Kategori: inspiring people

Wance Tobeng – Etos Ibu

Post author Oleh Realrich Sjarief
Post date Mei 25, 2020
Tak ada komentar pada Wance Tobeng – Etos Ibu

There’s only one thing more precious than our time and that’s who we spend it on.”-Leo Christopher

Ibu saya selalu menemani ayah saya ketika bekerja. Saya ingat ayah saya bercerita ketika ibu dan ayah saya menghadap ke Teddy Boen di pagi – pagi justru ketika Pak Teddy belum ke kantor. Pak Teddy pun terkejut melihat ayah ibu saya disana, intinya mereka ingin mendiskusikan beberapa tagihan tambahan karena memang diperlukan. Dan benar saja Pak Teddy selalu mengingat ibu dan ayah saya. Mereka selalu berpesan bahwa bangun pagi – pagi, selalu ada rejeki untuk orang yang bersiap – siap dan tak kenal menyerah, biasa jam 5.00 mereka sudah bangun dan menunggu untuk ngopi atau ngeteh bersama.

Ada alasan kenapa saya membuat kisah tentang ayah dan ibu yang memang adalah dasar kami berpraktik yakni sederhana, tidak bertele – tele dan tetap personal. Ibu saya atau seringnya dipanggil ama sama cucu – cucunya ini paling gokil, ia adalah ibu ketua RT yang pernah mimpin demo bersama warga gara – gara gorong – gorong air ditutup sama pemerintah. Untuk saya, ibu kami ini adalah ibu yang terbaik di dunia dan saya mendapatkan energinya semangatnya yang ngga bisa diam. Didiemin sedikit ssstttt “Eh tau – tau udah manjat lemari dia ngejer cicak.” Lol. Hal tersebut membuat hal tersebut juga turun ke Miraclerich punya energi yang luar biasa alias tidak bisa diam. Ibu saya selalu menemani ayah saya, mencatat administrasi, sembari mengurus keperluan rumah tangga kami, termasuk mengajarkan aturan yang disiplin tanpa mengikat. Ia menghargai waktu dan mereka memilih dengan siapa mereka meluangkan waktu. Laurensia sekarang juga membantu kami di dalam pengaturan studio yang tidak mudah.

Studio @rawarchitecture_best pun dibentuk dengan energi yang seperti itu, sebuah prinsip energi yang positif, desain seperti mempersiapkan sebuah hidangan makanan, preparation, preparation, preparation. Waktu yang panjang dilakukan untuk pengecekan – pengecekan gambar. Setiap pagi saya mencoba untuk mengecek

kesiapan setiap hari, meskipun tidak mudah untuk menerapkan hal tersebut di tim besar, segala sesuatu yang dimulai dari hal yang sederhana akan membuahkan hasilnya positif. Setelah ini baru saya akan menyajikan proses berkarya studio kami, setelah mengetahui etos yang merupakan titik awal studio yang berisi anak – anak muda yang sungguh saya banggakan.

In English :

My mother always accompanies my father when he works. I remember my father telling me when my mother and father went to see Teddy Boen in the morning when Mr. Teddy had not yet come to the office. Mr. Teddy was also surprised to see my mother and father there; they wanted to discuss some additional invoices. And sure enough, Mr. Teddy always remembers my mother and father. They always say that when they wake up early, there is always fortune for those ready and don’t give up usually, at 5.00 they are up and waiting for coffee or tea together.

There is a reason why I made a story about father and mother, which is the basis for our practice, which is simple, straightforward, and personal. My mother, often called her grandchildren, is the most energetic. She is the head of the RT who once led a demonstration with the residents because the government closed the water ditches. Our mother is the best in the world, and I get her energy and enthusiasm that cannot be silent. Didiemin a little shhhhhhh “Eh you know – you know, already climbing the closet he’s chasing a lizard.” lol. This energy also goes down to Miraclerich, who has extraordinary power, aka cannot be silent. My mother always accompanied my father, taking notes on the administration while taking care of our household needs, including teaching disciplined rules without being binding. It values time, and they choose who they spend time with Laurensia is now also helping us in the studio setup, which is not easy.

Realrich Architecture Workshop fills our memory with that kind of energy, a positive energy principle. The design is like preparing a food dish, preparation, preparation, preparation. I need time for checking the design, which I do every morning.

Everyday readiness or constant preparation is not easy to implement in a big team. Everything that starts from simple things will produce positive results. After this, I will only present the process of working in our studio after knowing the ethos, which is the starting point for a studio filled with young people of that I am proud of.

blog inspiring people

Asnawi Sjarief – My father, Teluk Betung Eagle

Post author Oleh Realrich Sjarief
Post date Mei 23, 2020
Tak ada komentar pada Asnawi Sjarief – My father, Teluk Betung Eagle

Ini ayah saya, namanya Asnawi Sjarief, opa kami, yang ngga segesit ibu saya tapi matanya tajam seperti elang. Ia adalah seorang pemain bulutangkis yang sempat jadi Elang Teluk Betung, meskipun badannya kecil ia terkenal dengan jumping smashnya. Ia menyaksikan kehebatan satu legenda pelatih Indonesia Tong Sin Fu dalam melatih reflek, teknik bermain dengan etos berlatih tinggi sampai berkelahi ketika harus mempertahankan prinsip hidupnya. Tong Sin Fu sekarang melatih Lin Dan, dan kaliber dunia lainnya menjadi juara dunia. Dulu om Tong sempat melatih Icuk Sugiarto, Alan Budikusuma, Ardy Wiranata, Hariyanto Arbi, Hendrawan. Ia melatih murid2nya untuk meraih puluhan gelar juara termasuk 3 olimpiade seperti : piala Thomas, Uber dan banyak piala lainnya. Untuk saya, figur Tong Sin Fu dan Ayah saya adalah figur dasar bagaimana arsitek perlu memiliki prinsip hidup dan latihan yang intensif.

Tong Sin Fu sekarang melatih Lin Dan, dan kaliber dunia lainnya menjadi juara dunia. Dulu om Tong sempat melatih Icuk Sugiarto, Alan Budikusuma, Ardy Wiranata, Hariyanto Arbi, Hendrawan. Ia melatih murid2nya untuk meraih puluhan gelar juara termasuk 3 olimpiade, piala Thomas, Uber dan banyak piala lainnya. Untuk saya figur Tong Sin Fu dan Ayah saya adalah figur dasar bagaimana arsitek perlu memiliki prinsip hidup dan latihan yang intensif.

Di waktu kecil, kita tidak banyak berkumpul bersama, Ayah saya bekerja di Jakarta, dan ibu saya, saya, dan saudara laki-laki saya tinggal di Surabaya. Kami tidak sekota sehari-harinya, Ibu saya mendukungnya, ketika kami harus pindah ke Jakarta dari Surabaya ketika saya berusia sepuluh tahun.

Dia mengawasi timnya dengan cermat dan merawat mereka, seperti keluarganya. Saya ingat ayah saya bangun sangat pagi, jam 5 pagi, dan pergi ke lokasi untuk memeriksa pekerjaan timnya dari waktu ke waktu, dari Senin sampai Senin. Terkadang selama liburan, kami mengadakan acara dengan tim pengrajin dan pengawas, dan hidup mereka menjadi hidup kami. Kami bersenang-senang membicarakan proyek di meja makan. Saya sangat mencintainya, dan dia adalah pahlawan saya, panutan, mentor, dan orang yang selalu mengerti kondisi kami. Meskipun dia harus menutup usahanya di tahun 1998, dia berhasil mencarikan uang dan pekerjaan untuk mereka.

Dalam hidupnya, dia berusaha untuk orang lain dan keluarganya. Dia menyukai posisinya di lapangan, dan bosnya, Teddy Boen, mengingatnya. Teddy Boen adalah salah satu profesor di bidang desain Gempa di Indonesia. Dia mengenal Teddy Boen dari kakek kami, dan dia mempertahankan hubungan itu selama 30 tahun hingga sekarang. Ini adalah hubungan berkelanjutan antara generasi pembangun, klien, dan pengrajin. Saya masih ingat tidak sempat mengobrol dengan ayah saya karena dia bekerja di Jakarta. Dia datang ke Surabaya ketika salah satu keluarga berulang tahun. Kami dulu mengadakan pesta ulang tahun yang sederhana. Perayaan kami sangat sederhana seperti rumah kami, satu lantai, dengan finishing teraso. Dia membangunnya satu per satu. Dia mengurus keluarganya dengan memberi kami rumah sederhana selama bekerja di Jakarta. Terkadang, kakek + nenek kami dari Lampung datang, dan saya menyadari bahwa mereka sangat bangga dengan ayah dan ibu saya. Pakaian kami sangat sederhana, dan terkadang, ibuku menjahit semua pakaiannya sendiri. Gaya pakaian kami mirip. Terkadang banyak saudara kakek kami datang untuk membantu ibu saya. Ibu saya merawat empat putra seorang diri. Dia suka membuat kue dan bersosialisasi di lingkungan sekitar.

Seorang ayah adalah pelita bagi anak – anaknya, begitupun ayah saya yang sudah disebut opa oleh cucu2nya. Saya sangat kangen sekali untuk berkunjung ke tempat ayah saya hanya untuk sekedar mendengarkan ia mengulangi kisah – kisah hidupnya bertemu orang – orang luar biasa termasuk ketika ia membicarakan terus Teddy Boen dan menanyakan ke saya, kamu sudah kontak pak Teddy Boen ?

Akhirnya saya bertemu pak Teddy sebelum pada saat itu sata bertemu almarhum pak Adhi Moersid. Saya diceritakan mengenai prinsip – prinsip hidup berelasi dengan engineer dan menegaskan bahwa empati, hati diperlukan di dalam menjalani praktik. Ternyata beliau adalah insinyur struktur dari Said Naum, yang merupakan partner almarhum Pak Adhi Moersid dan Atelier 6 Arsitek. Teddy Boen hanya berkata your dad is really good person, teliti dalam bekerja dan tidak omong besar. Hidup ini memang berputar seperti pasir di pantai kadang ia tertarik ke dasar lautan mendalami prinsip hidup untuk kembali ke daratan mendalami bahwa semua hal ini terelasi.Le Corbusier memahami ini di dalam gambaran saat – saat dirinya bermain di pantai dan menemukan poetic objet, dari situ ia memahami bahasa alam melalui kerang, bentuk alam.

Setelah saya selesai menemui almarhum Adhi Moersid dan Teddy Boen. Pak Teddy menitipkan 10 buah buku dan prototipe rumah tahan gempa yang berguna untuk masyarakat yang adalah dokumen publik. Saya kembali ke rumah ayah saya. Saya ingat ia menyambut ke depan dan langsung menanyakan, gimana sudah bertemu ? Saya mengiyakan dan melihat matanya berbinar – binar.

In English :

My father’s name is Asnawi Sjarief. He is not as agile as my mother but has sharp eyes like an eagle. He is a badminton player who became a Teluk Betung eagle; although his body is small, he is famous for his jumping smash. He witnessed the greatness of a legendary Indonesian coach Tong Sin Fu in practicing reflexes, playing techniques with high training ethos, and fighting when he had to defend his life principles. Tong Sin Fu is now training Lin Dan and other world calibers to become world champions. In the past, Uncle Tong had coached Icuk Sugiarto, Alan Budikusuma, Ardy Wiranata, Hariyanto Arbi, Hendrawan. He taught his students to win dozens of titles, including 3 Olympics, the Thomas Cup, Uber, and many other trophies. For me, the figures of Tong Sin Fu and my father are the primary figures of how architects need to have principles of life and intensive practice.

We were apart when I was born. My mom supported him initially, and we had to move to Jakarta from Surabaya when I was ten years old. My father worked in Jakarta, and my mom, me, and brothers stayed in Surabaya.

He watched his team closely and cared for them, like his family. Even though he was bankrupt, he managed to find money and a job for them.

I remember he woke up very early, 5 a.m., and went to the site to check his team’s work from time to time, from Monday to Monday.

Sometimes during the holiday, we had events with the artisans’ team and supervisor, and their lives became ours. We have a good moment talking about the project at the dining table. I love him so much, and he is my hero, role model, mentor, and always the person who understands my condition. In his life, he put effort into others and his family. He liked his position on the field, and his boss, Teddy Boen, remembered him. Teddy Boen is one of the professors in Earthquake design in Indonesia.

He knew Teddy Boen from our grandfather, and he sustained the relationship for 30 years until now. It’s a sustained relationship between generations of builders, clients, and artisans.

I still remember not having time to chat with my father as he worked in Jakarta. He came to Surabaya when one of the family had a birthday. We used to have a simple birthday party. Our celebration was straightforward like our house, one story, with a terrazzo finish. He built it one by one. He took care of his family by giving us a simple home while working in Jakarta. Sometimes, our grandpa + ma from Lampung came, and I realized they were so proud of my father and mother. Our clothes were so simple, and sometimes, my mom sewed all of the clothes by herself. Our style of clothes is similar. Sometimes many of our grandfather’s siblings came to help my mother. My mom took care of four sons by herself. She likes to bake a cake and socialize in the neighborhood.

My conversation with my father is still ongoing, including when he talked about Teddy Boen and asked me, have you contacted Mr. Teddy Boen?

A father is a lamp for his children, and my father has been called Opa by his grandchildren. I miss visiting my father’s place to listen to him repeat his life stories and meet extraordinary people, including when he talked about Teddy Boen and asked me, have you contacted Mr. Teddy Boen?

Finally, I met Mr. Teddy before that time when I met the late Mr. Adhi Moersid. It turned out that he was a structural engineer from Said Naum, who was a partner of the late Pak Adhi Moersid and Atelier 6 Architect. They told me about the principles of living in a relationship with engineers and emphasized empathy and heart, which is a must in practice. Teddy Boen said your dad is a good person, conscientious in his work, and doesn’t talk big. Life is indeed spinning like sand on the beach. Sometimes we are drawn to the bottom of the ocean to explore the principle of life. Then, we can return to land to explore how all these things are related. Le Corbusier understands this in the picture of moments – when he plays on the beach and finds the poetic object, and he understands the language of nature through shells and natural forms.
After meeting the late Adhi Moersid and Teddy Boen, Mr. Teddy entrusted ten books and prototypes of earthquake-resistant houses that are useful for the community, which are public documents.

I returned to my father’s house. I remember he greeted me and immediately asked, how did you meet? I agreed and saw his eyes sparkle.

Tag dot workshop

blog inspiring people

Boonserm Premthada – Sang Penjaga Gajah

Post author Oleh Realrich Sjarief
Post date Desember 24, 2019
Tak ada komentar pada Boonserm Premthada – Sang Penjaga Gajah

I visited Boonserm's work with Nantapon photo cr to Nantapon

Beberapa bulan ini saya berusaha mencari teman untuk bisa berdiskusi mengenai arsitektur. Arsitektur di dalam pikiran saya adalah sebuah disiplin yang perlu untuk diperjuangkan dan dihayati yang dimulai dari hal yang kecil yang kemudian menjadi besar, merubah orang yang menempatinya termasuk merubah arsiteknya sendiri. satu karya menuju satu karya yang lainnya. Kualitas ditentukan bukan oleh berapa banyaknya kuantitas yang dikerjakan, kualitas diatas kuantitas. Kualitas pun tidak berbanding lurus dengan kepopuleran satu karya tersebut, penilaian satu karya terhadap yang lain muncul dari kekuatan proses pembuatannya. Hal tersebut yang seringkali membuat saya berdecak kagum karena semangat perubahan, semangat kejujuran, semangat untuk tampil dalam semangat eksperimen tanpa takut salah. Arsitek itu adalah manusia yang seharusnya tampil jujur, apa adanya.
.
Melalui Boonserm dan karyanya saya mendapatkan refleksi dari diskusi kita, saya berusaha merefleksikan pembicaraan kita, energi yang besar, keberanian yang besar, yang membuat refleksi terhadap proses untuk terus berbagi ke orang lain untuk menikmati karya yang mampu berbicara dari hati. Semua orang bisa berbicara banyak melalui kata, namun arsitek berbicara melalui karya. Karya yang dalam berbicara melalui dirinya sendiri, kemudian arsitek meletakkan dirinya di dalam sepatu orang lain. Begitu Ia melihat perbedaan violet le duc terhadap john ruskin. Seketika itulah manifestasi antara konteks, teori, metodologi, implementasi menjadi satu kesatuan. Sungguh sebuah titik yang saya apresiasi. Keterbukaan, semangat untuk berbagi, kejujuran dalam berbuat berpikir dan membentuk masa yang sekarang membuat boonserm ada di konteks yang sekarang.
.
Keesokan harinya kami berangkat ke Kantana untuk melihat karyanya. Di dalam karya Kantana ia mengkonstruksi axis yang merupakan jalan masuk dengan bebatuan kerikil, kerikil yang ada tidak basah dan kering. Jalan itu memiliki drainase yang baik. Vista diciptakan dari bentuk bata yang disusun menyerupai candi yang membelah zona – zona yang berbeda. Keesokan harinya, bersama Nantapon, kita menuju karyanya selanjutnya yaitu sebuah pavilion yang memiliki fungsi restaurant, bangunan disini memiliki komposisi tektonika yang meredefiniskan tektonika tangga dan tampak kotak – kotak yang terletak di dalam sebuah kubus yang tersusun di dalam rangka yang dibungkus material triplek. Tangga tersebut menghubungkan mezanine dengan lantai dasar.setelah itu kami berjalan kaki ke bangunan sebelahnya terdapat bangunan yang sedang dibangun konstruksi yang sedang berjalan yang juga didesain oleh Boonserm. Bangunan itu menggunakan konstruksi glasblock yang ditutup sisinya oleh kayu lokal. Antar glassblock di perkuat dengan sambungan besi. Konstruksinya seperti kertas yang dilipat dan duduk di atas konstruksi beton. Setiap massa dipecah yang dihubungkan dengan jembatan, didalam massa tersebut terdapat solid void plat lantai yang menhubungkan secara visual axis dari satu massa menuju massa yang lain, menghadap ke pepohonan dan sungai.
.
Di era sosial media yang begitu cepat, karya arsitektur bukanlah soal jumlah like dan follower tapi adalah soal totalitas menjalani hidup sabatikal yang penuh pengabdian. Seringkali jalannya adalah jalan yang sunyi dan apabila ia menjadi jalan yang ramai biarkan kita membagikan kebaikan untuk orang lain dengan jujur apa adanya. Satu kali ini saya akan berdoa untuk boonserm untuk kebaikan yang dibagikannya ,termasuk untuk saya sendiri yang melewati doa ruang dan waktu. Hidup hanya sementara jalani dengan sungguh- sungguh. Pertemuan kami ditutup dengan sebuah pelukan untuk pesan untuk jangan pernah menyerah.
.
Ekonomi, sosial, lingkungan, manusia membentuk konteks – lahir arsitektur. Pribadi yang sederhana, bertemu orang – orang yang sederhana membuat kembali belajar. Boomserm membuat komposisi kantana dan dua karya lain yang saya kunjungi . Pendekatannya adalah pendekatan yang apa adanya. Arsitektur adalah karya yang memberkati klien, pengguna.
.
Di akhir perjalanan, Nantapon mengundang saya ke Samsen Hotel karya dari Chat Pong. Disitu istri dari Boonserm akan menyajikan dansa Zumba. satu dibalik tarian zumba di satu sisi di depan bangunan hotel, saya melihat ada boonserm, ada nantapon disitu ada murid- murid ada teman2 mereka dan saya melihat ada semangat persaudaraan untuk saling mendukung. Kualitas yang jujur dan jarang ditemui. Boonserm mengajak saya berbicara ke satu sudut ruangan dan ia bercerita mengenai perjalanan hidupnya di dalam arsitektur. Satu diskusi tersebut merubah persepsi saya mengenai sebuah arti di dalam menjadi arsitek. Bahwa kita harus berjarak untuk bisa menilai, kita harus tekun untuk berproses, kita harus terus melayani sekitar kita. Ciptakanlah karya yang tumbuh dari tanah.
.
Photo of Boonserm’s work, I always touched by humbleness and openness, there come honesty and strong body of work.
.

For the past few months I've been trying to find friends to discuss architecture with. Architecture in my mind is a discipline that needs to be fought for and lived that starts from small things which then becomes big, changing the people who occupy it, including the change of the architect himself. one work to another. Quality is determined not by how much quantity is done, quality over quantity. Quality is not directly proportional to the popularity of one work, the assessment of one work against another arises from the strength of the manufacturing process. This is what often makes me chuckle because of the spirit of change, the spirit of honesty, the spirit to appear in the spirit of experimentation without fear of making mistakes. The architect is a human being who should appear honest, as it is.
.
Through Boonserm and his work I get reflections from our discussions, I try to reflect on our conversations, great energy, great courage, which makes reflections on the process of continuing to share with others to enjoy works that are able to speak from the heart. Everyone can speak a lot through words, but architects speak through works. The deep work speaks through itself, then the architect puts himself in someone else's shoes. As soon as he saw the difference between violet le duc and john ruskin. At that moment, the manifestation of context, theory, methodology, implementation becomes a single unit. It's a point that I appreciate. Openness, passion for sharing, honesty in thinking and shaping the present make boomerm exist in the current context.

The next day we left for Kantana to see his work. In Kantana's work he constructs an axis which is an entrance with gravel, the gravel is neither wet nor dry. The road has good drainage. Vista is made of bricks that are arranged to resemble a temple which divides the different zones. The next day, together with Nantapon, we went to his next work, which is a pavilion that has a restaurant function. The building here has a tectonic composition that defines ladder tectonics and looks like boxes located inside a cube arranged in a frame wrapped in plywood material. The stairs connect the mezzanine with the ground floor. after that we walked to the building next to it there is a building under construction in progress which is also designed by Boonserm. The building uses a glass block construction which is covered on the sides by local wood. Between glassblocks are reinforced with iron connections. The construction is like folded paper and sits on a concrete construction. Each mass is broken down which is connected by a bridge, inside the mass there is a solid void floor plate that visually connects the axis from one mass to another, overlooking the trees and the river.
.
In this fast-paced era of social media, architectural work is not about the number of likes and followers but is about the totality of living a devoted sabbatical life. Often the path is a lonely road and when it becomes a busy road, let us share kindness with others honestly as it is. This time I will pray for Boonserm for the goodness he shares, including for myself who has passed the prayer of space and time. Life is only temporary, live it earnestly. Our meeting closed with a hug for a message to never give up.

Economic, social, environmental, human form the context - born architecture. A simple person, meeting simple people makes learning again. Boomserm composed cantana and two other works that I visited. The approach is an as-is approach. Architecture is a work that blesses clients, users.
.
At the end of the trip, Nantapon invited me to the Samsen Hotel by Chat Pong. There the wife of Boonserm will present a Zumba dance. one behind the zumba dance on one side in front of the hotel building, I saw there was a boonserm, there were nantapon there were students and their friends and I saw a spirit of brotherhood to support each other. Honest and rare quality. Boonserm took me to a corner of the room and he told me about his life journey in architecture. One such discussion changed my perception of what it means to be an architect. That we must be distant to be able to judge, we must persevere to process, we must continue to serve those around us. Create works that grow from the ground.
.
Photo of Boonserm's work, I always touched by humbleness and openness, there come honesty and strong body of work.

Tag boonserm, pilgrimage

blog inspiring people

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

Post author Oleh Realrich Sjarief
Post date November 27, 2016
Tak ada komentar pada Kandalama, Geoffrey Bawa’s later masterpiece and content of being honest

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.

“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

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.

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.

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 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.

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

blog inspiring people

Kengo Kuma – Craftmanship Process

Post author Oleh Realrich Sjarief
Post date Oktober 17, 2016
Tak ada komentar pada Kengo Kuma – Craftmanship Process

161016 Jakarta,”Totality of architectural design includes textures, the soft and hardness of the material, the smell of the material, and the acoustic effect of the material.” Kengo Kuma

***Kengo Kuma di dermaga cultural village***

Di satu pagi Albert salah satu klien yang sudah saya anggap seperti adik sendiri, mengingatkan, “ko jangan lupa untuk meeting tanggal 9 Oktober ya, Kengo Kuma akan datang ke Belitung, nanti kita diskusi. apa koko bisa ?” Kira – kira 4 bulan yang lalu, Albert memiliki ide untuk mengunjungi Kengo Kuma ke Jepang, Kengo Kuma pun tertarik dengan proyek yang sedang kita kerjakan. Dalam hati, diri ini bertanya – tanya, apakah ini mungkin, untuk bekerja bersama di proyek untuk daerah yang terpencil ? Saat itu beberapa kali diskusi di lakukan. Saya ingat ketika ada di Bandung, di satu pojok perpustakaan ITB, ketika sedang mencari buku mengenai christopher alexander, video conference dilakukan. Albert pada saat itu ada di Jepang. “Ko mau ko, Kengo Kumanya.” Dalam hati diri ini melonjak kegirangan, perbincangan dengan beberapa arsitek Jepang lain pun juga dilakukan untuk mencari – cari kemungkinan kolaborasi, meeting pagi – pagi dilakukan karena jadwal arsitek – arsitek ini yang padat. Hanya Kengo Kuma yang bertahan untuk mau terlibat di proyek ini.

Proyek di Belitung memiliki kenangan tersendiri, disinilah kami biasa meluangkan waktu bersama – sama, saya, Laurensia, beserta albert dan keluarganya, pak Agus dan tante Siannie sejak sekitar 5 tahun yang lalu, cerita dimana tidur tanpa penerangan, sepi, nyamuk, dan tanpa akses menjadi makanan sehari – hari. Cerita pun berlanjut, suka dan duka yang dialami mereka dalam menjalankan proyeknya pun sudah disaksikan sampai akhirnya area resort dibuka dan datanglah orang – orang yang mau menginap. Memang tidak mudah memulainya, menjadi yang pertama, sang pionir dimana yang lain seperti ragu – ragu dalam menembus belantara yang liar tanpa infrastruktur yang memadai.

Pagi – pagi di jam 4 pagi, telepon rumah berdering pak Misnu sudah membangunkan, mengingatkan bahwa satu jam lagi harus berangkat. Baru saja dua hari yang lalu, perjalanan dilakukan ke Bali, pulau dewata untuk memeriksa pekerjaan. Keadaan sekarang tidaklah sama dengan beberapa tahun yang lalu, sekarang sudah ada miracle, senyumnya,tawanya,kelucuannya ataupun tangisnya mewarnai kehidupan kami sehari – hari.

Jakarta di pagi hari, memberikan kehidupannya yang lain, kelembutan dibalik carut – marut pembangunan dan perencanaan infrastruktur kotanya, sebuah kota yang banal atau kasar atau tidak cantik, dipagi – pagi yang cerah, satu pegawai lontong sayur langsung menghampiri di lounge bandara, satu ya mas sama teh manis, sepertinya ia sudah hapal, kami setidaknya bertemu satu kali seminggu.

Kaki ini dilangkahkan di koridor pesawat, kebetulan tempat terdepan diperoleh, disitulah perjumpaan dengan Kengo Kuma. Ia sudah berumur 62 tahun, duduk di pesawat sendirian. “Anda sendirian Kuma san ?” “Staff saya sudah ada di Belitung” katanya singkat sambil ia tersenyum. Ia tertidur sepanjang perjalanan,kemudian ia bercerita ia baru saja pergi ke Ceko untuk membuka pameran Kengo Kuma: Woven di Jaroslav Fragner Gallery di Praha, lengkung matanya dalam, menunjukkan kurangnya ia tidur dan istirahat, nomaden. Ia kemudian menjelaskan orang Jepang banyak sekali belajar dari kebudayaan barat, ia terinspirasi dari karya Yoyogi Stadium, karya Kenzo Tange, dan sekarang banyak orang terinspirasi dengan arsitektur Jepang, semua saling mempengaruhi.

Memang struktur gedung stadium Yoyogi yang didesain Kenzo Tange begitu indah dengan kabel – kabel tarik dan lembaran metal yang diletakkan diatasnya menyerupai sirip – sirip ataupun daun, mengingatkan pada karya gereja pohsarang dengan struktur genteng yang ditumpukkan di reng batang tarik menyerupai struktur tenda, begitulah maclaine pont mendesain dengan keterbatasan material dan keterbatasan pengetahuan sumber daya manusia.

Jenis batuan granit berdasarkan kekerasannya.

“Kuma San, who is inspiring your work, your design approach.” Saya bertanya. ia melanjutkan “arsitek favorit saya adalah karya arsitek Antonin Raymond, arsitek dari Ceko, dahulu pernah magang ketika wright mendesain dan mesupervisi desain Meiji Mura dan School of Holy Spirit. Antonin memulai penggunaan beton cetak jauh sebelum arsitek jepang mengelaborasi struktur beton dalam karya – karyanya. Salah satu Muridnya adalah Kunio Maekawa yang merupakan guru dari Kenzo Tange.” Kengo Kuma memiliki satu garis yang berbeda dengan beberapa arsitek yang sedang diangkat di pameran moma, sebuah galeri kelas dunia dimana bangunannya didesain oleh Yoshio Taniguchi berjudul Japanese Constelattion yang dikuratori oleh Pedro Gadanho dan Phoebe Springstubb dimana mengangkat Toyo Ito, SANAA, dan generasi setelahnya yang memberikan pemahaman rasionalis yang kental, membuat sesuatu yang baru, arsitektur menjadi semakin abstrak, semakin ringan, semakin sederhana, semakin murni, semakin alami. Pikiran ini melayang satu saat di Meiji Mura, pada saat summer workshop di nagoya. Meiji Mura didesain dengan detail pola geometris dengan perulangan pola dalam pengolahan 5 jenis material yang berbeda, kombinasi tembaga, bata, beton, besi, dan kayu. Pendekatan romantis terlihat nyata dengan percampuran bata yang melakukan ciri khas Wright.

Siangnya kami berkunjung ke satu rumah di perkampungan tradisional membalong selatan, membahas mengenai organisasi layout, budaya orang tinggal di desa, juga material – material pembentuk arsitekturnya. Pertanyaan yang dilontarkan dalam diskusi oleh Kengo Kuma dan timnya adalah bagaimana satu bangunan ini ditinggali. Intinya adalah mengumpulkan artefak dalam proses perencanaan dan tenggelam didalamnya, ia percaya bahwa proses yang sudah terajut, yang baik perlu dipertahankan, sebuah pendekatan empiris dalam berkarya. Proses desain yang maju mundur, menimbang – nimbang apa yang baik dan tidak ini yang membedakan konstelasi empiris dengan arsitek rasionalis diatas. Ada setidaknya 10 buah spesimen kayu dengan beberapa karakter lokalnya yang kita diskusikan, beberapa teknik membuat urat kayu, dan berdiskusi tentang bata tumpuk, material pembentuknya dan bagaimana pengaruh air di kulit bangunan.

Proses ini tumpang tindih, saling bertumpuk, untuk dibuat sintesa desainnya, hal ini memiliki lapisan – lapisan yang tidak mudah untuk diurai, tentunya tidak semudah mengurai diagram Bjarke Ingels, ataupun diagram Junya Ishingami yang singular, homogen, total dalam mendesain. Sebagai seorang manusia, Kengo Kuma bernafas, mendengarkan, merasakan, setidaknya dengan cara itulah ia berkarya dimana baru hanya kulitnya pasti yang diri ini temui, dan saya yakin dalamnya akan lebih indah dari lubang – lubang kecilnya yang mulai dibuka.

“Ko, kita pasti bisa ko.” Albert berulang – ulang berkata, diri ini tersenyum, dan bersyukur, dengan begitu giatnya dia, semesta akan tersenyum, dan Kengo Kuma mungkin saja tersenyum akan kegigihannya, dan kita akan bertemu di ujung jalan yang penuh kenangan.

foto bersama di depan rumah tradisional penduduk

blog inspiring people

Ahmad Rida Soemardi – Sincere Leaner and Teacher

Post author Oleh Realrich Sjarief
Post date Agustus 20, 2014
Tak ada komentar pada Ahmad Rida Soemardi – Sincere Leaner and Teacher

“Learn from me, for as I teach, I learn from you as well! Always be accountable to yourself and take complete responsibility for your own life. No one can do as much for you, as you can do for yourself…”
― James A. Murphy

Beliau datang di sidang ke 3 di masa – masa tugas akhir hampir 10 tahun yang lalu , di pertengahan jalan proses di tugas akhir, di tengah perjalanannya untuk menempuh PHD di Australia, ia pulang. Kita sendiri ada ber 4 dengan teman – teman satu kelompok yang lain, ada Nisa, Gamma, dan Herman dengan Pembimbing pribadi diri ini adalah pak Baskoro Tedjo. Pada waktu itu hari – hari asistensi dengan beliau diisi dengan mencoba memecahkan kesulitan yang ada di bangunan lengkung yang bertabrakan dengan axis yang tegas. Kemudian beliau berkata, “saya tahu kamu pasti bisa, coba kamu lihat Christian De Pontzamparc.” Baru juga tahu ada arsitek yang bernama demikian, dan lebih merasa bersemangat karena beliau antusias dan yakin akan apa yang sedang dcari. Inilah satu titik awal, dimana kepercayaan diri itu mulai ada dalam perancangan tugas akhir.

Beliau pun ada ketika pada akhir sidang, semua sudah selesai, beliau menanyakan bagaimana perasaan setelah melewati sidang ini didepan penguji – penguji yang lain. Pada akhirnya beliau berdiri dan bertepuk tangan. Tidak pernah membayangkan bisa mendapatkan momentum seperti itu. Beliau pun ada ketika hari demi hari berdiskusi sebagai tempat untuk pulang. Beliau ada disitu. Begitupun ketika berpapasan, bersalaman bercanda gurau menjadi satu kebiasaan, ia selalu berkata, “I know you will do the best.”

Beliau juga ada pada saat diri ini meneruskan S2 di Australia, pak Tata meneruskan S3 dan diri ini dengan S2. Ada juga saat – saat yang berkesan dimana kita diminta mbak Ade Tinamei untuk membuat video untuk ultah PSUD juga untuk pak Danisworo, berkeliling ke satu jurusan mencari Prof Jon Lang, Alex Tzanes, ataupun staff – staff yang lain untuk membuat jaringan baru.

Pada waktu itu, terkaget bukan kepalang diberi tahu satu adik di kantor bahwa, Pak Tata meninggal. Kesedihan pun datang. Beliau yang selalu ada untuk tempat pulang. Pak Tata sendiri ada pada waktu S2 di Sydney, sekitar seminggu satu kali biasa kami makan siang sambil ngobrol apapun, akademis ataupun pengalaman konyol sehari – hari. Dari situ beliau menempatkan dirinya sebagai satu pribadi yang penuh kehangatan. Pak Tata adalah satu pribadi yang suka untuk mendengarkan sekitarnya, sehingga terkadang- kadang ia tidak punya waktu untuk dirinya sendiri.

Kali ini Diri ini kembali tidak bisa hadir pada acara Tribute to Ahmad Rida Soemardi pada saat Artepolis kemarin karena ada hal yang benar – benar mendesak di Jakarta. Kali lain pun tidak bisa menepati janji untuk bertemu dengan pak Tata dan berterima kasih untuk segala ilmu yang diberikannya, apalagi teladan sikap yang ditunjukkannya dengan tanpa kompromi. Tulisan ini dibuat untuk bisa berterima kasih terhadap pak Tata, ada usahanya dalam memberikan kebaikan terhadap orang lain, dan membuat terpacu untuk meneruskan yang baik yang sudah beliau rintis. Untuk meneruskan perjuangan pak Tata akan ketulusannya untuk mendidik dan berbuat tanpa pamrih. Pribadi ini adalah satu pribadi yang langka, seorang guru yang seutuhnya yang dicintai.

Tidak banyak orang yang bisa meledakkan semangat seseorang dalam berkarya, seperti seorang guru kepada muridnya, ia tidak berharap banyak, ia hanya berharap yang diajarkannya bisa diamalkan yang kalau – kalau memungkinkan untuk terbang tinggi dan beruntung bisa mendapatkan seorang guru seperti beliau. Terima kasih Pak Tata, tulisan ini hanya ingin membuat orang mengenal , dan meneruskan pengajaran Pak Tata, sama seperti apa yang akan coba teruskan apa yang sudah diajarkan.

There comes a point in your life when you realize who really matters, who never did, and who always will.
– Unknown

terima kasih juga untuk panitia Artepolis yang sudah berkerja sangat keras untuk meneruskan apa yang sudah dirintis oleh Pak Tata. Pak Aswin Indraprastha, Bu Indah Widiastuti, Indra, Reina, dkk [maaf tidak bisa menyebutkan satu persatu]

from : Reina's picture https://www.facebook.com/photo.php?fbid=10152583259119407&set=a.10152584872884407&type=1&theater — from : Reina’s picture https://www.facebook.com/photo.php?fbid=10152583259119407&set=a.10152584872884407&type=1&theater

ini foto dari Dania Pratiwi, Alma keponakan Pak Tata dalam acara Tribute to Pak Tata

https://www.facebook.com/raripratiwi/media_set?set=a.10152584872884407.510564406&type=3

blog inspiring people

Seniman Sunaryo, Matahari dari Priangan

Post author Oleh Realrich Sjarief
Post date Juni 1, 2014
Tak ada komentar pada Seniman Sunaryo, Matahari dari Priangan

Langit, langit, dirimu begitu biru, satu saat dirimu begitu mendung, apa pesanmu, kucoba menangkap

satu orang berbisik, dunia tidak sama lagi

Bumi, bumi, dirimu begitu hangat, satu saat dirimu begitu dingin, apa pesanmu, kucoba menangkap

satu orang berbisik, dunia tidak sama lagi

Satu saat kutangkap pesan langitan, dan pesan tanah ini, katanya jaman sudah berubah

tidak seperti dulu ketika satu dekade lalu begitu hangat di bumi priangan

teman seperjalananku dalam menatap langit dan menapak bumi berkata,

mungkin ini pesan langitan, arahan bumi, mengenai birunya langit, dan hangatnya tanah

Ketika jaman silih berganti, ketika sang gunadharma menua, muncul pertanyaannya

apa yang bisa dipertahankan, apa yang kemudian berubah, manifesto fisik apa yang bisa diperbuat untuk mempertahankannya

usia tidak akan pernah sama, masa lalu, detik, menit, jam hari, bulan, tahun, berangsur dengan satu jentik jari antara masa lalu dan masa kini.

Manusia punya umur, kalau ia beruntung bisalah ia mendapatkan 100 tahun,

Langitan oh langitan apa pesanmu terhadap daging, otot yang membalut tulang yang digerakkan oleh akal dan hati.

namun

Langit diam, bumi pun juga diam.

Satu Orang berbisik, akan tiba waktu, untuk menggerakkan kembali otot, daging, tulang,

seperti jaman dahulu, ketika jaman masih sama, ketika gunadharma belum menua

kenangan demi kenangan antara masa lalu, dan masa depan, bergerak berputar

orang yang berbisik tidak hanya satu, mereka beramai – ramai

ramai – ramai yang meributkan dunia tidak sama,

diri ini menengadah ke langit, dan duduk merasakan bumi,

Namun langit masih diam, bumi pun diam

langit masih saja mendung, bumi pun masih dingin

Kemudian satu waktu sosok itu muncul,

satu anomali dalam dunia,

dalam keriputnya ia membalas paradoks antara tangan dan akal, antara masa lalu dan masa depan,

antara solid dan void, antara dinamis dan statis

keabadian, warisan menjadi tujuannya untuk berbagi dengan tangannya yang sudah tidak sekuat dulu,

boleh jadi dalam balutan daging otot tulang ia lelah, namun cobalah lihat matanya, saya tidak berani

Satu saat saya berkesempatan melihat hatinya, mencoba menebak – nebak apa mau orang tua ini,

tak dinyana

ternyata hari itu saya belajar mengenai kehidupan, dan apa pesan untuk hadir di dunia ini,

bahwa totalitas menjadi manusia adalah mengabdi kepada alam semesta, alam dan masyarakat,

menjalani semuanya dengan harapan adanya secercah nilai yang bisa dibagikan kepada orang lain.

yaitu semangat, hati, ketulusan untuk berbuat dalam hidup yang singkat ini.

orang tua yang mengajarkan bahwa spirit itu yang akan ditebarkan

itu yang abadi yang bukan hanya menyentuh akal namun juga hati terdalam.

Senin depan keadaan mungkin berubah dalam hidup ini, dengan inspirasi yang diterbitkannya,

biar saya saja yang menamakan orang tua ini matahari dari priangan.

satu saat, mendung berangsur – angsur hilang, langit itu kembali biru,

diri ini jongkok meraba tanah, bumi kembali hangat.

“selamat datang”, kata orang tua itu.

terima kasih,

Orang tua itu, Seniman Sunaryo

Bandung, 31 May 2014, Realrich

blog inspiring people

Jon Lang, Greatest Professor in Urban Design

Post author Oleh Realrich Sjarief
Post date Februari 4, 2010
8 Komentar pada Jon Lang, Greatest Professor in Urban Design

I met this man few months ago when I just started MUDD course in University of New South Wales Sydney. it was memorable moment. He gave us quiz and I couldn’t answer any of them. Then I laughed over loud to this old man. and he said, I don’t like people laughing at me and then he smile and said, “but I like people who try to answer the question.” Every time I laughed and this man got even angrier at me, but at the end he is always smiling.

what he taught is about how to create place for the people with his extensive knowledge of ways of thinking for not getting lost in your thinking. You have to know where your mind set is in extensive information about urban design theories, city growth, and issues of concern that is coloring everyday life.”You must know what you are doing” that’s what he said. Many student felt he is grumpy professor but everybody knows he is such a lovely man. He is still the admirable professor that every student will respect him.

In his world, there is no me, “never say I design. say the design proposed, because when we’re designing we are making proposal for people which based on several scenarios” he says. This view which I think is nonsense before joining MUDD because architecture plays with originality of idea which has genius loci on its context. But in several way empiricist thinking has a rational that is true to achieve certain quality of affordance.

He put the way to bring originality in rationalism and the way to look at the past in empiricism. And he is an empiricist which this world I haven’t experienced before. I learnt to deepen the strategy which is original and brings it into a way that people could understand. Like Mies van de Rohe says, “less is more”. make it simple and beautiful but like what Robert Venturi says, “less is bore”. Rational and empiricist are the two way of looking paradigm. which like we have to know which one good is and we ought to know which one the bad is. this two way is like a contradictions like how people seeing things. He taught us about the contents of lot of beautiful cities in the world aesthetically, which part of the world is failed and which one succeeded, what the good city is. he taught us a method on looking the way around us with theoretical framework.

In his view, he has pure objective on assessing works based on each criteria. He has deep knowledge about urban design in American experience and case studies around the world. his works includes :

Urban Design: A typology of Procedures and Products. Illustrated with over 50 Case Studies, Creating Architectural Theory: The Role of the Behavioural Sciences in Environmental Design, American Experience, Designing for Human Behaviour: Architecture and the Behavioural Science , A Concise History of Modern Architecture in India, Designing for Human Behaviour.

I think today, when he retired from MUDD. I put a tribute to him, a great scholar. It wasn’t a big loss for MUDD, but Jon’s thinking will make new blossoms for his legacy. I am honoured to be taught by this person, a truly dedicative person. Thank you Jon Lang, salute!

inspiring people

Ridwan Kamil – Professional Professor

Post author Oleh Realrich Sjarief
Post date September 5, 2005
1 Komentar pada Ridwan Kamil – Professional Professor

At the elevator in the architecture department ITB, I met one guy wearing a nice suit. His looks were quite different than ordinary people at ITB. He was pretty neat, professional, and corporate looked with vest and suit. I managed to meet this man several times. I heard from my friends, “that is the new lecturer from Hong Kong, his name is Emil. The one who won Kota Baru Parahyangan Competition.” I hear his name because, in the second year, my three friends and I entered that competition and found out that we could not finish it because the scale was too big. Yes, I remember it now. He was the man who was then the leader of that team. He won several competitions in a row, and I heard that he worked in Hong Kong and traveled back and forth from Bandung to Hongkong a few times a month.

He was super busy.

I had to work at several jobs because I need to increase my saving and experience. Looking back two years before, I performed in my first design studio, second studio but not in my third studio. I was too busy with the student organization. It was an organization that seldom for somebody to be active. The organization is like a dark cave where swallowed people inside. It was filthy, filled with many seniors and not many young ones. So when I try to be active and fix that, it swallowed my time, my training to be a good student who performed in the third year. The result was, I was the only person that was failed that year. I cried, and my hope shattered. At that time, I was in Cigadung 24,

It was a small boarding house that I stayed. Asep came to me, and he heard that I failed in the design studio. We sat down and talked.

He said, “Realrich, failing is common. I know many successful people. There has been a failure in their life. But the key is they can recover and fight back. And, that is a big guy with a big heart.”

After hearing that from Asep, I feel that I need to learn architecture again. Luckily, people know me well because I like to help people, able to use rendering, drafting software. People like to work with me. So many people wanted to help me, train me, and open doors to learning so I can recover. I was busier than before, bus on fighting and recovering my learning curve. I worked studied in a multimedia lab, many design studios, working for competitions. I feel rebirth and glad that my third studio failed.

In my fourth year, I met mas, Emil. Because I failed in the third studio, I had to take a short semester course, and at that time, there were only. Two people in his team. Me and lady. Lady was my close friend. She. and her boyfriend were my closest ones in the student organization.

I remember mas Emil encouraged us with his story about his contemporary viewing architecture. Hi showed. Many buildings have a simple, spiritual form, integrate with materials, graphics. He introduced building designer by Herzog de Meuron, Rafel Moneo, Rem. Koolhas and many European masters.

He pushed us by raising the bars and telling us that “the world is advancing, they have their story, and where is your story ?” he teaches us to make. Simple transformation diagram using metaphors. He pushed with encouragement. I was very fortunate to have him teach me. He was one of the jewels in the architecture department in ITB. I remember I pushed the limit by making big models of the design. The model was so big that I had to Borrow My friend’s car.

In the final presentation, He complimented my work, congratulates me, and I feel great.

At that time, that. It was after the presentation. And Lady sat at floating stair in front of library and studio. Lady told me, “Realrich, I know you. You pushed the limit very far. I am happy. for you, I hope you can be an architect that can reach your dream.” I learn that to Improve, and I need encouragement. Mas Emil did that, Lady did that, Asep did that. I was fortunate to meet persons like them. Man can’t live alone. To transform, they need somebody to pull the triggers, and for me, encouragement is so damn important. It’s time for me to be grateful. That was in the fourth year. After that, I had to take my professional class, worked as an internship in a real studio. I was asleep for more than 10 hours after the jury with mas Emil.

Urbane Time

At that time I was working in mas Emil’s office. I look up to him, and mas Emil is Ridwan Kamil, now is the governor of West Java. He was the one who sparked my curiosity about architecture by enlightenment. I remember meeting him in my 4th year. He was the one who challenges me and appreciated my progress. He complimented the hard work and our recommendation based on his view on precedents. At that time, European and American architecture shows monolithic and banal platonic forms based on layered solid stories. That was the view brought by him—a story of form-making that Texas Ranger started and influenced him through his experience in SOM and HOK. Mas Emil also has a unique background. He is an urban designer, architect, and also activist. His office, Urbane in Sumur Bandung 20, has been memorable, and I remember the office with system and brotherhood. The system is on a partnership basis, associate, and junior designer. The organization is simple and changing over time.

Thank you mas Emil for the formative year of my learning curve by your encouragement.

inspiring people

Baskoro Tedjo – Meaning Giver

Post author Oleh Realrich Sjarief
Post date September 5, 2004
1 Komentar pada Baskoro Tedjo – Meaning Giver

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.