This fourth installment in the series of articles on
selected young ASEAN practices is focused on an Indonesian design studio that
has gained much traction in the industry in this region with their distinctively
exploratory approach to architectural design. Budi Pradono Architects (BPA),
founded in 1999, is a research based architectural studio with an
interdisciplinary focus on inclusive rigorous methodologies of research,
collaboration and experimentation. It believes in the concentration om the
characteristics and specificities of each and every project as part of its
individuality and conditions that surround it. BPA seeks an architecture or
design that interlinks, shifts and expands on considerations that range from
program, to typology, material, structure, to larger contexts of social,
environmental and cultural dynamisms. It engages itself on various scales of
project to relate design in search of connectivity and relation at multiple
levels and facest – be it product design, or urban infrastructure. BPA pursues
a resonance in the creative explorations during the design process as an
opportunity for connections and relations. A selection in three of the studio’s
project is presented here to explore this perspective.
The first example to illustrate BPA’s design
philosophy of connecting architecture with its users and environment is the A
House. The 183-sqm residence, located at a corner af a street in Bintaro area
in the periphery of Southern Jakarta, was designed around an existing 9m-tall
Ketapang Kencana tree. The design team first sought to preserve the tree and
used it as a guiding principle design element by organizing living spaces
around and in relation to the tree. With an objective to achieve a ‘home with
environment as a new oasis to live’
several fundamental questions were raised during the design process – such as
‘what if the bed is on top of the tree?’, ‘what if the homeowner can do the
contemplation in the bathroom, in the middle of the tree?’ etc. Some additional
trees were also planted on site to amplify this feeling of living in a jungle.
To translate the idea into reality, the design team inserted the master bedroom
with its en-suite bathroom on the 3rd floor – 8m above ground, among the tree
canopies. Some parts of the roof is made with a glass skylight to bring in
natural light and to induce a stack effects of air movement from the bottom of
the house up to the roof level. A ceiling with reflective material was
additionally applified throughout the house to give it a character and to
reflect the light from the outside and the tree silhouettes. The living room is
placed on the 2nd floor adjacent to the lower part of the tress, with an
intended increased visibility to the branches, where by the noisier 1st floor
houses the pantry and dinning room. To mitigate noise pollution stemming from
motorcycles passing by every morning and evening, a barrier wall with its
stepped down section toward the inside of the house is provided. The amphittheatre-like
shape of the wall is used as additional seating area for the dinning room. It
is intended that this micro-scaled home greening strategy would eventually
contribute to a greener Bintaro district.
This relationship between architecture and its
surroundings was further explored in the Dancing Mountain House project. Here,
instead of designing a house around a tree, the approach was tested on a much
larger scale – to mimic the topographic character of its natural setting at
2.000m above the sea level on the ridge of Mount Merbabu, and with it being
surrounded by several other mountanis. The project was conceptualized by
interpretation of the multiplication of Javanese village houses and the
reinterpretation of the traditional roof structure by adding the
mountain-shaped roof features which serve as skylight to bring as much natural
light as possible into the building.
The structure was made entirely out of bamboo with
traditional techniques assisted by new construction technology. Local materials
such as brick, bamboo and stone were used in differing ways. There was, in
addition, a starategy to utilize recycled and reused from the old house that
used to be sited there. What is more surprising is the fact that the house was
not built by a professional contractor but by the local community at large. The homeowners are both retired
lecturers who wanted to share their collection of economic and science books to
the surrounding community, so there is a part of the house that is dedicated to
serve as a library that can be accessed freely by the local people. To
summarize, this house is a noteworthy example of how architecture can engage
various aspect of social and economic drivers and putting them together to
function.
A concept similar to the Dancing Mountain House is
applied once more for the design of I-Shelter, a 30-sqm bike race shelter for
the Tour de Ijen, an event organized annually in Banyuwangi of East Java. The
form of the shelter was derived by mapping the height of mountains and the
depth of volcanic craters in the region, a method referred to by BPA as the
‘Specificity Of Place’. The fragment formation of such topography is then
realized three-dimensionally by the stacking of 5mm wide bamboo laths
vertically and horizontally. The whole shelter is made of Petung bamboo that
can be found around Gunung Ijen, a building material that was preserved
traditionallly by soaking it in the river for 8 months before use. A layer of
polycarbonate sheet is then slipped into the centre of the bamboo roofrops to
make the shelter functional. This location is also well known as a popular
hiking trail, where the shelter can be used as a resting spot for hikers and
bikers outside of the competition tournament. Though small in size, BPA
believes im how architectural design can become a device for making more
meaningful places rather than just functioning as nere shelters. As aptly
stated by Budi Pradono, ‘I believe that a small project is a chance as well as
a challenge for an architect to build a strong concept and also to utilize
architecture as a device to elevate local strengths, re-elevate the local
preservation method which has long been forgotten, as well as creating a unique
and specific place’.
BPA’s works ilustrate that there are several ways in
which the surround and context-natural of human, can be integrated in the
initial approaches to architectural design. A sensitivity and respect to the
givens in context can work together with building techniques to conjure
meaningful spaces, and subsequently social communities. These are frameworks
upon which BPA challenges themselves to rethink, reevaluate and inform in the
basic necessities of buildings and surroundings in their work. The attention to
social and environmental awaremesses and the responsibilities that carry along
with them, adds yet another dimension to the mere intrinsic nature of buildings
and shelters. When carried across a multitude of scales and sites, the results
can often produce appropriate and enlightening responses that delights an
enriches, hences providing that connectivity that is often so critical in
engaging both project requirements and site locale together. This thus becomes
a paramount attribute that illustrate and perhaps should inspire architectural
practices on how they can engrain themselves in the context that they operate –
responsibly.
Q & A
HOW DO YOU SEE THE IMPORTANCE OF
IDEAS BEHIND EACH PROJECT OF THE FIRM?
Each place or project has a hidden and specific
characteristic. This is where we are very interested at exloring more in local
environment characteristic, such as wind, lighting, as well as local material,
or space program required by clients. The invisible character that we found in
the field may be become our tools so that it can create such new ingredients
for a new architecture.
HOW WOULD YOU DESCRIBE THE FIRM’S
APPROACH TO ARCHITECTURE?
BPA as a research based architecture firm uses a
variety of methods in each project for finding the invisible characteristics of
a site; that even is able to gather standard programs to be the new ones. Thus,
we are very glad to have collaborated with a variety of disciplines, so that we
can obtain new things in the design process. Another strategy is using mock-up
models and 3D software as both tools in parallel procedures. In this process,
it creates space and the experiment of programming and materials in which, I
believe by making the real model in scale is very important, it can allow the
space to be intuitionally felt directly. This stage is very crucial to us.
WHO/WHAT ARE YOUR INFLUENCES? ARE
THERE ANY PARTICULAR ARCHITECTS/DESIGNER THAT INSPIRE ALL PARTNERS IN THE
OFFICE?
During my study in my undergraduate program in
Yogyakarta, I have explored the architecture approaches by Bernard Tschumi who
wrote “Manhattan Transcript”, a book mainly focusing on the dis-programming
theory. At the same time I was also interested at studying any theories on
deconstruction architecture, maninly expressed by Peter Eisenman giving
questions on status quo of modern architecture. After I had graduated, I was in
obsession with Rem Koolhaas’ writings in S M L XL, as well as I started to love
and like the architectural works by Tadao Ando, a Japanese architect, whose
works I visited throughout the world. However, the one that gave me the
architecture view and strength before I opened my own practice was Kengo Kuma.
I worked with him for two years in Tokyo, and had the opportunity to explore
architectural design in millimetre scale sizes. As I further studied in broader
scale (urban scale) from Winy Maas (MVRDV) under his studio at the Berlage
Institute in Rotterdam Netherlands, I came across studies in kilometre scales,
it required me to lay the grounwork for design methods that propose
contemporary architecture.
WHAT IS THE IDEAL PROJECT THAT THE
FIRM WOULD LIKE TO UNDERTAKE?
The ideal project is both small project an big
project. In millimetres and kilometres, both have very extreme difference. We
expect that each year we will get two types of these projects.
HOW DO YOU POSITIONS YOURSELF WITHIN
THE NEXT 5 YEARS?
In the next five years, the researches by BPA
hopefully can collaborate with the programs in some of the universities in the
world, so that these will create further innovations in architectural design.
WHAT DO YOU THINK OF AEC AND HOW ARCHITECTS
ARE IN THE FUTURE ABLE TO WORK EASILY WITHIN THE MEMBER COUNTRIES OF ASEAN?
With AEC, we should study with those in Europe. There
must be integration between ASEAN level competitions concerning the public
building such as campus, schools, as well as social housing. The similarity of
climate and material can be anticipated simultaneously, meanwhile these will
give new strength for ASEAN to get rapid new generation with specific
characters. As for the cooperation with universities, it must also be encouraged,
so that there will not only be a platform of cross culture but also a platform
for cross knowledge, which is neccessary for the future of ASEAN architecture.
No comments:
Post a Comment