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Edited by Paramita Atmodiwirjo, M. Mirza Y. Harahap, Yandi Andri Yatmo

inside the dwelling


inside the dwelling

Edited by Paramita Atmodiwirjo M. Mirza Y. Harahap Yandi Andri Yatmo

Department of Architecture Faculty of Engineering Universitas Indonesia


inside the dwelling Editors. Paramita Atmodiwirjo M. Mirza Y. Harahap Yandi Andri Yatmo Contributors. Students of the Undergraduate Interior Architecture Programme, Department of Architecture Universitas Indonesia, Class of 2018 Published by the Department of Architecture, Faculty of Engineering, Universitas Indonesia, Depok 16424, Indonesia Š 2020 Department of Architecture Universitas Indonesia www.architecture.ui.ac.id

Electronic book. 176 mm x 200 mm. Cover image by Putri Ayu Azhari. ISBN 978-623-7882-02-2


Contents Contents

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Preface

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Dwelling: From the Inside Dwelling: A lived interior Dwelling: An interior system

4 6 8

The Making of the Inside Defining the programme Exploring the tectonic Exposing the interiority

9 12 14 16

The Making of the Dwelling Interior occupation Interior performance Interior transition Interior boundaries

17 20 60 108 146

The Inside of the Process

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The People in the Inside

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References

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Image by Reyna Ananda Harsono

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Preface This collection presents the works of the second year interior architecture design studio at the Department of Architecture, Faculty of Engineering, Universitas Indonesia in 2020. The studio aims at developing design knowledge and skills in responding to the needs of the family as the dwelling users, through a series of design explorations based on the understanding of the programme, tectonic and interiority. The studio became the medium for the construction of knowledge and acquisition of skills on various design aspects that are relevant for the making of the architecture of the dwelling. It became a medium for the students to exercise and experiment with the functional, technical and experiential aspects of architectural space. These are all manifested in the integrated process, from the formulation of design ideas to their materialisation into the architecture and interior of the dwelling spaces. The learning process of this design studio was conducted entirely through online learning due to the restriction imposed by the pandemic situation of COVID-19. The output of the studio, as presented in this collection, demonstrates the result of the students’ independent learning, the commitment to the process and the reflection of their knowledge construction. The works selected represent various dimensions of interior architecture learning that are integrated into the whole design learning experiences.

August 2020

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dwelling: from the inside

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This book is a demonstration on how the idea of dwelling is transformed into the materiality of architecture through the design process that highlights the inhabitation as the key aspect of the dwelling. Heidegger in his essay Building Dwelling Thinking proposed the idea of the relationship between man and space as the fundamental understanding of dwelling. “Man’s relation to locales, and through locales to space, inheres in his dwelling. The relationship between man and space is none other than dwelling, thought essentially” (Heidegger, 1971, p. 359). An attempt to understand dwelling is essentially the understanding of the relationship between the dwelling environment and its inhabitant. Heidegger posed two main questions on what it is to dwell and how building belongs to the dwelling. These questions represent a fundamental inquiry on the transformation of the abstract concept of inhabitation into the physical manifestation of building to accommodate such inhabitation. To think about the dwelling and its architectural manifestation thus requires an understanding of how man relates to the place. “For him, it was significant that places of daily occupation are intertwined with the lives of those who use them” (Sharr & Unwin, 2001, p. 60). The idea of dwelling is manifested in the trace that represents the human engagement with the place. The question on what is dwelling and how it is physically materialised also reflects the theme of dialectic between the idea of house and home--between the material and immaterial idea of domestic environment. “A house is not always a home because one is an object and the other is a perception. It is unusual to immediately feel at home. As the term ‘homemaker’ indicates, the home is made” (Hill, 2006, p. 26). In the making of a home, or in the materialisation of the dwelling idea, the process of marking becomes the effort to organise and define the territory of the inhabitants; this could be performed through the establishment of boundaries, the placing of objects and the arrangement of stuff (Wise, 2006). The process of marking, however, is not a simple one, particularly because idea of home contains various internal dimensions: nostalgia, intimacy and privacy, domesticity, commodity and delight, ease, light and air, efficiency, style and substance, austerity, and comfort and wellbeing (Rybczynski, 1987); these raise a further question on how the process of materialising the dwelling (or home) may be performed to maintain its fundamental meaning as the setting for inhabitation. Discussion on the dwelling and the process of its materialisation from the interior perspective becomes particularly critical since the idea of dwelling massively contains the subjective dimension and experience in the occupants’ everyday life. Understanding the dwelling from the perspective of interior means seeing the dwelling from the inside (Franck & Lepori, 2000), locating the occupants as subjects rather than objects and relating the subjects with the dwelling space in a reciprocal transaction. As an attempt to systematically reveal the process of materialising the dwelling from the interior perspective, the following discussion presents two complementary ideas: dwelling as a lived interior, and dwelling as an interior system.

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Image by Adika Ramaghazy

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Dwelling: Dwelling: A lived A lived interior interior Interior is Interior a crucial is aaspect crucialof aspect dwelling of dwelling becausebecause it is where it isthe where inhabitation the inhabitation occurs. The occurs. The understanding understanding of the interior of the here interior is more here is than more justthan the just presence the presence of spaceoflocated space located within the within architectural the architectural boundaries. boundaries. While the While interior the is interior often isrepresented often represented as the as the inside space, inside for space, the inhabitants for the inhabitants of an interior, of an interior, the interior the is interior the “lived” is thespace, “lived” not space, not merely represented merely represented or conceived or conceived (Lefebvre, (Lefebvre, 2011). The 2011). ideaThe of dwelling idea of dwelling as a lived as a lived interior suggests interior suggests how thehow dwelling the dwelling performsperforms to accommodate to accommodate the everyday the everyday living living practice practice of its inhabitants. of its inhabitants. From the From perspective the perspective of dwelling of dwelling as a lived as interior, a lived interior, the the spaces of spaces the dwelling of the dwelling is produced is produced not solely not bysolely the designers; by the designers; space isspace produced is produced and and reproduced reproduced over time over by the timeacts by the of the acts users of the while users inhabiting while inhabiting the space. the space. The making The making of the interior of the interior is the materialisation is the materialisation of the domestic of the domestic living practice. living practice. Baudrillard Baudrillard (1996) suggested (1996) suggested the idea the of “man idea of the“man interior the designer” interior designer” (p. 26) to(p.reflect 26) to reflect on the on active the role active of role the dwellers of the dwellers in dominating, in dominating, controlling controlling and ordering and ordering their their environment. environment. The interior Theisinterior understood is understood as the system as the of system objects of that objects is the that product is the product of of the inhabitants’ the inhabitants’ acts in organising acts in organising the objects the of objects their surroundings, of their surroundings, attaching attaching values, values, meanings meanings and identity and identity to the environment. to the environment. CoupledCoupled with thewith ideathe of idea “manofof“man of relationship relationship and atmosphere”, and atmosphere”, Baudrillard Baudrillard further indicated further indicated that interior that operates interior operates “not “not only between only between the objects the that objects comprise that comprise it but also it but between also between the human thebeings humanwho beings live who live in it” (p.in43). it” (p. Therefore, 43). Therefore, the dwelling the dwelling interior is interior understood is understood as the resultant as the resultant of the of the orderingordering process process performed performed by the dwellers, by the dwellers, while at while the same at thetime same becoming time becoming the the setting that setting provides that provides the relationship the relationship and atmosphere and atmosphere for the dwellers. for the dwellers. As a lived Asinterior, a lived dwelling interior, dwelling becomes becomes a site ofadomestic site of domestic practice practice that involves that involves various various aspects aspects of spatialofoccupation. spatial occupation. For the inhabitants, For the inhabitants, a dwelling a dwelling is a site for is aan site individual for an individual self, as he self, moves as heinmoves between in between the private theand private public anddomain public domain of the world, of theand world, moves and moves along the along past,the thepast, present, the present, and the and future; the“From future;this “From arisethis thearise phantasmagorias the phantasmagorias of of the interior--which, the interior--which, for the private for the man, private represents man, represents the universe. the universe. In the interior, In the interior, he he brings together brings together the far away the far and away the and longthe ago” long (Benjamin, ago” (Benjamin, 2002, p.2002, 6). The p. dwelling 6). The dwelling containscontains the temporal the temporal dynamicdynamic that is part thatofisthe part inhabitants’ of the inhabitants’ life--as alife--as dynamic a dynamic site of site of past traces, pastcurrent traces, events, currentas events, well as asthe wellfuture as thevision. future vision. The understanding The understanding of the dwelling of the dwelling basicallybasically requiresrequires the comprehension the comprehension of the of the inhabitants’ inhabitants’ spatial stories. spatial stories. DwellingDwelling containscontains the narratives the narratives of everyday of everyday life, as the life, as the “territory“territory where the where basicthe gestures basic gestures of ‘waysofof‘ways operating’ of operating’ are deployed are deployed and repeated and repeated from dayfrom to day” day(Certeau to day” (Certeau et al., 1998, et al., p. 1998, 145). Interiors p. 145). Interiors lived by the livedinhabitants by the inhabitants are the are the interiorsinteriors which contain which contain spatial stories, spatial in stories, whichinvarious which various operations operations are established are established (Certeau,(Certeau, 1984), manifested 1984), manifested through through various aspects various aspects of the domestic of the domestic environment. environment. The stories Theare stories full of aresecrets, full of secrets, manoeuvres manoeuvres and strategies, and strategies, conflictsconflicts and negotiation, and negotiation, which are which usually are usually known known only byonly the by inhabitants. the inhabitants. Therefore Therefore the process the process of of materialising materialising the dwelling the dwelling as the lived as the interior lived should interior begin shouldwith begin understanding with understanding the the inhabitation inhabitation stories from stories thefrom dwellers’ the dwellers’ perspective. perspective.

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Image by Alya Hasna Rizky Riandita

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Dwelling: Dwelling: An interior An interior system system In realising In realising the ideathe of idea dwelling of dwelling as the lived as the interior, lived interior, the dwelling the dwelling is materialised is materialised through through the arrangement the arrangement of spatial ofboundaries, spatial boundaries, surfacessurfaces and objects and that objects define thatthe define the living. Dwelling living. Dwelling is also materialised is also materialised through through the joining the of joining elements of elements and materials. and materials. TectonicTectonic as “the as art“the of joining” art of joining” (Frampton, (Frampton, 1995) becomes 1995) becomes a key process a key process of of materialising materialising the ideathe of dwelling idea of dwelling space into space the into physical the physical space tospace be lived to be in. lived The in. The process process of materialisation of materialisation is the process is the process of developing of developing the dwelling the dwelling as a whole as a whole system, system, in whichin each which part each of the part system of the has system its functionality has its functionality as “the ability as “the toability become to become integrated integrated into an overall into anscheme” overall scheme” (Baudrillard, (Baudrillard, 1996, p. 1996, 63). p. 63). In an interior In ansystem, interior system, each object eachand object element and element takes a role takes asaarole partas ofathe part system of the with system with its functionality. its functionality. It is important It is important to consider to consider how objects how and objects elements and elements fit together fit together into into the whole thesystem whole and system defines and the defines functionality the functionality of the whole of thesystem. whole system. The functionality The functionality of an object of anisobject “the very is “the thing very that thing enables that enables it to transcend it to transcend its mainits 'function' main 'function' in the in the directiondirection of a secondary of a secondary one, to play one, atopart, play to a part, become to become a combining a combining element,element, an an adjustable adjustable item, within item,a within universal a universal system of system signs”of(Baudrillard, signs” (Baudrillard, 1996, p.1996, 63). Inp.the 63). In the understanding understanding of dwelling of dwelling interior, interior, while each while need each and need activity and may activity correspond may correspond to to particular particular objects, objects, elementselements or parts or of parts space,ofthe space, way the theyway are they related areto related one another to one another is what defines is what the defines functionality the functionality of the dwelling of the dwelling as a whole. as a whole. The process The process of materialising of materialising the inhabitation the inhabitation into the dwelling into the dwelling interior depends interior depends on the on the definition definition of tectonic of tectonic “not solely “notassolely a visual as aoccupation visual occupation with thewith joint,the butjoint, as abut direct as a direct spatial transformation spatial transformation of the joint of the in ajoint furnishing in a furnishing sensuous sensuous approaching approaching of the human of the human body” (Hvejsel, body” (Hvejsel, 2011, p. 2011, 241). p. In 241). this way, In this theway, formation the formation of dwelling of dwelling materiality materiality is not is not merely amerely technical a technical issue of issue “the art ofof “the joining” art of (Frampton, joining” (Frampton, 1995); it 1995); opens itopportunities opens opportunities for the spatial for theboundaries spatial boundaries and surfaces and surfaces to provide to the provide qualities the qualities that are directly that are related directly related to the human to thebody human andbody experience. and experience. The ideaThe of dwelling idea of dwelling as the lived as the interior livedand interior as the andinterior as thesystem interior eventually system eventually leads to leads to the making the making of the dwelling of the dwelling that integrates that integrates the programme the programme and the and tectonic. the tectonic. The The process process occurs back occurs andback forth and between forth between the programmatic the programmatic functions functions of the dwelling of the dwelling and the and physical the physical materiality materiality of architecture of architecture and interior and elements. interior elements. The conversation The conversation betweenbetween idea and idea realisation, and realisation, betweenbetween programme programme and tectonic, and tectonic, and between and between functionfunction and materiality, and materiality, becomes becomes an integral an integral part of the partprocess of the process in celebrating in celebrating the the interiority interiority of the dwelling. of the dwelling.

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the making of the inside

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Image by Lintang Kirana Sitaputri

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Image by Lintang Kirana Sitaputri

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Defining the programme

Tectonic Developm

The process of designing the architecture of dwelling began with the programming. The establishment of the architectural programme in this project is more than just merely defining the functional requirements and spatial relationships (Summerson, 1996). The programme encompasses the idea of performance as the criterion that describes the interactions among components within the architectural invention (Mesznik, 2007). The programme defines the performance of the dwelling; at the same time, the programme allows the invention of a spatial system, which further defines the development of spatial ideas.

Programme is defined through the translation of the needs and characteristics of the family that will be accommodated in the dwelling. The programming process requires a thorough understanding of the existing condition of inhabitation as well as the creative insight into the range of possibilities of architectural and interior performance. The process incorporates the careful reading of the family as the dwelling inhabitants, including the understanding of their current practice and their future vision, and the critical analysis of all interrelated aspects of inhabitation. Such understanding and analysis would lead to the establishment of the creative and meaningful dwelling programme.

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ent 1

Image by Ratu Baina

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elopment 1


Exploring the tectonic The process of developing spatial ideas to respond to the programme was conducted through the exploration of tectonic as a medium to configure the composition of spatial elements that together define the spaces of the dwelling. Tectonic is defined as “the art of joining� (Frampton, 1995) that emphasises on how the parts are connected to one another in an appropriate manner. The development of form for the dwelling is based on the understanding of the relationship between part and whole (Forty, 2004) as an approach to achieve the unity of form. The tectonic exploration may be creatively conducted both ways: from the parts integrated into the whole, or from the whole developed further into individual parts. The integration between programme and tectonic was demonstrated through three-dimensional modelling accompanied by diagrammatic analysis. The exploration of tectonic became an opportunity to invent the possibilities of spaces and spatial qualities. The exploration of the form and space composition resulted in various possibilities of boundaries, spatial performance and spatial attributes that define the qualities of the dwelling and its interiors: the qualities that could be sensed and perceived, the qualities that could define and direct actions and relationship, and the qualities that could evoke feelings and emotions. Tectonic exploration becomes an opportunity to explore how the spatial elements emerged from the tectonic exploration could offer various possible experiences of occupations-both functionally and atmospherically-for the users.

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Image by Natasya Pradita

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Exposing the interiority The idea of interiority refers to the inner qualities that condition the interior (McCarthy, 2005) The understanding of dwelling cannot be separated from the idea of interiority because the inhabitation of architecture and interior is defined by the inner qualities that emerged in a spatial setting. The process of developing design ideas and materialising these ideas through the configuration of spaces, surfaces and materials, becomes the process of exposing the interiority. It is the process of defining how the architecture and interior elements interact with the everyday life of the occupants, creating the dynamic experience of dwelling. Interiority is manifested through the spatial system comprising various parts that are integrated into the whole architecture of dwelling. The process of designing a dwelling demonstrates how the interiority emerges as a dialogue between materiality and occupation of everyday living (Atmodiwirjo & Yatmo, 2019). The everyday space of the dwelling represents the needs, desires and aspirations of the occupants. At the same time, the dwelling spatial configuration and performance also indicates the everyday spatial operations (Certeau, 1984) that are practised by the occupants. The process of materialisation is directed toward the qualities of space and objects that reflect the interiority of domestic architecture (Hvejsel, 2011). The relationships that are established among the bodies, surfaces, objects and other spatial elements in the dwelling reflects the continuous transaction between the occupants, the architecture and the interior.

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the making of the dwelling

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Image by Putri Ayu Azhari

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Image by Alya Hasna Rizky Riandita

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Interior occupation The development of the spaces of the dwellings should demonstrate the appropriate response to the needs of the occupants. Dwelling occupants may have particular characteristics and requirements that should be accommodated through the proper design of forms and spaces. Tectonic exploration becomes a medium to figure out the possibilities of how the elements of forms and spaces are relevant to the occupancy of the dwelling.

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Fisio House Alifia Azzahra

Although physiotherapy is most commonly practised in hospitals, Fisio House enables the dwellers to practice it at home. Fisio House is designed for a family of three whose child suffered from an injury, causing her to walk on crutches. To speed up the recuperation, Fisio House offers various interior objects designed to aid the child's physiotherapy. Considering that this is not a permanent condition, the interior objects are made to be adjustable in placement and function through the mechanism of push and pull. Some interior objects serve as multi-purpose physiotherapy devices, including movable hand railings that enable adjustments to fit required access, horizontal moving board as hand braces and storage shelvings, vertical moving board as handles and backrests, as well as a staircase for exercising up and down which is also adjustable for seating purposes. The idea of push and pull is implemented conceptually for the overall tectonic of Fisio House, as well as mechanically for the interior objects. Repetitive lines are also used to form partitions and to convey the house's identity. Fisio House is also a hybrid between spaces specified for both living and business. The open family gathering space becomes the core that connects each family member engaging in different activities.

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rOMAh Alya Hasna Rizky Riandita

rOMAh is a dwelling specifically designed for a family that consists of three elders and a child. The design focuses on visual, auditory, mobility impairments, and memory loss that are likely to happen as they age. The interior is designed in a way that enables the dwellers to develop their sense of place within the living space through understanding the visual and tactile characteristics of the house. Visual and tactile become the most probable means of perceiving the surroundings that a human being may be dependent on, even as they get older. The design approach to respond to the issue is forming the interior by bending plane(s) where each side is contrasting in textures and colours. The surface contrasts serve a major purpose in aiding the elders to recognise the space visually and tactilely. Bending the planes helps emphasise the transition between contrasting colours and textures. Visual, auditory, and mobility access are also achieved by bending the planes.

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Accesshaus Dinda Ayu Permatasari

Accesshaus is designed for a family of six and cats. The design has five access-related concerns: mobility, view, air flow, lighting, and inside-outside transition. Accesshaus is more than just a disabled-friendly house. The design also includes air flow regulation and enables access to view through shape slicing. Shape slicing is performed to ease mobility for the disabled and to provide the space for the cats with sufficient air flow to block the air circulation to a family member who is allergic to cats. Shape slicing also creates a central living room that accommodates two things: the family's tradition to gather in the centre of the house, and the visual access that enables the parents to monitor the kids’ activities.

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Grandma-friendly House Adira Dhiya Aufasya

Grandma-friendly House is designed to accommodate a family of eight: parents with two daughters and two sons, an aunt, and a grandmother. The main purpose of this design is to provide easy access for the grandmother, as well as audiovisual transparency to support interaction. Centred, interlocking, and merging are the keywords used in designing this dwelling to be centred on the grandmother's activities and to provide other space requirements. The main space is situated at the centre as a result of the merging of the TV room, kitchen, and dining room. The rest of the interior spaces are arranged towards this main space. The merging of the main space, living room, and the second floor serve the purpose of encouraging interaction between the grandma, who spends most of her time watching TV, and the rest of the family. Several rooms are designed to enable direct audio connection to the grandmother's activity areas so that she can easily ask for help. This includes the merging between the grandmother's bedroom and the aunt's bedroom, as well as the opening that connects both of the daughters’ bedrooms to the TV room. The interlock mechanism is also applied to achieve space efficiency for optimum utilisation of the interior.

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Rumah Pastel Thenny Gunawan

Rumah Pastel is a dwelling designed to facilitate the accessibility requirements of the disabled. This house is designed for three occupants, including the disabled person who suffered from hip and leg fractures from an accident 25 years ago and now earns a living by making pastel (a type of traditional snack). The main idea of the house is to create easy access for this disabled occupant. This is achieved by forming the circular access through the arrangement of the vertical grids that also serve as the handrails to aid the disabled occupant when walking in between activities. The layout and dimensions of interior objects, as well as the atmospheric quality of the kitchen, become the main focus of Rumah Pastel. The idea is to create a dwelling that offers comfort in the everyday process of pastel making. Rumah Pastel also emphasises the direct access between the pastel maker to customers who often visit the house to buy the pastels, considering the disabled occupant's auditory and mobility impairments.

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Atrium House Shania Afifah

Atrium House focuses on minimising the journey of the core social groups composed of the elderly who suffer from leg and rheumatic diseases, as well as maximising accessibility in the house by creating centralised access. The entire space in this house is connected to one family room as a space that is often used by several members of the core social groups. This house applies the volume-offset mechanism that forms a centralised space in the center as well as centralised access, and the volume-merging mechanism that combines space and maximises accessibility. Both mechanisms are combined to create layering planes which maximise the privacy of the house.

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BluryCare House Fadlun Assagaf

BluryCare House consists of two ideas: Blury which is derived from the word "blurry� or “blur" and Care which represents daycare. BluryCare House will be inhabited by a family of three, in which one member is an early childhood educator who wants to have a daycare connected to their home. The approach of the design is focused on providing amenities to the family members, particularly to accommodate the teaching activities at home by creating blurry boundaries. Blurred boundaries are achieved by arranging the positive and negative spaces along the shadow that casts on a surface, composing the verticality of the planes or lines, and arranging the split surface to adjust light translucency into the space. The blurry boundary mechanism implies the uniqueness of semi-transparency as a consequence which is based on the movements of light that pierce through the boundaries, creating a unique interior for caring.

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House of Tolerancy Athaya Safa Rasendria

House of Tolerancy is a house that prioritises comfort for all four family members living under the same roof with different religious beliefs. The comfort is achieved by creating an open-closed plane transition and creating subspaces within the house. The house is inspired by the initial condition in the previous house, in which the layout does not support religious differences. In the previous house, the second child could not move freely at home because his religion required him to avoid physical contact with dogs, while the dog was let wandering around. Besides, the privacy limitations were unclear, while many activity requirements were intersected with the needs of other family members. In the proposed design, the rooms are separated by sliding glass partitions to keep them gathered (visually) even while doing separate activities. There are also rooms created through offset volumes and layered spaces with subspaces to create boundaries between the private and public areas.

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Hegen und Pflegen House Graciel Frederika Lumenta

Hegen und Pflegen Haus; The house to care and to tend. The design is based on the different needs between all six family members, the main focus being the wheelchair-bound grandmother who requires help from other family members in doing household activities. The design proposes a dwelling scenario of family members with centralised access to the grandmother, enabling the family members, as her caretakers, to engage in the grandmother's everyday activities. Through varying gap widths and material transparency, this house defines the privacy limits of one family member to the other, while simultaneously declaring family privacy areas to guests who regularly visit the family, often in large numbers. In addition, through the creation of a circular range of motion, the placement of space in accordance with the needs of each individual's activity, as well as the stability of the height of the space, eased the activity of moving, walking, and pushing a wheelchair. Overall, this design approach aims to facilitate each family member in carrying out daily routines, caring for family members who have special needs, as well as being connected to one another to strengthen existing family relationships.

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Light House Christopher Christian Surya

Light House is designed for a family of four consisting of a father who owns an audio shop, a mother who has a passion for cooking, an obese son who is a guitar teacher with a deaf left ear, and another son with gaming as a hobby. As the parents enter their mature age, and with the sons' tendency to engage in passive activities, they tend to pay less attention to their health. The idea of Light House is to create a different atmosphere according to the occupants' temporal use of light to encourage movement which not only offers a comfortable natural experience but also triggers the occupants to exercise to develop a healthier lifestyle. Openings in Light House aim to maximize, refract, obstruct, bend, and focus the incoming light in accordance with the occupants' activities at different times of the day. The tectonic idea proposed in the design produces different types of space, whether combining, separating, or focusing spaces (or views), while also regulating the interaction between occupants. The Good Time Garden presented in the design also uses the concept of time in arranging different types of plants. The flowering plants are arranged in areas where the sunlight touches at certain hours, in accordance with the activities of the occupants during that particular time of day. This serves the main purpose of making the occupants feel more welcomed to use the space.

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Image by Adika Ramaghazy

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Interior performance Some dwelling programmes trigger the establishment of the criteria for the physical performance of the spaces, such as the performance of lighting, acoustic, air circulation, the control of smell, and other physical aspects. As an attempt to meet the requirements, tectonic explorations are conducted to invent the possibilities of elements and the relationships between them that enable the performance. The spaces of the dwellings are developed through the exploration of elements that are necessary to achieve the required performance.

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Prism House Lintang Kirana Sitaputri

Prism House is dedicated for a family of four, who are artists: a dancer, a musician, a painter, and a chef. They require open and sun-bathed, yet private spaces to improve their productivity. This project focuses on natural lighting dispersion to all existing spaces in the dwelling, figuratively, in the same manner as a prism does to white light. In this design, the private courtyards serve as the media for dispersion. Sunlight penetrates into the four courtyards that prevail in the design, affecting the surrounding areas during intended hours and towards particular spaces. The prism form and tilted boundaries for the interior help to apprehend natural light reflections, resulting in a targeted light distribution throughout the day. The openings to the courtyards vary in scales and degrees, depending on the need of each affected space.

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SL House M. Arif Rahman

SL House is designed for a family living in Tangerang Selatan. Based on the site's condition, this house is designed to have an opening from above because it is located between two-storety houses, causing sunlight blockage from the east and the west. This house utilises the sunlight for the interior throughout the day to achieve energy sustainability. The mother, who is a freelance illustrator, requires a studio lit by sunlight to enhance her working performance. The interior is arranged to promote good air circulation by a centralised horizontal and vertical circulation. It is also arranged to respond to human circulation. For instance, the living room is placed near all other rooms on the ground level and stairs for easy access.

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Easel Estate Reyna Ananda Harsono

Easel Estate is designed for a family of five with shared hobbies, predominantly in photography for father and son, and painting for both daughters; yet in each pair, one indicates different preference to the other in terms of artwork proportions. The design aids the family in finding a balance of these preferences by composing the interior out of vertical planes with the proportions suited to match the dimensions of paintings and picture frames, creating a vertical gallery in which father, son, and daughters may display their artworks. Each display plane is arranged adjacent to transparent planes for light penetration or openings for ventilation purposes. The same principles are applied in designing the roof to ensure that sunlight reaches each display plane at different times of the day. In addition to the vertical gallery, several display planes have multi purposes as built-in-easels to strategically distribute the painting spots throughout the well-ventilated areas of the house to enhance family engagement while the daughters are immersed in their painting sessions.

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Convene House Yohanna Anindya Budi P.

Convene House is a dwelling designed for a family of four consisting of a father, mother, a daughter and a son. They have a habit of family gathering at home, attended not only by the main family but also the extended family, as well as doing indoor sport or workout together. The design idea prioritises the optimised lighting without reducing the privacy of family members. This concept is achieved by positioning the openings in certain parts of the house, adjusting to the wind direction, and public access outside the home, as well as setting different heights for openings. Openings in the Convene House are placed above the eye level in order to maintain privacy for the occupants. Tectonic ideas to support the design idea are shifting volumes and rotation which define the privacy limits, supported by light as one of the space defining elements. Void on the second floor of the house, as a result of rotation that reduces the space volume, enables the visual access and natural lighting to reach the space below, specifically the living room, which is the main and most important space in the house for family gathering purposes.

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Waterfall Sound House Layla Dutha Faradiba

Waterfall Sound House is a house designed for a family that likes the sound of waterfalls. The three members, father and his two daughters, also have musical hobbies, while the mother likes gardening. This house is designed with the idea of curving boundaries which are pivoted on the center, as the area of the artificial waterfall where the sound source comes from, so that the sound distribution can be well circulated. Hence, the sound flows throughout the house and can be heard from every room. The sound framing is also produced from the merging of fragmented voids and expanded volumes that are applied in various ways for each room, producing the diverse sound ambiance. The interiority of this house is also highly influenced by the visual framing, which is designed according to the visual needs of each family member; every room has an opening that is arranged based on the required view and lighting.

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Harmony House Natasya Pradita

Harmony House is designed for a family of artists (a musician, a theatre performer, and a painter) and grandmother who likes watching TV and cooking. The meaning of home for this family is a place where all the family members can meet and gather. This family requires conflicting acoustic qualities. Every evening, the inhabitants' activities also cause audio clashing, when another member does not want to hear the produced loud noises. Therefore, Harmony House is designed with a focus on solving the acoustic problems while still considering the interactions between family members. The sound quality in the house is achieved by positioning the sound reflector and the sound absorber. Exploration of curved shapes, textures, and material selection is an attempt to create the required acoustic quality. Visual connectivity is formed by creating a meeting point between separate spaces due to contrasting acoustic qualities. The meeting point is formed either by voids or transparency.

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Breathing House Diana Tri Mellinianti

Breathing house is a dwelling that prioritises good respiratory quality for its inhabitants by focusing on surface filtration and leveling. The family is composed of members with different hobbies. In the previous home, all family members share one room to accommodate all their hobbies, which results in inappropriate air quality for breathing necessities. In the proposed design, the interior is separated at various levels, with each level adjusted to fit different activities. In addition, the house is also designed with an adequate amount of openings facing the garden outside to achieve efficient air circulation. Breathing House presents a mechanism of cross-ventilation with many openings, divides the interior into smoke-free and smoking areas, and adds the variable of natural elements surrounding the house to meet air quality requirements.

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Resonance House Ramadhan Putra Kurnida

Resonance House is a house designed for a family consisting of four members with music interests. Their home is often visited by friends or relatives who come for the sake of music entertainment when gathering at their home. The father who works as a music teacher wishes to have his own music studio in his house where he can work and play music with family or friends. The music studio is designed to eliminate the loud sound that may disturb the private spaces such as bedrooms. Therefore, Resonance House is programmed to separate noisy areas from quiet ones. In the noisy areas, the occupants have the ability to amplify the sound resonance without disturbing others. The ability of the space to reflect or absorb noise according to each space requirement is achieved by the tectonics in the form of flat, concave, and convex planes that vary in thickness, distance, number, and types of layers or material. As the main room that produces the loudest noise, the music studio has the thickest walls and is covered by acoustic walls and panels on most sides, reducing the noise. It also has a minimum amount of openings to restrict sound distributions. The music studio is separated afar from the other rooms, decreasing the audio through various planes and distances.

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StuHouse Larasati Tribuana A.

Stuhouse is a house created for a family consisting of artful and unique members with different creative backgrounds. The client requested “a house with a spacious music studio for the father and an art studio for the second eldest sibling to work with her art necessities that requires a handful of airflow to accommodate the chemical compounds used inside of the room.� To respond to such a request, the house is focused on three aspects: acoustic, airflow, and lighting, which are defined by three methods: carve, offset, and volume expansion. Aside from the studios, the main living room is also designed so that the sound of the piano could resonate throughout the entire house by creating a void above the room and minimising physical boundaries (such as stone walls) around the first floor. The second floor is designed to fulfill the personal and private needs of each family member.

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Rumah Kue M. Raihan Athallah

Rumah Kue is a dwelling designed for a family of three, one of which has mobility limitations. This family also runs a kue basah business in their home. The dwelling distributes the kue basah aroma, either within the house or out to the neighborhood. The aroma circulation gathers the dwellers and enhances the design's distinction. Volume stackings, plane rotations, and space intersections on the dwelling promote the aroma diffusion throughout inside and outside of the house while facilitating the family member who has limited mobility by easing his access around the house.

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Noise Reducer House Feby Lidya Putri

Noise Reducer House is designed to accommodate not only the needs for living but also for the commercial textile production business owned by the family. The noise produced from the textile production is considered as a disturbance by the house's inhabitants. The design approach to address this issue is by arranging vertical and horizontal elements to create layers that serve the main purpose of reducing audio disturbances to achieve more comfortable living circumstances.

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Mmm... Adika Ramaghazy

"Mmm..." is a house designed for a family of three: a father, a mother, and their youngest child. The father has limited mobility due to a past mild stroke, and the mother runs a jajan pasar (traditional snack) business at home. This design utilises the aroma from jajan pasar production to form a social cycle, gathering the inhabitants. It also opens up the opportunities for interaction potentials with the surrounding environment, as the inside-outside social cycle). Bending surfaces become the main tectonic identity for this design: horizontally, by adjusting the height of space proportion for airflow regulation, diffusing the aroma throughout the house through the stack ventilation effect; and vertically, by eliminating angles to create lateral surfaces, resulting in a perception of spaciousness and a fluid-like transition. This tectonic identity is integrated with a straightforward program, creating a simple yet intriguing experience.

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Image by Bella Putri Muliana

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Interior transition The idea of transition brings the possibilities of seeing the dwelling space as an integration between the inside and the outside, between the indoor and the outdoor space, between the building and the landscape. Through tectonic exploration, various forms of transitional spaces could be emerged, creating various possibilities of how the spaces of activities are distributed throughout the dwelling sites. The emergence of landscape and natural elements that are integrated seamlessly with the interior creates the distinct forms of relationship between the inside and the outside.

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Taichi House Stephanie Clarissa Dheandra

Taichi House is designed for a family of five with taichi as the father's main hobby. This design includes three veiled spots which are specified for taichi, with each area offering a unique atmosphere. These veiled areas are also designed in accordance with the user's lighting and air circulation requirements. The interior highlights visual connectivity and interaction between the areas specified for taichi and the areas surrounding it, yet restricts any auditory disturbance from one area to the other. The design's tectonic approach overlaps lines and planes and develops a mechanism of shape slicing to render the area specified for taichi as the inside-outside transition.

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Green O’clock House Bella Putri Muliana

Green O 'clock House is a design inspired by the habits of clients who admire the interconnection between green space and ease of access related to the special needs. The main response of this design is to create space in which there are connections between farming activities and distances between space. To achieve this, vertical and horizontal functional grids are arranged. Vertical grids become the base for the formation of open green spaces that produce a sustainable garden, create diverse view quality, and help to regulate light and shade. Meanwhile, the convenience of accessibility is achieved by merging or reducing the horizontal grid. The special feature of this house is the hydroponic rotating system, where plants can grow on the wooden media that can rotate to a certain angle based on clockwise rotation, creating the dynamic performance throughout the day. This structure offers equal sunlight exposure at each hour regarding the type of plants. Green O'clock House creates a healthy living environment in the house while complementing the green areas of the neighborhood.

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Viewing House Hilmi Fitriatulamal

Viewing House is a dwelling with living spaces oriented to the surrounding nature to achieve the unique view qualities in different sections of the house. The design process involves a mechanism of bending and lifting. Through the bending mechanism, the vertical and horizontal elements are bent facing specific areas where the view meets the desired quality, simultaneously connecting the lower and upper areas of the house. The lifting mechanism enables the dwellers to experience the views from different heights. The house is designed for a family of five with a shared interest in nature. Certain natural views may help increase working efficiency while doing activities that each family member enjoys. This home is designed to capture the scenery of the surrounding area which includes the views of mountains, settlements, and gardens, with an additional backyard with transition into the interior through the openings. The inside of the house is arranged by sectioning the interior into living spaces and green areas, which defines the identity of the house as a transition of outside-inside while at the same time provides an adequate level of privacy for its dwellers.

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Move-It House Keshia Putri Tjandra

Move-It House is a design that encourages its dwellers to move more frequently and provides good air circulation by adjusting the vertical paths and distances. By creating the potential to move more frequently, the house makes the inhabitants unconsciously exercise their bodies. This idea is developed in response to the needs of the dwellers consisting of a father, a mother, and their two children, all sharing the same hobby of exercising. To achieve the desired movement and good air circulation, the design approach develops the split leveling method to create the vertical circulation in the transitions between one room and the other, as well as transparency to adjust the degree of openness. Aside from the exercising hobby, the family runs a clothing business which requires a showroom. This showroom is separated from the living space in order to create a clear distinction between public, semi-private, and private spaces through the rotation of the spaces' volume.

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Inside-Outside House Brili Aurabillah

This design is based on regulating the flow and scheme of inhabitation for every dweller within. With inside-outside transition as the main focus, lighting and leveling act as the instruments to emphasise accessibility and interactions that may occur in the dwelling scenario. This dwelling is designed to satisfy the needs of a married couple and their three children, paying attention to the psychological and physiological needs of the first child who suffers from Autism Spectrum Disorder and the father who is allergic to dust. The main access where guests can interact is situated in the centre of the house. The interior is designed to enable interactions between family members on different levels surrounding the centre of the house while maintaining the extent to which the family members engage in so as not to interfere with each of their private spaces. Special needs of the occupants are fulfilled by separating the kitchen-laundry access from the children's bedrooms, providing hobby space for each individual, avoiding corners for parents' bedrooms, and controlling inside-outside transitions for the eldest child.

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Centripetal Alya Rufaida Syukri

Centripetal is an English word derived from the Latin centrum which means “centre” or “middle point” and -petus from petere which means “seeking.” For this house, the word “centripetal” refers to the internal force emanating from the centre that pulls together everything surrounding it to keep everything intact and in order. The name is given to this house to convey the purpose of the creation of the house, which is to pull everything that is happening inside the house by using a central force to keep everything inside in harmony. The house is designed for a family consisting of a mother who is a notary public, her husband who is a father and an employee for his wife, and their two college-age sons. The family desires a dwelling in which there is a harmony between their careers in notary public and their life as a family. The centripetal force is brought about by using the mechanism of radial stacking. It is a process in which the stacking process is oriented on a core to create relationships between the spaces surrounding the core to be drawn to the centre. Such a mechanism creates a force from the centre that keeps everything in order in the form of a shared space, which serves as a buffer zone between the spaces.

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Water-Zen House Annisya Santoso

Water-Zen House is a design focusing on the presence of water in the house as a response to the clients’ opinion towards water as the zen element for dwelling. The design aims to offer the peace that the clients refer to when describing the calming properties of aquariums, by presenting water elements that may trigger the senses in a certain way to achieve said peace. The design also includes the openings to provide a sense of openness as to how a fish tank offers transparency. Providing transparency also corresponds to the requirements for the adults’ monitoring of the children’s activities in the house throughout the day. The design also proposes a spacious garden to provide a play area for the children. Different interior levels also represent how water elements work, with the gathering area for the family located at the lowest interior level, similar to how water flows downwards and gathers in the lowest level of its container.

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House of Landscape Putri Ayu Azhari

House of Landscape is a design that proposes the landscape arrangements in different scales as an inside-outside integration to accommodate the dwellers’ requirements of view and privacy. The family is composed of five members, including a member who runs a side business at home and another member with an interest in hydroponics. The landscapes included in the design varies in scale and layout, in response to the needs of each family member, in terms of both view and privacy. These landscapes may also function as the transitions between public and private areas in the house, one of them being the central garden which acts as the boundary between public and private spaces. The landscapes also form a connection between the inside and the outside. The house defines the boundaries in the form of frames and transparent planes arranged in layers to achieve openness towards the central garden and also to create the inside-outside integration.

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Garden House Zahra Hanifah Yasmin

Garden House is a design that proposes the idea of green space. The green open spaces provided in several parts of the house are accessible either visually or physically from various sides by all the inhabitants. These green spaces serve as an intermediary for privacy needs and the clients' various activities by utilising a volume-merging mechanism. The design also addresses the level of boundaries' transparency in order to accomplish the required visual qualities of open space to be experienced by the occupants, despite being in different parts of the house.

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Symbiosis House Shamlia Nurul

Symbiosis House is designed for a family of five consisting of a lovebird-loving father, a housewife who likes gardening, and their three children. The issue addressed in the design is the opposing opinions within the household regarding the lovebird chirps; they are perceived as either entertaining or disturbing. Symbiosis House attempts to create the appropriate condition and ecosystem to achieve sustainability and to accommodate the symbiosis so that no symbionts would be at a disadvantage. An increased symbiosis between internal and external symbionts occurs through the open garden which attracts the butterflies to pollinate. The leveling mechanism is applied to intervene in the butterfly area, whereas extruding the openings with the usage of bright colors acts as the camouflage to attract butterflies. The open garden is then integrated with the lovebird area to weaken the chirping intensity as they flow out of the house and are muffled by air. This increases the symbiosis between the family as the internal symbionts because the chirping could only be heard loudly in certain areas of the house where the family members could tolerate, which enables them to do activities comfortably per their stance towards lovebird chirps. The folding openings mechanism is applied to expand the catching area of the elements needed for the lovebird and the open garden, including the sunlight.

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Image by Lintang Kirana Sitaputri

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Interior boundaries The establishment of boundaries plays important roles in defining the relationships between spaces, objects, actions, and actors in the everyday life of the dwelling. Boundaries not only set the differentiation between the inside and the outside, or between one room and another; but most importantly, they also define the qualities of spatial interaction and the degrees of spatial separation or integration. Tectonic exploration opens possibilities to generate various boundary forms and qualities, which further define the conditions of spatial relationship to respond appropriately to the dwelling programme.

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Gap, Split House Alya Amany

Gap, Split House, is a house that accommodates the need to gather its inhabitants without having to be in the same room by creating the gaps in each room facing the central space. Different types of gaps are established to accommodate different levels of privacy and the various qualities of space required in each room. There are two types of gaps: those created by arranging different levels of the gap forming lines and those created by arranging split volumes. Even though there are wide gaps, the level of privacy in the space is also regulated by adjusting the opacity. The gaps are also located in some spots to maximise the site's potential, so they can also serve the additional functions for air circulation and light distribution that together creates the atmosphere of the space.

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Half and Half House: Extrude Sherine Chairuna Arifayahya

Half and Half House is designed as a double-purpose house, for residence and business. It is designed for a family of six whose needs are contrasting and thus require a clear separation of space. The design idea is to divide the house into two main parts derived from the contrasting needs of two workspaces: the catering business that requires hygienic space and the furniture manufacturing business that produces sawdust. The house has a space that is sunk into the ground, creating the semi basement with the lower height than other spaces. The space on the ground level is created to provide natural lighting and air circulation to cater for the needs of space for furniture making. Green kitchen system is applied to the catering kitchen by connecting it to the inner garden to achieve better airflow quality. The stove and countertop are placed inside an extruded wall so they filter the dirt from getting to the food when it rains. The staircases in the house are not too steep, providing comfort for the grandmother and the youngest child.

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Arpeggi House Puti Asyifa Matoati Yusfid

Arpeggi House is a house of transformation; it is a house with the inside spaces that can change according to time, scenario, and the occupants' activity. By utilising the shifting mechanism within the house, it responds to the movements of all three occupants of the house and maintains each individual's preference of privacy levels. There are two types of shifting mechanisms applied: the sliding doors within the rooms to block the movement between one room and the other, and the daylighting through the skylight above the main room that shines upon a particular section of the room according to time and activity within everyday life. The main tectonic aspect of this house design is the utilisation of horizontal layers that define the separation of each room, both physically and visually. By adding the boundaries, each activity defined by said two mechanisms becomes more flexible due to the natural character of the horizontal plane, as in its potential to transform in size with the change of perspective.

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Gather House Riska Yuni Astari

Gather House is a design that focuses on visual access in between various rooms to create a sense of togetherness. The sense of togetherness is established from the perception of being gathered in one continuous living space, even when engaging in different activities. This is achieved by composing the transparency of interior partitions to address the lack of interaction between family members in their everyday lives.

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Lese House Muhammad Rafif Cahyadi Agung

Lese House is a dwelling with flexible space that combines kue basah business and lesehan as the family habit. The house is designed for a family with two elderly parents and one adult. The father suffers from a mild stroke and the mother runs a small business of kue basah or traditional cakes. The family shares the same habit: lesehan; it is the traditional activity of gathering while sitting on the floor or a floor mat, but in later definitions it may also refer to simply the act of sitting on the floor (instead of in a chair). In order to promote and create an identity to the kue basah business, the site is situated on a one-way lane. The facade is then rotated facing the opposite way of the one-way lane, so that the business activities are visible from the incoming direction. Flexible interior space is achieved by a sliding plane mechanism along an axis that combines the boundaries within the food production and family living.

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Guest-Friendly House Callista Sanaa Atsillah

Guest-Friendly House is designed for a family that has contrasting social habits. The father, the mother, and the youngest child often invite friends to the house, while the eldest and the middle child spend most of their time alone in their rooms. The idea is to create a central communal space using voids, so that the spaces are visually connected and accessible, making the guests feel at home without any hesitation to explore the house. Different scales of openings are introduced to define the limit for guests, as a response to the contrasting social habit of the family. Through this strategy, the eldest and the middle child remain comfortable doing their private activities while their parents and youngest sibling have many guests visiting the house. Different levels of the house are intended to produce the surfaces that may enhance interactions between the house's occupants and the guests.

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Mannequin House Kelvin Andrean

Mannequin House is a project that maximises dwelling activities on both the working space and the house. This project is designed for a family that runs a bridal salon that shares the space with the dwelling. The tilting form and context gain a distinct orientation of the boundary relationship between both spaces, and it is also presented to adjust human interaction from inside/outside, permeability, circulation, and the passive design. In addition, mannequin orientation on the working space is faced to the main road to attract attention, while still maintaining the inhabitants’ privacy and proximity.

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Layer House Raina Hanifa Sabila Zahwa H.

Layer House is a house designed for a family of six: parents with their three children, and an elderly (grandmother), that has a mini shop inside their house. With the elderly, children, and a mini shop in their house, this family needs the house arrangement that offers the ease of surveillance. In addition, due to having a mini shop, the family needs a lot of storage space in their house. Therefore, the boundaries between spaces are made by utilising the built-in furniture as the storage. The boundaries are also created to have gaps in order to facilitate easy surveillance between spaces. This house also uses a split level system to allow easier visual control between levels. There is also an area that contains spaces frequently used by the grandmother on the ground level to accommodate her limited mobility throughout the day.

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Veiled House Shafira Azzahra

Veiled House is a house that gives a feeling of being veiled by eye views, lights, and boundaries, in order to increase family interactions, unity, and harmony. The design promotes the sense of spaciousness and freedom. The variety of height ceiling transitions creates the feeling of being veiled. The central room has the highest ceiling, drawing our eyes to look up and feel "surrounded". The house is designed for a family of five, which has one member with a verbal disability, thus the visual sensory becomes the main concern. Inside the veiled house, rooms are arranged by considering the occupants' spatial quality requirements and the site conditions. Some types of furniture apply interlocking identity. The bedroom for the disabled member has a mechanism for training and exercise walking. The programme is achieved by interlocking spaces for easy access and directing views to one particular direction. Plane reductions are also applied for maximum views and extensions for privacy matters.

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Rumah Kita Nurvadia Putri G.

Rumah Kita (Our House) is a house that gathers and accommodates different hobbies of all five family members, so they can interact through each of their hobbies. The word "our" is the goal of this home design, promoting the inhabitants’ sense of belonging to the home and to one another. The design considers the hobbies that can be done together and those that cannot, so the occurring interactions within the home can bring happiness to the family. Rumah Kita uses merging tectonic to combine spaces and to accommodate family activities, creating a common room that allows all different hobbies and activities that require different qualities to be performed within the same space. The repetitive boundaries and transparency become the supporting elements to achieve the goal. Therefore, the goal is not only to merge space, but to ensure the interactions between family members in the house.

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Projection House Wanda Nadilla

Projection House is a design with the centralised access. Visual access is achieved through the projected openness between spaces for the children's surveillance. Physical access is achieved through the parallel access to connect all the spaces. The design highlights the visual and physical connection between the spaces, which are directly linked to the central main area for the children's activities. The program and tectonic that this design implies are specifically aimed for clients who have a toddler that needs to be supervised most of the time. Due to the parents' working hours, the child is only guarded by the caregiver during the day. Therefore, the child-surveillance-friendly house can facilitate each family members by promoting easy access to control their children's activities.

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Tunnel House Sarah Puteri Adelia

Tunnel House is a project that connects various personal spaces to a central public space through a vertical tunnel, creating a sense of togetherness between the clients while still maintaining their privacy. The project is based on the needs of a small family that previously lives on the second floor of their grandma's house, with an unclear territory that causes the feeling of awkwardness among the family members. The tunnel acts as the centre of the house with a dining room as the main area, creating a communal space that connects all the family members during their quality time together. Their personal spaces are adjacent to this tunnel, each with the openings towards it. The creation of this "tunnel" effect derives from the tectonic strategy to attach the horizontal planes to the vertical tunnel while utilising the levels according to the required level of privacy. The house then creates a harmonious connection between the family members through the attachment of their personal spaces to the central tunnel.

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Tale House Ratu Baina

Tale House is a dwelling where storytelling binds the dwellers' lives together. Several storytelling spaces are included in the design, each connected with the other through the dwellers' frequent gatherings in which they share stories. These storytelling spaces are enhanced by opening visual access to the surrounding nature. Varying surface levels of the interior serves multiple purposes, including to encourage active circulation as the dwellers move in between activities, as well as to separate private and public areas during passive activities. The designing of the interior also includes these approaches; expanding visual access towards the view outside, lengthening the users' pathway, and merging the living space with the surrounding environment. Overall, Tale House accommodates the family's dwelling scenario in three floors, the ground floor which mainly functions as a garage, the second floor as the dwellers' main living and gathering space, and the third floor as an additional activity area as well as the housemaid's living space.

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Q-big House Mantasyaa Nike Cathleya

"One way to go, more places to see." As such is the impression this design intends to offer. This design is titled "Q-big (cubic) House", due to its cubical shape with a void in the center, almost resembling the letter Q. The house's excellence lies in its one-way corridor on the first floor which integrates every other room in the house; as well as the provided easy access as presented in the master bedroom, from where the dwellers may easily access the praying room and the gym included in the design. All these features are designed to accommodate the dwellers' lives at home. The design process involves three tectonic approaches; linking spaces to ensure one room and the other is connected, rotating planes to create rotating patterns in order to achieve ease of access, as well as restricting barriers which form the idea for the design's facade to be shifted inwards or outwards for the sake of space efficiency

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the inside of the process This section presents the inside of the design process conducted in the exploration of dwelling spatial ideas in this design studio. Design is a conceptual process that involves both divergent and convergent thinking styles; thus, the design process is not only creative and exploratory but also evaluative and analytical (Plowright, 2014). Looking into the inside process may reveal the interplay between such creative and rational approaches performed along the design process (Harahap et al., 2019), and how the final design could emerge as an integration of these two approaches in parallel. The process of reflection becomes the key in the construction of design knowledge by the students as they go along these stages of developing their design ideas. The selected written reflections by the students, as well as some diagrams they produced during different learning stages, convey the process of acquiring various forms of design knowledge and skills. Such acquisition of knowledge and skills happens through the continuous learning acts of investigating, analysing, making and exploring, which are simultaneously reflected and integrated.

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PROGRAM DISPLAY

pertama Langkah untuk menciptakan baru program dari dimulai melakukan breakdown program rumah sebelumnya dengan mengkaitkan isu yang terjadi pada client.

Image by Natasya Pradita

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MING --Bella Putri Muliana--

“The fun (or rather, the “fun”) in designing a dwelling comes with the long and intricate process of exploring new possibilities of ways to enhance the dwellers’ lives at home. Ideating the “what ifs” is one thing, but exploring whether or not those “what ifs” match clients’ needs is another thing, and that is what makes the whole process challenging, although it makes for a worthwhile discovery.” --Reyna Ananda Harsono--

T h e Ts hi tee

Existing house

A p p rAopapcrho(aecs h) ( e s )

--Kelvin Andrean--

“Designing process doesn’t go one way. In designing, it is certain that the process will go (tirelessly) back and forth due to adjusting every time a new idea is presented in the design and it is definite that all the steps happen simultaneously in the end. Regardless, we must always try to explore all the possibilities to advance our design. And the idea is not to build a ‘new’ home for the clients, but rather having the clients' term of "home" amplified.” --Lintang Kirana SItaputri-“Creating harmonies with program and tectonics at first is difficult. By time, the idea is developing by learning using models .Identity of the house also developed by models and diagrams. I also learn about prioritize the interiority of the space itself. Atmosphere and interiority quality is exist by itself, not by adding too much things to the space. Creating atmospheres is really important to also support the program.” --Shafira Azzahra-“Unique characteristics of the family might become an opportunity to develop a specific and rich scenario. The dwelling scenario should incorporate the ideas of growth as a part of everyday living of the family, with spatial implications not only for the present but also for further years.” --Yohanna Anindya Budi P.--

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T h e TChl iee nC tl i e n t

Analysis

uFsoecdu sper d o bpl reomb l e m

What makes What makes Activities Activities their current their currentWhat Hobbies Hobbies home theirhome their makes Analysis Physical condition Physical conditionhome home them How they inhabit How they theinhabit the unique? current home current home

site

What makes them unique?

Qualities Qualities

P r o gPrraomgm r aamt im c atic

Design a specific responds the focused issue but issue but Designprogram a specificthat program thattoresponds to the focused also accommodate them as a family (not as separate individuals) also accommodate them as a family (not as separate individuals) HOW

HOW

Determining spatial vocabulary Determining spatial vocabulary

) T e c tToenci tco n i c

--Alya Hasna Rizky Riandita--

Basic Models exploration Basic Models exploration

--Alya Hasna R. R.-The modelsThe didn’t models showdidn’t bending show atbending all at all

REDO basicREDO modelbasic model (-) identity! (-) identity! More explorations More explorations (identity (identity + program)+ program)

AtmA o st m p hoesrpi h c eric

(-) respond (-) torespond the issueto the issue Tectonic finalization: statement finalization: Tectonic statement Contrast surface bending Contrast surface bending

Interior detailing Interior detailing

Reduce unnecessary Reduce unnecessary elements elements Remember:Remember: interiority! interiority!

More explorations & More explorations (materials) (materials) & developments developments Development: Inside-outside Development: Inside-outside relation relation

Size adjustments Size adjustments RefinementRefinement

h e TFhi ne aFl i D n ea ls iDg en s i g n --Adika Ramaghazy--

“A good design is the one that can fulfill the needs of its user. Every room has to have different criterias and needs. Those different needs are the ones that determine the quality of the interior, ambience, and its atmosphere.” --Layla Dutha Faradiba--

“From my experiment, I have been given multiple insight of new shape usage and, of course, from that I have created a unique tectonic that while I am in my research at the internet, I found nothing like it. It means that there is so much potential in design that we dont see and we can create in the future on.” --Christopher Christian Surya--

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the people in the inside Curatorial Team Paramita Atmodiwirjo M. Mirza Y. Harahap Yandi Andri Yatmo

Parcia

Alya Hasna Rizky Riandita Kelvin Andrean Lintang Kirana Sitaputri M. Rafif Cahyadi Natasya Pradita Reyna Ananda Harsono

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s s r r i i a a t t S S ; ; e e t t t t e e u u q q c c aa laM lM Studio Coordinator Paramita Atmodiwirjo Studio Tutors M. Mirza Y. Harahap Fariz Hirzan Edgar Harvian Tanchurya Nareswarie Ayuanindhita Adika Ramaghazy — Adira Dhiya Aufasya — Alifia Azzahra — Alya Amany — Alya Hasna Rizky Riandita — Alya Rufaida Syukri — Annisya Santoso — Athaya Safa Rasendria — Bella Putri Muliana — Brilli Aurabillah — Callista Sanaa Atsillah — Christopher Christian Surya — Diana Tri Mellinianti — Dinda Ayu Permatasari — Fadlun Assagaf — Feby Lidya Putri — Graciel Frederika Lumenta — Hilmi Fitriatulamal — Kelvin Andrean — Keshia Putri Tjandra — Larasati Tribuana A — Layla Dutha Faradiba — Lintang Kirana Sitaputri — Mantasya Nike Cathleya — Muhammad Rafif Cahyadi Agung — M. Arif Rahman — M. Raihan Athallah — Natasya Pradita — Nurvadia Putri G. — Puti Asyifa Matoati Yusfid — Putri Ayu Azhari — Raina Hanifa Sabila Zahwa H. — Ramadhan Putra Kurnida — Ratu Baina — Reyna Ananda Harsono — Riska Yuni Astari — Sarah Puteri Adelia — Shafira Azzahra — Shamila Nurul — Shania Afifah — Sherine Chairuna Arifayahya — Stephanie Clarissa Dheandra — Thenny Gunawan — Wanda Nadilla — Yohanna Anindya Budi P. — Zahra Hanifah Yasmin

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references Atmodiwirjo, P., & Yatmo, Y. A. (2019). Interiority in everyday space: A dialogue between materiality and occupation. Interiority, 2(1), 1–4. https://doi.org/10.7454/in.v2i1.56 Baudrillard, J. (1996). The system of objects. Verso. Benjamin, W. (2002). The arcades project. Harvard University Press. de Certeau, M. (1984). The practice of everyday life (S. Rendall, Trans.). Univ. of California Press. (Original work published 1974). de Certeau, M., Giard, L., & Mayol, P. (1998). The practice of everyday life. Volume 2: Living and cooking. University of Minnesota Press. Forty, A. (2004). Words and buildings: A vocabulary of modern architecture. Thames & Hudson. Frampton, K. (1995). Studies in tectonic culture: The poetics of construction in nineteenth and twentieth century architecture. The MIT Press. Franck, K. A. & Lepori, R. B. (2000). Architecture inside out. Academy Press. Harahap, M. M. Y., Tregloan, K., & Nervegna, A. (2019). Rationality and creativity interplay in research by design as seen from the inside. Interiority, 2(2), 177–194. https://doi.org/10.7454/in.v2i2.65 Heidegger, M. (1971). Poetry, language, thought. Harper & Row. Hill, J. (2006). Immaterial architecture. Routledge, Taylor & Francis Group. Hvejsel, M. F. (2011). Interiority: A critical theory of domestic architecture. Aalborg Universiteit. Lefebvre, H. (2011). The production of space (D. Nicholson-Smith, Trans.). Blackwell. (Original work published 1974). McCarthy, C. (2005). Toward a definition of interiority. Space and Culture, 8(2), 112–125. https://doi.org/10.1177/1206331205275020 Mesznik, A. (2007). Program as the source of agency [Excerpt from thesis research document]. http://www.adrielmesznik.com/files/UNoHK_ProgramExcerpt.pdf Plowright, P. D. (2014). Revealing architectural design: Methods, frameworks and tools. Routledge. Rybczynski, W. (1987). Home: A short history of an idea. Penguin Books. Sharr, A., & Unwin, S. (2001). Heidegger’s hut. Architectural Research Quarterly, 5(1), 53–61. https://doi.org/10.1017/S1359135501001063 Summerson, J. (1996). The case for a theory of modern architecture. In J. Ockman (Ed.), Architecture culture, 1943-1968: A documentary anthology (pp. 226–236). Rizzoli. Wise, M. (2006). Home: Territory and identity. In M. Taylor & J. Preston (Eds.), Intimus: Interior design theory reader (pp. 391–396). Wiley-Academy.

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Department of Architecture Faculty of Engineering Universitas Indonesia

Profile for Architecture Universitas Indonesia

Inside the Dwelling  

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