VILLA DI TELAGA PUTRI KALIURANG

Villa ini dirancang dengan mengambil spirit rumah kampung yang terbuka namun tertutup. Konsep villa menyatu dengan lingkungannya penuh dengan taman hijau sebagai titik awal perancangan. Keinginan klien terwujud dengan pola denah linear dan memanjang kebelakang mengikuti kontur yang semakin rendah di belakang, hal ini sekaligus sebagai siasat dalam pemrograman ruang, dimana semakin kebelakang maka semakin tinggi pula tingkat privatisasinya sehingga selasar sangat berperan penting. Rancangan bukaan-bukaan yang lebar kombinasi pivot swing door dan sliding door ditempuh untuk memaksimalkan cahaya dan flow udara kedalam ruang disamping tujuan utama yaitu untuk menyuguhkan pemandangan courtyard yang hijau. Sesuai dengan konsepnya “spirit rumah kampung” maka villa ini hadir dengan ruang tamu dan ruang home teater yang memiliki porsi ukuran lebih dipersiapkan untuk menjamu para kerabat, tamu, maupun kolega. Hunian yang merepresentasikan dengan utuh penghuninya adalah hunian yang dipenuhi kehangatan dan cinta.

CEMPAKA PUTIH SPORTS & VENUE

Project : Cempaka Putih Sports & Venue

Lokasi : Cempaka Putih, Jakarta Timur

ARTMOSPHERE ACADEMIC

Artwork by Agung Rudianto, Nov 2007

Campaign & Promotions Pinasthika Ad Festival ini adalah pada dasarnya merupakan pengembangan desain dari Srengenge Ad. memenangkan pitching agency partner Pinasthika 2006, dengan mengusung tema 'Lawan Keterbatasan, Raih Kemenangan'. Setelah penambahan sana-sini melalui brainstorming dan pemotretan ulang dengan bala PPPI Jogja maka 1 versi hasilnya seperti yang Anda dapat lihat.

Photography by Srengenge Adv., Design by : Agung & Andi (Eyecatch Indonesia)

COVER BUKU 250 TAHUN JOGJA

Lumayan lah bisa menjadi bagian sejarah 250 tahun Jogja, walaupun hanya melalui desain cover bukunya, he..2.. thanks PT. Gudang Garam Tbk. , Dewan Kebudayaan Yogyakarta & Mr. Revianto










Design by Agung Rudianto
Photography by Bambang Tri Atmojo (DUOTONE PHOTOGRAPHY)

INTERNATIONAL EXPERTS MEETING

International Experts Meeting for the Rehabilitation of Earthquake-affected Prambanan World Heritage Site and Taman Sari Water Castle, 5-8 March 2007 - Yogyakarta, Indonesia

An International Experts Meeting on the rehabilitation of earthquake-affected Prambanan World Heritage Site and Taman Sari Water Castle gathered international and national experts in Yogyakarta (from 5-8 March 2007) with a view to prepare an integrated action plan for the post-earthquake recovery and rehabilitation works at these important cultural sites. This meeting was organized jointly by UNESCO Office, Jakarta and the Department of Culture and Tourism of the Republic of Indonesia, with the funding support from the Kingdom of Saudi Arabia.

Source : UNESCO

Design by : Agung Rudianto, March 2007

THE THOUSAND MYSTERIES OF BOROBUDUR

SEBUAH CATATAN SEJARAH
KEMEGAHAN BOROBUDUR

Desain campaign pameran yang telah lewat beberapa bulan lalu ini sayang kalau tidak di upload, ....he...he...

Sejatinya pameran tersebut mencoba melihat kembali sejarah, maupun cerita-cerita misteri mengenai Borobudur. Misteri-misteri ini sebenarnya merupakan berbagai temuan yang berkesan dan muncul di tengah masyarakat, misalnya mengenai danau purba yang terletak di area candi Borobudur, rahasia di balik angka-angka yang terdapat di Borobudur, hingga pencarian sosok Borobudur yang sebenarnya. Berbagai catatan penelitian, baik berupa teks maupun karya visual lainnya dihadirkan dalam upaya memberikan informasi kepada pengunjung. Karya-karya lukis maupun instalasi yang dipamerkan dalam pameran ini mencoba menyalurkan informasi seputar Borobudur. Pameran ini menghadirkan beberapa patung yang masih terasa sangat asing sebagai puncak dari seluruh pameran. Patung unfinished Buddha, yang akan menjadi puncak pameran ini mungkin terasa sangat asing. Patung ini merupakan patung yang berada di dalam sebuah stupa teratas dai Borobudur. Tidak hanya karena patung ini berada di puncak teratas stupa Borobudur saja, patung yang belum jelas sikap tangannya inilah yang justru menjadi daya tarik. Patung ini terlihat belum selesai di beberapa bagian sehingga susah untuk diidentifikasi.Selain unfinished Buddha, pameran ini juga akan memamerkan sebuah Stupica, stupa kecil yang berasal dari abu dan tanah. Stupa Budha versi kecil ini diduga dibuat bersamaan dengan dimulainya pembangunan Borobudur. Walau terkesan seperti buah tangan khas Borobudur, namun Stupica adalah sebuah peninggalan dari perjalanan Borobudur. Berbagai kegiatan dan berbagai karya digelar untuk menyemarakkan pameran ini tidak keseluruhannya diselenggarakan di Jogja Gallery. Kegiatan yang sangat variatif seperti Fun Heritage Trail yang diselenggarakan di Borobudur merupakan bagian dari pameran The Thousand Mysteries of Borobudur. Kehadiran pameran bertema Borobudur merupakan kesempatan yang langka untuk mengetahui dan mengenal lebih jauh sebuah peradaban dan budaya, yang merupakan bagian dari keberagaman Indonesia.

Well, senang menjadi bagian dari peristiwa yang langka hasil besutan dari UNESCO, Departemen Budaya dan Pariwisata, Jogja Gallery yang telah mempercayakan segala urusan desain dan materi promosi nya pada kami. TQ
Artwork : Sebuah Pencapaian, Ismanto 2007
Design : Agung Rudianto, 2007

TARI KECAK

PENGIRING UPACARA PENGUSIR WABAH

Berlawanan dengan kepercayaan, tarian Kecak itu sendiri tidak begitu tua (tarian modern). Lagunya diambil dari ritual tarian Sanghyang kuno, yang sampai hari ini masih dilakukan beberapa desa. Selama tarian Sanghyang, seseorang akan berada pada kondisi tidak sadar, melakukan komunikasi dengan Tuhan atau roh para leluhur dan kemudian menyampaikan harapan-harapannya kepada masyarakat.

Tarian ini adalah satu tarian yang sangat unik. karena tidak diiringi dengan musik Bali atau “gamelan” seperti halnya tarian yang lain. Tari kecak ditarikan oleh lebih dari 50 orang yang kebanyakan laki-laki. Kata kecak berasal dari kata “cak” yang diucapkan secara beramai-ramai dan dengan irama yang sangat indah untuk didengarkan.Kisah cerita dari tarian ini adalah kisah percintaan (love story), yang diambil dari kisah pewayangan “Ramayana”. Ini menceritakan Dewi Shinta (istri dari Sang Rama Dewa), diculik oleh raja raksasa yaitu “Rahwana”, untuk dijadikan istrinya. Rama dibantu oleh “Hanoman” si kera putih, berusaha mendapatkan istrinya kembali. Pada saat itulah ada banyak sekali masalah dan konflik-konflik yang dihadapi oleh Rama maupun Shinta dan juga para pembantunya. Singkat cerita akhirnya Dewi Shinta kembali kepelukan Sang Rama Dewa. Tarian ini diakhiri dengan Tari “Sang Hyang Jaran” atau tari api. Dimana seorang penari dengan menunggang kuda-kudaan, menari diatas api yang membara, namun tak sedikitpun bagian tubuhnya yang terbakar. Karena sebelumnya telah dimasuki oleh “roh halus”. Sekitar tahun 1930-an Wayan Limbak * bekerja sama dengan pelukis Jerman Walter Spies menciptakan tari Kecak berdasarkan tradisi Sanghyang dan bagian-bagian kisah Ramayana. Wayan Limbak mempopulerkan tari ini saat berkeliling dunia bersama rombongan penari Bali-nya.

*) Wayan Limbak, koreografer tari kecak, meninggal pada Jumat (5/9) 2003 pukul 21.00 Wita di sebuah rumah sakit di Bali menyusul serangan stroke. Seniman tari yang tetap bersemangat di usia lanjut ini mencapai usia 105 tahun.






















Photo Credit : Alex Lea, Brian J. Mc Morrow

WAKTUNYA DONGAKKAN KEPALA DI HADAPAN DUNIA

BIAR DUNIA TAHU

HANYA KEKUATAN SUMBER DAYA BUDAYA YANG MEMBUAT NEGERI INI BISA MENDONGAKKAN KEPALA DIHADAPAN DUNIA.

Apalagi yang harus diperbuat bagi bangsa ini untuk membangkitkan dari keterpurukan ?. Kekerasan, kekeringan, penggundulan hutan, pengkebirian pendidikan, terorisme, politik, darurat militer, banjir, tanah longsor, tsunami, gempa bumi, puting beliung, kelaparan...dan...dan...masih banyak deretan lagi kalo mau diutarakan satu persatu.

But, masih ada sisi lain, masih ada harta karun tak ternilai - kekayaan kultural- yang belum tergarap maksimal oleh kita sendiri, yang mampu menghapuskan stereotip dunia internasional tentang kita...tentang nusantara...tentang bangsa ini...tentang Indonesia...sebagai negara koruptor kelas wahid. Kekuatan budaya memang bisa menunjukkan identitas bangsa.

Sumber daya budaya kini terasa seakan hampir punah, tak salah bila orang lain telah memungutnya satu-demi satu, kalau tidak buru-buru kita gubris.

Budaya tak lapuk oleh hujan tak lekang oleh panas. It's forever...

Mulai sekarang, dekatkan anak-anak kita, orang-orang terdekat kita dengan budaya. Berilah anak-anak lulusan luar negeri sentuhan budaya;supaya mereka menghargai budaya negerinya.

Segera kita berbuat...

JEAN-MARIE TJIBAO CULTURAL CENTER

THE HARMONY OF TRADITION AND TECHNOLOGY


"In the quest for identity, you must always look forwards, never backwards… our identity lies ahead of us." Jean-Marie Tjibaou.

Jean-Marie Tjibaou believed in the future, and its possibilities. He urged the Kanak people to embrace it, to find their sense of self in a fine balance between Kanak history and the ways of the modern world.

This however was not a simple proposition, and perhaps it never will be. The Kanakis understand life in harmony with the earth, wind, and sky, their "culture is primarily expressed through the works of nature.", yet they wanted to be recognized in a contemporary society. Hoping to educate the public in their traditions, beliefs, and artwork, the Kanakis of New Caledonia wanted a cultural centre that would become self-reflective, a place both grounded in its roots and at the same moment finding its place in a modern world, as Jean-Marie Tjibaou had preached. Along the southern coast of New Caledonia, and to the east of the city of Nouméa, on Tina Peninsula the site, is carefully inserted between the thunderous Pacific Ocean and the quiet lagoon, situated in the ‘wild’, separate from civilization.
It was Renzo Piano who won the honours of master coordinator to reconcile nature and technology.

He wanted to create "an architecture that genuinely expresses itself between the assertion of the old, reliable values and the exploration of the new in the spirit of the time."

Piano suggested that his lack of knowledge and experience with the Kanak people could actually help the project. He would be a clean slate, free of any political bias, or pre-determined design concepts. He wanted to "try to understand how it (culture) was born, why it has gone in a certain direction, what philosophy of life has shaped it."

He did not want to simply produce a tourist destination like so many other cultural centres, but instead a "place that would represent them (the Kanakis) to foreigners and that would pass on their memory to the grandchildren".

Piano felt he could achieve this architectural masterpiece by "finding the gestalt", the personality of the site and its context through a full understanding of the Kanak "local culture, buildings and nature." Instead of introducing universal building standards, he wanted to produce a "symbiotic relationship with the vernacular" so he proposed that "True universality in architecture can be attained only through connection with the roots, gratitude for the past, and respect for the genius loci."

In studying the photos and drawings, many techniques become apparent in the formation of the gestalt of the site and its people. First of all the complex is approached by a meandering ‘Kanak path’ on the north side of the site, and a series of gardens, allowing the Kanak culture to be first communicated to visitors through nature, namely the plant life specific to the region. The centre itself is broken down into three main categories: performance art hall, artwork + galleries, and reading + research, which are further divided into three clusters, invoking the planning of a traditional village in the layout of the program’s main elements.

Here is Jean-Marie Tjibaou’s statement, "our identity lies ahead of us." Everything seems to fit together, producing a finished project that expresses the history of the Kanak culture in an intelligent, contemporary format. Or does it?

The conflict of joining tradition and modernity is an obvious one, but not so easily resolved. As one begins to study the project in more depth, considering such things as materials and the construction techniques, the theories begin to feel incomplete. The term vernacular begins to have more than one definition. Vernacular seems to be understood as
1. The environmental context of the site,
2. The architectural style that expresses the culture and traditions of the Kanak people.
That is, the expression of the place and people are separated. Although Renzo Piano and the Kanak people "hail the building as the first piece of architecture representing Pacific culture", one cannot help but feel it falls short of the claims. Although successful as a modern ‘green architecture’ building there is a "crisis of the opposition between what is said and what is done."Maybe it is impossible to create a perfect balance of tradition and innovation.

Perhaps its most triumphant attribute, the Jean-Marie Tjibaou Cultural Centre clearly articulated and manipulated the region’s bio-climatic typology to achieve a high level of human comfort. Recognizing the need for passive cooling, the entire program becomes dictated by wind and sun orientation, and the shape of the facade is created not as an aesthetic mask, but as a fully functioning passive system. The study of seasonal monsoon storms with a wind tunnel determined that the shell-like curve was best for resisting the 240-km/hr forces and created a ‘voice’ for the buildings.

It is in the interpretation of vernacular typology that many conflicts arise. Piano insists that context means, "history and nature co-exist"., they must work together, but it is here that there are both strong successes and failures in attempting to harmonize the two. In understanding the construction of a typical Kanak hut, Piano formed his own ‘huts’, curving the entire structure, with all vertical elements ascending towards a central point.

However, while many see the sculptured shells as a modern interpretation of tradition, others question it authenticity because the shells lack the fundamental centrepost which in "many Pacific societies the centrepost is identified with the leader." Viewed as possibly the most important element of a Kanak hut Piano chose to remove it, perhaps the subtle suggestion of the centrepost was more important to him than actually constructing one.

Textures and the idea of a woven skin are also interpreted by Piano into horizontal and vertical louvers. This is a convincing imitation of the thatched palm roofs even though it is transparent and heavier than that of the original, and looses its free formation to a methodical pattern.
The facade essentially is a double skin providing a large air space between the "woven" woodwork and the glass-encased galleries, forming the ‘stack effect’. During the day hot air rises out of the space while cool air is drawn into replace it.

The roof of the curved structure also acts as a double skin, where air can freely circulate. "The openings in the other shell have been arranged to exploit the monsoon winds coming from the sea, or to induce the desired convection
currents." Depending on the force of the wind, whether a light breeze or a heavy storm, skylights will open or close accordingly, to maintain balanced air pressure. Essentially the building works to continuously find a balance with nature.

Shading is also an important factor in the design’s ability to cool spaces, mainly through the use of overhangs and landscaping the pathways, terraces, and gardens are kept cool and comfortable for visitors.

Rationalizing the electronically controlled ventilation system in terms of exploiting and benefiting from site conditions seems to be justifiable, except it goes against the understanding of vernacular typology. Is Piano "forget (ting) that indigenous people enjoy their climate?" It seems in a sense that Piano has failed to escape from the standards of European and North American travelers, where air conditioning is expected. To this sense the "rationale is obsolete", the building was built not for Kanakis at all, but for the average middle class tourist. Yes, this was part of the main purpose of the cultural centre, ‘build and the people will come’, welcoming foreigners in hopes of teaching them about Kanakis culture. However, would it not then be important to experience through the senses other than sight, how it feels to be inside a Kanak hut on a hot day? Was it not once said, "When in Rome do as the Romans do?"
Considering the use of materials is another sensitive subject. Employing both "laminated wood and natural wood, concrete and coral, aluminum castings and glass panels, tree bark and stainless steel"18 does indeed create "richness and complexity of detail" , but at the expense of the true vernacular.

The wood itself is Iroko, or "imported mahogany from Africa"and was "pre-fabricated in France". Why was not a local material used? Sure the logic accepted to excuse the imported wood seems valid enough; it is termite proof, will age to a silvery gray colour like the trunks of the Norfolk Island pines, is incredibly strong against the winds and is produced solely for manufacturing purposes, but using this foreign wood does not mimic traditional construction materials. Is the integrity of the design worth the sacrifice of the context? Piano obviously believed so.

Returning however to the environmental conscious of the building it is unfortunate that more care was not given to the collection of rain water for agricultural use, or perhaps the installation of a composting program. Though the centre does have gardens that grow local vegetables and plants, there is no particular message about taking care of the land for future generations. Perhaps the impact of the building itself stands alone to teach present Kanakis and visitors about the importance of taking care of the earth and the possibility of building a modern structure that is beautiful and sustainable.

Even the surrounding landscaping is subtle, having planted Norfolk Island pine on the site several years previous to the centre’s construction, and fitting the building in among existing eucalyptus trees, creates the illusion that nature was untouched by the building. The building’s ability to blend and sink into its topography also suggests the capacity to which existing plant life can dictate the shape and configuration of architecture.

On a broader scale the general principles employed in attaining passive ventilation at the Jean-Marie Tjibaou Cultural Centre are common to many architects and are adaptable to many different climates. However without the particular situation of ever-present ocean winds, the success of such a sensitive system would be drastically decreased. The basic principles of passive cooling, including adequate overhangs and vegetative shading are practical in any climatic zone where cooling interior spaces is a concern.

In closing, designing a building to express the harmony of a historical culture with the modern language was never meant to be an easy task. How does one go about doing it? As Piano stressed, "architectural invention cannot ignore history, tradition, or the context of construction." Perhaps this is true, but rather the choices and sacrifices of components in order to achieve a unified whole. Balance must come through negotiating; it is a game of compromise
And decision making. Maybe nature and tradition can never really be completely reconciled with modern technology. Instead the architect has to make choices, maybe this is the truth of J-M T.C.C., that it is not a perfectly equal balance of nature and technology, but that through intuitive selection of one detail or movement over another voices a memory of the past and a hope for the future.

Unfortunately it is also true that until we are able to experience such a masterpiece in it full capacity, we can never fully appreciate or understand its strength as an expression of tradition and technology.

Text by : Alana Young

Image Source : RPBW

THE NEW YORK TIMES BUILDING BY RENZO PIANO

Started in 2000, The New York Times building designed by Renzo Piano, located in times square is now complete. The New York Times has provided an inside look at the 52 story building now that they have moved from their previous location. The building features a combination of glass walls and a protective scrim of ceramic tubes that act as a sunscreen.

The building's lobby was designed around circulation to maintain openness. it features an open atrium of birch trees and moss that is open to the public. The entire level maintains the views to the street with ample use of glass.

“Mr. Piano’s building is rooted in a more comforting time: the era of corporate Modernism that reached its apogee in New York in the 1950s and 60s. If he has gently updated that ethos for the Internet age, the building is still more a paean to the past than to the future.”

“The building’s most original feature is a scrim of horizontal ceramic rods that diffuses sunlight and lends the exterior a clean, uniform appearance. For The Times, Mr. Piano spent months adjusting the rods’ color and scale.”

“The architect’s goal is to blur the boundary between inside and out, between the life of the newspaper and the life of the street. The lobby is encased entirely in glass, and its transparency plays delightfully against the muscular steel beams and spandrels that support the soaring tower.”

“People entering the building from Eighth Avenue can glance past rows of elevator banks all the way to the fairy tale atrium garden and beyond, to the plush red interior of TheTimesCenter auditorium. From the auditorium, you gaze back through the trees to the majestic lobby space. In effect, the lobby itself is a continuous public performance. The sense of transparency is reinforced by the people streaming through the lobby.”





























All Image courtesy by Renzo Piano

UNBREAKABLE WOMEN

SUNSILK UNBREAKABLE WOMEN CAMPAIGN

Tak ada yang patahkan semangatku

tekadku kuat jiwaku mantap

meski hariku kelabu

ku kembali ceria karenamu

sejak kau ada di hidupku

bersinar seindah mentari

Unbreakable..Unbreakable..

kau kuatkan diriku

begitu indah siapa yang memandangnya

Unbreakable..Unbreakable..

kau kuatkan diriku

kau berikanku semangat

jiwa ini selalu ada senyum di hatiku

selalu yakin dengan awal yang baru

meski badai datang mengganggu

tak kubiarkan semangatku layu

saat kau berikan kekuatan dan keyakinan…

Unbreakable..Unbreakable..

kau kuatkan diriku

begitu indah siapa yang memandangnya...

Unbreakable..Unbreakable..

kau kuatkan diriku

kau berikanku semangat jiwa ini...

”Di balik kelembutan dan kecantikannya, jiwa perempuan sejatinya tak terpatahkan, inilah esensi dari kampanye ’Sunsilk Unbreakable Women’ . Pesan sosial yang ingin disampaikan pada kegiatan ini adalah agar perempuan Indonesia menyadari kekuatan, kegigihan dan semangat tak terpatahkan di dalam dirinya demi mengejar impian dan dalam mengemban tugasnya.

”Unbreakable" memiliki makna bahwa apapun hambatan, rintangan, cobaan, penolakan dan kecaman menghalau jalan, seorang perempuan tetap yakin bahwa apa yang dijalankan merupakan yang terbaik bagi dirinya dan memberikan manfaat positif bagi lingkungannya.”

”Diharapkan dengan kampanye ini, semakin banyak perempuan Indonesia yang memahami kodrat dan kekuatan yang dimilikinya sebagai pribadi yang Unbreakable, sehingga apapun yang menjadi pilihan jalan hidupnya, setiap perempuan Indonesia senantiasa mampu memperlihatkan kekuatan yang dimilikinya. Walaupun rintangan dan halangan menghadang, hal tersebut tidak akan pernah membuatnya patah semangat.” Sunsilk, brand perawatan rambut dari PT Unilever Indonesia Tbk., memberikan penghargaan kepada tiga perempuan Indonesia yang dinilai memilliki dedikasi tinggi dan semangat yang tak terpatahkan, sebagai Unbreakable Women.

Pemberian penghargaan tersebut dilakukan dalam rangka peluncuran kampanye’Sunsilk Unbreakable Women’ dan sejalan dengan hadirnya inovasi terbaru Sunsilk Hairfall Solutions.Ketiga perempuan yang menerima penghargaan Sunsilk Unbreakable Woman Award adalah: Medina Kamil, reporter Jejak Petualang Trans 7; Gusti Kanjeng Ratu Pembayun, aktivis sosial dan putri Sri Sultan Hamengkubuwono X; serta Elizabeth Wahyu, ibu rumah tangga dan desainer aksesoris.

Dengan latar belakang dan dinamika jatuh bangun ketiga sosok tersebut dalam menjalankan misi, mengemban tugas dan meraih cita-citanya, Sunsilk menilai bahwa mereka patut diberi penghargaan atas kekuatan, antusiasme, kegigihan dan semangat tak terpatahkan untuk memenuhi mimpi dan aspirasinya. “Ketiganya mewakili citra perempuan yang memang terlahir sebagai pribadi yang kuat, tangguh dan tak pernah patah semangat. Di tengah berbagai rintangan dan kesulitan yang menghadang di masing-masing bidang yang mereka geluti, ketiganya tetap konsisten dan memegang teguh komitmennya untuk tetap menjalankan apa yang menjadi panggilan jiwa-nya.

Dengan belajar dari perjalanan hidup mereka terutama pada keberhasilan mereka melampaui berbagai rintangan, para perempuan di Indonesia diharapkan dapat terinspirasi untuk melihat dan mengeluarkan sisi unbreakability dalam diri mereka.

Untuk mensosialisasikan kampanye Sunsilk Unbreakable Women, Sunsilk mengeluarkan lagu berjudul ‘Unbreakable’ yang dinyanyikan oleh Shanty yang sekaligus sebagai duta Sunsilk dalam program tersebut, dengan lirik yang memberi inspirasi dan semangat bahwa perempuan Indonesia terlahir sebagai pribadi yang memiliki kekuatan luar biasa yang harus mereka syukuri dan pertahankan.

Ehm... semoga strategi ini akan berhasil mendongkrak awareness publik.

ASSYAFAAH MOSQUE, SINGAPORE

SIMBOL ARSITEKTUR & ISLAM UNIVERSAL


Di desain oleh Tan Kok Hiang dan Forum Architect , secara utuh menggambarkan kekuatan Islam modern dengan menampilkan bentukan geometri sederhana dan tatanan (motif tradisional islam) arabesque kedalam tampilan yang lebih modern. Sosok modern dimunculkan dan didukung dengan pemilihan material beton pracetak ekspos dan aluminium composite dan tabir berupa tatanan arabesque untuk menghadirkan unsur terbuka dan kesan dramatis dalam bangunan selain tuntutan cahaya dan penghawaan dalam ruang sebagai esensi. Sebuah masjid Islam modern yang universal yang terbuka dan mengundang bagi siapapun untuk memaknai dan memakmurkannya.

Project Details
Project name: Assyafaah Mosque
Client: Majlis Ugama Islam Singapura
Project type: Religious Building
Principal designer/s: Tan Kok Hiang
Design team:
Structural engineer: Web Structures
Mechanical & Electrical: Alpha Engineering Consultant
Quantity surveyor: Davis Langdon & Seah Singapore Pte. Ltd.
Interior designer: Forum Architects
Calligrapher: Yahiya, Xian China
Contractor/s: Evan Lim Construction Pte. Ltd.
Date of commencement of project: May 2000
Date of completion of project: April 2004
Location of site: 1 Admiralty Lane, Singapore 757620
Site area: 2500 s.m.
Built-up area: 3489 sq.m.

Photographs: Albert Lim, Singapore