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21PB archinesia vol.7 > built projects archinesia vol.7 > built projects
BUILT PROJECTS
Studiomake > Thailand
› Patana Gallery, Bangkok
andramatin > Indonesia
› The 'Sculpture' Musala, Banyuwangi
IDIN Architects > Thailand
› Habitia-H Club, Bangkok
SUB > Indonesia
› Trimmed House, South Tangerang
andramatin > Indonesia
› GW Residence, Semarang
SO > Thailand
› Wonderwall House, Chiangmai
S+Na. Sanuki+Nishizawa architects >
Vietnam
› ANH House, Ho Chi Minh City
MM++ Architects > Vietnam
› Oceanique Villas, Binh Tuan
2322 archinesia vol.7 > built projects archinesia vol.7 > built projects
DES
IGN
PR
INC
IPAL
(S)
Davi
d a
nd
Im
Schafe
r
ARC
HIT
ECT'
S TE
AMS
irim
a P
lienchare
on
LOC
ATIO
N
Rang
sit U
niv
ers
ity,
Path
um
thani,
Thaila
nd
OW
NER
Faculty
of A
rt a
nd
Desig
n,
Faculty
of D
igital A
rt a
nd
Faculty
of
Arc
hitectu
re a
t R
angsit U
niv
ers
ity
DES
IGN
PER
IOD
2011
CO
NST
RU
CTI
ON
PER
IOD
2011 -
2012
SITE
AR
EA (S
Q. M
)1
,42
0 s
q.m
FLO
OR
AR
EA (S
Q. M
)1
,50
0 s
q.m
INTE
RIO
R D
ESIG
NER
Stu
dio
make
CO
NTR
ACTO
RN
ew
Sta
r In
tern
atio
nal C
o., L
td
STR
UC
TUR
EB
orv
orn
bhun V
ong
anan, S
ura
dej
Kaew
pra
sert
and
Rittichai N
inp
hoo
WR
ITER
Din
i Kusum
aw
ard
hani
PHO
TOG
RAP
HER
Wis
on T
ung
thunya
Studiomake > Thailand
PATANA GALLERY
Bangkok
22 archinesia vol.7 > built projects
1
Cahaya lampu dari ruang
dalam pada saat senja
membuat tulangan baja
pada kulit bangunan
terlihat dengan jelas.
Bright light from the interior
of Patana Gallery makes
the steel reinforcement
in the building’s casing
clearly visible.
2524 archinesia vol.7 > built projects archinesia vol.7 > built projects
Sejak istilah “industri kreatif” pertama kali didengungkan di Inggris pada era 90-an, ‘wabah’ kreatif menyebar ke seluruh dunia, termasuk Thailand. Per 2013, UNESCO dan UNDP mencatat bahwa di Thailand “national networks of creative professions are being established and like-minded people engaged in various creative industries are connecting and collaborating actively.”1 Dalam menjaga keberlangsungan proses kreatif tersebut, kolaborasi antara pelaku industri dan akademisi menjadi sangat penting. Untuk itu, salah satu universitas di Bangkok mendirikan fasilitas kegiatan akademis sekaligus wadah aktualisasi diri pelaku kreatif, yaitu Patana Gallery.
Galeri ini berfungsi utama sebagai ruang pertemuan bagi arsitek,
desainer dan seniman di Bangkok. Selain ruang pertemuan, fasilitas
pelengkap seperti galeri, perpustakaan, kantor dan taman di atas atap
juga diakomodasi di bangunan tiga lantai ini. Lokasinya yang berada
di tengah kampus membuat bangunan menjadi perlintasan umum,
sehingga arsitek tidak hanya mempertimbangkan sirkulasi untuk
pengunjung, tetapi juga pelintas. Oleh karena itu, pergerakan dan !"#$#%&
menjadi isu utama yang dipertimbangkan arsitek dalam merancang.
Untuk memecahkan isu tersebut, arsitek merancang '()#*+"%$++,
-./0-.& yang menempel pada bangunan utama. Bagi pelintas,
-./0-.& ini menjadi galeri panjang yang menyegarkan karena mereka
dapat mengamati produk-produk kreatif di area dalam melalui dinding
kaca di salah satu sisi -./0-.& tanpa harus masuk ke galeri.
Tidak hanya melalui -./0-.& yang membuat pelintas terus bergerak,
arsitek juga menciptakan efek dinamis secara psikologis melalui permukaan
dinding. Kulit yang melapisi -./0-.& di sisi yang berbatasan dengan
jalan terdiri dari tautan baja yang dilapisi $+"1/(*/.&(,($23+-$(,24+.%
sehingga menghasilkan efek permukaan yang bergelombang, transparan
dan berkilau seiring pelintas melalui -./0-.&. Efek dinamis melalui media
lain seperti inilah yang dibahas teoris Kari Jormakka dalam "56(27/ͼ
:"%46)(8;2<+%#+82#82=,46#%(4%",(> bahwa, “%6(21"#/$#8924.82#8#%#.%(2
)+?()(8%21&2).8#3"/.%#892%6(29,+"8$23/.8(2.8$2+%6(,2'",@.4('.”2
Namun apakah mengalirnya pergerakan di area luar juga terjadi di
area dalam? Jika Frank Lloyd Wright mempertahankan kontinuitas
pergerakan pengunjung melalui ,.)3 berputar di dalam A"99(86(#)2
<"'(") di kota New York, maka sirkulasi di dalam B.%.8.2A.//(,&
diakomodasi dengan lebih konvensional. Tangga di area -./0-.&
menjadi satu-satunya penghubung antarlantai sehingga alur keluar-
masuk pengunjung harus melalui tangga yang sama. Selain itu, arsitek
merancang ruang-ruang dalam secara terpisah sehingga pergerakan
pengunjung cukup terbatas karena adanya partisi-partisi yang didominasi
dinding kaca. Namun, setidaknya aplikasi kaca ini membuat hubungan
antarruang menjadi cukup cair dan ruang terasa lebih luas dan terang.
Pergerakan merupakan efek dari karakteristik spasial pada bangunan.3
Maka pergerakan manusia dikhawatirkan menjadi lebih kompleks
ketika diakomodasi hanya dengan sirkulasi tunggal, seperti yang terjadi
di B.%.8.2A.//(,&. Meskipun begitu, arsitek mampu menampilkan
#).9( galeri yang sedekat mungkin dengan karakter pelaku kreatif
yang diwakilinya—terbuka dan egaliter—dengan mengajak pelintas
turut menikmati proses kreatif yang terjadi di dalamnya.
Since the term “creative industry” was !rst "aunted in England in the 90s, the creative ‘plague’ spread throughout the world, including Thailand. As of 2013, UNESCO and UNDP recorded that in Thailand “national networks of creative professions are being established and like-minded people engaged in various creative industries are connecting and collaborating actively”1. In safeguarding the continuity of the creative process, the collaboration between the industry and the academics is very important. Therefore, one of the universities in Bangkok established a facility for academic activities and self-actualization for creative workers: the Patana Gallery.
The gallery functions mainly as a gathering hall for Bangkok's architects,
designers and artists. In addition to gathering hall, other facilities such as
!"##$%&'(#)*%"%&'(+,-.$'("/0("(%++,1+2(!"%0$/("%$("#3+("..+44+0"1$0(5)16)/(
the three-storied building. Located right in the middle of the campus, this
building becomes a place where people—both visitors and passersby—
intersect, thus the architect did not only take into account the circulation
of visitors, but also the circulation of passersby. Therefore, movement and
78)0)1&(5$%$(16$(4"9+%()338$3(.+/3)0$%"1$(08%)/!(16$(0$3)!/)/!(26"3$:(
To solve these issues, the architect designed a semi-outdoor walkway
attached to the main building. To passersby, this walkway is a long,
refreshing gallery through which they can enjoy the creative products
displayed in the inner area without actually stepping into the gallery.
Besides the walkway that compels passersby to keep moving, the
architect also psychologically created a dynamic effect through the
surface of the building. The casing that covered the walkway on the side
facing the street consists of links of steel with double-layered powder
coat,2creating a wavy, transparent, and glimmering effect as passersby
stroll along the walkway. This kind of dynamic effects generated
through other media is what theorist Kari Jormakka discussed in "The
Flying Dutchmen: Motion in Architecture"C2that “the building can initiate
movement by manipulating the ground plane and other surfaces.”2
;+$3(16$(7+5(+,(4+<$4$/1("#3+(+..8%()/(16$()//$%("%$"3=(>,(?%"/@(
Lloyd Wright maintained the continuity of movement in the Guggenheim
Museum in New York City with a circular ramp, the circulation in the
Patana Gallery is more conventionally accommodated. The stairways
)/(16$(5"#@5"&("%$"()3(16$(+/#&(#)/@(*$15$$/(7++%3'(1683(<)3)1+%3($/1$%(
and exit the inner areas through the same stairways. In addition, the
architect designed the inner rooms separately, limiting the movement
of visitors with partitions dominated with glass walls. But at least
16$("22#)."1)+/(+,(16$3$(!#"33(5"##3(4"@$3("(,")%#&(78)0(.+//$.1)+/(
between the rooms and makes the rooms seem wider and brighter.
Movement is the effect of spatial characteristics of buildings.3
A683(16$(7+5(+,(4+<$4$/1("..+44+0"1$0(5)16("(3)/!#$(4$"/3(
of circulation—as evinced in the Patana Gallery—may be much
more complex. Even so, the architect is able to present an image
of a gallery that is as close as possible to the characteristics of the
creative workers that it represents—open and egalitarian—by inviting
passersby to enjoy the creative processes happening inside.
1 UNESCO, and UNDP, comps. D,(.%#?(2E4+8+)&2F(3+,%2GHIJ;2K#$(8#892L+4./2:(?(/+3)(8%2B.%6-.&'M Rep. N.p.: UNESCO, 2013. Web. 4 Dec. 2014.2 Jormakka, K. 56(27/ͼ:"%46)(8;2<+%#+82#82=,46#%(4%",(C2NG2OP3,#89(,2P4#(84(2Q2R"'#8(''2<($#.C2GHHGSC2.44(''($2:(4()1(,2NC2GHINM3 Macleod, S. F('6.3#892<"'(")2P3.4(;2=,46#%(4%",(C2:('#98C2ET6#1#%#+8'C2UV2O5.&/+,2Q27,.84#'C2GHHWSC2.44(''($2:(4()1(,2NC2GHINM
First Floor PlanSecond Floor Plan
Third Floor PlanRoof Plan
2726 archinesia vol.7 > built projects archinesia vol.7 > built projects
2
Kaca sebagai dinding galeri
pada sisi yang menghadap
-./0-.& membuat
pelintas turut menikmati
karya seni dari luar.
Glass walls on the side
of the gallery opposing
the walkway enable
passersby to enjoy the
displayed artworks.
3
K./0-.& yang memotong
bangunan merupakan
area perlintasan yang
mengakomodasi
pengunjung galeri maupun
pelintas umum.
The walkway dissecting
the building is a circulation
area accommodating gallery
visitors and passersby.
4
Mezanin tanpa dinding
penuh yang berada di
lantai dua memberikan
pengalaman berkumpul
di '()#*+"%$++, bagi
pengunjung galeri.
The mezzanine on the
3$.+/0(7++%'(#".@)/!("/&(
complete walls, provides
the experience of gathering
in a semi-outdoor space
for gallery visitors.
5
Efek gelombang yang
dinamis pada kulit bangunan
dihasilkan dari material sirat
baja ('%((/2)('6) dengan
$+"1/(*/.&(,($23+-$(,24+.%.
The dynamic wave effect on
the building skin is generated
by steel mesh with double-
layered powder coat.
6
Penggunaan kaca
membantu penyerapan
sinar matahari ke dalam
ruangan sehingga galeri
terasa lebih terang dan luas.
Glass improves the
penetration of sunlight into
the interior, making it seem
brighter and more spacious.
2 4
6
5
3
2928 archinesia vol.7 > built projects archinesia vol.7 > built projects
PROFIL ARSITEK- ARCHITECT'S PROFILE
Studiomake merupakan studio desain
interdisiplin yang dipimpin oleh David
Schafer dan Orapun Sarasalin. Berbasis
di Thailand, tim Studiomake yang terdiri
dari arsitek, desainer dan @.1,#4.%+, ini
banyak mengerjakan proyek arsitektur,
interior dan furnitur yang terinspirasi dari
tradisi dan teknologi. Studiomake memiliki
-+,0'6+3 kayu, metal dan keramik yang
dimanfaatkan untuk bereksperimen dalam
tiap karya.
Studiomake is an interdisciplinary design
studio headed by David Schafer and
Orapun Sarasalin. Based in Thailand, the
Studiomake team consists of architects,
designers and fabricators, and often
works on architectural, interior and
furniture projects inspired by traditions
and technology. Studiomake has their
own wood, metal and ceramic workshops
that they use for experimenting on each of
their works.
7
Jembatan yang berada di
lantai tiga galeri terhubung
ke bangunan Art & Design,
Architecture and Digital Art
di area kampus.
The bridge on the third level
of the gallery is connected
to Art & Design, Architecture
and Digital Art building.
North Elevation
Section
East Elevation
7
7
3130 archinesia vol.7 > built projects archinesia vol.7 > built projects