I met Baskoro Tedjo, one of the initiators of Arsitek Muda Indonesia. His work in Selasar Sunaryo was one that is a substantial body of work. He taught me to use simple planar/mass to define space, bring solid void to the area. He has sensitive personalization on things he admires. And from now on, I can assure myself to personalize architecture, and there are parameters such as mass, planar shapes, void, light, and simplicity. It’s another way of mind. Meeting with both two inspiring people is a memorable time. He is a lecturer, architect, and singer. I look at him, and sometimes I wonder where he got the inspiration. I learn that he has a heart like a child; his view is full of curiosity. And I feel great assisting him in projects. Indah Widiastuti introduced the term phronesis Omah Library session. Phronesis is a term of doing, as An architect’s way is to compose form—Baskoro Tedjo in Indah’s perception representing this mode of philosophy.
His look was excellent when I was a student. We collaborated in many music venues, he was the singer, and I was the pianist. His voice is like Barry Manilow. He was a social guy. Sometimes he would be in a stage like sabuga stage (if you can imagine the
Scale, Sabuga can hold 3000 people per show.” Looking at him sing kroncong, Jazz, Pop, showing that music and architecture could have relations.
He was my mentor when I did my final project titled Tisna Sanjaya art gallery. I did many iterations in plans and composition to show the possibility based on voids, linear circulation, programs, and the last is the story. What is the story? The question that I remember that he mentioned in the discussions was, “where is the climax point for the visitor. What do they see ?” Three weeks before the submission, I prepared the schematic, principal section, and illustration to tell the story.
I came to visit his project Selasar Sunaryo, a gallery that Sunaryo owned. Baskoro Tedjo designed that project, and it inspired me that the axis could be meaningful. The beginning is the tradition, half of Julang Ngapak as exhibition space. Open spaces broke the massing, and the bridge linked the corridors. I got the feeling that the project is played form by intuitive and technical. It has a poetic quality. Baskoro Tedjo, the architect, and Selasar Sunaryo, the building are inspiring.
I was his assistant when I was a student. We worked for a house for the competition, the cultural center at Kota Baru Parahyangan. One afternoon, he asked me when we had lunch at his home, “Hey, Realrich, is there something you like ?” Then I told him
About the experience of me passing informal
Bookseller at art school. I passed that bookseller several times because there was one book that I like. I stop and open the book several times when I passed the seller.”
After lunch and I went home, and the day after, he texted me and met me in the architecture gallery ITB, and he passed an envelope of money. He said, “it’s for you. You can buy it now and learn from the book.”
I kept that book until now, and it’s the first architectural book that I bought because I love to. That sparks of giving becoming inspirations.