Academic Portfolio: Stage 3

Newcastle University // School of Architecture, Planning and Landscape // 2016-2017 // Academic Portfolio // Studio: Enclosed Order

Ryoga Adityo Dipowikoro

When you lost the ability to believe,

You will stop believing others,

You will stop believing heroes,

You will stop believing history,

And you will stop believing your self.

When you stop believing your self.

You will lose your mind,

You will lose your loved one,

You will lose your God,

You will lose your self.

And then you will be lost.

Find your light,

Before it’s to late,

Find your light, Find your light,

Find your faith.

Newcastle University School of Architecture, Planning and Landscape 2016/217

Enclosed Order

Academic Portfolio

Ryoga Adityo Dipowikoro

CONTENT

ACT ONE PRIMER

ATMOSPHERIC EXPERIENCE.

THE PROTAGONIST.

STUDY AND ATTEMPT.

12-17

18-21

22-33

IT’S ALL ABOUT THE CONTEXT.

THE POETIC BEHIND MATERIALITY.

PLAN AND SECTION.

36-43

44-53

54-63

LIVING AS AN APPRENTICES.

PRAYING WITH THE APPRENTICE.

WORKING LIKE AN APPRENTICE.

64-72

73-83

84-93

ACT TWO

GRADUATION PROJECT

ACT THREE

INTERGRATION OF TECHNOLOGY MAIN STRUCTURE.

WALL STRUCTURE.

LIGHTWELL STRUCTURE.

96-97

98-99

100-101

ARCHES AND MASJID.

102-103

go.

8

WELCOME

To a year journey inside Atmosphere, Islam and Architecture

9

r.dipowikoro@gmail.com

I

ACT ONE

ENCLOSED ORDER

PRIMER

ATMOSPHERIC EXPERIENCE

ATMOSPHERIC EXPERIENCE. THE UNBUILT

Understanding Unbuilt Architecture with Utopian goals is

similar to understanding monastic architecture, as

they both evoke feeling inside human. These

examples of monastic architecture define the

feeling of superiority and tender loving towards the

architecture and goals. These collages explore

the works of the Unbuilt Architecture, especially

Etienne Louis Boullee’s work. The exploration

began with by testing the coherence between

projects by introducing the building with context,

with surrounding, with other buildings. The quality

of madness, hyperbolic atmosphere, is the key to

understand the complexity of monastic atmosphere.

This is also related to my dissertation

on the shifts of utopian concept regarding

era; from postmodernism to metamodernism.

Quality of madness.

Hyperbolic atmosphere.

The unbuilt convey a certain kind of madness in architecture,

representing a utopian dream. It could evoke a

certain feeling inside of us. The atmospheric are

conveyed and amplified by the madness of the unbuilt. A hyperbolic atmosphere, the

raw sense of atmosphere could be examined further.

13

14

15

PORTFOLIO

ACT ONE

EXPLORATION, EXPERIMENT.

TEST CHAMBER This experimental model explores the quality of geometric

and hierarchy of space represented in the unbuilt.

The concrete model aims to replicate the hyperbolic

atmosphere, by using harsh lines, strong shadow

and cold material. The entrance and the big

window allow the light to travel and illuminate the

space. It could see as a section, which change the

skylight into a circular window. As an abstract

atmospheric, context is needed to show relevancy.

The three rendered images tried to investigate

the connection between an abstract idea, an

abstract atmosphere, an abstract quality and context.

Render: Concrete Model Render Day I

16

PRIMER

ATMOSPHERIC EXPERIENCE

Test Chamber: Concrete Model Roof

Render: Concrete Model Render Night I

Test Chamber: Concrete Model Side

Render: Concrete Model Render Night II

Test Chamber: Concrete Model Section

17

PORTFOLIO

ACT ONE

THE PROTAGONIST. MANIFESTO: ISLAM

Islam beliefs in a singular God called Allah and their prophet,

Muhammad SAW. The core beliefs of the Islam Law include: Shahada, Salah, Sawm, Zakat and Hajj.

Shahada is all Muslim need to beliefs in their prophet Muhammad SAW and their singular God,

Allah. Salah is their dialy prayer, which is

conducted 5 times a day. Before they pray, they

need to perform cleansing ritual called Wudhu,

where they prepare purify their self before

communicating with Allah. Sawm is the obligation

to fast in Ramadhan month. Muslim needs to

share their wealth through charity called Zakat. The

last is Hajj. Muslims need to visit Ka’abah in

Mecca once in their lifetime, the salah direction.

This direction is called Qibla.

Muslim is not familiar with the culture of monk;

instead they use apprenticeship as a method to

educate believers about their religion. They do

not tie their follower to serve Allah inside a

secluded territory. Islam wanted their follower

to be in the society, conducting their obligation

while devoting their self to Allah.

The date of the two big celebrations, Ied and Ramadan,

is decided by observing the cycle of the moon.

As shown above, their daily prayers are also based

by the cycle of the nature, which is the sun. Before

the invention of the numerical clock, the religion

use the cycle of nature, which shows the connection

between their religion and the nature. This

represented in on of their celebration, Ramadan.

In this month, Muslims need to fast, holding

their hunger and desires. They use the sun cycle, as

the fast begin at sunrise and finish when the sun

comes down.

The world is facing a global crisis, the crisis of Islamophobia

and Refugee crisis. Muslims are faced with crisis

on its own, a nationhood crisis. They are usually

stereotypes as the Middle East, erasing

their nationhood. In addition due to this

stereotypes, Muslims often assimilated with

terrorist. To reduce this issue, is not by using force,

rather a subtle approach of communication.

This crisis occurs due to the misunderstanding

between the two sides, amplified by their

differences, stereotypes and misunderstanding.

18

PRIMER

THE PROTAGONIST

ISLAMIC PROTAGONIST

Muslims Apprenticeship and The Protagonist

9 19

PORTFOLIO

ACT ONE ISLAMIC PROTAGONIST

WUDHU, THE CLEANSING. A RITUAL BEFORE SALAH Before they pray, they need to perform cleansing ritual called Wudhu, where they prepare purify their self

before communicating with God. They need to use

running water. They need to wash their parts, using

clothes, from head, hands and feet. This is different

from taking a bath, as they do not need to wash their

entire body.

SALAH, THE PRAYER. FIVE TIMES A DAY

Muslim

prays five times a day, which is called Salah. The pray begin before dawn Called Fajr, continue to Zuhr, Asr, Maghrib, to the last prayer called Isha.

They need to face a certain direction called Qibla.

Every Friday they conduct a Friday prayer for the whole Muslim community. When the times for praying comes, Muslims need to perform Adzan, to remind the believers, “it is time to pray”. This praying times are based on the cycle of the sun.

Dusk is Fajr, Dawn is Maghrib and Zuhr is when the sun hit its highest point.

Asr

Zuhr

Faj’r

Salah and the Sun

Maghrib

Isha

20

PRIMER

THE PROTAGONIST

QIBLA, THE DIRECTION. AXIS MUNDI This is one of the strongest rules in the Islamic World. When

the time to pray comes, they need to face one

direction, the direction to Ka’abah, in Mecca. This

direction is called Qibla. They excel in math and

astronomy to help them calculate the Qibla

direction. In the Islamic Kingdom in the past,

most of the city orientation is facing to Ka’abah,

in Mecca. This is the axis mundi of Islam, a

homogeneity orientation. Mosque will disrupt

the order in the sites, which does not follow this

direction, shown in the exploration in the right.

This disruptive manner of Qibla will be the main

focus on developing the project.

Apprentice and The Devine 21

Qibla and Direction

PORTFOLIO

ACT ONE

STUDY AND ATTEMPT. VERNACULAR EXPLORATION.

Vernacular architecture is one of the most fascinating

architecture, as their approach is based on the

weather and tradition. Islamic architecture shows

certain obsessiveness towards order, pattern

and symmetry. This could be related by their

rituals, which ordered by the nature. They

condemned painting of Allah and their prophet

Muhammad SAW, as they do not want their

followers to worship a character, rather they

wanted a genuine relationship between themselves and Allah. This is shown by the use of repetition

and pattern in their architecture, usually using

ceramic material. In the Golden age of Islamic

Kingdom, they excel in math to help calculate

the direction of Qibla using the stars.

Mosque is often assimilated with a dome structure.

However it is not necessary and relevant today. The

dome is used to amplified sound, and potentially

to show power. It is said that the Islamic Kingdom

is the first to discover the calculation of dome, by

inventing the number 0. This shows the

complexity of the building, show power and

show how important mosques are. Understanding

the essential elements of an Islamic architecture will

deeper the approach history taken on monastic architecture.

Test Model

22

PRIMER

STUDY AND ATTEMPT

Section AA 1:50

A

Plan 1:100 A 23

ACT ONE

PORTFOLIO

ARTEFACT STUDY. MUSEO NACIONAL DE ARTE ROMANO

BY RAFAEL MONEO a collaborative project with:

Andreas Lukita Haliman

Matthew Hearn Museo Nacional de Arte Romano in Merida by Rafael Moneo

deliver an interesting tectonic quality. The first is

the rhythm of the arches, built by brick. The quality shown by the bond of the bricks, the colour and high ceiling arches is the main tectonic quality.

The heavy tectonic convey by the masonry amplifying the rhythm of the arches. The second is the poetic of the materiality. The arches echo the roman architecture forte. Brick, an earthly material, represent the buried culture of the Romans. The arches act not only as aesthetic, but also as structure holding the architecture together. The third is the play of height, shown in the model in the right.

The level change between the main arches and the floor create a dynamic of perspective and view.

This enhance the atmospheric experience of the museum, bridging from the past to the future, museum of the romans.

Model of The Artefact Study

Photograph: Museo Nacional de Arte Romano

24

PRIMER

STUDY AND ATTEMPT

Photograph: Artefact Model

25

ATTEMPT CELL AND PODS

FASTING POD. ALONE WITH THE DEVINE.

This fasting pod is scattered around the complex, which

located in the imaginary context, somewhere in

the slope of the hill. The fasting pod is a space for

people to contemplate, reading Quran and pray to

Allah when Ramadan comes. In this month they

need to fast everyday, from sunrise to sunset.

MONASTIC CELL. PLACE TO REST YOUR HEAD.

This fasting pod is scattered around the complex, which

located in the imaginary context, somewhere in

the slope of the hill. The fasting pod is a space for

people to contemplate, reading Quran and pray to

Allah when Ramadan comes. In this month they

need to fast everyday, from sunrise to sunset.

27

PORTFOLIO

ACT ONE

Model of The Fasting Pod.

Model of The Cell

28

PRIMER

STUDY AND ATTEMPT

Model of The Complete Mosque

Model of Level G, Wudhu Space

29

MOSQUE ON THE HILL. COMMUTE AND PRAY.

This is siteless mosque, series of imaginary and abstract

space. This mosque explores the hierarchy of the

daily prayer rituals. The mosque located in

the highest point of the complex, which is visible

from everywhere. The first is the step to the mosque;

this is a ritualistic manner of “commute and pray”.

The second is the washing ritual, Wudhu. The

natural water flows from the river to wash them

with nature’s gift. The last is the main mosque. The

mosque is a simple flat space, serving people to

pray, facing their axis mundi, the Qibla direction.

The tectonic quality of the mosque is reflects the

same quality own by Musei Nacional De Arte Romano.

Level I Main Mosque

Level G Natural Wudhu

30

ATTEMPT MAJSID

PORTFOLIO

ACT ONE

THE HIERARCHY OF MUSLIM RITUALS

The song of Adzan, The time to Pray

32

PRIMER

STUDY AND ATTEMPT

THE HIERARCHY OF MUSLIM RITUALS

Mosque on the Hill.

33

II

ACT TWO

ENCLOSED ORDER

PORTFOLIO

ACT TWO

IT’S ALL ABOUT THE CONTEXT. SITE ANALYSIS

The site is located in Ford St, Ouseburn, and Newcastle

upon Tyne, United Kingdom. It has four seasons,

strong wind and cloudy sky. It is located next

to Small River, which connected to the main river in

Newcastle, River Tyne. It is an interesting area for

an Islamic Apprenticeships Monastery to have, as

the town council try to revitalize Ouseburn as a new

creative zone of the city. The mixture of religion

tradition and visionary young adults might develop

an interesting culture. Not for from the site is

the Byker wall, an accommodation which spans

like wall, blocking winds and sounds.

The site is in the valley, 5 meters difference, 15 meters above

sea as the highest point and 10 meters above sea as

the lowest point. The site spans from the existing

warehouse in the northwest to the scrapyard facility.

The site is 110 meters length ando 58 meters wide,

with a total area of 6380m2. The site right now is

fully wall with various materials, brick in the

southwest, concrete in the southeast.

36

STAGING

SITE ANALYSIS

NORTH

SITE PLAN 1:2500 37

QIBLA

PORTFOLIO

ACT TWO

THE SITE STORY. A TELL TALE FROM OUSEBURN. a collaborative site model with:

Andreas Lukita Haliman

The site (highlighted in red below) is located in the hill.

The contour quite steep, with 5 metes difference.

These differences in height give me the opportunity

to play with level, shown in the right. The Original

site countering consists of three major point, 15m,

14 and 10 above sea. The design tries to connect

this three main level with several of small level,

which acts like a stairs to the courtyard. This all

design to connect all activity and building to the

central courtyard. The tower erected as a vista in

Ouseburn, telling people the direction to go. The

courtyard is sunken from all entrances. This will

attract people to go inside, as going down the stairs

is easier than going up, it is more inviting.

Site Collage and Model

Site Model

38

STAGING

SITE ANALYSIS

Site Elevation from River Looking up to Ouseburn: Final Design 1:1000

Site Elevation from River Looking up to Ouseburn: Original 1:1000

16+

15+

14+

13+

12+ 10+

Site Elevation Diagram: Final Design

15+

15+ 16+ 12+

10+

10+

10+ 12+

14+

13+

12+

15+

14+

14+

Site Elevation Diagram: Original

39

PORTFOLIO

ACT TWO

BOUNDARY AND HISTORY. REWRITTING SITE BOUNDARY.

The pedestrian in the southwest facing wall only allow 1

people to pass. It is cramped and not inviting for

pedestrian to walk. Since the entrances is design to

be only accessible by foot, I pushed back the

southwest facing wall boundary by 2 meters,

making it more persuading for pedestrian to walk.

However I did not push the boundary in the

southeast wall, as the entrance there is design for

vehicle access.

Newcastle have a very rich industrial background in the

past. The heritage of the first pioneer of

industrialization felt among the country. However

due to the decreasing of industrial importance,

many sites have been abandoned, creating a ghost,

unused buildings. I will try to revitalize the

industrial background, not only the choices of

construction material, but also the activity of mass

producing goods.

Given Site Boundary

Chosen Site Boundary 1:500

10+ 40

STAGING

SITE ANALYSIS

Photograph: The Site

41

PORTFOLIO

ACT TWO

Qibla Cut: The Intention

Qibla Cut: Bait Ur Rouf Mosque

42

STAGING

PRECEDENT STUDY

QIBLA PRECEDENT STUDY. BAIT UR ROUF MOSQUE

BY MARINA TABSSUM This is the study of the relationship between Qibla direction

and context. Most of the site did not follow the

Qibla direction. This resulting in an overlapping

set of direction between the two. Bait Ur Rouf

Mosque in Bangladesh by, Marina Tabassum

explain this quality of Qibla direction. The design

of the mosque is a simple, box within a box, the

direction of Qibla inside the site boundary.

This destructive manner of Qibla creates an interesting

relationship between the mosque and the

surroundings. In her design, the mosque is the most

important aspect of the design, making it the central

point of the architecture. In my case, the most

important is the central courtyard. The central

courtyard allows the connection between earthly

activities including working and living, and praying,

the moment where human connect to God. This is

the boundary between worlds, yet the central

courtyard designs to attract visitor to have a

conversation with the apprentices.

I strongly believes, what important in this world is to

maintain balance, finding the equilibrium point.

Something excessive never reflects goodwill. That

is why, between this two lives of an apprentice, the

earthly and godly, courtyard is the point where

everything and everybody meet. A place that tie us together.

Photograph: Bait Ur Rouf Mosque 43

PORTFOLIO

ACT TWO

THE POETIC BEHIND, MATERIALITY. BETWEEN BRICK AND CERAMIC

The main materials used in this project are brick and

ceramic. The material choices explore the poetic

quality of brick and ceramic. Both materials have

been used through out generations. Pass on as a

tradition, like religions. In addition the two materials

radiate modesty. This specific quality reflects

the way of life for the apprentices, a life for goodwill

and modesty.

There is another materiliaty poetic, which is based on the

physical quality of brick and ceramic. The ceramic

used in the internal skin used primary colour, which

is red, green and blue. In the other hand, the ceramic

used in the external skin only used green. The

colour choices of green from the ceramic and

orange from the brick tried to echo the season cycle.

Springtime will provide green and fresh new

greenery, which resonate with the ceramic. When

autumn comes, the green faded into orange,

blending together with the brick natural colour.

I strongly believe materials convey poetic, not only the

physical quality, but also the culture, believes and

what the material resemble. Brick is used heavily

in the United Kingdom for generations. Ceramic is

used heavily in Islamic architecture as a pattern,

drawing, and ornament to remind their people the

presence of Allah. These two materials might be

different, but they are from the same material, clay.

I wanted to express today global crisis, the hate

against Islam. Why we are fighting as a race, we

might be different but deep inside, we are

not so different after all. we are clay,

we are human.

44

STAGING REALISATION

MATERIALITY WORKING

45

BEHIND BRICK.

Walden Seven - Ricardo Bofill

Fitzroy House by John Wardle Architects

Summerhouse by Alvar Aalto

47

PORTFOLIO

ACT TWO

48

STAGING

MATERIALITY

BRICK, CLAY AND CERAMIC MATERIALITY AND PRECEDENT STUDY.

The most interesting aspect of brick is the bond. The

exploration of brick bonds (show on the left) are

based on an existing brick bond, implemented in

buildings. Some of the bond could enhance shadow,

some of the bond could provide a semi-translucent

threshold. The traditional brick bond, have their

own charm.

The ceramic is used for the internal skin of the lightwell. The

lightwell is scattered around the complex,

highlighting key spaces. The use of colour and

ceramic are Insipired by Le Corbuiser, La tourrete.

The play of colour and light enhance the

atmospheric quality, creating a life atmosphere. The

colour of the internal ceramics is gradation from a

darker shade near the top, and lighter shade near the

floor. This will create an even distribution of light

and colour. This method is inspired by Antonio

Gaudi’s work in Casa Battillo.

49

Casa Batlló by Antoni Gaudí

Notre Dame du Haut by Le Corbuiser

Sainte Marie de La Tourette by Le Corbuiser

50

BEHIND CERAMIC

PORTFOLIO

ACT TWO PESANTREN

52

REALISATION

PESANTREN RENDER

External Materiality and Atmosphere 53

NORTH

QIBLA

ISLAMIC COMPLEX. LIVING, PRAYING AND WORKING

The complex is divided based on 3 main activities, living,

praying and working. These three main spaces are

connected with the central courtyard, which cut

and disturb the buildings layout. This is the

interpretation of unlimited Allah’s touch and

blessing to the monastery.

There are 2 main pedestrian entrances (legend: X and Y),

which connect to the central courtyard. The Z

entrance is design purposely for clay truck delivery,

which connects directly to the factory.

The courtyard is sunken, from all entrances. This aims to

attract more visitors, as going down is easier,

flowing like water. The courtyard is design to create

more interaction between the visitors and the

apprentices, as it is the main circulation space

between public and private. As the interaction

increase, the misinterpretation between the Islam

and hate will be decreasing. The Y entrances are

split into two, one connects directly to the courtyard,

and one connected with the gallery. The gallery act

as an exhibition spaces for their brick and ceramic

factory. This space acts as the marketplace and sales.

The complex is controlled by series of pond, highlighting

key spaces. The pond below the mosque is acting as

a threshold between public and the internal

courtyard. Water is an interesting threshold, as it

allows vision, yet it is hard to reach. The series of

pond also highlight the Qibla direction of the

courtyard. The material for courtyard flooring is

natural stone slab. The size varies, from 1m x 1m

to 6m x 3m. This aims to give natural atmosphere

in the courtyard. The sizes also play with proportion

with the brick, ceramic and building sizes.

EXTRA LEGEND W. Central Courtyard X. South Pedestrian Entrance Y. North Entrance Z. East Commercial Entrance

28

27 Y

29

26

25 W

II

24

22

20

23

21

18 19

56

17

30

32

III

31

33

39 35 34

37

40 38 41 42

36

Z

10 11 12

13

9

14

16

8

15

7 X

2

6 4

5

3 1

57

I

MASTER PLAN LEGEND. SCALE 1:250 I. LIVING

LIVING QUARTERS

1. Laundry Room

2. South Wudhu Space

3. Shower Room

4. Restroom

5. Locker Room

6. Main South Stair

7. Refractory

8. Kitchen

9. Buffer Space

10. Guest Meeting Room

11. Storage

12. Main North Stair

13. Common Room

14. North Wudhu Space 15. Mussalla (Small Praying Space)

16. Pond II. PRAYING

MADRASA

17. Library

18. Stair to Observatory

19. Connecting Space from Lvl. G

20. Entrance to Madrasa (Lvl. G)

21. Lobby to Public Lecture

22. Restroom

23. Public Lecture

24. Lightwell to Madrasa

MASJID 25. Outdoor Space, Below the Masjid (Mosque) 26. Entrance to the Masjid, Wudhu Space

III. WORKING

GALLERY

27. Restroom

28. Gallery Space

29. Gallery Entrance

30. Main Gallery Space

31. Window to the Brick Factory

BRICK FACTORY 32. Brick Casting Space 33. Giant Furnace 34. Brick Storage Space

CLAY STORAGE 35. Clay Storage 36. Delivery Space 37. Outdoor Space

CERAMIC WORKSHOP 38. Ceramic Workspace 39. Ceramic Storage 40. Casting and Experiment Room 41. Meeting Room 42. Lightwell

PORTFOLIO

ACT TWO

OUSEBURN, DURING THE RAIN. MUSLIM APPRENTICE AND THE GRAY CLOUD

The light peeking through, From the thick gray cloud.

The rain might pour, Sooner or later, Carrying the smell of home.

It is gloomy today, And yesterday, And probably tomorrow too.

Despite this atmosphere, What I truly feel?

I found it beautiful.

The gray gloomy day of Newcastle, The smell of the rain, The sound of the rain, The wet brick, The wet tiles.

I found it all, Truly beautiful.

Section AA 1:250

60

REALISATION

SECTION

61

PORTFOLIO

ACT TWO

OUSEBURN, AFTER THE SUN. SUNSET AND MAGHRIB.

The sun retreat, Maghrib slips in, Adzan echo, Across the street.

The sun retreat, And so do I. I wash my sin, Ready for Maghrib.

Section BB 1:250

62

REALISATION

SECTION

OUSEBURN, BEFORE THE SUN. FAJ’R AND SUNRISE.

When darkness sleeps away, Light will come, Through the sun, Radiating her heat.

There is nothing forever, Darkness will fade So as the storm and the wind.

The cycles, of everything Reminding me of you, Allah.

Section CC 1:250

63

PORTFOLIO

ACT TWO

PHYSICAL MODEL.

Living: The Accomodation

Praying: The Madrasa

Praying: The Wudhu Space

Working: The Gallery

Working: The Factory

64

Praying: The Masjid

REALISATION

MODEL

Pesantren: The Muslim Apprentices Complex

65

PORTFOLIO

ACT TWO

LIVING, AS AN APPRENTICE. FINDING HOME WITHIN THE CITY.

People

who devoted themselves to God are bound to the repetition of sacred habit and routines. This is called the formal life. The formal life of the monk will be consisting of two main activities: praying and working. Due to this, monk always will be assimilated with holy and godly. Even sometimes human’s rules do not apply to them, such as the justification of feeling emotions. They are still human. They still feel emotions, confuse as we are or feel sorrow about the world. This is called the informal life. Life as a human being.

The courtyard is design to persuade public to use as a

shortcut or place to enjoy. This will increase the

chances of encounter between the apprentices and

public. The increase of encounter might develop

a small talk, friendship or even a stronger

community. As the hate against Islam increase

due to stereotypes and misunderstanding, this

encounter will slowly educate the public about the

peaceful religion of Islam. The entrance of

residential unit is located near the main pedestrian

entrance. This is also design to increase the

encounter chances. In addition, the courtyard is the

main circulation space, from all three are, living,

praying and working.

66

REALISATION

LIVING

67

PORTFOLIO

ACT TWO

11 12

14

13 10

15

9 17

8

16

7 Level G 1:250

2 6

5

4

3

68

1

I

REALISATION

LIVING

D

E

Level 2

E D

II

25 24 23

22 21 20 18 19 Level 1

69

LEGEND

NORTH

QIBLA

THE LIVING, QUARTER. LEGEND

I. COMMUNAL AREA

1. Laundry Room

2. South Wudhu Space

3. Shower Room

4. Restroom

5. Locker Room

6. Main South Stair

7. Refractory

8. Kitchen

9. Main Entrance from Courtyard

10. Buffer Space

11. Guest Meeting Room

12. Storage

13. Main North Stair

14. Common Room

15. North Wudhu Space 16. Mussalla (Small Praying Space)

17. Pond II. PRIVATE RESIDENTIAL AREA

18. Typical Cell

19. Main South Stair

20. Buffer Space

21. South Stairs from the Garden

22. Garden

23. North Stairs from the Garden

24. Buffer Space

25. Main North Stair

70

PORTFOLIO

ACT TWO

THE, ACCOMODATION. A PLACE WHERE CULTURE START.

The accommodation is separated into two zones, communal

and private. The first floor is dedicated for all

communal area. The windows placement for the

communal zone are facing the accommodation

courtyard. This aims to provide security and privacy

for the residents, as the main courtyard aims to

attract the public to visit.

The accommodation is consisting of north and south wing,

which is connected by the roof garden. This

garden allows light to penetrate inside the

accommodation’s courtyard, while giving spaces

for contemplation.

The noise level of communal activities will be pushed to

the ground floor, leaving the top private zone in

silence. It is hard to dictate what people suppose

to do in a space. I tried to persuade the residents,

not dictate them. I strongly believes in evolution,

not only physical appearances, but also the culture

and habits. By persuading simple gesture in the

architecture, it might develop into a deeper culture

inside the monastery. Which is why, all three zones

in the monastery, living, praying and working are

connected to the courtyard, where culture could

grow and prosper. We give architecture, but what

gives architecture life, are the people, and this start

from the accomodation.

South Wing

North Wing

Level 2

Private

Level 1

Level G

Communal

Section DD 1:200

72

REALISATION

LIVING

Lightwell

Garden

Main Circulation

South Wing Section EE 1:200

73

PORTFOLIO

ACT TWO

THIS IS THE PLACE

This is the place for you to meet,

This is the place where the two collide,

This is the place to clear misunderstanding,

This is the place.

Where people gather,

Where people laugh,

Where I Laugh,

Cry, Mad, And Laugh again.

I hope this is the place,

The place where we start talking,

The place where we end hating,

The place to clear misunderstanding

between you and me.

74

REALISATION

LIVING PESANTREN

The Place to Clear Misunderstanding 75

PORTFOLIO

ACT TWO

PRAYING, WITH THE APPRENTICE. DAILY RITUALS OF AN APPRENTICE.

Praying, the most basic fundamental of religion. This is

the activity, which held religion together, giving

rituals and habit to believers. In Islam, they need to

do 5 prayers a day, wash them self before going to

prayer, this prayer is called Salah. Before the

discovery of time, Muslims perform their daily

rituals based on the angle of the sun. This natural

clock always changes, based on the degree

especially area far from equator. However the time

to pray will always be there.

This ritualistic life of monks is called the formal life. The

life where they are bound to ritual and the culture

of the religion. This create a perception from the

public that monks is flawless, they are the perfect

beings. This creates gap between the monks and the

public. In real life, monks are still human, they have

flaw, they can feel emotions, they are in fact, still

human. This life is called the informal life. As the

complex has apprentices rather than monks, the

residents are from normal humans, which dedicated

some of their time to learn about God. This creates

a more humane atmosphere, inviting the public to

interact with the residents, This complex is the

central of Islamic Studies in the UK. This will

results in the variety people coming inside and go.

This might later develop as a pride of the city, the

pride of diversity.

From the start, Muslims does not bound to a very discipline

way of life like monks, they are more flexible and

forgiving. They are free to go as they desire, to

pursue their passion, or maybe gather knowledge in

other places. This reflected on their way of praying.

When the time comes to pray, they only need to

wash their self with water, this ritual is called

Wudhu. Then they need to have a clean surface,

usually layered using a small prayer carpet called

Sajjada. Last is they need to determine the direction to Qibla, and pray to that direction.

76

REALISATION

PRAYING

77

PORTFOLIO

ACT TWO

10

II

9

7 8 6

2 3

1 4

5 Level G 1:250

I

78

REALISATION

PRAYING

27 Level 11

26 Level 10

13

14

12

11

H

H

15

16

I

I

19

17 G

22 18

20

F

25

21

G

24

23 Level 1

F

79

LEGEND

NORTH

QIBLA

MADRASA, AND MASJID. LEGEND

I. MADRASA

1. Little Courtyard

2. Entrance to Madrasa (Lvl. G) 3. Imam Room

4. Strairs to Public Lecture Hall (Lvl. 1)

5. Corridor to Library (Lvl. 1)

6. Communal Buffer Space

7. Restroom

8. Classroom

17. Lightwell

18. Public Lecture Hall

19. Restroom

20. Buffer Space

21. Entrance to Public Lecture Hall (Lvl. 1)

22. Entrance to Madrasa (Lvl. G)

23. Corridor from Madrasa (Lvl. G)

24. Main Library

25. Stairs to Observatory (Lvl. 11)

26. Buffer Space

27. Observatory II. MASJID

9. Outdoor Space, Below the Masjid (Mosque)

10. Entrance to the Masjid, Wudhu Space

11. Entrance to the Masjid, Wudhu Space

12. Shoes Storage

13. Pond.

14. Wudhu Space 15. Masjid 16. Imam Space

80

PORTFOLIO

ACT TWO

THE MADRASA. A PLACE TO GATHER KNOWLEDGE.

Madrasa is the place for the apprentices to gather knowledge.

The entrance is in the small inner courtyard, which

connected to the main courtyard. There are two

main entrance for madrasa, public and communal

entrances. The communal entrance is strictly for the

residents, as it is an Islamic School, a place for

them to learn about Islam. The ground floor also

connected to the library, which hold and collect

Islamic achieves to be studied. The library is the

only main connecting space to the observatory.

This allow for control and safe use of the

observatory, as it is locked and looked by the

librarian. The observatory is located 30 meters

above the site, overlooking the city and the river.

The tower is a series of stairs until the buffer space.

In here, the apprentice needs to pull out the foldable

attic stairs to go up the observatory. Due to this

buffer space, it’s allowed the observatory to have

more room. This room is use by the residents to

observe the pattern of the stairs and the cycle of

the moon, as Muslims use the cycle of nature as

their time. They need to measure the angle of the

moon to decide on the date for their holy

celebration such as Ramadan and Eid. In addition

the tower is the symbol of the complex. giving it

presence to the surroundings.

The second entrance is the public. This stairs will take the

visitor up directly to the buffer space from outside

to the lecture hall. The buffer space is above is open

to overlook the Madrasa below. This creates

a connection between the visitor and the apprentice,

a connection, which does not disturb the formal life

of an apprentice.

Observatory

Buffer Space

Circulation / Stairs

Access from Library

Elevation FF 1:200 82

REALISATION

PRAYING

Public: Entrance to Level 1. - Public Lecture Space

Communal: Entrance down to Ground Level. - Madrasa

Section GG 1:200 83

PORTFOLIO

ACT TWO

THE MASJID. A PLACE TO PRAY.

Masjid

or mosques, is the place where Muslims gather to perform group prayer. They do not have strict rules for doing group prayer except Friday prayer. Friday is their holy day, all men obligated to perform this prayer in-group. The space going to be hectic and crowded, the feeling of excitement and harmony is together in the mosques. There are going to be a lot of people performing Salah together as group, moving in the same tempo, moving in the same pace, and moving in the same pose.

The Masjid is re-exploring the same concept in the primer,

which is the hierarchy of rituals. The first step is the

shoe threshold. Masjid is a sacred spaces, it is polite

to take off shoes when entering. This will keeps the

place clean. This is happen before the stairs to the

Masjid.

The second step is Wudhu. This is washing rituals before

Salah. They are provided by series of faucet,

supplying them with running water. The Wudhu

space is illuminated by 3 lightwells, which have a

different colour of ceramics. This will give hint of

colour light while doing Wudhu. The view

while entering is like a stacked giant stairs, full of

people performing Wudhu, with different colour

highlighting their profile. Imagine the situation in

before the Friday prayer, it’s going to be colourly

chaotic. The last steps is prayer,which is higher than

any other rituals. The higher point in the Masjid is the Imam Space. This is the space for their leader

(Imam) to lead the prayer. The Masjid’s artefact is a

series of giant arches, 1x1m big and 5m meters

spans each arch. This will give a grandeur effect to

the surroundings. This was inspired by the study of

Museo Nacional de Arte Romano. This is the purest

place and brick purest quality comes in arches, as Louis Khan famously said.

To Masjid Imam Space Wudhu Spaces Shoes Threshold

Section HH 1:200 84

REALISATION

PRAYING

“You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’”

Louis Khan.

Section II 1:200 85

PORTFOLIO

ACT TWO

AN APPRENTICE POEM

When the world fail me,

I run to the divine,

Asking for direction,

Asking for meanings,

Asking for guidance.

When the world fail them,

They run to me,

Asking for direction,

Asking for hmeanings,

Asking for guidance.

They might think,

I’m godly,

I’m holy,

We are similar, We are human,

Trying to grasp,

The world’s absurdity,

86

REALISATION

PRAYING PESANTREN

Friday Prayer, Wudhu Space 87

PORTFOLIO

ACT TWO

WORKING, LIKE AN APPRENTICE. THE POETIC OF WORK.

Working, an activity, which runs our society around, this, is

the activity where human receive income to be

later spend on goods. The more income, the happier

human get, they said. Apprentices need to learn

about modesty, that income is not everything. It is

necessary to survive, but it is not everything.

The complex needs income in order to function in the

society fully. To honored the british industrial

heritage and the previous occupant, the metal

scrapyard, the complex incorporated brick and

ceramic factory as their main source of income. The

choice for the factory types is based on the materials

used in the buildings. This is a metaphor that the

apprentices is the one shapes brick and ceramic,

from the raw material of clay, and bringing

them together as a built material, coexist in

harmony. The apprentices need to work there

ritualistically, while dig deeply into Islam. They

aren’t working blindly. They carry a hidden and

deeper meaning in their work. This deeper

understanding carried everyday, ritualistically, like

a prayer. Hoping the poetic and metaphor behind it

delivered to the public.

88

REALISATION

WORKING

89

PORTFOLIO

ACT TWO

J

5

1 2

Level 10

3

K

4 J K

I

7

6

11 8

9

10 L 12

90

REALISATION

WORKING

NORTH

QIBLA

GALLERY AND THE FACTORY LEGEND

I. GALLERY

1. Entrance from the North Entrance

2. EXhibition Space (Lvl. 1)

3. Commercial Office

4. Lightwell

5. Stairs to Level Ground

6. Restroom

7. Exhibition Space (Lvl. G)

8. Entrance from Courtyard

9. Main Exhibition Space II. FACTORY

10. Furnance

11. Brick Molding Space

12. Brick Storage

13. Clay Storage

14. Truck Delivery Space

15. Outdoor Space

16. Ceramic Workshop

17. Ceramic Storage

18. Experimental Room

19. Board Meeting Room

20. Lightwell

II

17 13 15 16

18 19 L

14

20

91

PORTFOLIO

ACT TWO

THE GALLERY. A PLACE OF BUSINESS.

The gallery is the place for the apprentices to have a

commercial activity. This is where the apprentices

could do the brick and ceramic business. This space

serve as an exhibition space for a new ceramic

design, or custom made brick. This space also

allows the interaction between the public and the

residents, as an art exhibition space. This is an

attempt to connect with the revitalization of

Ouseburn as a creative zone.

The gallery has two entrances, which connect two main

point. The first is the north entrance, where the

path split into two, down the stairs to the main

courtyard and up the stairs to the gallery. The other

entrance is directly connected to the courtyard. This

allows all main pedestrian entrances to have an easy

access to the gallery. There is an overhang structure

spans with steel beams and brick wall. This

overhang structure aims to frame and lead the way

for first timer, suggesting more to come ahead.

Section JJ 1:200 92

REALISATION

WORKING

Section KK 1:200 93

PORTFOLIO

ACT TWO

THE FACTORY. A PLACE OF SWEAT AND ENERGY.

The factory is separated into three zones based on the

material work in those spaces. This is include, clay,

brick and ceramic. The delivery truck comes from

the west entrance, which later is store in the clay

storage. For the brick process, the brick will be

taken and mix with water. In this molding space,

the clay are going to be mold into a brick. After the

molding process, the brick need to be dry before

the firing process. After the brick is dry, next is the

firing process. The brick is heat up in a giant

furnace, which later is store in the brick storage.

The ceramic process starts from the clay storage where the

clay gets mix and grind before taking it into the

workshop. The ceramic will be mold based on the

design and let it dry. Before the firing, unlike brick,

ceramic needs the next process, which is glazing.

Firing is next; the ceramic will be cooked in the

giant furnace together with the brick and later store

in the ceramic storage. Ready to pick up.

GALLERY SPACE Brick Factory Viewing Window

BRICK

Section LL 1:200 94

CLAY

REALISATION

WORKING

BRICK WET SPACE Molding Process

BRICK STORAGE Drying and Storage

CERAMIC STORAGE Drying and Storage

CERAMIC EXPERIMENTAL ROOM Experiment and Glazing

BRICK AND CERAMIC FRUNACE Firing Process

CLAY STORAGE Mixing and Grinding

CERAMIC

95

TRUCK SPOT Shipping and Delivery

CERAMIC WORKSHOP Design and Molding

PORTFOLIO

ACT TWO PESANTREN

96

REALISATION

WORKING

Brick Factory 97

III

ACT THREE ENCLOSED ORDER

PORTFOLIO

ACT THREE

100

REFINEMENT

INTERGRATION OF TECHNOLOGY

MAIN STRUCTURE. A SERIES OF LOAD BEARING WALL.

The main structure is a series of load bearing walls and

load bearing columns, highlighted in red below.

The main material use for this construction is brick,

which is widely accessible in the UK. For the extra

height, the brick structure will be reinforced with

in-situ concrete and steel structure.

There are 5 stages of site alteration (shown in the left). The

first stage site analysis, which allow I to observe

the opportunity the site give. The second stage is

the demolition of existing building, which is the

warehouse in the northwest. Third stage is

contouring and installing the foundation structure.

The fourth Stage is constructing. Last is the building

is ready for use.

101

ACT THREE

PORTFOLIO

102

INTERGRATION OF TECHNOLOGY

REFINEMENT

WALL STRUCTURE. BRICK AND BRICK STRUCTURE..

The main load bearings wall is a brick and brick

construction. This is the typical wall structure, with

floor joint and roof structure. In this example, it is a

structure of the accommodation wall, from the

ground floor to the roof. The wall structure is similar

to brick and block structure, the difference is, it

brick outside and inside. Brick is durable against

weathering, simple structure and effective in

keeping the heat inside using cavity and insulation.

The thickness of the wall is 500mm, making the

atmosphere more earthly and one with the nature.

The steel structure for roof and floor beam try to revitalize

the industrial past of the site, which is

the british industrial heritage and the previous

occupant, the steel scrapyard.. The brick and ceramic

factory in the complex try to communicate this

choice of material, resembling material not only as

wallpaper, but expose their true nature.

103

PORTFOLIO

ACT THREE

104

REFINEMENT

INTERGRATION OF TECHNOLOGY

LIGHTWELL STRUCTURE. A PLACE WHERE CERAMIC SHINE.

This is a typical lightwell structure. The main structure is the

reinforce brick wall, which is reinforce by in-situ

concrete and series of interlocking steel structure

inside. The tower spans 16.5 meter above. The

internal skin is cladded with colour ceramic,

bouncing colourful light to the space. This example

shown is taken from the wudhu space. The colour

of the ceramic is darker on the top and gradually

lighter in the bottom. This aims to bounce an even

light below, while giving it a little hint of colour.

This method was inspired by Antonio Gaudi

lightwell in Casa Batllo. The tower also insulated

and glazed, to prevent rain and cold to penetrate inside.

105

PORTFOLIO

ACT THREE

106

INTERGRATION OF TECHNOLOGY

REFINEMENT

ARCHES AND MASJID. BRICK AND ARCHES.

The mosque takes an account on the study of Museo

National de Arte Romano’s tectonic artefact. The

giant arches span across the building act as load

bearing wall and convey a grandeur atmosphere.

The wall structure use on this particular building is

similar with the typical wall structure, which is

previously discussed. the differnce is, the long

spans and high ceiling is supported by a series of arches.

In taking decision on my design direction, I always have

material and construction in mind. This is reflected

on the load-bearing wall, the size of each building,

which zoned into three. I wanted to bring out the

nature of the material, their own poetic, which will

highlight key spaces in the complex. For this case it

is brick and arches.

107

THANK YOU

For joining a year journey inside Atmosphere, Islam and Architecture

r.dipowikoro@gmail.com

108

109

fin.

There is always a little hint of nostalgia

Towards the moon and the earth

The surreal and the real

The moon and cross

Towards memories and thought

Lets fly to the beginning Since we already arrive in the end

r.dipowikoro@gmail.com