Merekam Studi

I prefer to call some work on the following sheets as in Merekam Studi, which are about what I have learned and can be used as a benchmark to measure the extent I understand. For that, let me provide a few lines of argument to introduce what influenced me to understand architecture comprehensively.

Architecture cannot stand alone as a singular entity. We all agree that architecture stands on a comprehensive scientific foundation. Size and scale are one of the primary forms of mathematics. Feelings, senses, and experiences are obtained from chemical reactions in the human body. Even when we talk about comfort in architecture, it's nothing more than how physics works. This scientific complexity of architecture then creates a system, and then we can agree that the completion of a system is a beauty. Why is there any architecture if it is not beautiful?

I admit that my ability in architecture is still premature. I need to learn more to let this knowledge grow and develop into something extraordinary. Peter Zumthor once wrote the same thing in the book Thinking Architecture, which I later confirmed in his writings. "Practicing architecture is asking oneself questions, finding answers with the teacher's help, whittling down, finding solutions. Over and over again."

Thank you for taking the time to talk to anyone who has opened this Portfolio. I hope there are more suggestions and criticisms or ideas that can even question what I have written. Afterall, a good design is a design that can raise questions.

Regards,

Nasrul Hidayat

HUB+

The Integration of Creative Hub with the Tunjungan Historical Area Surabaya, Indonesia

DOI: https://doi.org/10.20961/ region.v16i2.31692

Oktober 2018 - Juni 2019

Supervisor:

Ir. Rachmadi Nugroho, M.T. Ofita Purwani S.T., M.T., Ph.D.

Tunjungan historical area is one of the Surabaya city fragments structured by Tunjungan Corridor Street, Kampung Ketandan, and Kampung Genteng. Administratively speaking, it belongs to the Genteng Districts at Surabaya.

Surabaya’s citizens perceive Tunjungan as a dynamic urban artifact that has multiple identities from time to time. Tunjungan’s identities depend on the activity that occupies its structure, whether it is a business district, a tourism spot, or the city’s fortress. It was called the European Garden Suburban until its identity was diminished as a lost space; many significant changes happened in Tunjungan.

Preface

Thesis Statement:

The purpose of this study is to rearticulate Tunjungan’s identity by using the phenomenon of creative economy as a pop-culture which currently growing in Indonesia. City communities will be familiarized with the creative process by introducing the creative activities as new activities that will activate the Tunjungan Historical Area.

The process of introducing creative activities into the structure of the area will be manifested in architectural typology in the form of a hub through the architectural programs which are inserted at a certain point and integrate them

with the current context. The programs to support the hub are maker and creative space. Those programs are going to be planned then integrated with the co-working space corridor as the existing creative space in Tunjungan Historical Area managed by Surabaya City Government.

The result of this study is a creative hub integrated with Tunjungan Historical Area which is expected to be a catalyst for regional growth and is believed as generic to re-articulate Tunjungan’s identity as a creative district.

Down Left Intervened area: Jalan Tunjungan

Tunjungan is a part of my daily life. It brings a remarkable memory of how I came to understand Surabaya. I remember special moments from childhood to events since I was a teenager, specifically at Tunjungan.

For some people, Tunjungan can act as a record of memories. More than that, it serves as a city development museum, which records in detail every activity of the citizens of Surabaya. Then it prompted me to study Tunjungan and how far it can play a role for the city’s citizens with all the attributes accompanying it.

I started writing some questions to answer, which were then narrated as a whole story to understand and determine the steps of this study.

01.

What makes Tunjungan defined as a dynamic fragment of Surabaya? The fluidity of Its identity, based on the activity which take place on it.

02.

What Happened on Tunjungan?

Tunjungan experiences a lot of phenomenon but today it lost.

03.

How if Tunjungan injected with something new as a tool to activate its area?

04.

How can the injected programs be integrated with Tunjungan and redefine its identity?

Key Question Image

What makes Tunjungan defined as a dynamic fragment of Surabaya? The fluidity of Its identity, based on the activity which take place on it.

Part 01

I answered this question by finding out the critical events that became the turning point in Tunjungan, which I presented as a timeline that marked the important events:

Until the 1900s, redevelopment began to occur around the Simpang area, which caused the center of activity to move south from Pasar Besar to the Tunjungan area. The increasingly dense Pasar Besar area caused this movement, and the price of land in the Tunjungan area in those years was still relatively lower.

The development of a more prominent area marks by the opening of the Hotel Oranje in 1911; Simpang Club in the previous four years, namely in 1907; and the displacement of Concordia Soos from the Old Town Area in 1916 (Faber in Dick, 2003). These three buildings hath primary and secondary functions as clubs that encourage the acceleration of regional development. Until 1920, when the Tunjungan area was getting busier with various activities, this area was then called the new European garden suburb.

This terminology means that the Tunjungan area at that time was one of the manifestations of a more vibrant, confident, and independent European world from the interwar years as a shopping and urban recreation center (Faber in Dick, 2003). In recent years, the Tunjungan area has grown into a prestigious shopping center with the emergence of multi-story department stores such as Whiteaway and Laidlaw (currently Siola), Adler, and the Louvre.

In addition, there are also several fashion boutiques, bookstores, restaurants, Parlors, ice cream shops, and nightclubs. It suspects that many buildings with recreational functions and lounges at that time became functions that then attracted many people to come to the Tunjungan area. The city’s gimmick further strengthens the festive part of the Tunjungan area in the form of various neon decorations.

Upper Left Land use of Tunjungan through several years.

Down Left Simpang Club opened their Building on Tunjungan at 1907

Right Development Timeline of Tunjungan

What Happened on Tunjungan?

Tunjungan experiences a lot of phenomenon but today it lost already.

Part 02

Today, Tunjungan experience the lost space phenomenon, defined as an area in a city that requires redesign because it has become a space that does not positively contribute to its surroundings (Trancik, 1986). Tunjungan no longer has a role in accommodating and recording the development of urban community activities.

To answer this question, I assume Tunjungan needs a catalyst to encourage or activate the region.

The phenomenon of urban transformation using a catalyst occurs in an abandoned area due to political failures and the abundance of infrastructure caused by deindustrialization. Moreover, some people use the site injected with a new function, which is different from the initial program in the context of the area (Oswald, 2006).

Philip Oswalt gave an example of the urban catalytic phenomenon in one of his essays, Patterns of the Unplanned. The essay provides an example of a case that causes a change in the function of the program area full of old warehouses and laboratories behind Berlin’s Ostbahnof Wriezener Station. Several young graphic designers later used the neglected buildings with several artisans, architects, and filmmakers who gathered together to acquire the space. The space is formerly used as a printing press for the East German ruling party’s newspaper and as a laboratory with various functions. At night, this area turns into an exciting cluster of sub-cultural nightclubs.

One of the critical catalysts in the phenomenon of urban transformation is the existence of temporary space, moreover it becomes a pioneer and trigger for further regional development and often attracts public attention quickly. This exciting process of happening is what makes the triggered area proliferate. Various activities can activate the area by using temporary spaces for example; fashionable-

leisure activities, industrial warehouses which turned into theater performances, weekday bars in empty shops or stores, and a festival that can attract the wider community’s attention.

Temporary spaces have begun to be reacquired by a group of urban communities, generally in the form of communities, by injecting new programs into abandoned areas. These communities have one specific goal, which is to acquire space that has been neglected and then use it as a community base to carry out an activity that is useful and profitable.

These programs can then trigger the surrounding area to grow in a projection that can be unpredictable. Because the catalytic process carried out by a program to affect the surrounding areas is not a short thing, the success or failure of an urban transformation process cannot be measured only by the current time but also by considering the success of the area’s development in the future. These new programs in the form of temporary spaces then provide a stimulus in the form of projections of regional developments in the future.

These spaces may be destroyed when there is an opportunity to provide a new program that is more complex and accommodating to the region. However, it is common for these programs to persist in a particular area with the addition of enrichment programs or none.

Upper Left

Berlin’s Ostbahnof Wriezner Station

Tunjungan needs to be reclaimed as an area that will continue to mark the development of the City of Surabaya through its citizen activity. A new movement that is suitable to be injected into Tunjungan to make this claim. Currently, there is a boom in activities within the scope of the Creative Economy. The Creative Economy has become a pop culture to be talked about and discussed everywhere. Can injecting creative activities trigger new activities, which can then reactivate Tunjungan? To answer this question, I researched several British Council report about creative economy to determine transferable programs toward architecture.

The Creative Economy was first introduced by John Howkins (2001) in his book The Creative Economy: How People Make Money Form Ideas. This terminology later became a new concept in the economic sector which was carried out to add value to goods and services with an approach based on creativity. In Indonesia, the idea of the Creative Economy began to develop and have an impact around 1996 to 2000 (Siregar & Sudrajat, 2017).

Creative Economy can identify the development of this concept by activating spaces based on creative activities. A group of urban communities initially used the birth of these creative spaces to show an independent effort in providing alternative ideas, spaces, and approaches to building a community. The development of creative spaces is no longer limited to efforts to form independent communities.

However, it has become part of an urban culture when the birth of these spaces comes from residual areas.

The development of the creative economy concept with the activation of creative spaces at this time can be marked by the emergence of the creative Hub as an architectural typology that can also act as a district or network with a function to accommodate the creative process (Virani, 2015).

This embodiment of the creative process is then realized through one or all architectural programs: creative, coworking, and maker space (Siregar & Sudrajat, 2017). I also identified the context and found findings in a creative hub in the form of a coworking space owned by the Surabaya City government in the Tunjungan corridor.

Question that a consequence of the findings from this context is: Could I continue to familiarize creative activities in Tunjungan while there is already one innovative program there?

The answer is maybe could be like this: all of these creative programs may be developed sporadically along the Tunjungan corridor. So people can still enjoy Tunjungan as a whole and at the same time familiarized by the presence of the creative activities there. However, I guess these have to be measured by the distance of each program which is regulated and adjusted to human movement and transportation access.

How if Tunjungan injected with something new as a tool to activate its area?

This question is a crucial phase to determine what kind of architecture is appropriate to be injected in the context of Tunjungan. Can it be a collection of programs, temporary space, or architecture?

Before going any further, I re-checked the definition of creative to provide a deeper understanding because, in this position, I realized that creative activities could later become a catalyst for Tunjungan.

Creative definition through one of Lev Vygotsky’s writings, namely play and its Role in the Child’s Mental Development. He was a soviet psychologist who became the founder of the never-ending theory of human cultural and biosocial development.

In his writings, he states that creativity, taken from the root word creative is a learning habit that requires particular skills and an understanding of the context in which creativity is applied. Creativity differs from innovation, which can be broadly interpreted as a new idea or idea that always occurs with hard work, persistence, and perseverance. In addition, I also found that creativity has levels. Furthermore, the creativity activation process that will be suitable for implementation in Tunjungan is the Little-C type of creativity.

A stimulus is provided to activate the little-C creativity. Research by Katja Thoring has been conducted since 2012 regarding creative space. In this research, he argues that the main activities that will occur in creative activities are inspiration, communication, experimentation, creation and decision-making, and presentation.

Activities carried out by humans during the creative process will always require specific spaces. Thoring makes an analogy with human activities at home in that each particular activity will require spaces that specifically have specific functions.

Finally, Thoring provides a classification of space that can be an activator of the creative process. He mentions five types of space: personal, collaborative, presentation, making, and transition space. Classification of these spaces can then be implemented in architecture.

The application of creative space is used to facilitate the exchange of knowledge in the creative process, including explicit, implicit, and tacit knowledge. Implicit knowledge is obtained through understanding using methods and has not been presented in its entirety (Smith et al., 2013). The result of understanding implicit knowledge can be explicit knowledge. Meanwhile, tacit knowledge is practical knowledge (Gourlay, 2000). Knowledge in this creative process is obtained through high-order thinking skills (Bloom et al., 1956).

Upper Left Five type of Creative Space

Creative Hub is a consequence; it was decided as an architectural typology that will be injected into the regional structure because it can accommodate five types of spaces that can activate the creative process. Moreover, with coworking in Tunjungan, Hub injection, triggering the creative process, will also enrich the context. Nevertheless, the next question is, how to package all of this so that it can act as a catalyst that will activate and redefine Tunjungan’s identity?

The Hub was decided as an architectural typology that would be injected into the context of the Tunjungan area by being divided into three main program groups: creative, coworking, and maker space. The division of these three program groups is based on the results of the British Council’s mapping of the types of creative hubs that already exist in Indonesia.

Upper Right

Major programs to be injected in Tunjungan

Down Right

The kind of architecture can accommodate the programs which to be injected in Tunjungan

Each program group that will be injected into the area has its function. Creative space has a role in accommodating the process of exchanging knowledge and information from each individual or group. Creative space has a derivative program, Misbar, as a unique amphitheater to exchange knowledge in film and videography. Maker space has a function to accommodate the making process with the initiative of each individual.

Every individual will combine programs in the maker space with the Hub as a forum and center for creative activities in the region. Meanwhile, coworking space is an existing creative space that the Surabaya city

government has developed and, in this study, will be integrated with the three injection program groups.

The three main program groups that will be injected will be divided into five characteristics to become derivative programs with criteria as creative spaces. These spaces are personal, collaborative, making, presentation, and transition spaces. The application of creative space is used to facilitate the exchange of knowledge in the creative process, including explicit, implicit, and tacit knowledge. Learning in this creative process is obtained through highorder thinking skills.

Hub + Makerspace

Misbar

Creative Space

Upper Right Perspective of Architecture

Middle Right The integration between new and old.

Part 04

How can the injected programs be integrated with Tunjungan and redefine its identity?

Integration can be used to fulfil the opportunity for the people of Surabaya City to position the Tunjungan Area as a museum of urban development. Tunjungan, as a museum of urban development, can be achieved by giving freedom to each era to express their respective architectural identities because, if traced to the regional development timeline, many architectural styles fill Tunjungan. This will activate the human spatial cognition system to identify new and old components without positioning the two as different parts. Thus, the unification process of the injection programs with the Tunjungan Area can be interpreted as a unified whole as a new Tunjungan identity in the form of a creative district.

In addition, integration can also be used to connect programs that have been injected into the area using a functional system and infrastructure. So that unity can be achieved between the new components (in this case, the programs to be injected) with the old pieces to avoid social segregation. In line with the opinion expressed, where a city is a result of a mixture of forms – which represent a storage medium of buildings that are spatially connected in a system and infrastructure – and functions –which support a series of operations from factors social, economic, cultural and environmental.

The implementation of functional infrastructure is realized through pedestrian paths as public spaces that become transistors between programs injected with the Tunjungan Area. This is also supported by the fact that the condition of the pedestrian paths in the Tunjungan Historical Area still needs to be developed in several aspects, such as adding street amenities and dividing areas on pedestrian paths related to the response to pedestrian activity [25].

The quality of pedestrian paths can be determined by the ease of movement of users from one program point to another. The variables that mark the comfort of pedestrian paths are dimensions sufficient for human movement activities and the availability of

crossing facilities, shade, protection, and street furniture [26], illustrated in Figure 14.

To respond to these variables, pedestrian paths will be divided into four zones and lanes: slow, green, fast, and bicycle. The slow way will be predicted to create unexpected creative activities and activities in the planning and design process [27]—green line as a vegetation area to improve the quality of comfort and thermal reduction for pedestrians. The fast lane will be predicted as a circulation area that is planned to be semi-sterile for creative activities so as not to disturb pedestrian movement. Also, bicycle paths are transportation areas that prioritize access to more environmentally friendly transportation.

Upper Left

How the sidewalks of Tunjungan can support the integration between programs and Tunjungan

When moving from one program point to another, it is necessary to move across the main Tunjungan corridor, so there is a need for adequate crossing facilities to facilitate user connectivity in the form of a zebra crossing equipped with traffic lights. This facility already exists in the area and helps reduce the hazard due to negligence or accident caused by transportation that crosses the Tunjungan corridor. Scenarios of user movement will be predicted, as informed in figure.

The red line shows a scheme of movement through pedestrian paths from one program to another (co-working space – maker space –creative space) as an implementation of the flow of creative activities, namely input – process –output. The purple, blue and green lines show

the transportation movement across the Tunjungan corridor. Thus, this regulated movement process can provide comfort to users when moving between programs and influencing areas disrupted by user movements to grow and develop into more lively areas.

In addition, street furniture will be added, which will support the comfort of the user’s activity. Street furniture or street amenities consist of hawker carts that function as street vendor slots, shelters and wayfinding that act as information boards related to area conditions, as well as concrete blocks that serve as a variety of green areas as well as seats for users. This street furniture will play a role in rejuvenating and increasing the comfort quality of pedestrian paths.

Upper Right Prediction and scenarios of user movement at the new Tunjungan

The result of this study is an understanding of the identity status of the dynamic Tunjungan Historical Area as an urban artefact that is part of a city fragment. Tunjungan, currently predicted to be a lost space, will be reacquired with new functions through creative activities to create a new identity as a creative district. Its identity as a creative district will be realized through the creative hub as an architectural program that is injected into the current regional context and acts as a catalyst to encourage the return of Tunjungan, which can be a marker of the activities of the people of Surabaya City.

The process undertaken to activate the Tunjungan Historical Area is to plan the placement of

programs from a creative hub and how these programs can be integrated with Tunjungan. In addition, creative hub programs will be designed to activate creative processes for each user by using creative space applications and other supporting parameters.

This study needs to be further developed regarding visual integration – which acts as a non-physical integration factor – between the creative programs that will be injected and the context of the Tunjungan area. Even though injection programs can have their own character, their existence as a catalyst for regional development can still be interpreted as part of Tunjungan's identity. Thus, the goal is to make it a Historical Area.

Reference:

[1] Samidi. Surabaya sebagai Kota Kolonial Modern pada Akhir Abad ke-19: Industri, Transportasi, Permukiman, dan Kemajemukan Masyarakat. Mozaik Humaniora 2017; 17:157–80. https://doi.org/10.20473/mozaik.v17i1.6597.

[2] Handinoto. Perkembangan Kota dan Arsitektur Kolonial Belanda di Surabaya, 18701940. Surabaya: Universitas Kristen Petra Surabaya; 1996.

[3] Dick HW. Surabaya, City of Work: A Socioeconomic History, 1900-2000. Athens: Ohio University Press; 2002.

[4] Poerbantanoe B. The Lost City dan Lost Space Karena Perkembangan Tata Ruang Kota: Kasus Koridor Komersial Jalan Tunjungan Kotamadya Surabaya. Dimensi Arsitektur. 1999; 27:31–9. https://doi.org/10.9744/dimensi.27.2.

[5] Kusumo C. Railway Station, Centres and Markets: Change and Stability in Patterns of Urban Centrality. Technische Universiteit Delft, 2007.

[6] Muftianti RD. Mengembalikan Spirit of Place, Sebuah Upaya Mempertahankan Citra Koridor Jalan Tunjungan Surabaya. E-Jurnal Eco-Teknologi UWIKA 2013;1:23–32.

[7] Trancik R. Finding Lost Space: Theories of Urban Design. New York: Van Nostrand Reinhold Company; 1986.

[8] Howkins J. The Creative Economy : How People Make Money from Ideas. London: Penguin Press; 2001.

[9] Siregar F, Sudrajat D. Enabling Spaces: Mapping Creative Hubs In Indonesia. Jakarta: Centre for Innovation Policy and Governance Indonesia Sustainability Centre; 2007.

[10] Virani T. Re-articulating the creative hub concept as a model for business support in the local creative economy : the case of Mare Street in Hackney. Creat London Work Paper. Ser Number 12 2015:1–27.

[11] Plowright PD. Revealing Architectural Design: Methods, Frameworks and Tools. 1st ed. New York: Routledge; 2014. https://doi.org/10.4324/9781315852454.

[12] Krathwohl DR. A Revision of Bloom’s Taxonomy: An Overview. Theory Pract 2002;41.

[13] Danisworo M, Martokusumo W. Revitalisasi Kawasan Kota, Sebuah Catatan dalam Pengembangan dan Pemanfaatan Kawasan Kota. Newsl URDI (Urband Reg Dev Institute) 2002;13.

[14] Vygotsky LS. Play and Its Role in the Mental Development of the Child. Vopr Psichology. 1967;12:62–76. https://doi. org/10.2753/rpo1061-040505036.

[15] Thoring K, Luippold C, Mueller RM. Creative Space in Design Education: A Typology of Spatial Functions. 14th Int. Conf. Eng. Prod. Des. Educ. Des. Educ. Futur. Wellbeing, EPDE 2012, Antwerp: Artesis University College; 2012, p. 475–80.

[16] Mark DM. Human Spatial Cognition. London: Belhaven Press; 1993.

[17] Pallasmaa J. The Eyes of the Skin: Architecture and the Senses. 2nd ed. Chichester: Wiley Academy; 2005.

[18] Smith JD, Berg ME, Cook RG, Murphy MS, Crossley MJ, Boomer J, et al. Implicit And Explicit Categorization: A Tale of Four Species. Neurosci Biobehav 2012;36. https://doi. org/10.1016/j.neubiorev.2012.09.003.

[19] Gourlay S. Tacit Knowledge - A New Hypothesis. Edinburgh: 2000.

[20] Bloom BS, Engelhart MD, Furst EJ, Hill WH, Krathwohl DR. Taxonomy of educational objectives: The Classification of Educational Goals. New York: Longmans; 1956.

[21] Kauffman JC, Beghetto R. Beyond Big and Little: The Four C Model of Creativity. Rev Gen Psychol 2009;13:1–12.

[22] Holman W. Makerspace: Towards a New Civic Infrastructure. Places 2015. https://doi.org/10.22269/151130.

[23] Al-Yousif IJ, Hussein MM. Urban Integration of Historic Centers: Analytical Study of the Factors of Urban Integration at Al-Karkh Historic Center. Iraqi J Archit Plan 2013;12:1–27.

[24] Hillier B, Hanson J. The Social Logic of Space. Cambridge: Cambridge University Press; 1984. https://doi.org/10.1017/ CBO9780511597237.

[25] Krisetya AT, Navastara AM. Identifikasi Karakteristik Fisik Koridor Jalan Tunjungan sebagai Ruang Publik. J Tek ITS 2018;7:162–7. https://doi.org/10.12962/j23373539.v7i2.32695.

[26] Appleyard M, Genson S, Lintell M. Livable Streets. Berkeley: University of California Press; 1981.

[27] Oswalt P, Misselwitzz P, Overmeyer K. Patterns of the Unplanned: Urban Catalyst. Loose Sp. Possibility Divers. Urban Life. 1st ed., London: Routledge; 2006. https://doi.org/10.4324/9780203799574.

Jokopi

Object : Office, Cafe, & Hub Stages : Project Constructed

Surabaya, Indonesia

April 2020 - January 2021

Roles: Lead Architect and Project Manager

Project along with: ARA-Studio, Surabaya

Principal Architect: Hermawan Dasmanto

Architect Team: Tiara Indah

Chrisnanda Januar Nandhita Narendratmaja

Construction: Jokopi

Indonesia’s coffee-to-go boom in the last decade has seen a surge of coffee shop demands from business owners and consumers alike. One of the pioneers of this new-age beverage is Jokopi, one of the first to surface it to the mainstream market with their now-famous ‘Kopi Susu Blusukan’ is setting the trends for thousands of coffee shops in the country.

With a fast-growing food and beverage industry, the brand needed to set up headquarters fast, which could accommodate its administration activities while also serving as one of its cafe branches in the heart of bustling Surabaya.

Back Page

Front entryway of Jokopi Compound

Up Left

Site’s existing condition

Down Left Intervention proposals

An old 3000m2 now-defunct car workshop set to be repurposed as a mixed-use office for their brand to reduce cost significantly and for ease of construction. One of the main challenges to this decision is the transformation from its contrasting functions of a former workshop to a coffee shop- the former being greasy and damp, while the latter is brightly lit and dry.

The initial design method analyzed the available structures, objects, and boundaries. After determining these constraints, the design carefully crafted the site’s elements, such as the existing wide-span roofing to the steel rolling gate. The design intervention toward the area is based on these existing materialities that saw as potential character-defining, and also, less intervention means less budget that needs to be spent.

Programs injected into the existing structure are classified according to their functions. The coffee shop is nearest the entrance, serving its purpose as a main attractor to the outside world and establishing a public space that integrates into the surrounding context. The headquarter office is then placed across the coffee shop, between its transitional space to occupy the central area.

An open path for pedestrians and vehicles cuts across the site to pass through every program, giving access to customers, staff, and services. It also doubles as a transitional space giving ample space for users to experience the architectural atmosphere between existing structures and injected areas. The existing wide-span structures of the roof are preserved to provide a much-needed canopy in the Surabaya climate while also providing an architectural constraint to the new design.

Its new tectonic characteristics come from the marriage of the rusty steel of the workshop structures with the brand’s usual wooden surfaces and popcorn walls, thus retaining the feel of a car workshop with a new-age cafe. This resulted in the leftover areas being free to explore, whether repurposed as an enclosed or a newly opened space. In one way or another, the recently injected programs and design will be constrained to the preserved structures.

Up Left Construction stages

Down Left Jokopi semi-outdoor area after being renovated

Up Right Interior and materials at Jokopi

Down Right Jokopi office and alleyway

Graha PDSI

Object : Office

Status : Competition Winner

Stages : Detailed Drawing

Jakarta, Indonesia

May 2022 - December 2022

Roles:

Lead Architect and Project Manager

Project along with:

Sarekat Rancang, Surabaya

Architect Team:

M. Imam Adly

Michael Yohanes

Hega Darany

Graha PDSI Building is one of the building assets owned by PT Patra Drilling Contractor, PT Pertamina subsidiary of Indonesia’s oil and gas companies. Their efforts to reactivate its assets are by rejuvenating the old face of Graha PDSI into something new and fresh through a closed competition. This building was built in 1995 and is located at Jalan Matraman Raya No. 87, East Jakarta. It consists of ten floors and two basements.

Sarekat Rancang won this work through a closed tender scheme organised by PT PDC because the design method differed from other bidders. Our approach was letting architecture get more input from other branches of knowledge to enrich the design decision.

Whenever it comes to talking about identity, Pertamina has its own identity. We start by looking at some of their Buildings to determine what colour we should attach and its gesture.

Some of Pertamina's buildings use a white base colour with solid shapes and line accents to form the character of the building. In colour psychology, white is a symbol of new beginnings. White is synonymous with positivity. Seeing white can increase optimism and give people hope.

Straight vertical lines can be associated with upright objects such as tree trunks, monuments, and monumental objects. In form, it gives the impression of stability, strength and grandeur.

For the material used, it is already predetermined to choose between perforated metal, aluminium composite panel, or either way, and it can be both.

Upper Left Methods diagram

Middle Left The relation between discussed major issues.

Down Left Main materials assigned to be used.

Jalan Matraman is one of the main roads in East Jakarta, which has a north and south orientation. A building setback less than 10 meters from the road causes a blind spot on the west side. Also, it can make the northern and southern sides of the building will often be seen from a distance. Thus, it can be a spot for the facade's focal point to make it more appealing.

We carried out several explorations on the building’s facade to maximize the design results. The form is obtained from some parameters that highlight the function, aesthetic, and use of the material itself.

Down

Upper Right Building orientation towards broader context in Jalan Matraman Raya

Right Mass Exploration

Upper Left

The new facade of Graha PDSI consists of 3 significant components: crown, blade and strip, and a perforated metal panel arranged to form a large graphic.

Middle Left

These components were made using the ex-site fabrication method and then assembled to form the new face of Graha PDSI.

Down Left

Structural components applied for strength achieve and visual simplicity of the new face of Graha PDSI.

Upper Right West Facade: frontal perspective

Middle Right

The setback for the circulation path for each level on the facade plays an important role to facilitate the maintenance process.

Down Right

The addition of new elements to the Foyer Lobby section can also enhance the fresh look of Graha PDSI’s new face

The interior elements of Graha PDSI are proposed to continue to use the primary colours in the brand identity of PT Patra Drilling Contractor to strengthen the company’s corporate branding. The use of blue is emphasized in the use of materials such as granite stone, colour pouring, and fabric for furniture. Apart from that, red is also used in some graphic elements combined with utility elements.

Upper and Middle Right Graha PDSI Lobby

Down Right Meeting area on Graha PDSI Lobby

Right Backdoor and Parking Area

Tili Wine Italy

Object : Office

Status : Competition - Shorlisted Italy

December 2022

Project along with:

M. Imam Adly Michael Yohanes

Azzam Bre Mahaputra

Enjoying wine is not only from tasting it, the true experience requires closeness to the wine culture and sharing it with friends and family.

Tili Vini Guest House is a place to discover the deep-rooted tradition of the winery and also a place to live among the wine. A place where good moments will live in our memory forever.

Surrounded by breathtaking scenery, our first decision was to emphasize the surrounding landscape by orientating the view to the vineyards and mount Subasio. The next strategy is how we answer the situation of the existing building by preserving the old building so that we reduce the debris waste from the demolition. The whole idea is based on the owners’ vision of sustainability.

Moreover, the concept of sustainability also affects the choice of materials for the building structure and its also the way of living everyday life.

Zoning

The site divided into three different zone. Public Area (A), Semi-Public Area (B), and Private Area (C).

Line and Nodes

Continous passage (lines) create a neverending journey, this passage accomodate a seamless transition to explore the site. Gathering area (nodes) scattered among those lines to provide a diverse experience.

Vista

To enhance the interaction between the guest with the nature, an opening was provided in each lodging area. The site fused with vineyard scenery to bring a delightful encounter.

The building complex was built in a singular passage that connect each zone. This passage intended to create a holistic wine tasting experience. From Tili Vini Museum, to communal dining hall, toward the panoramic hotel area. The odeum in the center placed as a ground zero to gather around.

As endless as the passage, the whole site was designed mimicking organic cycle. The water source of the vineyard could be supported by rainwater harvest system that injected on each hotel roof. Composting house on the corner of the site will turn vineyard crop residue as well as guest leftover into fertilizer to support the vineyard itself. And the wine cork remains from wine production could be altered into wall material.

The hotel offer a panoramic view of vineyard valley. With three different bedroom types that derived from the Tili Vini products, each room has its unique view. The hotel roof itself work as rainwater harvest system that connected to a pond as water reservoir encircling the hotel.

Il Rosso Bedroom 54 m²

Amarita Bedroom 48 m²

Gaudium Bedroom 36 m²

The existing building located on the north of the site is partially demolished and rebuilt with a new structure. The entire outer wall is refurbished and maintained. A new steel skeleton structure is then inserted into the existing building as a reinforcement to the outer walls. The roof is also restructured to fit the new concept.

The main structure of the new building is made out of timber. A sustainable solution to fit the vision of Tili Vini. Some of the facades have brick optics to adjust with the existing building.

On the inner side of the wall, used wine corks are reused as coverings to introduce visitors to sustainable living.