Newcastle University // School of Architecture, Planning and Landscape // 2016-2017 // Academic Portfolio // Studio: Enclosed Order
Ryoga Adityo Dipowikoro
When you lost the ability to believe,
You will stop believing others,
You will stop believing heroes,
You will stop believing history,
And you will stop believing your self.
When you stop believing your self.
You will lose your mind,
You will lose your loved one,
You will lose your God,
You will lose your self. And then you will be lost.
Find your light,
Before it’s to late,
Find your light, Find your light,
Find your faith.
Newcastle University School of Architecture, Planning and Landscape 2016/217
Enclosed Order
Academic Portfolio
Ryoga Adityo Dipowikoro
CONTENT
ACT ONE PRIMER
ATMOSPHERIC EXPERIENCE.
THE PROTAGONIST.
STUDY AND ATTEMPT.
12-17
18-21
22-33
IT’S ALL ABOUT THE CONTEXT.
THE POETIC BEHIND MATERIALITY.
PLAN AND SECTION.
36-43
44-53
54-63
LIVING AS AN APPRENTICES.
PRAYING WITH THE APPRENTICE.
WORKING LIKE AN APPRENTICE.
64-72
73-83
84-93
ACT TWO
GRADUATION PROJECT
ACT THREE
INTERGRATION OF TECHNOLOGY MAIN STRUCTURE.
WALL STRUCTURE.
LIGHTWELL STRUCTURE.
96-97
98-99
100-101
ARCHES AND MASJID.
102-103
go.
8
WELCOME
To a year journey inside Atmosphere, Islam and Architecture
9
r.dipowikoro@gmail.com
I
ACT ONE
ENCLOSED ORDER
PRIMER
ATMOSPHERIC EXPERIENCE
ATMOSPHERIC EXPERIENCE. THE UNBUILT
Understanding Unbuilt Architecture with Utopian goals is similar to understanding monastic architecture, as they both evoke feeling inside human. These examples of monastic architecture define the feeling of superiority and tender loving towards the architecture and goals. These collages explore the works of the Unbuilt Architecture, especially Etienne Louis Boullee’s work. The exploration began with by testing the coherence between projects by introducing the building with context, with surrounding, with other buildings. The quality of madness, hyperbolic atmosphere, is the key to understand the complexity of monastic atmosphere. This is also related to my dissertation on the shifts of utopian concept regarding era; from postmodernism to metamodernism.
Quality of madness. Hyperbolic atmosphere.
The unbuilt convey a certain kind of madness in architecture, representing a utopian dream. It could evoke a certain feeling inside of us. The atmospheric are conveyed and amplified by the madness of the unbuilt. A hyperbolic atmosphere, the raw sense of atmosphere could be examined further.
13
14
15
PORTFOLIO
ACT ONE
EXPLORATION, EXPERIMENT.
TEST CHAMBER This experimental model explores the quality of geometric and hierarchy of space represented in the unbuilt. The concrete model aims to replicate the hyperbolic atmosphere, by using harsh lines, strong shadow and cold material. The entrance and the big window allow the light to travel and illuminate the space. It could see as a section, which change the skylight into a circular window. As an abstract atmospheric, context is needed to show relevancy. The three rendered images tried to investigate the connection between an abstract idea, an abstract atmosphere, an abstract quality and context.
Render: Concrete Model Render Day I
16
PRIMER
ATMOSPHERIC EXPERIENCE
Test Chamber: Concrete Model Roof
Render: Concrete Model Render Night I
Test Chamber: Concrete Model Side
Render: Concrete Model Render Night II
Test Chamber: Concrete Model Section
17
PORTFOLIO
ACT ONE
THE PROTAGONIST. MANIFESTO: ISLAM
Islam beliefs in a singular God called Allah and their prophet, Muhammad SAW. The core beliefs of the Islam Law include: Shahada, Salah, Sawm, Zakat and Hajj. Shahada is all Muslim need to beliefs in their prophet Muhammad SAW and their singular God, Allah. Salah is their dialy prayer, which is conducted 5 times a day. Before they pray, they need to perform cleansing ritual called Wudhu, where they prepare purify their self before communicating with Allah. Sawm is the obligation to fast in Ramadhan month. Muslim needs to share their wealth through charity called Zakat. The last is Hajj. Muslims need to visit Ka’abah in Mecca once in their lifetime, the salah direction. This direction is called Qibla. Muslim is not familiar with the culture of monk; instead they use apprenticeship as a method to educate believers about their religion. They do not tie their follower to serve Allah inside a secluded territory. Islam wanted their follower to be in the society, conducting their obligation while devoting their self to Allah.
The date of the two big celebrations, Ied and Ramadan, is decided by observing the cycle of the moon. As shown above, their daily prayers are also based by the cycle of the nature, which is the sun. Before the invention of the numerical clock, the religion use the cycle of nature, which shows the connection between their religion and the nature. This represented in on of their celebration, Ramadan. In this month, Muslims need to fast, holding their hunger and desires. They use the sun cycle, as the fast begin at sunrise and finish when the sun comes down. The world is facing a global crisis, the crisis of Islamophobia and Refugee crisis. Muslims are faced with crisis on its own, a nationhood crisis. They are usually stereotypes as the Middle East, erasing their nationhood. In addition due to this stereotypes, Muslims often assimilated with terrorist. To reduce this issue, is not by using force, rather a subtle approach of communication. This crisis occurs due to the misunderstanding between the two sides, amplified by their differences, stereotypes and misunderstanding.
18
PRIMER
THE PROTAGONIST
ISLAMIC PROTAGONIST
Muslims Apprenticeship and The Protagonist
9 19
PORTFOLIO
ACT ONE ISLAMIC PROTAGONIST
WUDHU, THE CLEANSING. A RITUAL BEFORE SALAH Before they pray, they need to perform cleansing ritual called Wudhu, where they prepare purify their self before communicating with God. They need to use running water. They need to wash their parts, using clothes, from head, hands and feet. This is different from taking a bath, as they do not need to wash their entire body.
SALAH, THE PRAYER. FIVE TIMES A DAY
Muslim
prays five times a day, which is called Salah. The pray begin before dawn Called Fajr, continue to Zuhr, Asr, Maghrib, to the last prayer called Isha. They need to face a certain direction called Qibla. Every Friday they conduct a Friday prayer for the whole Muslim community. When the times for praying comes, Muslims need to perform Adzan, to remind the believers, “it is time to pray”. This praying times are based on the cycle of the sun. Dusk is Fajr, Dawn is Maghrib and Zuhr is when the sun hit its highest point.
Asr
Zuhr
Faj’r
Salah and the Sun
Maghrib
Isha
20
PRIMER
THE PROTAGONIST
QIBLA, THE DIRECTION. AXIS MUNDI This is one of the strongest rules in the Islamic World. When the time to pray comes, they need to face one direction, the direction to Ka’abah, in Mecca. This direction is called Qibla. They excel in math and astronomy to help them calculate the Qibla direction. In the Islamic Kingdom in the past, most of the city orientation is facing to Ka’abah, in Mecca. This is the axis mundi of Islam, a homogeneity orientation. Mosque will disrupt the order in the sites, which does not follow this direction, shown in the exploration in the right. This disruptive manner of Qibla will be the main focus on developing the project.
Apprentice and The Devine 21
Qibla and Direction
PORTFOLIO
ACT ONE
STUDY AND ATTEMPT. VERNACULAR EXPLORATION.
Vernacular architecture is one of the most fascinating architecture, as their approach is based on the weather and tradition. Islamic architecture shows certain obsessiveness towards order, pattern and symmetry. This could be related by their rituals, which ordered by the nature. They condemned painting of Allah and their prophet Muhammad SAW, as they do not want their followers to worship a character, rather they wanted a genuine relationship between themselves and Allah. This is shown by the use of repetition and pattern in their architecture, usually using ceramic material. In the Golden age of Islamic Kingdom, they excel in math to help calculate the direction of Qibla using the stars.
Mosque is often assimilated with a dome structure. However it is not necessary and relevant today. The dome is used to amplified sound, and potentially to show power. It is said that the Islamic Kingdom is the first to discover the calculation of dome, by inventing the number 0. This shows the complexity of the building, show power and show how important mosques are. Understanding the essential elements of an Islamic architecture will deeper the approach history taken on monastic architecture.
Test Model
22
PRIMER
STUDY AND ATTEMPT
Section AA 1:50
A
Plan 1:100 A 23
ACT ONE
PORTFOLIO
ARTEFACT STUDY. MUSEO NACIONAL DE ARTE ROMANO BY RAFAEL MONEO a collaborative project with: Andreas Lukita Haliman Matthew Hearn Museo Nacional de Arte Romano in Merida by Rafael Moneo deliver an interesting tectonic quality. The first is
the rhythm of the arches, built by brick. The quality shown by the bond of the bricks, the colour and high ceiling arches is the main tectonic quality. The heavy tectonic convey by the masonry amplifying the rhythm of the arches. The second is the poetic of the materiality. The arches echo the roman architecture forte. Brick, an earthly material, represent the buried culture of the Romans. The arches act not only as aesthetic, but also as structure holding the architecture together. The third is the play of height, shown in the model in the right. The level change between the main arches and the floor create a dynamic of perspective and view. This enhance the atmospheric experience of the museum, bridging from the past to the future, museum of the romans. Model of The Artefact Study
Photograph: Museo Nacional de Arte Romano
24
PRIMER
STUDY AND ATTEMPT
Photograph: Artefact Model
25
ATTEMPT CELL AND PODS
FASTING POD. ALONE WITH THE DEVINE.
This fasting pod is scattered around the complex, which located in the imaginary context, somewhere in the slope of the hill. The fasting pod is a space for people to contemplate, reading Quran and pray to Allah when Ramadan comes. In this month they need to fast everyday, from sunrise to sunset.
MONASTIC CELL. PLACE TO REST YOUR HEAD.
This fasting pod is scattered around the complex, which located in the imaginary context, somewhere in the slope of the hill. The fasting pod is a space for people to contemplate, reading Quran and pray to Allah when Ramadan comes. In this month they need to fast everyday, from sunrise to sunset.
27
PORTFOLIO
ACT ONE
Model of The Fasting Pod.
Model of The Cell
28
PRIMER
STUDY AND ATTEMPT
Model of The Complete Mosque
Model of Level G, Wudhu Space
29
MOSQUE ON THE HILL. COMMUTE AND PRAY.
This is siteless mosque, series of imaginary and abstract space. This mosque explores the hierarchy of the daily prayer rituals. The mosque located in the highest point of the complex, which is visible from everywhere. The first is the step to the mosque; this is a ritualistic manner of “commute and pray”. The second is the washing ritual, Wudhu. The natural water flows from the river to wash them with nature’s gift. The last is the main mosque. The mosque is a simple flat space, serving people to pray, facing their axis mundi, the Qibla direction. The tectonic quality of the mosque is reflects the same quality own by Musei Nacional De Arte Romano.
Level I Main Mosque
Level G Natural Wudhu
30
ATTEMPT MAJSID
PORTFOLIO
ACT ONE
THE HIERARCHY OF MUSLIM RITUALS
The song of Adzan, The time to Pray
32
PRIMER
STUDY AND ATTEMPT
THE HIERARCHY OF MUSLIM RITUALS
Mosque on the Hill.
33
II
ACT TWO
ENCLOSED ORDER
PORTFOLIO
ACT TWO
IT’S ALL ABOUT THE CONTEXT. SITE ANALYSIS
The site is located in Ford St, Ouseburn, and Newcastle upon Tyne, United Kingdom. It has four seasons, strong wind and cloudy sky. It is located next to Small River, which connected to the main river in Newcastle, River Tyne. It is an interesting area for an Islamic Apprenticeships Monastery to have, as the town council try to revitalize Ouseburn as a new creative zone of the city. The mixture of religion tradition and visionary young adults might develop an interesting culture. Not for from the site is the Byker wall, an accommodation which spans like wall, blocking winds and sounds.
The site is in the valley, 5 meters difference, 15 meters above sea as the highest point and 10 meters above sea as the lowest point. The site spans from the existing warehouse in the northwest to the scrapyard facility. The site is 110 meters length ando 58 meters wide, with a total area of 6380m2. The site right now is fully wall with various materials, brick in the southwest, concrete in the southeast.
36
STAGING
SITE ANALYSIS
NORTH
SITE PLAN 1:2500 37
QIBLA
PORTFOLIO
ACT TWO
THE SITE STORY. A TELL TALE FROM OUSEBURN. a collaborative site model with: Andreas Lukita Haliman
The site (highlighted in red below) is located in the hill. The contour quite steep, with 5 metes difference. These differences in height give me the opportunity to play with level, shown in the right. The Original site countering consists of three major point, 15m, 14 and 10 above sea. The design tries to connect this three main level with several of small level, which acts like a stairs to the courtyard. This all design to connect all activity and building to the central courtyard. The tower erected as a vista in Ouseburn, telling people the direction to go. The courtyard is sunken from all entrances. This will attract people to go inside, as going down the stairs is easier than going up, it is more inviting.
Site Collage and Model
Site Model
38
STAGING
SITE ANALYSIS
Site Elevation from River Looking up to Ouseburn: Final Design 1:1000
Site Elevation from River Looking up to Ouseburn: Original 1:1000
16+
15+
14+
13+
12+ 10+
Site Elevation Diagram: Final Design
15+
15+ 16+ 12+
10+
10+
10+ 12+
14+
13+
12+
15+
14+
14+
Site Elevation Diagram: Original
39
PORTFOLIO
ACT TWO
BOUNDARY AND HISTORY. REWRITTING SITE BOUNDARY.
The pedestrian in the southwest facing wall only allow 1 people to pass. It is cramped and not inviting for pedestrian to walk. Since the entrances is design to be only accessible by foot, I pushed back the southwest facing wall boundary by 2 meters, making it more persuading for pedestrian to walk. However I did not push the boundary in the southeast wall, as the entrance there is design for vehicle access. Newcastle have a very rich industrial background in the past. The heritage of the first pioneer of industrialization felt among the country. However due to the decreasing of industrial importance, many sites have been abandoned, creating a ghost, unused buildings. I will try to revitalize the industrial background, not only the choices of construction material, but also the activity of mass producing goods.
Given Site Boundary
Chosen Site Boundary 1:500
10+ 40
STAGING
SITE ANALYSIS
Photograph: The Site
41
PORTFOLIO
ACT TWO
Qibla Cut: The Intention
Qibla Cut: Bait Ur Rouf Mosque
42
STAGING
PRECEDENT STUDY
QIBLA PRECEDENT STUDY. BAIT UR ROUF MOSQUE BY MARINA TABSSUM This is the study of the relationship between Qibla direction and context. Most of the site did not follow the Qibla direction. This resulting in an overlapping set of direction between the two. Bait Ur Rouf Mosque in Bangladesh by, Marina Tabassum explain this quality of Qibla direction. The design of the mosque is a simple, box within a box, the direction of Qibla inside the site boundary. This destructive manner of Qibla creates an interesting relationship between the mosque and the surroundings. In her design, the mosque is the most important aspect of the design, making it the central point of the architecture. In my case, the most important is the central courtyard. The central courtyard allows the connection between earthly activities including working and living, and praying, the moment where human connect to God. This is the boundary between worlds, yet the central courtyard designs to attract visitor to have a conversation with the apprentices. I strongly believes, what important in this world is to maintain balance, finding the equilibrium point. Something excessive never reflects goodwill. That is why, between this two lives of an apprentice, the earthly and godly, courtyard is the point where everything and everybody meet. A place that tie us together.
Photograph: Bait Ur Rouf Mosque 43
PORTFOLIO
ACT TWO
THE POETIC BEHIND, MATERIALITY. BETWEEN BRICK AND CERAMIC
The main materials used in this project are brick and ceramic. The material choices explore the poetic quality of brick and ceramic. Both materials have been used through out generations. Pass on as a tradition, like religions. In addition the two materials radiate modesty. This specific quality reflects the way of life for the apprentices, a life for goodwill and modesty.
There is another materiliaty poetic, which is based on the physical quality of brick and ceramic. The ceramic used in the internal skin used primary colour, which is red, green and blue. In the other hand, the ceramic used in the external skin only used green. The colour choices of green from the ceramic and orange from the brick tried to echo the season cycle. Springtime will provide green and fresh new greenery, which resonate with the ceramic. When autumn comes, the green faded into orange, blending together with the brick natural colour.
I strongly believe materials convey poetic, not only the physical quality, but also the culture, believes and what the material resemble. Brick is used heavily in the United Kingdom for generations. Ceramic is used heavily in Islamic architecture as a pattern, drawing, and ornament to remind their people the presence of Allah. These two materials might be different, but they are from the same material, clay. I wanted to express today global crisis, the hate against Islam. Why we are fighting as a race, we might be different but deep inside, we are not so different after all. we are clay, we are human.
44
STAGING REALISATION
MATERIALITY WORKING
45
BEHIND BRICK.
Walden Seven - Ricardo Bofill
Fitzroy House by John Wardle Architects
Summerhouse by Alvar Aalto
47
PORTFOLIO
ACT TWO
48
STAGING
MATERIALITY
BRICK, CLAY AND CERAMIC MATERIALITY AND PRECEDENT STUDY.
The most interesting aspect of brick is the bond. The exploration of brick bonds (show on the left) are based on an existing brick bond, implemented in buildings. Some of the bond could enhance shadow, some of the bond could provide a semi-translucent threshold. The traditional brick bond, have their own charm. The ceramic is used for the internal skin of the lightwell. The lightwell is scattered around the complex, highlighting key spaces. The use of colour and ceramic are Insipired by Le Corbuiser, La tourrete. The play of colour and light enhance the atmospheric quality, creating a life atmosphere. The colour of the internal ceramics is gradation from a darker shade near the top, and lighter shade near the floor. This will create an even distribution of light and colour. This method is inspired by Antonio Gaudi’s work in Casa Battillo.
49
Casa Batlló by Antoni Gaudí
Notre Dame du Haut by Le Corbuiser
Sainte Marie de La Tourette by Le Corbuiser
50
BEHIND CERAMIC
PORTFOLIO
ACT TWO PESANTREN
52
REALISATION
PESANTREN RENDER
External Materiality and Atmosphere 53
NORTH
QIBLA
ISLAMIC COMPLEX. LIVING, PRAYING AND WORKING
The complex is divided based on 3 main activities, living, praying and working. These three main spaces are connected with the central courtyard, which cut and disturb the buildings layout. This is the interpretation of unlimited Allah’s touch and blessing to the monastery. There are 2 main pedestrian entrances (legend: X and Y), which connect to the central courtyard. The Z entrance is design purposely for clay truck delivery, which connects directly to the factory. The courtyard is sunken, from all entrances. This aims to attract more visitors, as going down is easier, flowing like water. The courtyard is design to create more interaction between the visitors and the apprentices, as it is the main circulation space between public and private. As the interaction increase, the misinterpretation between the Islam and hate will be decreasing. The Y entrances are split into two, one connects directly to the courtyard, and one connected with the gallery. The gallery act as an exhibition spaces for their brick and ceramic factory. This space acts as the marketplace and sales. The complex is controlled by series of pond, highlighting key spaces. The pond below the mosque is acting as a threshold between public and the internal courtyard. Water is an interesting threshold, as it allows vision, yet it is hard to reach. The series of pond also highlight the Qibla direction of the courtyard. The material for courtyard flooring is natural stone slab. The size varies, from 1m x 1m to 6m x 3m. This aims to give natural atmosphere in the courtyard. The sizes also play with proportion with the brick, ceramic and building sizes. EXTRA LEGEND W. Central Courtyard X. South Pedestrian Entrance Y. North Entrance Z. East Commercial Entrance
28
27 Y
29
26
25 W
II
24
22
20
23
21
18 19
56
17
30
32
III
31
33
39 35 34
37
40 38 41 42
36
Z
10 11 12
13
9
14
16
8
15
7 X
2
6 4
5
3 1
57
I
MASTER PLAN LEGEND. SCALE 1:250 I. LIVING LIVING QUARTERS 1. Laundry Room 2. South Wudhu Space 3. Shower Room 4. Restroom 5. Locker Room 6. Main South Stair 7. Refractory 8. Kitchen 9. Buffer Space 10. Guest Meeting Room 11. Storage 12. Main North Stair 13. Common Room 14. North Wudhu Space 15. Mussalla (Small Praying Space) 16. Pond II. PRAYING MADRASA 17. Library 18. Stair to Observatory 19. Connecting Space from Lvl. G 20. Entrance to Madrasa (Lvl. G) 21. Lobby to Public Lecture 22. Restroom 23. Public Lecture 24. Lightwell to Madrasa
MASJID 25. Outdoor Space, Below the Masjid (Mosque) 26. Entrance to the Masjid, Wudhu Space
III. WORKING GALLERY 27. Restroom 28. Gallery Space 29. Gallery Entrance 30. Main Gallery Space 31. Window to the Brick Factory
BRICK FACTORY 32. Brick Casting Space 33. Giant Furnace 34. Brick Storage Space
CLAY STORAGE 35. Clay Storage 36. Delivery Space 37. Outdoor Space
CERAMIC WORKSHOP 38. Ceramic Workspace 39. Ceramic Storage 40. Casting and Experiment Room 41. Meeting Room 42. Lightwell
PORTFOLIO
ACT TWO
OUSEBURN, DURING THE RAIN. MUSLIM APPRENTICE AND THE GRAY CLOUD
The light peeking through, From the thick gray cloud. The rain might pour, Sooner or later, Carrying the smell of home. It is gloomy today, And yesterday, And probably tomorrow too. Despite this atmosphere, What I truly feel? I found it beautiful. The gray gloomy day of Newcastle, The smell of the rain, The sound of the rain, The wet brick, The wet tiles. I found it all, Truly beautiful.
Section AA 1:250
60
REALISATION
SECTION
61
PORTFOLIO
ACT TWO
OUSEBURN, AFTER THE SUN. SUNSET AND MAGHRIB.
The sun retreat, Maghrib slips in, Adzan echo, Across the street. The sun retreat, And so do I. I wash my sin, Ready for Maghrib.
Section BB 1:250
62
REALISATION
SECTION
OUSEBURN, BEFORE THE SUN. FAJ’R AND SUNRISE.
When darkness sleeps away, Light will come, Through the sun, Radiating her heat. There is nothing forever, Darkness will fade So as the storm and the wind. The cycles, of everything Reminding me of you, Allah.
Section CC 1:250
63
PORTFOLIO
ACT TWO
PHYSICAL MODEL.
Living: The Accomodation
Praying: The Madrasa
Praying: The Wudhu Space
Working: The Gallery
Working: The Factory
64
Praying: The Masjid
REALISATION
MODEL
Pesantren: The Muslim Apprentices Complex
65
PORTFOLIO
ACT TWO
LIVING, AS AN APPRENTICE. FINDING HOME WITHIN THE CITY.
People
who devoted themselves to God are bound to the repetition of sacred habit and routines. This is called the formal life. The formal life of the monk will be consisting of two main activities: praying and working. Due to this, monk always will be assimilated with holy and godly. Even sometimes human’s rules do not apply to them, such as the justification of feeling emotions. They are still human. They still feel emotions, confuse as we are or feel sorrow about the world. This is called the informal life. Life as a human being.
The courtyard is design to persuade public to use as a shortcut or place to enjoy. This will increase the chances of encounter between the apprentices and public. The increase of encounter might develop a small talk, friendship or even a stronger community. As the hate against Islam increase due to stereotypes and misunderstanding, this encounter will slowly educate the public about the peaceful religion of Islam. The entrance of residential unit is located near the main pedestrian entrance. This is also design to increase the encounter chances. In addition, the courtyard is the main circulation space, from all three are, living, praying and working.
66
REALISATION
LIVING
67
PORTFOLIO
ACT TWO
11 12
14
13 10
15
9 17
8
16
7 Level G 1:250
2 6
5
4
3
68
1
I
REALISATION
LIVING
D
E
Level 2
E D
II
25 24 23
22 21 20 18 19 Level 1
69
LEGEND
NORTH
QIBLA
THE LIVING, QUARTER. LEGEND
I. COMMUNAL AREA 1. Laundry Room 2. South Wudhu Space 3. Shower Room 4. Restroom 5. Locker Room 6. Main South Stair 7. Refractory 8. Kitchen 9. Main Entrance from Courtyard 10. Buffer Space 11. Guest Meeting Room 12. Storage 13. Main North Stair 14. Common Room 15. North Wudhu Space 16. Mussalla (Small Praying Space) 17. Pond II. PRIVATE RESIDENTIAL AREA 18. Typical Cell 19. Main South Stair 20. Buffer Space 21. South Stairs from the Garden 22. Garden 23. North Stairs from the Garden 24. Buffer Space 25. Main North Stair
70
PORTFOLIO
ACT TWO
THE, ACCOMODATION. A PLACE WHERE CULTURE START.
The accommodation is separated into two zones, communal and private. The first floor is dedicated for all communal area. The windows placement for the communal zone are facing the accommodation courtyard. This aims to provide security and privacy for the residents, as the main courtyard aims to attract the public to visit. The accommodation is consisting of north and south wing, which is connected by the roof garden. This garden allows light to penetrate inside the accommodation’s courtyard, while giving spaces for contemplation.
The noise level of communal activities will be pushed to the ground floor, leaving the top private zone in silence. It is hard to dictate what people suppose to do in a space. I tried to persuade the residents, not dictate them. I strongly believes in evolution, not only physical appearances, but also the culture and habits. By persuading simple gesture in the architecture, it might develop into a deeper culture inside the monastery. Which is why, all three zones in the monastery, living, praying and working are connected to the courtyard, where culture could grow and prosper. We give architecture, but what gives architecture life, are the people, and this start from the accomodation.
South Wing
North Wing
Level 2
Private
Level 1
Level G
Communal
Section DD 1:200
72
REALISATION
LIVING
Lightwell
Garden
Main Circulation
South Wing Section EE 1:200
73
PORTFOLIO
ACT TWO
THIS IS THE PLACE
This is the place for you to meet,
This is the place where the two collide,
This is the place to clear misunderstanding,
This is the place.
Where people gather,
Where people laugh,
Where I Laugh,
Cry, Mad, And Laugh again. I hope this is the place,
The place where we start talking,
The place where we end hating,
The place to clear misunderstanding
between you and me.
74
REALISATION
LIVING PESANTREN
The Place to Clear Misunderstanding 75
PORTFOLIO
ACT TWO
PRAYING, WITH THE APPRENTICE. DAILY RITUALS OF AN APPRENTICE.
Praying, the most basic fundamental of religion. This is the activity, which held religion together, giving rituals and habit to believers. In Islam, they need to do 5 prayers a day, wash them self before going to prayer, this prayer is called Salah. Before the discovery of time, Muslims perform their daily rituals based on the angle of the sun. This natural clock always changes, based on the degree especially area far from equator. However the time to pray will always be there.
This ritualistic life of monks is called the formal life. The life where they are bound to ritual and the culture of the religion. This create a perception from the public that monks is flawless, they are the perfect beings. This creates gap between the monks and the public. In real life, monks are still human, they have flaw, they can feel emotions, they are in fact, still human. This life is called the informal life. As the complex has apprentices rather than monks, the residents are from normal humans, which dedicated some of their time to learn about God. This creates a more humane atmosphere, inviting the public to interact with the residents, This complex is the central of Islamic Studies in the UK. This will results in the variety people coming inside and go. This might later develop as a pride of the city, the pride of diversity.
From the start, Muslims does not bound to a very discipline way of life like monks, they are more flexible and forgiving. They are free to go as they desire, to pursue their passion, or maybe gather knowledge in other places. This reflected on their way of praying. When the time comes to pray, they only need to wash their self with water, this ritual is called Wudhu. Then they need to have a clean surface, usually layered using a small prayer carpet called Sajjada. Last is they need to determine the direction to Qibla, and pray to that direction.
76
REALISATION
PRAYING
77
PORTFOLIO
ACT TWO
10
II
9
7 8 6
2 3
1 4
5 Level G 1:250
I
78
REALISATION
PRAYING
27 Level 11
26 Level 10
13
14
12
11
H
H
15
16
I
I
19
17 G
22 18
20
F
25
21
G
24
23 Level 1
F
79
LEGEND
NORTH
QIBLA
MADRASA, AND MASJID. LEGEND
I. MADRASA 1. Little Courtyard 2. Entrance to Madrasa (Lvl. G) 3. Imam Room 4. Strairs to Public Lecture Hall (Lvl. 1) 5. Corridor to Library (Lvl. 1) 6. Communal Buffer Space 7. Restroom 8. Classroom 17. Lightwell 18. Public Lecture Hall 19. Restroom 20. Buffer Space 21. Entrance to Public Lecture Hall (Lvl. 1) 22. Entrance to Madrasa (Lvl. G) 23. Corridor from Madrasa (Lvl. G) 24. Main Library 25. Stairs to Observatory (Lvl. 11) 26. Buffer Space 27. Observatory II. MASJID 9. Outdoor Space, Below the Masjid (Mosque) 10. Entrance to the Masjid, Wudhu Space 11. Entrance to the Masjid, Wudhu Space 12. Shoes Storage 13. Pond. 14. Wudhu Space 15. Masjid 16. Imam Space
80
PORTFOLIO
ACT TWO
THE MADRASA. A PLACE TO GATHER KNOWLEDGE.
Madrasa is the place for the apprentices to gather knowledge. The entrance is in the small inner courtyard, which connected to the main courtyard. There are two main entrance for madrasa, public and communal entrances. The communal entrance is strictly for the residents, as it is an Islamic School, a place for them to learn about Islam. The ground floor also connected to the library, which hold and collect Islamic achieves to be studied. The library is the only main connecting space to the observatory. This allow for control and safe use of the observatory, as it is locked and looked by the librarian. The observatory is located 30 meters above the site, overlooking the city and the river. The tower is a series of stairs until the buffer space. In here, the apprentice needs to pull out the foldable attic stairs to go up the observatory. Due to this buffer space, it’s allowed the observatory to have more room. This room is use by the residents to observe the pattern of the stairs and the cycle of the moon, as Muslims use the cycle of nature as their time. They need to measure the angle of the moon to decide on the date for their holy celebration such as Ramadan and Eid. In addition the tower is the symbol of the complex. giving it presence to the surroundings.
The second entrance is the public. This stairs will take the visitor up directly to the buffer space from outside to the lecture hall. The buffer space is above is open to overlook the Madrasa below. This creates a connection between the visitor and the apprentice, a connection, which does not disturb the formal life of an apprentice.
Observatory
Buffer Space
Circulation / Stairs
Access from Library
Elevation FF 1:200 82
REALISATION
PRAYING
Public: Entrance to Level 1. - Public Lecture Space
Communal: Entrance down to Ground Level. - Madrasa
Section GG 1:200 83
PORTFOLIO
ACT TWO
THE MASJID. A PLACE TO PRAY.
Masjid
or mosques, is the place where Muslims gather to perform group prayer. They do not have strict rules for doing group prayer except Friday prayer. Friday is their holy day, all men obligated to perform this prayer in-group. The space going to be hectic and crowded, the feeling of excitement and harmony is together in the mosques. There are going to be a lot of people performing Salah together as group, moving in the same tempo, moving in the same pace, and moving in the same pose.
The Masjid is re-exploring the same concept in the primer, which is the hierarchy of rituals. The first step is the shoe threshold. Masjid is a sacred spaces, it is polite to take off shoes when entering. This will keeps the place clean. This is happen before the stairs to the Masjid.
The second step is Wudhu. This is washing rituals before Salah. They are provided by series of faucet, supplying them with running water. The Wudhu space is illuminated by 3 lightwells, which have a different colour of ceramics. This will give hint of colour light while doing Wudhu. The view while entering is like a stacked giant stairs, full of people performing Wudhu, with different colour highlighting their profile. Imagine the situation in before the Friday prayer, it’s going to be colourly chaotic. The last steps is prayer,which is higher than any other rituals. The higher point in the Masjid is the Imam Space. This is the space for their leader (Imam) to lead the prayer. The Masjid’s artefact is a series of giant arches, 1x1m big and 5m meters spans each arch. This will give a grandeur effect to the surroundings. This was inspired by the study of Museo Nacional de Arte Romano. This is the purest
place and brick purest quality comes in arches, as Louis Khan famously said.
To Masjid Imam Space Wudhu Spaces Shoes Threshold
Section HH 1:200 84
REALISATION
PRAYING
“You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’” Louis Khan.
Section II 1:200 85
PORTFOLIO
ACT TWO
AN APPRENTICE POEM
When the world fail me,
I run to the divine,
Asking for direction,
Asking for meanings,
Asking for guidance.
When the world fail them,
They run to me,
Asking for direction,
Asking for hmeanings,
Asking for guidance.
They might think,
I’m godly,
I’m holy,
We are similar, We are human,
Trying to grasp,
The world’s absurdity,
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REALISATION
PRAYING PESANTREN
Friday Prayer, Wudhu Space 87
PORTFOLIO
ACT TWO
WORKING, LIKE AN APPRENTICE. THE POETIC OF WORK.
Working, an activity, which runs our society around, this, is the activity where human receive income to be later spend on goods. The more income, the happier human get, they said. Apprentices need to learn about modesty, that income is not everything. It is necessary to survive, but it is not everything.
The complex needs income in order to function in the society fully. To honored the british industrial heritage and the previous occupant, the metal scrapyard, the complex incorporated brick and ceramic factory as their main source of income. The choice for the factory types is based on the materials used in the buildings. This is a metaphor that the apprentices is the one shapes brick and ceramic, from the raw material of clay, and bringing them together as a built material, coexist in harmony. The apprentices need to work there ritualistically, while dig deeply into Islam. They aren’t working blindly. They carry a hidden and deeper meaning in their work. This deeper understanding carried everyday, ritualistically, like a prayer. Hoping the poetic and metaphor behind it delivered to the public.
88
REALISATION
WORKING
89
PORTFOLIO
ACT TWO
J
5
1 2
Level 10
3
K
4 J K
I
7
6
11 8
9
10 L 12
90
REALISATION
WORKING
NORTH
QIBLA
GALLERY AND THE FACTORY LEGEND
I. GALLERY 1. Entrance from the North Entrance 2. EXhibition Space (Lvl. 1) 3. Commercial Office 4. Lightwell 5. Stairs to Level Ground 6. Restroom 7. Exhibition Space (Lvl. G) 8. Entrance from Courtyard 9. Main Exhibition Space II. FACTORY 10. Furnance 11. Brick Molding Space 12. Brick Storage 13. Clay Storage 14. Truck Delivery Space 15. Outdoor Space 16. Ceramic Workshop 17. Ceramic Storage 18. Experimental Room 19. Board Meeting Room 20. Lightwell
II
17 13 15 16
18 19 L
14
20
91
PORTFOLIO
ACT TWO
THE GALLERY. A PLACE OF BUSINESS.
The gallery is the place for the apprentices to have a commercial activity. This is where the apprentices could do the brick and ceramic business. This space serve as an exhibition space for a new ceramic design, or custom made brick. This space also allows the interaction between the public and the residents, as an art exhibition space. This is an attempt to connect with the revitalization of Ouseburn as a creative zone. The gallery has two entrances, which connect two main point. The first is the north entrance, where the path split into two, down the stairs to the main courtyard and up the stairs to the gallery. The other entrance is directly connected to the courtyard. This allows all main pedestrian entrances to have an easy access to the gallery. There is an overhang structure spans with steel beams and brick wall. This overhang structure aims to frame and lead the way for first timer, suggesting more to come ahead.
Section JJ 1:200 92
REALISATION
WORKING
Section KK 1:200 93
PORTFOLIO
ACT TWO
THE FACTORY. A PLACE OF SWEAT AND ENERGY.
The factory is separated into three zones based on the material work in those spaces. This is include, clay, brick and ceramic. The delivery truck comes from the west entrance, which later is store in the clay storage. For the brick process, the brick will be taken and mix with water. In this molding space, the clay are going to be mold into a brick. After the molding process, the brick need to be dry before the firing process. After the brick is dry, next is the firing process. The brick is heat up in a giant furnace, which later is store in the brick storage.
The ceramic process starts from the clay storage where the clay gets mix and grind before taking it into the workshop. The ceramic will be mold based on the design and let it dry. Before the firing, unlike brick, ceramic needs the next process, which is glazing. Firing is next; the ceramic will be cooked in the giant furnace together with the brick and later store in the ceramic storage. Ready to pick up. GALLERY SPACE Brick Factory Viewing Window
BRICK
Section LL 1:200 94
CLAY
REALISATION
WORKING
BRICK WET SPACE Molding Process
BRICK STORAGE Drying and Storage
CERAMIC STORAGE Drying and Storage
CERAMIC EXPERIMENTAL ROOM Experiment and Glazing
BRICK AND CERAMIC FRUNACE Firing Process
CLAY STORAGE Mixing and Grinding
CERAMIC
95
TRUCK SPOT Shipping and Delivery
CERAMIC WORKSHOP Design and Molding
PORTFOLIO
ACT TWO PESANTREN
96
REALISATION
WORKING
Brick Factory 97
III
ACT THREE ENCLOSED ORDER
PORTFOLIO
ACT THREE
100
REFINEMENT
INTERGRATION OF TECHNOLOGY
MAIN STRUCTURE. A SERIES OF LOAD BEARING WALL.
The main structure is a series of load bearing walls and load bearing columns, highlighted in red below. The main material use for this construction is brick, which is widely accessible in the UK. For the extra height, the brick structure will be reinforced with in-situ concrete and steel structure. There are 5 stages of site alteration (shown in the left). The first stage site analysis, which allow I to observe the opportunity the site give. The second stage is the demolition of existing building, which is the warehouse in the northwest. Third stage is contouring and installing the foundation structure. The fourth Stage is constructing. Last is the building is ready for use.
101
ACT THREE
PORTFOLIO
102
INTERGRATION OF TECHNOLOGY
REFINEMENT
WALL STRUCTURE. BRICK AND BRICK STRUCTURE..
The main load bearings wall is a brick and brick construction. This is the typical wall structure, with floor joint and roof structure. In this example, it is a structure of the accommodation wall, from the ground floor to the roof. The wall structure is similar to brick and block structure, the difference is, it brick outside and inside. Brick is durable against weathering, simple structure and effective in keeping the heat inside using cavity and insulation. The thickness of the wall is 500mm, making the atmosphere more earthly and one with the nature. The steel structure for roof and floor beam try to revitalize the industrial past of the site, which is the british industrial heritage and the previous occupant, the steel scrapyard.. The brick and ceramic factory in the complex try to communicate this choice of material, resembling material not only as wallpaper, but expose their true nature.
103
PORTFOLIO
ACT THREE
104
REFINEMENT
INTERGRATION OF TECHNOLOGY
LIGHTWELL STRUCTURE. A PLACE WHERE CERAMIC SHINE.
This is a typical lightwell structure. The main structure is the reinforce brick wall, which is reinforce by in-situ concrete and series of interlocking steel structure inside. The tower spans 16.5 meter above. The internal skin is cladded with colour ceramic, bouncing colourful light to the space. This example shown is taken from the wudhu space. The colour of the ceramic is darker on the top and gradually lighter in the bottom. This aims to bounce an even light below, while giving it a little hint of colour. This method was inspired by Antonio Gaudi lightwell in Casa Batllo. The tower also insulated and glazed, to prevent rain and cold to penetrate inside.
105
PORTFOLIO
ACT THREE
106
INTERGRATION OF TECHNOLOGY
REFINEMENT
ARCHES AND MASJID. BRICK AND ARCHES.
The mosque takes an account on the study of Museo National de Arte Romano’s tectonic artefact. The giant arches span across the building act as load bearing wall and convey a grandeur atmosphere. The wall structure use on this particular building is similar with the typical wall structure, which is previously discussed. the differnce is, the long spans and high ceiling is supported by a series of arches. In taking decision on my design direction, I always have material and construction in mind. This is reflected on the load-bearing wall, the size of each building, which zoned into three. I wanted to bring out the nature of the material, their own poetic, which will highlight key spaces in the complex. For this case it is brick and arches.
107
THANK YOU
For joining a year journey inside Atmosphere, Islam and Architecture
r.dipowikoro@gmail.com
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109
fin.
There is always a little hint of nostalgia
Towards the moon and the earth
The surreal and the real
The moon and cross
Towards memories and thought
Lets fly to the beginning Since we already arrive in the end
r.dipowikoro@gmail.com