AQ Edition 13

1,722 views

Published on

PT. ARKIPURI INTRA NASIONAL
Taman Kebon Jeruk blok G1 no. 58, Jakarta Barat

Published in: Design, News & Politics, Travel
  • Be the first to comment

AQ Edition 13

  1. 1. GEOFFREY BAWA IN THERENAISSANCE OF TRADITIONALARCHITECTUREpRESERVATION OFtHE “mBARU NIANG”TRADITIONAL & MODERNFUZEEdition 13th /2013
  2. 2. 01®Published byPT. ARKIPURI INTRA NASIONALARKdesign Jakarta OfficeEditor in ChiefEditorsEDITION 13GraphicsMarketingPaul TanVita RahayuARKdesignOlivia PingkanJune 2013We encourage you to write your comments and opinions to us atjakarta@arkdesign-architects.comYour letters will be published in the next edition of : “EditorsMailHouse”is not responsible for the contents of readers letters, however the Editor reservesthe right not to publlish letters should it be illegal or counter productive to do so.®EditorsMailHouse®Sherry LydiaContributingCorrespondentJohn Bannton
  3. 3. Content0103DiscourseDiscussion TRADITIONAL & MODERN FUZEInnovationTechnology SIWALU JABU, KARO TRADITIONAL HOUSEARKdesignIndesign ABIAN KOPI; ST. MORITZ PENTHOUSEDesignNews TRADITIONAL HOUSE & RESORT ARCHITECTURERecentPublication PRESERVATION OF THE “MBARU NIANG”PrincipalPoint GEOFFREY BAWA IN THE RENAISSANCE OF TRADITIONALARCHITECTUREEditorsMailHouseStayInformedEvents22211918150905
  4. 4. 03PrincipalPointGeoffrey Bawa in the Renaissanceof Traditional Architecture“Boutique hotels have played an importantrole in the renaissance and appreciation oftraditional and vernacular architecture allover the world “Pool view westward from lobby acrossthe pool to the seaMy first introduction to Geoffrey Bawa (Britishtrained Sri Lankan Architect, born in Colombo1919) was through my passion for art and thepaintings of Donald Friend (c 1950). I love Friend’sdepiction of simple, honest, yet exotic life in Asiavery similar to how Gauguin (c 1890) saw lifein French Polynesia Tahiti. Bawa’s architecturesomehow expressed that simplicity in thevernacular architecture of Sri Lanka. Bawa andFriend became friends and exchanged designsbetween Bali and Sri Lanka. Bawa designedFriend’s villa by the beach in Batu Jimbar, Sanur,and Friend painted Bawa’s main doors to hishome in Colombo. In my opinion, it was since thistime that a new approach to designing resortswas born.Peter Muller, an Australian architect workingin Bali, who later also knew Bawa in Sri Lanka,started a personal journey in exploring the designand materials of traditional Balinese architecture,through the design and development of Amandariin Ubud (c 1988). Since Muller designed the BaliOberoi in Kerobokan (c 1977), the first, all-villahotel, he and his wife, who is an archeologist,researched and found some original materialsused for building in Balinese villages. One of themany materials revived through her research, isthe coffee brown colored sandstone found in anancient village of Taro around the Ubud area, incentralBali.Thistypeofsandstoneislocallyknownas Paras Taro. Since then this local sandstoneis widely used in modern Balinese resorts, villasand almost all architectural creations trying tobring the Balinese look and feel to it.It is during these creative years of both Bawaand Muller, the term “boutique hotel” was born.This term is used for small resort hotels, usuallylocated on sites with dramatic views and naturalbeauty. This thirty or so villas, are designed inthe traditional, vernacular architecture with veryhigh quality and luxurious amenities; betterthan the “five star” rated hotels, in the level ofservices and conveniences. Boutique hotelshave played an important role in the renaissanceand appreciation of traditional and vernaculararchitecture all over the world. Brian Taylor in hisbook on Bawa wrote, “Much of what has beenwritten on Bawa’s architecture refers constantlyto its inspiration from local vernacular building –its being a contemporary interpretation of course,By Paul Tan
  5. 5. Painting by Donald FriendOf these traditions”. From Bhutan to Bali, andfrom ski resorts in Courchevel to Kohsamui,boutique hotels designed in the traditionalarchitecture all over the world are reinventingvernacular architecture into the modern lifestyleexpectations of the 21st Century traveller. Manyhowever, have abused the term and refer toboutique hotel design loosely without the in-deptharchitectural/archaeological knowledge, husbandand wife Muller had. It has diluted the originalmeaning of the term as well as cheapened itsarchitecture.The meaning of architecture in the past is oftenborn out of religious and cultural beliefs of thepeople. Shapes, materials, ornaments, planningand orientation of buildings and architecture havevery deep and significant lifestyle roles to play inthese communities. To compare it in meaning tothe car garage in an American home is a verypoor parallel. Asta Kosala Kosali to the Balinese,or Feng Shui to the Chinese, is deeply rooted intheir cultural beliefs. Muller visited Bali, in 1970 areally transformed me, because I understoodthat indigenous architecture contained withinitself everything I had been intuitively searchingfor … the utilization of renewable local materialsassembled in a thoughtful, practical way to suitthe spiritual, cultural, emotional and physicalneeds of the community of individuals. Thesimple complexity was stunningly beautiful tome, so expressively honest and environmentallyharmonious.” (Muller to Johnson, 1996).The slow development or even the disappearanceof traditional architecture, has, at least inAsia, found a vehicle in which it can developand mature, the resort hotel architecture nowbooming around the globe. It will remain to beseen where it leads to, and that is part of themystery and fun we have in the innovation ofthe ever so needed architecture that is stronglyrooted in our beliefs. The Greeks and Romans,the Egyptians, the Chinese and Japanese haveall created forms of architecture that are rooted inthe traditions of the time, and some are still beingre-invented and become the source of inspirationto many architects today. We are hopeful, thesame development process will happen totraditional architecture in South and South EastAsia. I hope you will enjoy this edition of AQ, aswe try to explore some of the architectural formsthat are designed today, but we believe haveevolved out of the local traditional and vernaculararchitecture.Sources : - “Geoffrey Bawa” by Brian Brace Taylor, 1986 ConceptMedia Pte Ltd.- Wikipedia, Peter Muller (architect)- Wikipedia, Geoffrey Bawa04PrincipalPointPainting by Donald FriendGeoffrey Bawa
  6. 6. 05RecentPublicationhttp://tripwow.tripadvisor.com/slideshow-photo/rumah-adat-suku-todo-ruteng-flores-n1-flores-indonesia.html?sid=111522064&fid=fb-7626559013597400615MBARU NIANG,FLORES,INDONESIA
  7. 7. 06RecentPublicationPRESERVATION OF THE“MBARU NIANG”“In the ‘Mbaru Niang’ preservation’ the architect initiated a community-led revival of the vernacular ‘worok’ homes, conical constructions oftied-together wood and bamboo. “
  8. 8. Local, Tangerang-based architect Yori Antarstarted the Rumah Asuh project as a movementto preserve traditional houses and buildingtechnologies throughout indonesia. The architecttakes young designers to distant villages to bothexperience and renovates existing traditionalhomes. All under the premise indigenous culturehas time-tested methods for building effectiveand perfectly acclimated dwellings.Believing in the power of local wisdom has provedfruitful for the architect, who just earned a spot onthe shortlist for the aga khan prize for architecture,shortly on the heels of garnering UNESCO Asia-pacific award for cultural heritage conservation,specifically for his work with the Wae Rebocommunity in Flores Island, Indonesia. In the‘Mbaru niang’ preservation’, the architect initiateda community-led revival of the vernacular ‘worok’homes conical constructions of tied-togetherwood and bamboo.Rendering of the building typology image07RecentPublication
  9. 9. The rattan palette and thatched roofs havebeen a hallmark of the architectural language ofthe remote island, however when the group oftouring young architects realized that there wereonly four of these unique homes standing, twoof which were badly in need of repair, a projectto preserve the typology was born. While the setof skills required to build the dwellings had beenhanded down through generations, the processwas quickly democratized to include universitystudents and the community at large and torightly preserve the techniques from fading tomere memories.The structures are imbued with more thanthe base requirements of a shelter. They areexamples of a living culture, an architect thatinherits the power of family and humanistickinship. Yori Antar’s architecture posits that thereis room for architectural values in the industrytoday, as he stated to the Jakarta Times, “if wewant to build modern architecture, build onesthat have soul.”Source:www.designboom.com/architecture/yori-antar-mbaru-niang-preservation-flores-island-indonesia/construction of MBARU NIANG08RecentPublication
  10. 10. 09DesignNewsTRADITIONAL HOUSE&RESORT ARCHITECTURE
  11. 11. 10DesignNewsToraja house or “Tongkonan” (meaning“sit”) can be said to be the seat, but notmeaning the actual seat. Designed asa representation of the universe, thetongkonan is constructed in three parts:the upper world (the roof), the world ofhumans (the middle of the building), andthe underworld (the space under the floor).The Beach Republican in Thailand hasbeen influenced by traditional Toraja housedesign. This can be seen in communalhalls and colourful long tail fishing boatsnearby.Source :www.the-scandinavian.com/blog/?p=301#more;http://artasia.www2.50megs.com/Indonesia/houses.Toraja House in Beach Republic Architecture DesignToraja traditional house, South Sumatra, Indonesia -Photo credit:Rafał CichawaBeach Republic, ThailandGadang house, Minangkabau (Padang), Indonesia Samui Buri Beach Resort ThailandTower House serves as a shelter, spacefor family meetings, and for ceremonialactivities.Samui Buri, a unique resort built in theRoyal Thai traditional architecture, seton the 100 meter stretch of beach-frontlocation at the tranquil Maenam Beach.Two different architectural designs, comingfrom two different countries, that have thesame architectural character.Source:http://scopecimsafkunand.blogspot.com/2010/06http://www.samuiburi.com/Gadang House & Indigo Pearl
  12. 12. 11DesignNewsNihiwatu Resort Hotel, Sumba, IndonesiaSumba traditional house, East Nusa Tenggara (NTT), IndonesiaSumba House, Nihiwatu Resort InspirationNihiwatu, a small and exclusive islandhideaway in remote eastern Indonesia, isone of the most extraordinary resorts inthis exceptional island nation. The conceptof resorts architecture is derived fromthe Sumba traditional house, East NusaTenggara, Indonesia, which is made fromwood and thatched alang - alang.Source :- http://noenkcahyana.blogspot.com- http://www.nihiwatu.com/Honai has long been known as a traditionalhouse in Jayawijaya. The Dani andindigenous tribes who inhabit the centralhighlands of Papua.In Tanzania there is a resort, SerengetiSerena Safari Lodge, that has very strongsimilarity with the design of Honai.Source :-http://christiandaniell.blogspot.com/2013/03/hanoi-house-papua.html-http://www.serenahotels.com/serenaserengeti/Honai, Irian Traditional House, Irian Jaya, Indonesia The Serengeti Serena Safari Lodge, Tanzania, AfricaHonai House & Serena Safari Lodge
  13. 13. 12DesignNewsThe Layar Villa, Bali, IndonesiaPalloza, thatched House, Galicia, SpanyolThe gorgeous Presidential Suite, Hilton Bora BoraPalloza is a traditional thatched houseas found in Galicia, Spain. They arecircular or oval, and about ten or twentyfeet in diameter. The Palozza roof shapesimilarity can be found in The Layar Villaslocated in the heart of the most importantresidential areas of Bali, Seminyak. TheLayar was designed by a group of Italianarchitects.Source :- http://www.iclickfun.com/10-unique-houses-from-around-the-world/- http://raywhiteparadise.com/villa-rental/the-layar-luxury-villa-seminyak.htmlPalloza Thatched House & The Layar VillaThe Hilton Bora Bora Nui Resort and Spasits on Toopua Motu, an island in the lagoonjust over a kilometre from the mainland.This resort takes a water village as theirconcept.Brunei is famous for it’s traditional watervilages. This is a photo of a water villagecalled Kampong Ayer, the Water Village ofBandar Seri Begawan, capital of Brunei onnorthern Borneo.Source :- http://www.classicvacations.com/- http://www.trekearth.com/gallery/Asia/Brunei/West/Brunei_and_Muara/Bandar_Seri_Begawan/photo943483.htmKampong Ayer, BruneiWater Village and Water Resort
  14. 14. 13DesignNewsSeven storeys ‘Chandra Mahal’, or theMoon Palace and Amanbagh, India,take the architectural values of Mughalarchitecture with domed cupolas and innercourtyards.‘Chandra Mahal’ is one of the highlights ofthe City Palace tour, residence of BhavaniSingh, Maharaja of Jaipur right now. Thearchitecture of ‘Chandra Mahal’ is a blendof traditional Rajasthani and Mughalarchitecture.Source :- h t t p : / / t o u r i s m i n d i a o n w a y. b l o g s p o t .com/2011_09_01_archive.html-http://ampersandtravel.com/accommodation/Amanbagh-AlwarAmanbagh, IndiaChandra Mahal, IndiaMughal Architecture in Chandra Mahal and AmanbaghI Resort ,VietnamFujian Tu Lou House, ChinaFujianTulouhousesareatypeofChineserural dwelling in the mountainous regionof south eastern Fujian, China. Theuniqueness of this building is its circularshape.This uniqueness can also be seen inthe I Resort; Nha Trang in Vietnam. Theresort is located in a small hill near themain river separating from Nha Trangcity centre has the necessary calm.Source :-http://www.archdaily.com/214626/i-resort-a21-studio-2/-http://www.treehugger.com/sustainable-product-design/the-ancient-hula-hoop-buildings-of-china.htmlUniqueness Tu Lou House & I Resort
  15. 15. 14DesignNewsThis unique Korowai Architecture isto protect families from the swarmingmosquitoes below, as well as fromtroublesome neighbours and evil spirits.Finca Bellavista take the tree homearchitecture as their resort concept. Thisresort is located on 600 acres of land inthe mountains of Costa Rica.Source :-http://www.atlasobscura.com/places/korowai-tree-houses-http://izismile.com/2013/03/22/experience_treehouse_living_in_forested_costa_rica_resort_21_pics.htmlKorowai Tree House, Papua, Indonesia Finca Bella, Costa RicaTree house in Papua and Costa RicaINTELLIGENT LIVING
  16. 16. 15DiscourseDiscussionJohn Banton is the Associate Director ofARKdesign Australia Pty. Ltd. John specializes inRetail architecture design and graphics.In this edition, John got a chance to interviewMartin and Emma Branner, husband andwife team, principals of Interarc Pte.Ltd, aninternational interior design firm specializingin resort and hospitality design. Interarc is theinterior design associate office of ARKdesign inSingapore.How does traditional architectureinfluence your thinking on interiordesign projects today?We encounter the use of traditional architecturealmost exclusively in our interior design work ondestination resort hotels rather than city hotels.The first step is to research the culture, the areaand what historic relevants might apply and fromthis we are able to develop a narrative throughthe interiors in particular the furniture, artworkand accessories. The inclusion of constantlydeveloping technology and connectivity willalways present a challenge in presenting aseamless guest experience.What does traditional architecture bringto modern interior design?Traditional architecture brings space andtransparency to our modern interior work. Veryoften we are dealing with spaces that haveenormous roof volumes supported only bycolumns without infill. As liberating as this can be,the downside can be vast dark spaces loomingoverhead, which can be handled by capablelighting consultants and solutions such asTraditional & Modern FuzeInterview with Martin Branner and Emma Matias by John Bantonbamboo chicks or newer motorised mesh blinds.Another very important issue raised by traditionalarchitecture can be that of lack of privacy andcontrolling sight lines to ensure guest comfort.Privacy issues can only be handled by skilfulmaster planning in conjunction with interiorplanning to ensure controlled and exclusive sightlines.In what way do you fuse traditionalarchitecture and modern architecture?From an interior point of view it usually involvesproviding all of the expected technology andmodern comforts such as A/C, four fixturebathrooms etc while acknowledging andmaintaining the traditional roots and celebratingthem in a sensitive manner that meets the needsof today’s sophisticated traveler.CENTARA GRAND BEACH RESORTPhuket VillasEPHELIA RESORT of MAHE, SEYCHELLESCyann RestaurantPRINCE MAURICE RESTAURANTMauritius
  17. 17. 16DiscourseDiscussionbest way to meet those expectations. Sometimesthere is a heritage upon which to build while atothers there needs to be a bit of liberty takenin interpreting the local culture. Along with theOperator and the Architect the ID is taskedwith meeting guest expectations. Always thethin line between a new cultural experience orexperiencing a theme park.An example of how clients and customersrelate to traditional architecture can be found inSingapore’s China Town or Little India. They areconstantly filled with foreigners looking for somesort of authentic experience. Singapore, to itsdetriment, managed to destroy a great deal ofits built heritage before realizing it was really amoney maker. The same for cities all over theglobe.What can we learn form the traditionalarchitectural approach?There is the permanence and durability intraditional architecture and interiors that seemsto engender a “feel good” emotion and provides asense of continuity. We live in a world that makesit very hard to keep up and while most culturalsignposts today seem to be directions for theyoung, there is still a world wide grey populationwith tremendous spending power that doesn’tnecessarily find the next new thing that intriguingor compelling.The projects that still resonate and do not lookdated are those that one would call traditional areWhat do you think traditionalarchitecture contributes to climatechange thinking?British colonial architecture uses over-doortransoms, verandas, high ceilings and otherarchitectural features to assure adequate airflow and maximum cooling. French colonialdesign and buildings also addresses climateissues similarly as witnessed in places such asMauritius, the West Indies and New Orleans.These same features are celebrated in some oftoday’s modern buildings and are often cited inawards such as the Aga Khan prize.The unfortunate problem with the aboveapproaches is they were not intended for thehighly urbanised world in which we are nowliving. Nearly half of the population now lives incities and in those cities they reside in high risebuildings. An entirely new vocabulary of buildingdesign that recognizes climate change is beingdeveloped and refined. The only question is, arethe solutions being developed and adopted fastenough?How do you think clients and customersrelate to traditional architecture?The resorts, often in romantic or romanticsounding destinations are generally, for theguest, a great distance from their homes. Theyexpect something out of the ordinary in the interiordesign and some orderly and working version oftraditional vernacular architecture is often theusually based on traditional tenets of balance,symmetry and comfort. But this universal ideaand the relevance of the traditional criteria is oftenlost on a younger clientele. Styles come and gowith alarming frequency, with 10 year old buildingsbeing redeveloped in the latest style. By the verynature of population increase, the need to housean ever expanding population and rehabilitatingthe environments leads us it to question how nontraditional architecture and eco-engineering willlead the way forward.PRINCE MAURICE GUEST ROOMMauritiusCENTARA GRAND BEACH RESORTPhuket Villas
  18. 18. 17DiscourseDiscussionFinal WordMost of our interior design work has been tryingto meet the expectations of guests who arelooking for a new and unique cultural experience.And at the same time provide a local populationwith an installation they feel comfortably mirrorslocal design and building customs.In twenty years of practice in Asia we have seenthe pendulum swing from one extreme to another.Where once we were chastised for suggestingthe use of traditional Chinese chairs in an interiorwe now find these pieces appreciated by the verypeople who deleted them previously. Tradition,in all its manifestations, will ultimately alwaysresonate and with a different ring throughoutdifferent countries and regions.When one looks at the interiors of many of thelatest building being realised by the architects oftoday one is likely to see some sort of Bauhausearly 20th century furniture in the mix - a Mieschair here or a Corbusier chaise there. Furnituredesigns less than a century old are now the newtraditional totems giving continuity and comfort.The concept of “traditional” keeps beingreinterpreted and moving forward.Specialist for Curtain and Fabric InteriorJl. Kembang Abadi 1 Blok A1 No. 35 Puri Kembangan , Jakarta Barat 11610Ph : 021-583.06173 Fax:021-583.06174
  19. 19. 18InnovationTechnologySiwalu JabuTraditional Karo House StructureTraditional house is one of the nation’s culturalassets. Each region has traditional houses withdistinctive features and the uniqueness of each.However, unfortunately the day more people areleaving the area of traditional house and move ina regular house. There are only some regions,people, or tribe which still survive in the traditionalhouse.One of the interesting traditional houses is the“Batak Karo traditional house”. This Traditionalhouse is also known as “traditional houseSiwaluh Jabu”. Siwaluh Jabu has a sense of ahouse inhabited by eight families. Each familyhas its own role in the house.The houses are constructed for wood, bamboo,using ijuk fibers for binding (no nails or screwsare used) and for the thatched roof. The designis naturally earthquake-resistant.The colours used in Karo designs are red, whiteand black. The red signifies a zest for life, a ‘get-up-and-go’, the colour seen in traditional clothesused in weddings, black the colour of death,man’s ignorance of Dibata’s (God) will, and white,the colour of God’s holiness.Ornamentation is very important in Karo houses,with Buffalo horns an essential decoration of thetraditional houses and two white-painted hornsare mounted on each end of the roof, usingboth male and female buffalo. Ornaments inKaro houses served traditionally to protect theresidents from evil spirits, and to demonstrate thestatus of the owner. With the fading of traditionalreligious beliefs (permena), they are now largelydecorative and reminder of past cultural traditions.Karo Traditional HouseParts of the Karo Traditional House Rear Preview Front PreviewSource :1. www.indonesian-tourism.info/2012/06/batak-karo-traditional-house.html2. en.wikipedia.org/wiki/Batak_architecture
  20. 20. 19ARKdesignIndesignAbian Kopi Spa & Villas was designed based on research into Asta Kosala Kosali, the Balinese traditionof building orientation and proportion.ABIAN KOPISPA & VILLASLocation : Puncak Sari, Tabanan, Bali,IndonesiaStatus : Design DevelopmentDesigner : Paul Tan
  21. 21. 20ARKdesignIndesignST. MORITZPENTHOUSELiving Room Dining Room Bath RoomLocation :Jakarta BaratStatus :Design DevelopmentDesigner :Devy AnggraenyBed RoomInterior Layout
  22. 22. PRE LAUNCHINGMAJESTIC WATER VILLAGE,ULUWATU, BALI, INDONESIAOn 21 March 2013 at Grand Hyatt Bromo Room, Jakarta, Prioritas Land held a PreLaunching for their latest project, Majestic Water Village, Uluwatu, Bali.Apart from the owners, the event was also attended by Paul Tan as Architect, DevyAnggraeny as Interior Designer, Gunawan - President Director of Premier HospitalityManagement and Aries Harijanto, Director of Indonesian Feng Shui Online center.This is an exclusive pre- launching event and investor gathering, that was filled withproperty enthusiasts because Majestic Water Village is the first and only water villageconcept in Indonesia during modern times.L - R: Aries Harijanto, Gunawan Rahardjo, MarcellusChandra, Paul Tan, Devy AnggraenyModel of the masterplan model of the villaPaul Tan, speaking about the architectural concept of watervillage20Events
  23. 23. 21EventsBIRTHDAY in ARKdesignMeidy’s Birthday- 23 May 2013 -Adhitia Panduwinata’s Birthday- 28 May 2013 -Meidy with ARK staff from left to right:Hema Saepuddin, Reza, Herman, Riki Mubarok, Wisnu Setiawan,Adhitia Panduwinata, Meidy Suriansyah, Freddy Sumanto, AriDermawan, Hartono WijayaDiana Ananta, Felicia Gunawan, Melinda Mayella, Sherry Lydia, MeidySuriansyah, Vita, Olivia Pingkan, Wenda BoenAdhitia Panduwinata and Wenda Boen - General ManagerAdhitia with ARK staff from left to right:M.Rosidi, Hartono Wijaya, Adhitia Panduwinata, Sherry Lydia, Fajar Abdi,Vita, Riki Mubarok, Olivia Pingkan, Felicia Gunawan, Diana Ananta, WendaBoen, Freddy Sumanto, Eko Arif
  24. 24. ARKdesignNewTeamMembers22StayInformed ARKdesignNew Team MembersOlivia Pingkan, S.ESTIE Bisnis Indonesia, Jakarta,IndonesiaBachelor in EconomyHartono WijayaUniversitas Kristen Indonesia,Jakarta, IndonesiaBachelor in Economy
  25. 25. PT ARKIPURI INTRA NASIONALTaman Kebon Jeruk Blok G1 No.58, Jakarta Barat 11630p +6221 5869369 / 5869371 / f +6221 5304456 /e jakarta@arkdesign-architects.comwww.arkdesign-architects.com®

×