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jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

what our hat

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photo : adi kritz


JongEDITORIAL! oleh : Danny Wicaksono

Benar-benar tahun yang sibuk untuk kami. Bukan tahun terbit yang sibuk memang, tapi ini justru menyadarkan kami: bahwa jongArsitek! tidak boleh hanya menjadi media publikasi arsitektur online gratisan semata. Ia harus menjadi pijar semangat, untuk sebuah penjelajahan arsitektural. jongArsitek! lebih dari sebuah file yang terbagi, dan website yang dibuka. jongArsitek! adalah sebuah gerakan muda dari pemuda-pemuda arsitek jongEditorial Indonesia yang ingin menuliskan kembali seEdisi Desember ini menutup edisi terakhir jongAr- jarah budaya bangun bangsa ini. sitek di tahun 2009. Harus kami akui, tahun ini Seperti harapan kami di edisi-edisi sebepenerbitan jongArsitek! kurang produktif di bandlumnya, kami harap edisi kali ini dapat meningkan tahun lalu. Tapi ini semua dengan alasan ginspirasi anda yang membaca. yang kami rasa cukup kuat. Sebuah inspirasi untuk mulai bergerak WorkshopAMI: Ruang Tinggal dalam kota yang nyata. kami inisiasi bersama Avianti Armand, menyita sebagian besar waktu kami pada rentang bulan Mei hingga September. Kemudian, Paskalis, Direktur Kreatif jongArsitek!, merasa bahwa website jongArsitek! perlu diperbaiki, untuk memberikan Selamat akhir tahun, peluang bagi pertukaran informasi yang lebih Danny Wicaksono lancar dan lebih banyak. Jadilah website kami tampil dengan wajah baru yang lebih segar, dan lebih berisi daripada yang sebelumnya. Jika belum sempat berkunjung, silahkan kunjungi kami di jongarsitek.com . Setelah itu jongArsitek! kemudian terlibat sebagai media partner Jakarta Architecture Trienale 2009, yang baru saja usai akhir bulan November kemarin. Sebuah acara yang memberikan pondasi, untuk tradisi berarsitektur yang baru di bangsa ini. Tradisi berbagi, dan memperbincangkan arsitektur.


Kontributor

jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

tanpa basa basi, anda bisa mengecek profil mereka langsung ke Facebook dan media sosialweb lainnya.

Andi Alif http://www.facebook.com/ andialif Andreas Susandika http://www.facebook.com/profile. php?id=677768068

Noerhadi http://www.facebook.com/ adikritz Noviardi Prasetya http://www.facebook.com/ noviardi.prasetya

Farid Rakun http://fairdkun.multiply.com/

Saskia Prisandhini Tjokro http://www.facebook.com/ suchthingaslife


Editorial


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

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j o n g E d i t o r i a l sambutan dari redaksi kita

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j o n g F o t o

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j o n g T u l i s a n Anish Kapoor

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j o n g K a r y a The Intertwine

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j o n g T u l i s a n Jakarta Architecture Triennale

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j o n g T u l i s a n Review Bangkok Design Festival 2009

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j o n g K a r y a dayeuh Anom


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Noerhadi


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

eksotika carut marut : melaka vs politik kemajuan jaman g9 --


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jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

ANISH KAPOOR – Royal Academy of Arts, London, 2009

Noviardi Prasetya

Is it my role as an artist to say something, to express, to be expressive? I think it’s my role as an artist to bring to expression; It’s not my role to be expressive. I’ve got nothing particular to say, I don’t have any message to give anyone. But it is my role to bring to expression, Let’s say, to define means that allow phenomenological and other perceptions, which one might use, one might work with, and then move towards as a poetic existence.’ (ANISH KAPOOR in conversation with HOMI K.BHABHA, 1998.)

Journey of Our Sense As an artist, Anish Kapoor sculpts our sense and our emotion. His art provokes our notion of sculpture. He is one of the most influential sculptors of his generation. He was born in 1954 in Mumbai, India, and move to London in early 1970s. He studies at Hornsey College of Art and Chelsea College of Art & Design, and since then he has live and work in Britain. He’s not trying to say anything thus let us feel and tell ourselves. He makes us experience his work through all of our sense. He connect us to the fundamental elements of life itself, such as smell, sound, light, dark, and colors, all of which evoke a physical response. He works, plays, and interacts

not only with his art but also with the whole the space and scale. He invites us to dream, to think back, and to remember. The works are nothing without the engagement of the human sense. He gave questions without an answer, and we have to answer them ourselves. There are no right or wrong. That is honesty from us to ourselves. In the main entrance, He is bending and turning space inside out with Hive. The Placement, scale, corten steel material physically affect the way in which the viewer experience the work. He makes the viewer think about architectural relationship between oversized sculpture and the gallery in which situated. He always works with color in different way, because to him, color is an object it’s not just tone

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or surface. Sort of interplay between physical interface and sense. Like his work in Yellow,1000 names, and Svayambh. In Yellow, he produces a hybrid between painting and sculpture; it lies between the two worlds of each art form. It’s made from fiberglass and pigment. The huge six square meter art plays with scale and dominate the entire room, it draws the viewer nearer and nearer. It plays with physical, optical, and perception. Its like the sun, but this sun is not dangerous to look at, even we want to look at it. It is the sun that we can get closer to and by it we feel warm.

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Svayambh, translates from Sanskrit as ‘born by itself’ or ‘self generated’. The sculpture takes the form of solid train without window or rooms. It’s a four tons block of solid red wax, paint and Vaseline, moving across the main galleries of Royal Academy. It squeezes through the archway, leaving lumps of color, thick and uncomfortable. The smell of wax penetrates the space as we watch this awkward kinetic sculpture slowly pass by. Kapoor let the train forming itself by the arc of rooms. The slow move, red color, smell, solid form, and the lumps take over the atmosphere, even us. Feels like we see a ‘doom train’ passing by in silence or may be, seeing ‘our life’ moving slowly through periods of time, room by room, with lots of lumps of trial and despair, unstoppable, keep moving forward, be squeeze, and be shaped by the path. Then Vertigo play games with the viewer and with his or her visual perception. The work conjures up the idea of a circus hall of mirrors, in which the viewer image distorted and warps. It is a large


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

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stainless steel sculpture in which we might be somewhat surprised not to see ourselves reflected back as a perfect mirror image. It takes time to understand how the surface of the sculpture reflects their surroundings. The work of Shooting into the Corner inhabits two worlds; it is both an artifact and a performance piece of the art. It will change and evolve during the exhibition, as the splattered wax on the wall gradually build up. Kapoor use the time dimension to make a ‘living’ piece of art. There is a stockpile of pellets that the performers systematically fire across the gallery. The artwork is not complete without the performers. The booming sound penetrates the whole of the Royal Academy, in contrast with Svayambh. Each pellet weights nine kilograms fire at eight kilometers per hour in ritualistic performance. The sensation of danger and surprise come from both of the noise and the performance. The political notions of weaponry, death and blood are evident in the work. Is Kapoor trying to break down the walls of the gallery? Does he want to break through and allow us to escape into the other side world ?

-noviardi prasetyatha artwork courtesy of the artist, installed in Royal Academy of Arts, London, 2009.


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i


University life encompasses more than just academic pursuits; it is also about expanding one’s social and cultural horizons to pave the way for a well-rounded education. Some of the challenges you may encounter while living in student accommodation include dealing with others from different backgrounds and encounter yourself from

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jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

the Intertwine knowledge interweaving zone -adhitya pandu s.ars -andi alif s s.ars -anggie amalia s.ars -cindy charisa s.ars -gibran s.ars -putera anarta s.ars -diandra pandu -paramita admodiwirjo ST, M.Arch, Ph.D -yandi andri yatmo ST, M.Arch, Ph.D

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the individualistic behavior. Hereby, the presence of communal space becomes special. The Intertwine provides the changing mosaic of culture, activities, and everyday communal life of students.. The Intertwine provides infinite opportunities to preserve natural areas, open space, and a great academic atmosphere. The Intertwine reflects the quality of life by encouraging communal space,


connection to nature, and active transportation such as walking, running, and biking. The Intertwine is a growing network of integrated student resident, open gathering space, pedestrian, and natural area. The materiality of The Intertwine reflects the complementary relationship between the low-tech horizontal layers and high-tech vertical layers. Low-tech is materialized in various ecological systems of nature, water bodies, and natural materials. High-tech is materialized in lightweight, strong, advanced materials.

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The Intertwine exhibits facades as the incomplete weaving; reflecting the future generation in the process of making it opens itself for other additional weaving. The intertwining of life, leisure, and work is achieved by the blending of the inside and the outside, of the function and the form, of the solid and the void. For some students, the Intertwine is time spent to adventure the meaningful friendships and yet learn how to live independently in a communal environment. The Intertwine will also be the opportunities for personal growth and development

as you start adjusting to a new way of living and experience cultural diversity The intertwining of building mass creates the combining system of single-loaded and double-loaded corridor, resulted in the penetration of sunlight into the circulation zones. The structural system is the intertwine of horizontal and vertical structural components. The frame structure of the main towers is integrated with the transfer beam system connecting each main tower.


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

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The intertwining programme create the bridging of physical process and experience at the everyday level. (*)


jakarta architecture triennale 22

Musyawarah Daerah IAI Jakarta 2009 yang di tahun ini dijadikan BESAR akan digelar sepanjang bulan November 2009. Tak seperti musyawarah daerah-musyawarah daerah yang pernah digelar IAI Jakarta sebelumnya: mengundang 5000 orang anggota aktifnya, mengurus tatanan organisasi ini itu, revisi aturan ini-itu, menambah nilai KUM demi sertifikasi profesi tingkat lanjut; Jakarta Architecture Triennale merupakan sebuah mimpi arsitek-arsitek Indonesia akan kehadiran festival arsitektur di tanahnya.


Jakarta Architecture Triennale akan mengundang para arsitek visioner seperti Rem Koolhaas – Belanda (dalam konfirmasi), salah satu pendiri Office of Metropolitan Architecture; Rene Tan - Singapura; Qing Yun Ma – China; Eko Prawoto – Indonesia; Michel Rojkind – Meksiko; Duangrit Bunnag – Thailand; Adi Purnomo – Indonesia; Anton Garcia Abril - Spanyol; Chana Sumpalung -Thailand; Andra Matin – Indonesia; Han Tumertekin – Turki; dan Kevin Low – Malaysia. Para arsitek ini akan memberikan kuliah umum di Blitz Megaplex, Grand Indonesia. Isi kuliah / lecture mereka akan beragam dan kontekstual, sesuai dengan keahlian dan minat desain masing-masing pembicara. Dengan kapasitas ruang Blitz Megaplex yang terbatas, ada baiknya registrasi segera dilaksanakan (email ke registration@jat2009.com). Lalu, kenapa Jakarta Architecture Triennale? Kenapa tak hanya melaksanakan Musyawarah Daerah—yang di rangkaian acara Jakarta Architecture Triennale ini akan diadakan di Kempinski Hotel Grand Ballroom tanggal 22 November 2009? Jawabannya, kerinduan. London punya London Festival of Architecture, yang digelar 20 Juni - 20 Juli 2008; dengan total pengunjung 250,000 orang. Begitu pula Festival Arsitektur Torino, Italia. Tak usah jauh-jauh, Malaysia, Festival Arsitektur DATUM-nya menjadi ajang tukar ilmu para arsitek dari berbagai belahan dunia.

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Rangkaian acara Jakarta Architecture Triennale ini disinergikan sebagai lahan penjawab kerinduan para arsitek Indonesia akan ilmu-ilmu yang aktual dan terkini. Kerinduan akan inspirasi, kerinduan akan pengalaman dan rasa berbagi. Kerinduan akan aktualisasi.

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Meneruskan wacana Nyengir Merenung tentang Jurnalisme Arsitektur di Jong Arsitek Edisi 2.1, di mana di sana terulas betapa pentingnya seorang arsitek untuk terus selalu memperbaharui otaknya, memperdalam ilmunya, mengasah kepekaannya—pekerjaan yang ekspertisenya seumur hidup—istilahnya, keberadaan festival ini merupakan mata air yang airnya deras tinggal ditampung. Jika selama ini pengetahuan didapat melalu peranan Jurnalisme Arsitektur yang mempercepat proses aktualisasi seorang arsitek dalam berkarya dan menyebarluaskan karyanya; keberadaan pertemuan arsitektur memiliki efek yang serupa tak sama. Daripada membaca jurnal tentang karya Michel Rojkind, tentu lebih banyak sari yang dapat diserap jika mendengarkan beliau langsung mempresentasikan karyanya. Jakarta Architecture Triennale ini akan dilaksanakan dengan tema “Affording Architecture”, yang menurut panitia lahir dari keinginan untuk menjangkau arsitektur—sebuah pemikiran yang filosofis—memasukkan arsitektur ke dalam kehidupan, memasukkan arsitektur yang baik sebagai bagian dari hidup. Nafas ini diterjemahkan sebagai visi teguh panitia dalam memilih karya-karya pameran yang akan dipamerkan selama pameran yang akan diadakan di beberapa spot dalam Grand Indonesia sepanjang bulan

November. Akan ada pula Tur Bersepeda mengelilingi obyek-obyek arsitektur di Jakarta, yang semua registrasinya dapat dibaca jelas dalam website resmi Jakarta Architecture Triennale http://www.jat2009. com. Peserta pameran dalam JAT 2009 akan terseleksi kualitas dan relevansinya sesuai dengan tema Menjangkau Arsitektur oleh panitia JAT 2009. Konsep desain pameran akan didesain sedemikian rupa, sehingga menghasilkan pengalaman ruang dan display yang diharapkan berbeda dengan pameran biasa. Dengan perbedaan ini, pengunjung non-arsitek akan tertarik untuk menghadiri JAT 2009 karena mereka juga dapat melihat dan mendapatkan informasi seputar dunia desain arsitektur Indonesia dan produk – produk industri arsitektur dengan kualitas yang dapat dipertanggung jawabkan. Acara ini ditargetkan untuk anggota aktif IAI Jakarta, mahasiswa arsitektur, pemerhati arsitektur, suplier, praktisi dunia properti, hingga masyarakat luas. Gunanya? Kembali pada Affording Architecture. Menjangkau arsitektur. Berempati pada arsitektur. Acara ini di Jakarta belum pernah diadakan dan belum ada studi kasusnya. Acara akan dibuka oleh jajaran pengurus IAI, dan akan diramaikan oleh pameran Arsitek Muda Indonesia, beserta acara-acara lain. Lalu kenapa Triennale? Triennale, berarti 3 tahunan. Menurut Panitia dan jajaran IAI Jakarta, semangat penunjukan Triennale pada acara festival ini ditujukan agar ke depannya acara ini


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

dapat diadakan 3 tahun sekali di Jakarta. Tentu sebuah berita baik, paling tidak akan banyak ilmu yang teraktualisasi 3 tahun sekali. Akan banyak inspirasi yang lahir, yang ke depannya diharapkan dapat membentuk mempertajam langgam desain arsitek-arsitek Indonesia agar dapat berkompetisi secara global di dunia internasional. Toh jangan salah, negara-negara tetangga sudah mengakui arsitek-arsitek Indonesia sebagai desainer yang handal. Bayangkan jika visi festival ini dapat tersampaikan. Bayangkan inspirasi yang akan tercipta! Sukses, Jakarta Architecture Triennale. Untuk arsitektur Indonesia, untuk inspirasiinspirasi hebat di masa mendatang yang sebentar lagi tiba. -Saskia P Tjokro dari berbagai sumber foto olejh Aldila Mardiani ‘qodel’

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review Bangkok Design Festival ‘o9 BY Farid rakun

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BACKGROUND Most of the Southeast Asian countries are considered parts of the third world countries [excluding Singapore, questionably], therefore it came as no surprise when the global economy crisis hit, the area’s response to the condition was rather differently from our developed counterparts. As the autonomies + political conditions vary greatly over here, it would be a mistake to generalize the response as a single unified statement, but it’s not so hard to find a unifying spirit underneath. Southeast Asian countries, so it seems, don’t want to show any sign of slowing down growth. We don’t need to look for the aforementioned signs further than at the countries’ art/architecture/design festival. Among the countless smaller creative festivities, at least in the last 6 months, there was + will be 3 big events: DATUM KL in Kuala Lumpur, Malaysia [July ‘o9]; Bangkok Design Festival, Thailand [October ‘o9]; and Jakarta Architecture Trienalle [November ‘o9].


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i Although all of them take the trendy somber, grounded, and rather restrained themes – KL asked whether Basic Design is the New Intelligence?, Bangkok did its part in Balancing the Future, + Jakarta will do its best efforts in Affording Architecture – I see another unsaid element in all of them, and in my opinion, this side of the equation is far more realistic and honest than all of those themes combined. That invisible side is actually finding the best way Marrying Design with Commerce. Put it simply, we want to buy as much we want to sell. Annuals, biennales, triennales – the region has not seen or undergone too much of them, yet. We have no version of Hans Ulrich Obrist, yet. Lastly, we don’t need to learn about the discourse of events from E-Flux, just yet. It’s good to start with honesty, and maybe it is because of we have done it most of the times on our lives – designing with full conscience, restrictions and constraints – making those themes the easiest for us to come up with, but learning from Las Vegas and Dubai, a little boasting when we are in a better condition than others will not hurt. Besides, economical strength shown, seeing it from every angle, is not a bad thing.

should know. So, finding out that there was Bangkok Design Festival 2oo9, during my last stay in the city, did not surprise nor excite me. As a design snob myself, my reply to my Thai-creativeclass friend who broke the news to me [as if I couldn’t read the announcement made everywhere possible], ‘I resist coming to another design shows. Designers are a self-absorbed bunch. Have you seen it yourself?’ I wished that I was better with words, and become more like Bruce Mau, who might have asked back, ‘Is it a festival about the world of design or the design of the world?’ – less of a snob, more of a diplomat that way. Because in the end, my curiosity got the best of me and I went to experience, at least two days of it. There’s nothing more politically correct nowadays than to hold an artistic event on public spaces. Bangkok is no exception. The question on such grounds is: what is considered public? How do we measure publicity? By control, by traffic, by access, or else? Would government-funded parks be better, because of its usage? Or shopping malls are the truly public spaces, since they attract more people? In Portland, we might find a different answer, but rest assured that in this case, the answer is more of the later. There are other open venues used during the festival, but the majority of BALANCING THE FUTURE these events happened in commercial centers. There’s always at least one new revelation Recall Marrying Design with Commerce? I realize every time I visit Bangkok. Be it as small as how uncomfortable + ultra-tiring less-than-15-cm stair threads are [climb up any public vertical circulation in the city, + you’ll know what I’m talking about], or as big as their interconnected shopping complexes – shopping is indeed a unifying faith in the contemporary world - nothing is as universal as consumption nowadays. My visit last week was no difference. Everybody agrees that Bangkok is big on design + creative industry. We can see the translation of this fact from their trendy markets, people on the streets who clearly support their locals by using + buying mostly what their Thai designers/producers offer, or even how proud + how deep the British Council get their hands on Thai colorful events [it’s as if the UK cultural exchange agency cannot help to put its brand on any affair with the label ‘creative’ on its title.] Further, anyone who has seen this book Picture 1 – Fair Zone/minimart

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Picture 5 – M-150 Play Cloud

Picture 2 – Flash On by Anon Poirot. Further, we can see the object they were promoting. What’s the use of taking over a public space if one didn’t make her/his object of display interactive? Here, interactive could mean buying. In the events that took place on the commercial center, to-besold objects were the favorites. Take a look at Anon Pairot’s Flash On furniture exhibition, Gold City’s Shoes’cream shoe design exhibition, or my personal favorite on this category, Fair Zone/minimart.

Picture 3 – Shoes’cream by Gold City Other category is the imported materials. This category never fails to fall short from expectations. Abundant Australia exhibited models from Australian pavilion for the last Venice Architecture Bienale. Its ‘no camera’ policy, overthought catalogue, and poor display; killed the potential for me. Takashi Akiyama’s Illustration Poster exhibition, on the other hand, begs to be overlooked and underappreciated just by its chosen location.

Picture 4 – Illustration Poster by Takashi Akiyama

The most interesting event during the festival, undeniably, was the M-150 Degree Shows o9 + Play Cloud. They took place on the most prime location there is – the plaza between Siam Paragon + Siam Center, the best place for any vow between creative industry + its business side counterpart happens. On the former, design school graduates showcased their graduation projects in a shipping containers installation, categorized by their disciplines [architecture, interior, product, graphic, animation, fashion + jewelry. Visit each respective online showroom for more details of the worthwhile projects being shown.] The downsides of these arrangements were the size of each showcase [in architecture section, for example, viewers felt cramped because they could not navigate easily as a courtesy of the size of the models being shown]; the questionable direction these students took [I can’t speak too much for the other disciplines, but I thought playing Zaha was cool for anyone older than me – personal opinion]; and as usual, the too-mucheagerness towards manifestoes [having words printed on the containers added a nice touch, but to call these words manifestoes is another thing – where would we go with these manifestoes?] The later, on the other hand, showed that a right amount of self-absorbedness usually found on creative individuals, could actually render an idea more productive. The invitation for kids to play with these puffy white floating wonders proves itself to be too hard to handle. Assuming they were using extremely flammable helium inside, I think it was lucky that there was no noteworthy accident occurred. Or maybe it’s because of the strict no smoking regulations all around the city.

Picture 6 – M-15o Graduate Show o9 general view


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i Picture 7 - M-15o Graduate Show o9 showcases Picture 8 - M-15o Graduate Show o9 architecture showcase Picture 9 - M-15o Graduate Show o9 architecture showcase On the more culturally-friendly venue, however, there were projects with different nature altogether. On the just-opened Bangkok Culture and Art Center [BACC], works with more social agenda were shown. Ongoing projects such as Creative Cities km.o [aka. Change Bangkok – a part of British Council East Asia program Creative Cities], which ‘looks at how artistic interventions can help transforms cities’; BMuse’s What Is Your Dream Museum?, ‘a recent survey presents a very concerning finding about museum visitation’ for those ‘who spend most of their free time in entertainment venues, cinemas or department stores’; and FAI-FAH by TMB, which intends to ‘create better change in Thai society starting from little ideas for children in local communities using ‘art’ and ‘creative thinking’ as tools’; flew seamlessly by the choice of presentation techniques which resembles a seemingly endless accordion made out of paper. It was actually a smart demonstration of curatorial skills, with one major exception: technical. The choice of using accordion-folded paper might seem good on renderings, but not on reality [especially if it’s not well made, as the case over here] – the presentation only looked good from afar, but when you at least tried to get into the content, it was frustratingly difficult – especially when the whole construction starts to bend uncontrollably because of gravitas. The two-face effect, hoped to be achieved by the folding technique, was not perfectly tuned. In contrast, the non-paper exhibits, i.e. the various interactive game consoles made by my favorite Thai multidiscipline firm - Apostrophy’s, were well-made + well-thought of. Picture 10 - Creative Cities km.o logo sheet Picture 11 – Bangkok Art and Culture Center general situation during Bangkok Design Festival o9 Picture 12 – What’s Your Dream Museum? by BMuse

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Picture 14 – Do It Together by Knotting Else

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Picture 13 – FAI-FAH by TMB logo sheet My favorite piece mentioned on the general festival schedule was Knotting Else’s Do It Together, a mobile structure made out of recycled materials that play with the concept of opensource-ness in more massive scale realm. Not unlike prefabricated building companies, just more playful. As expected, the installation itself did not do justice to this kind of grand idea. Maybe it was because it was raining cats + dogs on my time of visit, but it came as no surprise that no one besides me entered + interacted with the installation during my trial to experience it. The fact that there was minimal effort explaining the installation, which could as well answering some open questions if it was done, did not help. No matter how good looking it is, an idea means nothing without proper communication, in that department the piece fails badly.

EXTRA Back to my main argument of Marrying Design with Commerce, funnily I found the best example came from a surprising discovery of one-of-a-kind project which part was presented in BACC space, but was not created specifically for the festival. IceDEA is an ongoing project that playfully turns the idea of design, from a mainly visual discipline, into a multi-sensual realm and still be operating in the field of aesthetics. They stated it best when they wrote on their website that they are, simply, ice-cream designers. There are clearly conceptualization, technical mastery, overcoming of logistic problems, and even customization process in their mode of operation; rendering them the most complete and comprehensive project I saw during the Bangkok Design Festival event. They are blurring the boundary between art + retail, ending up doing both discipline at the same time. At this Murakami, Koons, + Hirst crazed times, when the economical value of any artistic activity is no longer asked upon, why not create a work of art whose whole existence is actually to sell, in the first place? Remember honesty? It’s still number one criteria of good art in my book.

Picture 15 – IceDEA


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Picture 16 - IceDEA FINALE While the region seems to still be in a state of any-celebration-of-any-kind-of-creativity euphoria, I decided to close with some questions I have on the whole infrastructure that surrounds the-so-called creative industries: is it really viable [at least economically if not socio-culturally] to keep operating in a self-absorbed, close-circuited mode? Would it be better, and make us actually much more respectable as well richer, if we really make festivals, annuals, biennales, et al. to celebrate our audience’s existence, instead of to congratulate ourselves on our achievements? Or is it actually an industry already big enough in itself, no need to diversify? Are we really satisfied of our current state? A state where, - as the below quote stated perfectly:

“The mechanism is designed to minimise the amount of novel formulations”. “Our discipline is about as defensive a system as it is possible to imagine… The global infrastructure of professional organizations, schools, magazines, books, conferences and lectures is an array of concentrated nodes that safely redistributes and diffuses energy around the network. More than a million architecture students around the world are efficiently networked to each other to slow things down.” Mark Wigley, quoted in Alastair Parvin, Architecture’s Long Tail Neither KL nor Bangkok could provide me with satisfactory answers on this department. I guess I have to wait for other events to look for an answer or two. Next up: Jakarta, now the stage is yours. What do you have for us this time around?


Dayeuh 32

Sebuah Mega Proyek Prestisius baru akan menjadikan Bandung sebagai gerbang utama pariwisata Jawa Barat. Hal itu disampaikan oleh Rama Adhitya selaku Arsitek PT. Bangkit Indonesiaku.

menjadi 5 tahap. Pertama, mengalihkan kendaraan bermotor dan menggantinya dengan jalur-jalur pedestrian yang nyaman menghubungkan titik-titik tujuan utama di kawasan alun-alun dst nantinya.

Saga revitalisasi kawasan alun-alun dan sekitarnya ini dimulai beberapa tahun yang lalu. Dalam rangka menjadikan Bandung sebagai kota wisata, maka penambahan tempat tujuan wisata dilakukan secara sporadic, salah satunya adalah kawasan alun-alun. Kawasan bersejarah yang dewasa ini semakin terpuruk pamornya, akan dibenahi semaksimal mungkin.

Kedua, Mendesain ulang Masjid Agung. Dengan meningkatnya pengunjung masjid, masjid yang ada sekarang telah mengambil bentuk asli ruang terbuka alun-alun sehingga perlu di ambil solusi desain mengantisipasi lonjakan pengunjung tersebut tanpa mengurangi nilai historis dan bentuk alun-alun yang ada sekarang.

Secara keseluruhan, pembenahannya dibagi

“Oleh karena itu Masjid akan dikembalikan seperti semula, tidak mengambil lahan alun-


h Anom.

jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i

Penataan Kawasan Alun alun Bandung dan sekitarnya sebagai destinasi wisata belanja sekaligus memperkuat karakter dan sejarah kota tua Bandung. Alam Fajarahman M, Andreas Susandika, Paskalis khrisno ayodyantoro, Pratiwi Tanuwihardja, Rama Aditya

alun. Untuk menambah kapasitas, maka masjid ditambah jumlah lantainya, yang semula hanya 3 lantai menjadi 6 lantai, dan keseluruhan bangunan akan diangkat setinggi satu lantai, sehingga tercipta ruang public di bawah masjid tempat jemaah berkumpul,diskusi dan berbaur dengan warga kotanya, kami ingin Masjid itu tidak eksklusif, sesuai dengan semangat pembaharuan Islam�, ujar arsitek Masjid, Ir. Alam F. Mulyana. Ketiga, Mendesain ulang kawasan dalem kaum. Jalan yang selalu penuh sesak oleh pengunjung, penjaja di kaki lima dan toko-toko kelas menengah tersebut akan dirapikan. PKL yang berjualan di depan toko dan memenuhi trotoar

akan dipindahkan ke tengah jalan (tentu saja jalannya pun bebas kendaraan bermotor), hal tersebut dilakukan agar antara toko dan PKL saling menguntungkan. Kawasan ini rencananya akan dijadikan pusat bisnis local warga kota, seperti kerajinan, fashion dan kuliner. Keempat, Membangun Mall di lahan yang sekarang digunakan untuk mall palguna. Mall modern dengan desain yang menarik diperlukan untuk menggenerate ekonomi kawasan ini. Mall yang terletak persis di depan alun-alun dan masjid agung ini memiliki 4 muka, salah satunya sisi belakang mall akan dibuat menjadi kawasan waterfront sepanjang 200 m. Proyek ini akan menjadi percontohan dalam rencana

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kota Bandung menjadikan sungai Cikapundung sebagai alah satu tujuan wisata. Andreas Susandika selaku arsitek dari bangunan ini menambahkan, mall ini dapat menjadi penyangga utama kawasan alun-alun yang baru. Warga kota diharapkan mengunjungi mall ini, menaruh kendaraannya dan menjadikan mall sebagai tempat transit menuju kawasan-kawasan lain di sekitarnya yang tidak kalah menarik.

dibalut dengan kreativitas khas kota Bandung, niscaya Bandung dapat disejajarkan dengan tujuantujuan wisata primadona di Indonesia bahkan di dunia.

Dayeuh Anom, begitu Paskalis Khrisno Adyantoro membeberkan nama pusat kota baru Bandung. Arsitek sekaligus penggemar kuliner Bandung itu yakin, Dayeuh anom akan dapat menarik wisatawan Kelima, membangun stasiun transportasi massal. domestik dan internasional. Dengan kota berpenduduk lebih dari 3 juta jiwa, kota Bandung sudah selayaknya memiliki transportasi Bahkan, walaupun Dayeuh Anom masih dalam massal sebagai media alternatif danjalur transportasi tahap pelaksanaan, warga Bandung sudah tidak yang dipandang kian menyesakkan dan sekaligus sabar untuk segera menikmati kawasan wisata mendorong masyarakat untuk menggunakan trans- terpadu tersebut. Pratiwi 24 tahun, bahkan sudah portasi kota dan berjalan kaki. Sesuai dengan wacana jauh-jauh hari memesan ruang usaha di mall yang pemkot Bandung untuk membangun MRT, maka de- direncanakan akan selesaI tahun 2012 itu. “Edun sain kawasan alun-alun baru ini pun direncanakan pisan konsepnya!� Wanita lajang tersebut menutup memiliki stasiun MRT. Naik mrt dari penjuru kota, tu- pembicaraan. (*) run di stasiun dayeuh anom, dan menikmati semua sajian yang terdapat di kawasan tersebut. re-inventing Bandung 2009 Bandung memiliki seluruh potensi untuk menjadi kota wisata internasional. Jika kekayaan yang dimiliki Bandung seperti Sejarah, iklim, budaya, kuliner, dll itu


jongArsitek! E d i s i 2 . 4 , 2 0 0 9 | d e s a i n m e n g i n s p i r a s i


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