'Pincuk' installation for 1001 doors reinterpreting traditions by Budi Pradono curated by Asmudjo Jono Irianto

'Pincuk'

450 cm x 287 cm x 369 cm

banana leaf, newspaper from 180 countries, miror, iron

2011

instalasi ini didasarkan atas konsep tarik menarik antara lokalitas dan globalitas. tradisi masyarakat lokal yang menggunakan bungkus daun pisang yang di-pincuk, dilipat dan kemudian digunakan sebagai piring, Pincuk kemudian dimaknai dan di olah lagi, dicari morfologi nya dan memang pincuk pun berkembang, pincuk di Bali juga disebut 'tekor' biasanya untuk wadah bubur, rujak, sayur dan jajanan Bali.', untuk yang berbentuk kerucut di Jawa bisa disebut contong, di Bali disebut kojong biasa untuk membuat tumpeng atau apem. Jaman dahulu ketika teknologi informasi elum semaju saat ini pincuk menjadi alat penting pengganti piring, untuk tempat makanan. Saat ini pun di beberapa pedesaan di Indonesia kita masih dapat menjumpai penjual makanan yang masih menggunakan pincuk sebagai pengganti piring selain murah dan praktis karena setelah selesai langsung bisa dibuang. Sementara diperkotaan sebagian besar fungsi pincuk digantikan oleh plastik dan styrofoam sebuah produk industri yang sulit dihancurkan. Secara harafiah manusia selalu membutuhkan makan dan makanan perlu diwadahi. Di era digital saat ini juga dengan dukungan gobalisasi, informasi dari seluruh dunia manjadi menu makanan kita yang baru. berita-berita, gossip atau apapun, dimana informasi ini diwadahi dalam bentuk media baik konvensional seperti koran maupun media maya. Kedudukan makanan informasi ini saat ini setara dengan makanan harafiah kita seperti nasi, kentang atau keju. Dengan itu semua dunia ini menjadi leih sempit atau lebih dekat dengan sebelumnya. Terlebih lagi dengan ditemukannya media network sosial seperti facebook, tweeter dan sebagainya itu telah merubah semua tingkah laku kita. setiap orang memiliki menu pagi hari bbm atau tweet sebelum menu tradisional roti misalnya. Pintu yang saya buat merupakan gerbang batas antara lokal - global, antara material yang natural dan material koran industrial yang tercetak. Batas yang tanpa batas, jika kita melewatinya kita mendapati mirror yang blurr yang memberikan kebebasan bagi kita untuk menginterpretasikan diri kita sendiri. untuk bercermin bahwa lokalitas kita tidak akan pernah hilang, hampir mirip dengan logat kita, meskipun kita berbahasa Indonesia tapi kelahiran banyumas..kadang kadang kita berbahsa ngapak-ngapak, misalnya. Atau kosakata kita bertambah dengan berbagai bahasa dunia baik bahasa slang maupun bahasa bahasa lokal yang tanpa sadar telah berbaur dengan bahasa utama kita. Inilah pintu menuju kebebasan virtual, kemudian kita menghargai kesetaraan lokalitas.

(Budi Pradono 2011)

This installation is based on the concept of attraction between locality and globalism. Traditions of local communities that use the banana leaf wrap-called ‘Pincuk’, folded and then used as a plate, pincuk then interpreted and though again, it sought morphology and indeed even to survive, pincuk in Bali is also called 'tekor' is usually for plate of porridge, salad, vegetables and snacks of Balinese. ', for a cone-shaped in Java could be called ‘contong’, in Bali called kojong usual to make a ‘tumpeng’ special rice for several ceremonies or apem, a traditional cake made of wheat. Antiquity as yet been as advanced information technology today pincuk be an important tool replacement dishes, to place food.

このインストールは、地域性とグローバリズム間の引力の概念に基づいています。バナナリーフラップいわゆる'Pincuk'は、折り曲げ後板として使用する地域の伝統は、その後、解釈pincukが、再び、それは形態であり、実際にも、生き残るために求められて、バリ島のpincukとも呼ばれる'tekor'はお粥、サラダ、野菜やバリのスナックのプレートに通常してください。 'は、円錐Javaの型と呼ばれることができる'contongは、いくつかの儀式やメーカーAPEM、小麦の伝統的なケーキtumpeng特別な米を'バリでは、ように、通常の高宗と呼ばれる。古代には、まだ先進的な情報技術の今日pincuk食品を置くために、重要なツール交換料理するようにして。

Currently, even in some rural areas in Indonesia, we can still find food vendors who are still using pincuk as a replacement plate in addition to cheap and practical because it can be discarded immediately after completion. While most of the functions of urban pincuk replaced by plastic and styrofoam an industrial product that is difficult to destroy.


現在、インドネシアの一部の農村地域でも、我々はまだ、に加えて、交換用の板としてpincukを使用している屋台を見つけることができる安価で実用的なそれが完了した後直ちに破棄することができるためです。都市pincukの機能のほとんどはプラスチックや発泡スチロールを破壊することは困難である工業製品に置き換えている間。


Literally people always need to eat and food needs to be contained. In today's digital society, also with support of globalization, information from around the world widened our new food menu; news, gossip or whatever, where this information is contained in the form of both conventional media such as newspapers or magazine and virtual media. The position of this information is current food equivalent to our literal food like rice, potatoes or cheese.


文字通り人々はいつも食べる必要があると食べ物が含まれている必要があります。今日のデジタル社会では、世界中からグローバル化のサポート、情報も世界は私たちの新しいフードメニューを広げ、ニュース、ゴシップ又はこの情報は新聞や雑誌や仮想メディアなど、従来のメディアの形式で含まれている任意の。この情報の位置は、コメ、ジャガイモやチーズのような私達のリテラルの食べ物に現在の食糧に相当するものです。


With all of that the entire world became narrower or closer to the previous one. Moreover, with the discovery of social media networks such as facebook, tweeter and so it has changed all our behavior. Every person has a menu or tweet or blackberry messenger in the morning before the traditional menu of bread for example.
すべてのことで、全世界が狭いか、前のものに近いとなった。また、Facebookは、トゥイーターなどのソーシャルメディアネットワークの発見およびそれがすべての動作を変更されています。すべての人は、例えば、パンの伝統的なメニューの前に朝のメニューやつぶやきやブラックベリーのメッセンジャーを持っています。


The door that I made is a border, a gate between the local - global, between the material of natural and industrial materials, a combination of traditional leaf whith printed newspaper, it shows a struggle between each other. Boundaries are no limits, if we passed we find a blur mirrors that provide freedom for us to interpret ourselves. to reflect that locality we will never be lost, almost similar to our dialect, even though we speak Indonesian but Banyumas birth sometimes we talk in ngapak-ngapak or banyumasan (one of Indonesian native language) language, for example. Actually our vocabulary is growing with the various languages of the world, either slang or language that without knowing the local language has mingled with our primary language. This is the door to virtual freedom, then we start to respect the equality of locality.

私が作ったドアは、国境、地域間のゲートです - 自然と工業材料素材、伝統的な葉でコンテンツ配信印刷新聞の組み合わせ間でグローバルに、それはお互いの間の闘争を示しています。私たちは私たちが自分自身を解釈するための自​​由を提供するミラーをぼかし見つける渡された場合の境界は、無制限されます。私たちはインドネシア語にもかかわらずBanyumasの誕生は時々ngapak - ngapakで話したりbanyumasanたとえば、言語（インドネシア母国語のいずれか）を、我々は、ほとんど私たちの方言に似て失われることはありませんが局所性を反映させます。
実際に私たちの語彙は、世界のいずれかのスラングや言語のローカル言語を知らなくても、我々の第一言語と混じりている様々な言語で成長している。
これは、仮想の自由への扉は、私たちは、地域の平等を尊重して起動します。

Photo by Nadav Kander in China

Jawbone Jambox wireless speaker/phone by fuse project

Jawbone dan Fuseproject, perancang sekaligus pembuat

Jawbone bluetooth headset mengumumkan satu produk baru

wireless speaker dan speaker pintar

yang pertama di dunia.

via mocoloco: http://mocoloco.com/archives/019826.php

Book review: "Ahmett Salina House and Studio" at The New Indonesian House by Robert Powell

The Ahmett Salina and Studio continues a long tradition in Southeast Asia working from home, a sustainable practice that reduces transport costs and the use of non-renewable resources.

The owners of the house are both graphic designers

who required a small office/design studio to be integrated with their dwelling.

The dialogue between the living and working areas is the essential driver of the brief.

To preserve the privacy of the domestic area, vertical and horizontal zoning is introduced. The ground floor is designated as the working are/design studio and the upper floor as the living quarters for a small family.

There is also a private area for the owners at the rear of the building.

The front of the house, which overlook a small landscape public park,

is designated the public zone.

The “big idea” in the design is the horizontally hinged opening screen on the public façade, which allows the whole of the home-office to be opened up to the forecourt to create a huge indoor/outdoor space for social functions and academic events.

The screen incorporates a “breathing skin” of cut bamboo sections,

assembled without nails that project out from a steel frame.

This is an inspired climatic responses employing sustainable material.

Conceptually, the screen is seen as having “pores” that allow the house to breathe.

Sunlight is filtered by the screen so that the internal temperature is lowered.

The area between the screen and the house is used as a veranda and smoking area.

Pradono is a passionate advocate of the use of bamboo, and other work by his practice exploring the use of this material has been published in international journals.

The finished dwelling is vulgar but is perfectly comfortable

and it is an affordable replicable model for other young business partners.

The ground floor is slightly cluttered with all the paraphernalia of a modern office-glass-topped worktable,

a cluster of apple Macintosh computers, a designer bicycle,

the ubiquitous water dispenser and a customer/client reception area-together with a neon sign building staff and visitors to “change yourself”. An open-riser staircase with cantilevered treads leads to the private zone, while the living and working spaces are visually connected by a void alongside the stairs.....

This book is written by Robert Powell and photographs by Albert Lim

by Tuttle Publishing available at Periplus

ISBN: 9780794604998

AA house in the New Indonesian House by Robert Powell

Pradono describes his practice as “a research-based architectural firm that engages with changing lifestyle in the twenty-first century”.

At the time of the author’s visit, Pradono had just returned from “Open City : Designing Coexistence”, an International Architecture Biennale Organized by the Netherlands Architecture Institute (NAI), Where he had exhibited his research on the relationship between the gated settlement and the kampong and had examined the shift from culture of “the street” to on of “the car and the mall”. The architect in interested in ways of overcoming the inequalities in society and designing for coexistence by creating metaphorical “holes” in the walls surrounding gated settlements.

Explaining the design process, Pradono refers to the “Programatic negotiation” necessary in the program

became the fundamental factor in the design evolution.

Conflict between various requirements and interests had to be resolved and this was done with the use of glass sliding doors to separate funcitions or unify the space.

The sliding glass screens and solid walls are arranged around a central void that acts as a mediator.

The void separates various space programs, yet permits them to be combined.

The combinet space can be used for family gatherings or communal prayers.

The form and the façade treatment are the outcome of the programmatic fragmentation.

A timber-floored deck leads to the central void.

Which has a reflection pool flanked by the living area, dining area and the dry kitchen.

Conventional, the driver’s room, maidspace and kitchen are located at the rear of the house, accessed by the one-meter-wide staircase on the right flank of the house that bypasses the reception rooms.

From the living room, a concealed staircase ascends to the second floor,

where some of the high-ceilinged bedrooms revive memories of a kampong dwelling with mattresses on raised platforms. From the second floor, a narrow circular stairscase extends up to a roof garden.

The plan and section of the house create an incredibly well-lit interior,

with very good natural ventilation, but one that is simultaneously private and gives little indication of its openness when viewed from the street.

This book is written by Robert Powell and photographs by Albert Lim

by Tuttle Publishing available at Periplus

ISBN: 9780794604998