Educational playground relies upon the altered perception of society in Pulau Duyung to disappear into the site but remain clear in the mind, a psychological involution. A program is created to introduce exhibited education of boatbuilding in exaggerated spaces, a prologue to the conversion of hall of profession to a hall of artist at work. A space is assembled to breathe in a new gathering location for society of Pulau Duyung to work against the issue of abandonment of interest in boatbuilding development. Here boatbuilding is seen through the eyes of observers, seeing in detailed discussion. The program works both ways, synoptically; enough information to grasp a concept and anatycally; providing chance to delve into subject matter. This playground is mainly to please the society of Pulau Duyung with their understanding of comfort, comes in a form of an institution providing a new definition of landscape to the barren area. Idea for this program is based upon the conceptual studies of vertical planes as a medium to study the resonance of waves. Exploring edges rather than centre for better understanding of spaces in between. The playground progress vertically, in a mazelike connection of navigable spaces. Spaces in this building are distributed according to the study of panopticon, which means all visible in Greek, to implicate the general idea behind panopticon into the intention of the program; which is to emphasis observation in the pursue for knowledge of boat making and to transfer the inverse of this visibility to generate the building plan; associative with the fact plans are often an invinsible tool to the artisans in the manufacturing process of the vessels. This invinsible factors are achieved using lined edges of houses to support the suggesting idea that in consideration of a glass cube, the opposite from all visible is only found along the edges, the invisible point. Reference points are gathered according to edges of houses in the surrounding parameter which can be considered as close networking participants; to indulge in the exploration of indeterminancy of placements and layout outline for the whole building. In a way to reflect the inconsistency in the location of houses into the layout of spaces inside, from there we gain priviledges of spaces which vary in orientation, beneficial to make full use of scenic view of the area. This is also to provide for a condition which suggests distribution is highly upon chance and coincidence, the same approach for all the existing surrounding structures which makes up Pulau Duyung.
This educational playground derived its form using repetition of continuous strips; in adaptation to an important process of boat making often seen on the island, wherein timber planks are vertically arranged and undergo curing process. The strategy is to scatter these strips according to a study on resonance of water wave; associate it with the recurring shifts created by activity of boats towards the building. Direct contact of these resonances with portions of the building determines the sequence of placements for boat making processes; in which we obtain the position for boat repair, boat making of different sizes and functions and also a location for the exhibition where abandoned boats are in abundance. Part of the irregularity of waves expressed as ‘envelope’ for the playground can be explained by treating them as formed by interference between two or more wave trains of different periods, moving in the same direction. This explains why waves often occur in groups. This playground adjusts its underlying program according to the characteristics of wave behaviours to fully support the interconnecting idea behind ‘house for development of boat making’ in Pulau Duyung. Waves are said to be an energy transport phenomenon. A wave can be described as the repeating and periodic disturbance that travels through a medium simultaneously transporting energy. A wave medium is the substance which carries or transports the wave (or disturbance) from its source to other locations. Information obtained during the observation is regarded as periodic disturbances which travel from artisans to the users, common to associate this with any knowledge gathering process. The information is transported to users in the form of a playground made up of repetition of continuous strips which develop spaces disturbed by a series of wall and engages the users with active participation provoked by curiosity. The wave medium is to be considered as a series of interconnected or merely interacting particles capable of interacting with each other. Each individual particle of the medium is temporarily displaced and then returns to its original equilibrium positioned. This playground operates according to this particular characteristic of wave in which the artisan, the article and the participants engage in an instantaneous corresponding relationship. The knowledge of boat making is temporarily displaced from the workshop, and returned to the boat making institution, its original equilibrium position through the benefit of knowledge distribution.
The architecture of this playground merely suggesting a structured representation of boat making centre; through a process of manipulating dependable components from the island, because in order to establish this new structure into acceptance, the society needs to conform their understanding with their own precedent knowledge.
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This playground concisely defines itself as museum or gallery but the museum loses its function as container and becoming something else, as an intermediary to interpret the processes on display. Sculpture itself becomes the museum, assisting the undress of technicalities occuring in this place. precisely offering the space of emotions and bodily sensations. This architecture is not created only for visual contact with the outside world. it is defined first of al as an interior, a place enclosed by borders and then through art it attempts to break these borders down.
Paul Klee : “ art does not reproduce the visible, but makes visible [‌] because the artist observes the things nature places before his eyes, with a penetrating gaze. And the deeper he penetrates, the easier for him to shift the viewpoint from today to yesterday, the more he be able to fix in his mind, in place of a defined image of nature, the unique, essential image, that of creation as genesis.â€?
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