jongArsitek! 3.1 2010

Selamat menikmati.. Desain menginspirasi

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Except where otherwise noted, content on this magazine islicensed under a Creative Commons Attribution 3.0 License

photo : adi kritz

3

jongArsitek! Edis i 3.1, 2010 | desain menginspiras i

J o n g E D I T O R I A L !

oleh : Danny Wicaksono

jongEditorial 3.1

Terimakasih sudah mau membaca edisi pertama kami di tahun ketiga ini.

Setelah 2 tahun berjalan sebagai media online gratisan dengan tenaga 4 orang dan biaya minim, ditahun ketiga ini jongArsitek! mendapatkan ban-yak bantuan tenaga muda dan donasi dari mereka yang mendukung dan percaya bahwa pemuda harus bertindak nyata. Dan dalam seketika, kami memutuskan untuk merubah arah: dari sebuah jurnal online gratisan yang dijalankan oleh 4 orang, menjadi sebuah perkumpulan pemuda arsitek Indonesia, dengan rencana-rencana acara yang akan melibatkan pe-muda-pemuda arsitek di seluruh Indonesia.

Ditahun ketiga ini, jongArsitek! berharap untuk da-pat terlibat dalam lebih banyak kegiatan arsitektur dan kebudayaan yang ada di Indonesia, menjang-kau lebih banyak arsitek, dan mewacanakan lebih banyak pemikiran-pemikiran arsitektural yang segar dan memprovokasi demi sebuah budaya membangun yang lebih maju.

Sebuah jurnal yang 2 tahun lalu dimulai dari per-cakapan di MSN messenger, kini sedang merintis

langkah untuk menjadi sebuah organisasi pemuda arsitek Indonesia yang bertujuan mewacanakan arsitektur Indonesia dengan intensitas yang lebih tinggi dan kualitas yang lebih baik. Untuk itu kami meminta doa dan dukungan rekan-rekan sekalian.

Terimakasih untuk doa dan dukungan selama ini. Selamat menikmati edisi perdana kami di tahun ketiga. Semoga menginspirasi.

Danny Wicaksono

Kontributortanpa basa basi, anda bisa mengecek profil mereka langsung ke Facebook dan media sosialweb lainnya.

Adi fajar Utamahttp://www.facebook.com/profile.php?id=627506931 marianthie vezertzi

http://www.facebook.com/profile.php?id=575487910

Maulidiati Wulansari Sofyan http://www.twitter.com/tanti-sofyan


Andi Alifhttp://www.facebook.com/andialif Danny Wicaksono

http://www.facebook.com/pro-file.php?id=537977711

lindung soemarhadihttp://www.flickr.com/photos/lindung_soemarhadi/

Editorial

p4j o n g E d i t o r i a lsambutan dari redaksi kita

p22j o n g T u l i s a nPeople Makes City

p16j o n g K a r y aactivate

p10j o n g W a w a n c a r aAModest. Raw touch. Efficient solutions

p8j o n g F o t o

p26j o n g K a r y aDukuh Atas Interchange Station

p36j o n g K a r y aTrowulan : Kembali Ke Masa Lalu


8

The Sail

Lindung Soemarhadi

The Sail at Marina Bay, Singapore. To be precise located in Marina Boulevard, Downtown Core. Design by NBBJ and Team Design Architects.

The building sits on reclaimed land on 9,000 square meters. The construction started on 2005 and completed on 2008. This high rise residential building with 70 storey, 245 meters high (Marina Bay Tower) and 63 storey, 215 meter high (Central Park Tower). And became one of the highest condominium / apartment in Singapore and stands among the top 10 tallest residential build-ing in the world, offering the panoramic view to the sea and marina bay skyline. (http://www.thesail.com.sg/home.html)

On this occasion, as the sun briskly emerged, I embarked on a journey for another photo shoot, equipped with the strong pre-visualization in mind that I had gathered on the previous day. The shrub acts as a great enhancing tool that led to an ethereal image which is shot from the angle of the foreground to the Sail tower. The warm scorching morning sunlight which had created golden yellowish streaks of light reflected on the façade of the skyscrapers, coupled with the light motion effect of the clouds had certainly embellished the image thus making it a desirable sight to look at.

--

Lindung Soemarhadi


9

10

by tanti sofyan

The design that is purposed to be affordably effective. Those are the manifestos of D-minution House and Grey House, which have

been the ones who steal recent attention.

Three musketeers, Wiyoga Nurdiahsyah Muhammad Sagitha

Dickie Padmawidjaya

They are legitimately responsible for designing those houses by elaborating themselves as SUB. Have been bonding since forever, before graduated from Parahyangan Catholic University Bandung they had started their friendship and initiated their own projects. School aftermath brought them to take one path for each person, Yoga-Agoy to Andra Matin Architect (Jakarta), Agit to Budi Pradono Architect (Jakarta) and then WOHA (Singapore), and also

Dickie-Doyik to Nataneka (Jakarta). The bliss on having to learn things from people who had been there before us is such an advantage, not to mention also

the disadvantage.

Modest. Raw touch.

Efficient solutions

11


Jong : “Experiencing + 5 years working for someone else, a lot of opinions are referring your work to your previous studios work, what is your opinion on that?“SUB : “Well, it’s obvious there are things that influ-ence us, especially when you have experienced it before you start your own. Like technically, the pro-cess of seeing and solving problems as the phases of designing, we are accustomed to the previous thinking process we had experienced. But none will end up the same, coz there are 3 of us, it’s always been a combination of 3 thoughts, so it leads us to our own language.“

After resigning, they certainly are more adapted to the holistic process of building architecture and ad-vance experience is already in hands although there is none such as enough knowledge to be earned.

Years passed, eventually the boys are regrouping and ready to take off.

On June 2009 SUB became official. Most of the projects are houses and schools. The current project that is being built is Detached House in Bandung.

Having three big idealism and only three pairs of hands could be really tricky and risky, thus they maintain their management to be in balance, ex-changing roles is one of the ways.

J : “Are u guys like….hhmm… only the 3 of you? S : “Yeah. “J : “Really? That’s it? (red: not believing that there are not what so ever reinforcement are involved :p)S : “Yeeessss. Yes there are tons of things to do, until now we could manage it all, and still improv-ing. ”J : “Who wash the dishes and taking notes of the bills? “ (red: not believing that men can manage to do so)S : “Hahahahahaahahahaha….. I thought the whole designing and constructing thingy. Yes, but of course we do those things also lah! “J : ^_^

12

1313

J : “But seriously, who owns the biggest proportion of the decision making?”S : “For now, the one who brings the project to the table he will be the project architect. Every year, the head of the studio will be changed, so everybody will experience it, but the proportion will be always 30%-30-%-40%, still balance but some one gotta be tougher at some point.”

Claiming a name or style for their own work or design seems overrated for them, being modest and raw that represented on most of their work is just one thing, it could be anything beside that as long as it an elaborate thoughts of the three and has a spatial effectiveness as its language, as one of SUB’s languages. Other language that they bring on the table is attaching client as their partners, it is so to arouse more sensitivity between them in bringing the de-sign.

J : “So, is it gonna be always this raw and less money to your de-sign?”S : “No, obviously. Ideas are always evolving depends on the site prob-lems and also depends on the budget, so we are just making a design which suits the case. But what we are bold and proud to say that the design is an efficient solutions, and it’s not cheap or less money, it’s affordable.”


Talking about Jong has always been about the improvement of our youth.These are some tips from SUB that hopefully will help you to show what you got, and leave that shell of your comfort zone and the feeling of inferiority to the outside world:

• 1.Publishyourworkinternationally • 2.Responsiblytakingthecriticsandtheetcetera.

(red: proven that is an effective way to steal national attention ^_^)

They are optimist about the next generation of Indonesian architects. SUB believe that we could be there where our architect-idols are, thou our roads are more rough, just accept that, cope with it, and do something out of it.But the truth is, it is only a matter of When, when will you start to try?

“What is an indicator of being a successful architect?”simplifying the question “How do you call yourselves as a successful architect?”

For them it is quite a hard question to be answered because they have just started it. One indicator that could be measured is a Masterwork.SUB’s vision :We can enrich and embrace the advent of a new Indonesian visionary architecture.

It is going to be a long journey, and supports will be along with them in aiming their first masterwork.

16

-adhitya pandu s.ars-andi alif s s.ars-anggie amalia s.ars-cindy charisa s.ars-gibran s.ars-putera anarta s.ars-tito alfani, s.ars -paramita admodiwirjo ST, M.Arch, Ph.D-yandi andri yatmo ST, M.Arch, Ph.D

ACTIVATE

Thespiritofpowerisreflected

throughtheprogrammesofacti-

vatingpeople,initiatingcrowds,

promotingsurveillanceandcom-

munitytogetherness.

17

18

The process of conserving tradition and built environment is a complex exchange among the tangible elements of environment and intangible aspects of society, culture and economy. Re-inventing places is our endeavor to generate tourism by bringing out the spirit of place, pre-serving not only building and history, but the en-tire life of its surround and society, and integrating sustainability strategies of environment, culture, social and economy.

Cultural tourism becomes a powerful instrument to promote sustainable development and cultural preservation, in line with the practices promoted by UNESCO and the World Tourism Organization in developing nations.The re-inventing process involves the ideas of congregate, activate and commemorate that are promoted within the cultural, religious and natural context embracing the whole conservation area. These ideas are realized through the re-inventing of the spirit of place in three main zones of the area and the programming in each zone

19


20

PolisinGreekmeanscity.ThewordoriginatesfromtheancientGreekandwasactuallyusedtomeanmuchmorethanthat.Polisdoesnotjustdefinesageographicarea;Poliswasreputedasthebodyofcitizens,whichasaunitygovernedthecitystate.Themostvitalplaceofthecitywasthemarketplace,called“agora”,whereallcitizensweregatheredanditwasalwaysbusyandbustling.

Peoplemakesthecity

by:marianthievezertzi

21


22

23

Many centuries have passed since then and our cities -“poleis”- are more paths rather than vital meeting plac-es. The rhythm of life has certainly changed, individualism is reinforced and public spaces are not social meeting places anymore, where ideas are formed, movements are created and creativity is expressed. There are the busy high streets occupied by shops and shoppers, posh districts with elegant people walking around and beautiful restaurants and stores, arty areas, immigrants’ areas, all sorts of territories in the city for every taste and every class.

Yet in such a major urban population centre (metropolis) as London there are streets where the social barriers have no meaning, and people from different economical status, cultures, countries, beliefs, religions and back-grounds not only coexist but form a unique pattern full of energy, action, creativity, smells, textures and sounds. Brick Lane is for sure one of those streets if not the best example. It is primarily a mixture of people; Bengali, Jew-ish, Londoners, foreigners, passengers, residents, work-ers, merchandisers, street sellers, restaurant owners, artists, vagabonds, faces, voices, crowds.

Once you enter Brick Lane you cannot resist using all your senses in order to perceive and feel all the experi-ences it has to offer. Countless buildings, one next to another, create an impression of theatrical scenery, like there is nothing behind the facades, and seems that ev-erything is set in a way urging to surround the Lane and its guests. And all those lovely vintage shops, with leather goods, retro hats, fabulous dresses, corsets, coats and scarves. The Bengali fabric shops, full of colours and shapes, bringing some of the Bolywood glitter in the city. The local barber shops, the candy shops, the gifts shops.

Unlimited choices. Curry houses, Swedish restaurants, Italian pizzerias, beigel shops, hip bars, classic bars, live stages, galleries, new designers’ boutiques, exhibition spaces, little coffee places, and handmade jewellery shops. Temptations for all the senses. A microcosm in London. And yet, one won’t have the slightest taste


24

if one hasn’t been in Brick Lane on a Sunday!

Thousands of people walking up and down the Lane, inside and outside the markets, sellers -with or without permis-sions- selling clothes, jewelry, furniture, paintings, alcohol, used shoes, used toothbrushes and anything that you could possibly imagine is “right there tight now”. Street food from all over the world is served, music bands playing on the streets, people demonstrating against furs. There is everything. People meet each other. Talk. Drink and dance together. And the street feels like a normal vital public space.

Faces from everywhere, faces from nowhere. Silence and noise. Who is poor and who is wealthy? who is trendy and who is mainstream? who comes to show off and who just passes by? Does it matter? Brick Lane is a field of continuous transformations, within the day, within the week. And when Sunday evening comes, food and clothes and bottles are aban-doned everywhere. A smell of an ended party prevails. A scenery of an ended event. The party is over and it was a good one. And the story starts over again and again. It begins on Sunday morning and it ends on Monday dawn. It smells like beigel and it smells like curry. It smells like litter.

Of course Brick Lane has its drawbacks, and somehow they become a part of its charm and its character. It is a street full of stories. Makes you smell, touch, feel, participate, like, dislike, love and hate. And that’s what’s missing from our everyday routine. A change. A pause. A stop. A

reason to stop. To look. To taste.

When our life is made of concrete and grayscale palettes, is multi sensory experi-ence a violation in our visual normality?

25


26

16 ADI FAJAR UTAMA

Dukuh Atas Interchange Station 2009

Archiprix 2010 Nominee TUDelft

27

16 ADI FAJAR UTAMA



ACADEMIC WORKSPORTFOLIO 2009 17



Adi Utama

Tutor : Henriette Bier, Nimish Biloria, Martin Sobota

Hyperbody Studio


28

18 ADI FAJAR UTAMA

DAIS is an integrated mass transportation

node that will become the main intersection point for

airport shuttle, train, monorail, bus, boat and subway.

DAIS is the pilot project for Jakarta mass transport

plan, which is to be completed in 2012 in order to

MODE INTERCONNECTION STUDY

Subway5482 m2 - track level : - 11.00 - width max : 34 m

DAIS Busway60 m2 - width : 2m - track level : + 4.50

Airport Shuttle40.000 m2 - track level + 20.00

Train 6.341m2 - width : 16 m - track length min : 170 m- track level + 20.00

Boat168 m2 - track level - 1.00

Monorail2.467 m2 - length min : 80 m - width : 20 m - track level : + 15.60

Dukuh Atas 2 Busway60 m2 - track level + 0.00


The site is located

in the heart of Jakarta busi-

ness district, next to the most

important highway and along

Jakarta main river. The train

station, subway and airport

express are located across the

busway and monorail station, separated by a river where the

boatway port will be positioned. On the north part of the site

is a public park, under which the subway will be placed. The

whole design connects all mode of transports, while provi-

ding a better urban accessibility and regenerating the park as

a functioning urban space.

PROGRAM SIZE & PROPOSED ROUTE

Point - Point route / rush hourLoop Route / exploring

Control room Control room

Utility room

AHU

Storage

ME room Genset Janitor room

Toilet

Sta� room

Ticket o�ce

ATM

Toilet women Toilet men

Platform

Ticket machine room Ticket machine

Ticket locket

Paid concourse

Unpaid concourse

Toilet

Bagage Area

Baggage Check

Security

Arrival PlatformDeparture Platform

Ticket Check

Check in o�ce

Trolly Area

City check in TicketingCafé

Departure/Arrival hall

Storage

Toilet men

Toilet men

Prayer room

Toilet women

Toilet women

Toilet women

Toilet women

Toilet women

Toilet men

Toilet men

Toilet men

Entertainment areaLounge

Restaurant

Department store

Café

Boutique

Concession Department store

Operational o�ce

Control room Videoconference room

Cctv room

Teleconference room

Sta� room

Pantry Internal auditor o�ce

Ceo o�ce

Lobby

Baggage room Finance o�ce

Director o�ce

Meeting room

Airport

Control room

Unpaid concourse

Paid concourse

Ticket machine

Platform

Boat

Unpaid concourse

Electrical room

Electrical room Garbabe room

Storage

Director o�ceCo – director o�ce

Sta� room

Control room

Signal room

Security room

Resting room Toilet women

Peron supervisor room

Janitor room Meeting room

Toilet men

Drop o�ATM

Pulic phon e

Prayer room

Toilet women

Toilet men

Platform

Ticket machine room

Ticket machine

Ticket locketInformation center

Paid councorse

Train

Subway

BuswayPublic Area

Public phone

Ticket o�ce

Control room

Toilet

Genset ME room Storage Utility

Janitor room

Sta� room

ATM

Platform

Ticket machine room

Ticket machine

Ticket locket

Paid councorseUnpaid concourse

Monorail

Ticket machine Platform

29

18 ADI FAJAR UTAMA

DAIS is an integrated mass transportation

node that will become the main intersection point for

airport shuttle, train, monorail, bus, boat and subway.

DAIS is the pilot project for Jakarta mass transport

plan, which is to be completed in 2012 in order to

MODE INTERCONNECTION STUDY

Subway5482 m2 - track level : - 11.00 - width max : 34 m

DAIS Busway60 m2 - width : 2m - track level : + 4.50

Airport Shuttle40.000 m2 - track level + 20.00

Train 6.341m2 - width : 16 m - track length min : 170 m- track level + 20.00

Boat168 m2 - track level - 1.00

Monorail2.467 m2 - length min : 80 m - width : 20 m - track level : + 15.60

Dukuh Atas 2 Busway60 m2 - track level + 0.00


The site is located

in the heart of Jakarta busi-

ness district, next to the most

important highway and along

Jakarta main river. The train

station, subway and airport

express are located across the

busway and monorail station, separated by a river where the

boatway port will be positioned. On the north part of the site

is a public park, under which the subway will be placed. The

whole design connects all mode of transports, while provi-

ding a better urban accessibility and regenerating the park as

a functioning urban space.

PROGRAM SIZE & PROPOSED ROUTE

Point - Point route / rush hourLoop Route / exploring

Control room Control room

Utility room

AHU

Storage

ME room Genset Janitor room

Toilet

Sta� room

Ticket o�ce

ATM

Toilet women Toilet men

Platform

Ticket machine room Ticket machine

Ticket locket

Paid concourse

Unpaid concourse

Toilet

Bagage Area

Baggage Check

Security

Arrival PlatformDeparture Platform

Ticket Check

Check in o�ce

Trolly Area

City check in TicketingCafé

Departure/Arrival hall

Storage

Toilet men

Toilet men

Prayer room

Toilet women

Toilet women

Toilet women

Toilet women

Toilet women

Toilet men

Toilet men

Toilet men

Entertainment areaLounge

Restaurant

Department store

Café

Boutique

Concession Department store

Operational o�ce

Control room Videoconference room

Cctv room

Teleconference room

Sta� room

Pantry Internal auditor o�ce

Ceo o�ce

Lobby

Baggage room Finance o�ce

Director o�ce

Meeting room

Airport

Control room

Unpaid concourse

Paid concourse

Ticket machine

Platform

Boat

Unpaid concourse

Electrical room

Electrical room Garbabe room

Storage

Director o�ceCo – director o�ce

Sta� room

Control room

Signal room

Security room

Resting room Toilet women

Peron supervisor room

Janitor room Meeting room

Toilet men

Drop o�ATM

Pulic phon e

Prayer room

Toilet women

Toilet men

Platform

Ticket machine room

Ticket machine

Ticket locketInformation center

Paid councorse

Train

Subway

BuswayPublic Area

Public phone

Ticket o�ce

Control room

Toilet

Genset ME room Storage Utility

Janitor room

Sta� room

ATM

Platform

Ticket machine room

Ticket machine

Ticket locket

Paid councorseUnpaid concourse

Monorail

Ticket machine Platform


30

TOTAL AREA (m2) 48,060

Passenger Service

Management

Public

sub TOTAL AREA (m2)

Service

4,943

92

336

5,482

110

Passenger Service

Management

Public

sub TOTAL AREA (m2)

Service

2,243

92

46

2,467

86

Passenger Service

Management

Public

sub TOTAL AREA (m2)

Service

5,455

313

347

6,341

226

Passenger Service

Management

Public

sub TOTAL AREA (m2)

Commercial

8,608

1,409

672

40,084

29,395

Passenger Service

Service

sub TOTAL AREA (m2)

144

24

168

Passenger Service

sub TOTAL AREA (m2)

60

60

Whole134 %17.900 person / hour

Monorail 12 %1600 person / hour

Boat5% 700 person / hour

Subway 27 %3600 person / hour

Regular Bus 15 %2000 person / hour


Airport Shuttle 5 %700 person / hour

Train35%4700 person / hour

Express Bus 120 %2700 person / Hour

Express Bus DAIS20 %2700 person / Hour

20 ADI FAJAR UTAMA

PARAMETRIC MODEL BASED ON PROGRAM AREA

The initial design is

developed from a series of con-

nection studies and load volume

of each modes of transport.

These connections and load

volume determine the network

route and space volume. There

are two types of routes inside

point-to-point route between

modes, providing the fastest and

shortest path in peak hours. The

second route is the loop route

that travels around the buil-

ding and provides opportunity

for travellers to get ‘lost’ in the

programs. The loop connections

provide an opportunity for other

programs such as commercial

and leisure to be integrated inside

the building.

31

Monorail 2.400 m2

Busway D1 100 m2

2700 person/h

6300 person/h

3600 person/h

2000 person/h

2000 person/h

1600 person/h

6300 person/h 700 person/h 17.900 person/h

4.700 person/h

1.300 person/h

700 person/h

700 person/h

to/ from City

- 12.00

+ 0.00

+ 12.00

+ 7.00

+ 16.00

+ 17.00

+ 24.00

- 2.00+ 4.00

Boatway 200m2

Train 6000 m2

Busway 100m2

Subway 5.400 m2

Commercial 15.000 m2

Commerical 15.000 m2

Airport express 6.000 m2

Airport express 4.000 m2

Whole134 %17.900 person / hour

Monorail 12 %1600 person / hour

Boat5% 700 person / hour

Subway 27 %3600 person / hour



Airport Shuttle 5 %700 person / hour

Train35%4700 person / hour

Express Bus 120 %2700 person / Hour

Express Bus DAIS20 %2700 person / Hour


PARAMETRIC MODEL BASED CIRCULATION LOAD

INTERTWINE PROGRAMMING


24 ADI FAJAR UTAMA

The transport infrastructure is stacked in

different levels. A spiral ramp connects each level

providing a fast connection between modes while

giving a chance for the travellers to pause and make a

detour to commercial/leisure programs. All circulation

is designed to bring the travellers in a smooth transi-

sloping surfaces that act as architectural elements and

also function as structural elements by bringing all the

forces to the ground and eliminating the need for con-

BIRD EYE VIEW TO SOUTH - WEST

BIRD EYE VIEW TO NORTH - WEST

PERSPECTIVE VIEW


ventional columns and beams.

In contrast to the smo-

oth continuous concrete slab,

the roof is made of rough round

timber in the form of an adapti-

ve space frame structure. Timber

is chosen because of its ability

to absorb seismic forces. The

space frame offers a large span

for column free space. The space

frame adaptive concept refers to its different depths accor-

ding to its span and curvature. Each timber elements also

differ in diameter depending on the span of each member.

for an earthquake prone region such as Indonesia.

32

24 ADI FAJAR UTAMA

The transport infrastructure is stacked in

different levels. A spiral ramp connects each level

providing a fast connection between modes while

giving a chance for the travellers to pause and make a

detour to commercial/leisure programs. All circulation

is designed to bring the travellers in a smooth transi-

sloping surfaces that act as architectural elements and

also function as structural elements by bringing all the

forces to the ground and eliminating the need for con-

BIRD EYE VIEW TO SOUTH - WEST

BIRD EYE VIEW TO NORTH - WEST

PERSPECTIVE VIEW


ventional columns and beams.

In contrast to the smo-

oth continuous concrete slab,

the roof is made of rough round

timber in the form of an adapti-

ve space frame structure. Timber

is chosen because of its ability

to absorb seismic forces. The

space frame offers a large span

for column free space. The space

frame adaptive concept refers to its different depths accor-

ding to its span and curvature. Each timber elements also

differ in diameter depending on the span of each member.

for an earthquake prone region such as Indonesia.

33


34

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

Commercial

Parking

Parking

Commercial

Restaurant

Station Hall

13.55

6.00

5.90

5.10

6.00

10.05

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

13.55

6.00

5.90

5.10

6.00

10.05

N + 0.00

N + 10.05

N + 16.05

N + 22.05

N + 36.05

N - 5.90

N - 11.00

Lobby

Commercial

AirportExpress

DepartureLines

Monorail

Platform

Public Plaza

TrainGround Floor

First Floor

Second Floor

Third Floor

Parking

Parking

Monorail

32 ADI FAJAR UTAMA

SECTIONS SHOWING LAYERS AND SPIRAL CONNECTION

RENDERING OF TOP FLOOR SHOWING CONTRAST BETWEEN FLOOR AND ROOF

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

Commercial

Parking

Parking

Commercial

Restaurant

Station Hall

13.55

6.00

5.90

5.10

6.00

10.05


35

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

Commercial

Parking

Parking

Commercial

Restaurant

Station Hall

13.55

6.00

5.90

5.10

6.00

10.05

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

13.55

6.00

5.90

5.10

6.00

10.05

N + 0.00

N + 10.05

N + 16.05

N + 22.05

N + 36.05

N - 5.90

N - 11.00

Lobby

Commercial

AirportExpress

DepartureLines

Monorail

Platform

Public Plaza

TrainGround Floor

First Floor

Second Floor

Third Floor

Parking

Parking

Monorail

32 ADI FAJAR UTAMA

SECTIONS SHOWING LAYERS AND SPIRAL CONNECTION

RENDERING OF TOP FLOOR SHOWING CONTRAST BETWEEN FLOOR AND ROOF

7.00

10.65

6.25

7.00

N + 7.00

N + 14.00

N + 20.25

N + 30.90

Commercial

Parking

Parking

Commercial

Restaurant

Station Hall

13.55

6.00

5.90

5.10

6.00

10.05



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Trowulan: Kembali ke Masa Lalu

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Adi Purnomo | Adria Ricardo | Danny Wicaksono | Grace Kartono | Jessica Pangastuti | Mira Agusnani | Monica Renata | Paskalis Khrisno Ayodyantoro | Reginald Agus-salim | Varani Kosasih | Yori Antar | Yurike Sanafayong

“Bukan hal yang cukup bijaksana untuk memikirkan ban-gunan permanen di suatu situs yang penting tanpa ada data lengkap dan waktu perencanaan yang sangat pendek (kurang dari dua minggu)”.


Usulan ini bertolak dari gagasan membuat bangunan sementara saja, meskipun tetap membuka peluang menjadi permanen. Gagasannya adalah membuat sistem yang mampu sesedikit mungkin menapak ke tanah dan menaungi selebar mungkin. Titik yang harus menapak ke tanah (tanpa menggali) dikembangkan menjadi modul rangka berupa piramida ter-balik yang bisa dirangkai memben-tuk jaringan yang saling menunjang untuk berdiri stabil. Modul piramida ini berupa rangka yang bisa diprod-uksi di luar lahan dan dibawa masuk hanya untuk dirangkai. Karena tidak ada pekerjaan alat berat dalam lahan, modul tersebut harus bisa diangkat oleh sesedikit mungkin orang. Modul terkecil yang terdiri dari 8 batang pipa berdiameter 10 cm mempunyai kisa-ran berat 200 kg untuk bisa diangkat oleh 4 - 6 orang.

Cara konstruksinya dengan merebah-kan satu sisi di atas tanah dan menarik ke atas untuk dipertemukan satu sama lain. Ketika sistem rangka sudah terangkai, material penutup atap/ lantai/ dinding bisa menjadi sangat felksibel variannya. Pilihan kain, plastik, terpal, bambu, kayu, besisampai kaca akan bergantung pada kebutuhan tingkat permanen yangdiinginkan dan biaya yang tersedia. Dari modul ekskavasi 4 x 4 m sampai24 x 24 m, sistem ini akan bergerak, berkembang, atau bahkan ditiadakan sesuai dengan kegiatan ekskavasi yang ada. Konfigurasi akhir yang terjadi adalah ekspresi dari apa yang terkuak dari dalamtanah

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