
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The colors plays important role in engaging the crowd attention. The color of black represents the shadow casting of the wayang kulit, while the color green and purple represents the characters color.
The panel is shaped in a wayang kulit stage scree shape. Stage is an important part of the wayang kulit performance as the action of the characters are displayed into the canvas
MATERIAL EXPLORATION Material used for the construction are mostly made up from steel and aluminuim. Geometry and irregular shapes are easier to be constructed with this material. Metal material can be use for long span construction. Perforated metal sheets are used as the skin panels. Perforated always light and air to pass through. Space frame system used for the skin construction. It supports the metal sheets. The HSS steel used as the bracing and beam extension to support the skin.
PERFORATED METAL SHEETS
SPACE FRAME STRUCTURES
HSS SQUARE STEEL
SKIN ANALYSIS The skin does not block any sunlight coming through, but just cuts a measurable amount of sunlight entering the building. It also creates shadows from the perforated holes.
The perforated panel does cuts off natural winds entering the building. Natural ventilation would be hard to achieved.
The panels also reduces the rain hitting the building. The rain sips down the skin when it touches the skin. Some rain does pass through but loses velocity after it passes through the skin.
PLAN
RIGHT ELEVATION
4600
3600
REAR ELEVATION
LEFT ELEVATION
3600
3600
3600
6300
6300
6300
4600
6300
FRONT ELEVATION
EXPLODED AXONOMETRIC LEGEND
5mm thk. perforated metal sheets 20mm Ø thk. circular HSS coated w/white paint. 15mm Ø thk. circular HSS coated w/white paint. 130mm × 80mm thk. square HSS beam coated w/ white paint
SECTION
200mm × 200mm thk. square HSS column bolted to bld. beam coated w/ white paint 20mm Ø thk. circular HSS coated w/white paint.
SECTIONAL PERSPECTIVE
30mm Ø thk. circular HSS coated w/white paint.
DETAIL A
PERSPECTIVE
CRAFTING PURA TANJUNG SABTU
SITE ANALYSIS SUN AND WIND PATH
SUN PATH
KEY PLAN
LOCATION PLAN
WIND PATH
SENSORY:VIEWS
POSITIVE VIEW POINTS
Sun reaches to the whole site without any obstruction. While the wind mostly comes from the south-east and north-west.
The site is adjecent the Sg.Nerus river thus it provides good veiwing point from any site if it is cleared and properly landscaped.
ACCESIBILITY
MASTERPLAN
SITE PROBLEM The site has been left to decay since the owner of the site has passed. The site used to be a popular attraction point for tourists and locals. The exisiting building itself is in ruin with few decayed and collaped structure. Site that used to be prominent and once was a resting place for the Sultan Terengganu has been left to ruin.
CRAFT PROBLEM wayang kulit used to be prominent traditional craft is now on the brink of extinction. Lesser new generation are praticing puppetry. Method of building has developed and old technique is forgotten. It now attracts lesser audience. But the newer generation are creating characters from movie heroes thus older characters are being left out.
INTENTION To create are close community engagement of both the site and craft so that is does not left behind. Activites are more public and open to remove the boudaries of public and private spaces. Creating a space where community, the site and craft can co-exist with disturbing ones lifestyle.
PEDESTRIAN PATH
VEHICLE ACCESS
BOAT ACCESS
PROPOSED JETTY
The site is easily accesed to by varios ways means of transportiion. It can be accesed by smaller vehicles and boat via the river. The site is also pedestrian friendly.
Pefect position has choosen for the location of the craft cultural center and public space. Each location maximises area usage and has proper site relation.
CASE STUDY
IDEA DEVELOPMENT
FORT MASON
Architects: Leddy Maytum Stacy Architects Location: San Francisco, California, USA Area: 6500 m2 Year: 2017 Historic U.S. Army warehouse at Fort Mason has been transformed into a new campus for the San Francisco Art Institute. The project integrates student studios, public exhibition galleries, flexible teaching spaces, a black box theater, and a workshop Mix of public and university spaces. Mostly spaces on top are used for university activities. Rows of studios on the top Ground floor, public spaces. Movement are more free, creates noises. Central area are the located at the central While gallery at the front to attract visitiors, public enggagement. More felexible space layout, studios can be converted to offices or meeting room Theather located at the back, to reduce reflect sound away from the studios and galleries. Placed in a such a way, it provides separate entrance, reduces the usage of the central pavilion in the building
Design of the follows the continuation from the project 2 , wayang kulit form. This to show continuation of form form the skin design to the building form and space. Certain color can be has represeanted emotionally in which it provides shapes for each color. Shapes are transformed into irregular forms to create the character.
PUBLIC SPACES STUDIOS, GALLERY, PAVILION,SHOP
SEMI-PRIVATE
From the formation of the shapes, ouline of the shape is taken as refrence for the developement of the building form. The creation of seprate block and the conncetion space follows the space plannig of the PTS center.
CLASSROOM, STUDIOS, THEATHER
PRIVATE OFFICE
Line are smoothen & arms are removed
Outline of the shape are taken out
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Negative space are removed
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DESIGN STRATEGIES Able to identify the public and private zones. Function of the spaces and its charactericrics of each zone identified. Spaces that carries more importance are placed where access are easier and it attracts visitors and allows public engagement. Certian spaces that carries bigger denstiy has seprate access to prevent congestion. SITA DEWI
SRI RAMA
SITA DEWI
SRI RAMA
SITA DEWI
SRI RAMA
Building is able to self sustain with certain methods fixed into the building, allows for longer life and enviromental friendly
TWO BLOCK
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CONNECTION - resembles the serambi of PTS, connection point for public, semi-public spaces.
- resembles the space within the PTS, the ground floor and the first floor. COMMUNITY INVOLVEMENT
SITA DEWI
SRI RAMA
FORM AND DESIGN DEVELOPMENT
PROPOSED SPACE
PROPOSED PROGRAMMES
The form was inspired from wayang kulit’s prominent characters, the Sita Dewi and Sri Rama. The form are the converted to more geometrical form that is related to the character’s skin colors. The 2 characters show understanding and the need for one another which is tranfered into the space planning of the cultural center. The existing building on site also related to the need of each other and need for undderstanding. The ground space is used for public space, while the 1st floor is mainly for private spaces while the central space on the first floor is the connecting point between the private and public space.
CULTURAL CENTER
Weekly puppet creation workhop
1
Weekly music class and workshop
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Weekly wayang kulit performance by local and internationals
Main big block is placed on site. Spaces to be separated according to public and private space
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Unused space and empty space are removed to allow verandah to be created. Mimicing the verandah of the exsiting building.
Selling homade wayang kulit characters.
Puppet creatiing workshop Music room/workshop Exhibtiton space (Indoor and Outdoor space) Dark exhibtion space Thaeter room
Lobby Cafe Souvineir shop Male toilet Female toilet Control room Monitor room Store room
PTS BUILDING
Public engagement activties.(outdoor worskhops)
Workshop Restiing Area Toilet Surau Homestay
5 BUBBLE DIAGRAM
Form is separeted to allow circualtion and to allow the building receives sunlight and wind. The central block is lifted above ground to make way for courtyard.
The created verandah exposes the user to the viewing deck and to allow wind flow into the building, allows natural ventilation.
PEDESTRIAN ACCESS FROM JETTY
TOILET
TOILET LOBBY
THEATER
COURTYARD
WORKSHOP
LOBBY
EXHIBITION CENTER
3
6 DARK ROOM
CONTROL ROOM
MUSIC ROOM
MAIN ENTRANCE PEDESTRIAN ACCESS
The form of the wayang kulit is put on to the building block. Negative spaces are removed to maximize the space usage
The form of the roof is inspired from the various height of the PTS roof. The roof is also formed from the wayang kulit character.
MONITOR ROOM
STORE ROOM
The cultural center is has 3 access point to reduce congestion while providing separate access each block to increase privacy. Most of the ground floor spaces are connected to the coutyard. While to enter the theater room, occupant need go the 1st floor.
SCHEDULE OF AREA
SPACE RELATION SPACE
AREA(m²)
MONITOR ROOM
LOBBY
44.5m²
MUSIC ROOM
EXHIBITION AREA 1
63.7m²
WORKSHOP
MALE TOILET 1
16.5m²
EXHIBITION AREA 1
FEMALE TOILET 1
13.4m²
RESTING AREA
MALE TOILET 2
10m²
THEATER ROOM CONTROL ROOM
FEMALE TOILET 2
16.5m² SOUVINIER SHOP
CAFE
28.7m² HOMESTAY
SOUVINIER SHOP
22.3m²
EXHIBITION AREA 2
77.3m²
EXHIBITON AREA 2 TOILET
CONTROL ROOM
19.3m²
SERAMBI
BALCONY
98m²
THEATER
57m²
CAFE
WORKSHOP 1
29m²
ACCESS
WORKSHOP 2
35m²
MANAGEMENT ROOM
MUSIC ROOM 1
31m²
SURAU
MUSIC ROOM 2
26m²
STORE ROOM
6.6m²
MONITOR ROOM
10m²
LOBBY 2
94m² TOTAL= 698.8m²
PUBLIC
LOUNGE The public space are provided for more general public and tourists attractio space. The activties related are more to community engagement regearding the PTS and craft. As for the spaces are located near the public spaces such the courtyard and the community spaces encourages the interactions. The space provided on the public space within the building are less but, has larger area compared to other space and has separate access point via the community space. This to reduce congestion on one access point and to provide privacy
SEMI-PUBLIC
The semi-public space cater less people as the space is mainly function to provide classes and workshop activites. Minumum occupancy creates maximum learning outcome. Few room of spaces are created to segreate the actitvies carried in each space and floors. On the ground floor is the workshop area as it is simpler to carry and store raw materials. While the music room located on 1st floor as it has shortest distance to carry the instrument to the theater room. Each room could cater up to 8 pax.
THEATER ROOM = SERAMBI
JETTY
CULTURAL CENTER
COMMUNITY AREA 2
COMMUNITY AREA 1
POND
CHILDREN SPACE
GARDENING AREA
PURA TANJUNG SABTU OUTDOOR GYM/PARK
SITE PLAN SCALE 1:300
CRAFT CENTER 1. LOBBY 2. EXHIBITION AREA 1 3. SOUVINIER SHOP 4. MALE TOILET 5. CAFE 6. FEMALE TOILET 7.COURTYARD 8. LOBBY 9. WORKSHOP 1 10. WORKSHOP 2 11. MALE TOILET 12. FEMALE TOILET
X
X
11 4
3
12
9
Y’ Y
PTS CENTER
7
2
1
5
1. WORKSHOP 1 2. WORKSHOP 2 3. RESTING AREA 4. MALE TOILET 5. FEMALE TOILET 6. MALE SURAU 7.FEMALE SURAU
8 10
6
X2
X1
7
6
2
4
5
3
1
GROUND FLOOR PLAN SCALE 1:200
CRAFT CENTER 1. EXHIBITION AREA 2 2. CONTROL ROOM 3. THEATER ROOM 4. MUSIC ROOM/WORKSHOP 1 5. MUSIC ROOM/ WORKSHOP 2 6. STORAGE ROOM 7. MONITOR ROOM
X
X 6
2
7 4 Y’
Y
3
1
5
PTS CENTER 1. SERAMBI 2. LOUNGE 3. HOMESTAY 4. MANAGEMENT ROOM
X2
X1
3
3
3 2
3
4 1
FIRST FLOOR PLAN SCALE 1:200
FRONT ELEVATION SCALE 1:200
REAR ELEVATION SCALE 1:200
LEFT ELEVATION SCALE 1:200
RIGHT ELEVATION SCALE 1:200
SECTION X-X1 SCALE 1:100
SECTION X-X2 SCALE 1:100
SECTION Y-Y’ SCALE 1:100
PERSPECTIVE 1
PERSPECTIVE 2
INTERIOR- EXHIBITON AREA 2
INTERIOR- EXHIBITON AREA 1
INTERIOR- LOBBY
INTERIOR- WORKSHOP
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