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

EKO AGUS PRAWOTO

Eko A. Prawoto adalah arsitek yang banyak berhubungan dengan Romo Mangun yang lebih dikenal dengan konsep tektonikanya, sehingga banyak orang menyebut sebagai “murid” nya.

Eko bersinggungan dengan Romo Mangun lebih dari 20 tahun. Pada beberapa proyek, dia juga membantu Romo Mangun. Yang paling didapat Eko dari Romo Mangun adlah aspek tektonika, kepekaan bagaimana teknik menyambung, mempertemukan bahan, dan mengartikan sambungan, bagaimana memahami kodrat dan bakat dari bahan, kreativitasnya, juga pada keberanian untuk berbeda, dan mencari dari dalam. Melihat persoalan dari persoalan itu sendiri, tidak risau dengan sekitar. Tidak tentang kulit tapi dari spirit. Menurut dia, pada akhirnya arsitektur harus memerdekakan manusia.

Eko juga mengaku terpengaruh pemikiran Romo Mangun soal pemakaian material bekas. Menurut Romo Mangun, arsitektur harus konstektual. Sekarang ini banyak orang membutuhkan pekerjaan. Oleh karena itu, dalam satu proses pembangunan rumah, misalnya, sebanyak – banyaknya budget digunakan untuk upah. Bahan boleh murah, tetapi tenaga kerja harus dihargai mahal. Dia mengutip ajaran Romo Mangun yang mengatakan bahwa investasi harus pada sumber daya manusia.

Ciri khas Eko misalnya dengan menyusun rapi pecahan keramik di antara ubin bermotif. Dia juga menggunakan besi yang dia bentuk khas, untuk menyangga kayu yang bertemu dengan tembok pada beberapa karyanya. Unsur "sederhana" adalah kata yang pas untuk menangkap dan mengungkap makna dari setiap hasil rancangannya, menurutnya agar arsitektur kita tidak terlepas dari akar budayanya. Tapi juga bukan berarti hanya sekadar memoles dan mengambil dari masa lalu. Harus ada kompromi, menjadi modern, tapi masih tertancap pada akarnya. Metodenya adalah nilai – nilai lokal yang masih bisa diambil.

Menurutnya, "Arsitektur" seharusnya tidak memisahkan diri dari ekosistem. Ia harus menjadi bagian integral dari alam sekitarnya karena rumah bukan entitas otonom. Sedangkan inti dari desain arsitektur ada dua hal, sebagai produk engineering atau juga produk budaya. Itu tergantung pada paradigmanya.

Dalam beberapa tahun terakhir dia semakin sadar untuk mencari metode dengan mengartikulasikan lokalitas. Sementara ini, dia maknai dari ruangnya, makna ruang memperkuat untuk komunitas. Dalam arti arsitektur tidak seharusnya memisah dari kesatuan ekosistem. Jadi ada kontinuitas dengan sekitarnya. Secara lebih spesifik, arti lokalitas menurut Eko adalah dengan menjaga teknik membangun dan pengolahan material lokal, tapi dengan cara baru.

Justru hal yang manual dan kesannya low technology, menurut dia adalah keunikan tersendiri.


Eko Agus Prawoto
Eko Prawoto (lahir di Yogyakarta, Indonesia, 1959) mendapat gelar Sarjana Arsitektur dari Universitas Gajahmada, Yogyakarta, Indonesia pada tahun 1982, dan gelar Master Arsitektur dari The Berlage Institute, Netherlands pada tahun 1993, dibawah bimbingan Balkrishna V. Doshi. Selama karirnya Prawoto telanh mengerjakan berbagai proyek arsitektural di Yogyakarta dan kota-kota lain di Jawa Tengah, menulis beberapa makalah akademik, dan memamerkan karya-karya instalasinya. Karya-karya arsitektur dan instalasinya telah dipamerkan di London, Venice, Helsinki, Gwangju, Matsidai, Nigata, dan Yogyakarta. Ia juga aktif dalam komunitas seni kontemporer Yogyakarta dimana ia berinteraksi dengan budayawan, seniman dan penulis kota ini. Eko pernah menjadi kurator pameran arsitektur almarhum Y.B. Mangunwijaya di Rumah Seni Cemeti, Yogyakarta. Proyek-proyek Eko Prawoto yang sudah dibangun antara lain Gereja Kristen di Sokaraja, Jawa Tengah (1994-1995), Rumah Mella & Nindityo di Yogyakarta (1995-2004), dan Rumah Seni Cemeti di Yogyakarta (1997-1999) yang menerima IAI Award tahun 2002. Salah satu karya instalasinya adalah Housing for Urban Poor� yang dipamerkan pada The 7th International Architecture Exhibition, Venice Biennale (2000).

All image courtesy by Eko A. Prawoto

BALE BANJAR GERENCENG

NAFAS ARSITEKTUR MODERN MEMBERI MAKNA BARU PADA "TRADITIONAL MEETING HALL" BALE BANJAR GERENCENG

Adalah seorang warga banjar Gerenceng yang juga merupakan seorang arsitek professional yang menjadi desainer dan arsitek bagi pembangunan kembali banjar Gerenceng ini. A.A. Yoka Sara selaku arsitek, yang diberi kepercayaan dan tanggung jawab pembangunan, dengan secara seksama mempersiapkan segala sesuatu bagi pekerjaan pembangunan kembali bale banjar Gerenceng ini. Warga banjar lainnya antusias ingin terlibat dalam kepanitiaan pembangunan. Kelian Adat dan Kepala Dusun, serta Prajuru Banjar Gerenceng lainnya menjadi titik simpul yang mendorong seluruh jalannya pembangunan. Mereka bekerja bersama dalam semangat ngaturang ayah. Kerja membangun bale banjar ini disadari sebagai sebuah persembahan.


PENGEMBANGAN KONSEP

Pemahaman seni dan ideologi arsitektur modern dalam transformasi visi dan kemampuannya untuk mereinterpretasi ruang dengan berdasar pada kebutuhan mengembalikan spirit bangunan tradisional inilah yang mewarnai pembangunan kembali bale banjar Gerenceng. Dimulai dengan melakukan studi terhadap kondisi masa lalu, kini dan akan datang dengan mengakomodasi pelbagai komponen yang menunjang bagi terbentuknya proses perencanaan. Munculah konsep tempekan yang secara filosofis membagi ruang berdasarkan wilayah tata letak yaitu poros yang menjadi pusat serta kangin-kauh dan kelod-kaja yang menjadi satelitnya.
Gagasan dituangkan ke dalam perencanaan arsitektur utama pada ruang bale banjar dan jineng. Ruang utama bale banjar dibuat dengan atap bersusun dengan penyangga empat tiang besar. Atap bersusun ini jika dilihat dari atas merupakan formasi yang membentuk Tri Mandala menyerupai bunga Padma yang bersisi delapan dan titik tengahnya (puncak) adalah Menur yang terbuat dari tembaga, sebuah harapan akan semua kegiatan banjar dilindungi pikiran baik yang bersumber dari Dewata Nawa Sanga.
Filosofi yang digunakan pada atap adalah filosofi yang lazim bagi bangunan tradisional, yaitu Tiga Dunia (Bhur, Bwah,Swah) yaitu symbol dengan makna adanya transparansi jiwa. Menur yang terbuat dari tembaga itu berada pada posisi tertinggi, yang melambangkan Hyang Parama Wisesa. Atap yang artistik ini ditopang oleh empat pilar yang diberi ornamen dengan materi bata merah memakai pola dan detail empat tempekan banjar sehingga membentuk formasi purusa-predana. Sedang pada bagian kelod yang dipisahkan oleh jalan kecil ditempatkan Jineng, dimana dulunya berada di bawah setinggi jalan, kini dipindahkan ke atas sehingga menjadi lebih tinggi dan leluasa membentang pandang ke sekelilingnya. Ini juga merupakan bagian dari usaha untuk melepaskan instrumen banguan agraris dari ruang sekitarnya yang sangat urban.

Pada bagian ruang utama bale banjar menghadap ke dalam, dibuat level menyerupai panggung yang berfungsi sebagai wadah aktifitas banjar, baik kesenian maupun kegiatan banjar lainnya. Dengan melalui tangga dari bagian belakang banjar maka kita akan sampai di lantai dua tempat menyimpan dan berlatih gamelan sekaligus pada bagian luarnya kita dapat berjalan mengitari sekeliling atap bagian utama.

Finishing dari tiap bagian dengan pemilihan materi yang beragam dikerjakan begitu rapi dan modern; mampu memberikan penawaran ruang dan estetika bagi kepentingan saat ini dan masa depan. Integrasi antara fungsi tradisional bale banjar dan penataannya yang bernuansa modern, membuat bale banjar Gerenceng secara kesatuan menjadi matching dengan ruang sekitarnya yang urban. Jika dilihat dari Jalan Sutomo, maka bale banjar ini akan memberi impresi yang bukan hanya menarik perhatian kita, tetapi secara kuat memberikan gambaran dan kesan keindahan yang tercipta dari hasil pencapaian esetetik perancangnya. Sedari awal, memang bangunan bale banjar Gerenceng ini diposisikan untuk menjadi sebuah landmark di area memasuki kota Denpasar ini.Banjar Gerenceng yang baru ini banyak memberikan nilai-nilai baru bagi aktifitas banjar, seperti disampaikan oleh prajuru Banjar Gerenceng.
Mereka bersama mengakui bahwa selain memberikan kebanggaan bagi Gerenceng, bale banjar yang baru ini memperkuat tali persaudaraan diantara warga masyarakat.

Masyarakat berharap fungsi banjar akan semakin mengakomodasi setiap kegiatan warga.



FENOMENA URBAN

Perubahan desa menjadi kota yang banyak menjadi fenomena di kota Denpasar merupakan sebuah dinamika yang harus disikapi secara baik. Banjar Gerenceng telah melakukannya dengan merenovasi pembangunan bale banjarnya. Nilai kebaruan yang tampak bukan semata modernitas tempelan tetapi mengambil spirit dan hakikat yang ada dalam nilai-nilai tradisional dan budaya Bali sehingga diharapkan dapat menjadi wadah yang tepat bagi masyarakat yang juga tumbuh secara dinamis bukan pada saat ini saja namun untuk masa depan.

Dengan demikian diyakini bahwa pembangunan ini bukan sekadar renovasi bale banjar namun dapat dikatakan sebagai restorasi dan reintepretasi. Semangat revitalisasi fungsi bale banjar turut mewarnai pembangunan kembali bale banjar ini. Mudah-mudahan keberadaan banjar Gerenceng yang baru ini dapat menjadi ruang publik yang lebih fleksibel dan lebih bermanfaat bagi krama Gerenceng, serta bisa menjadi sumbangan yang memperkaya khazanah arsitektur tradisional Bali.

NEW BUILD BY RAFAEL VINOLY

LEICESTER PERFORMING ARTS CENTRE

With Rafael Viñoly’s new Theatre and Performing Arts Centre, stage life in Leicester will certainly never be boring. The Uruguay-born New York-based internationally acclaimed architect has produced a lively coloured, striking design with an unusual concept behind it. In an attempt to produce an intrinsically public, functional space, the whole building is turned inside-out, leaving the key spaces of production, construction, craft and technical components, bare and fully visible even from the street, enveloped in a completely transparent glass-paneled metal-framed skin.
The building features two super-flexible main performance areas that not only have no distinction between front and back, but also unite; forming one single hall, thus adapting each time to the varied community needs. A series of moveable walls and sliding curtains – a clear reference to Leicester’s textile manufacturing history - add to the building’s adaptability, marking the areas for stage, workshops, lobby and reception under a continuous theatrical grid that transforms all spaces into potential hosts of all kinds of theatrical activity. The main auditoria are ringed by a balcony in the upper levels, while on the street level, a public restaurant will attract visitors at all times.

MAYA UBUD

UPAYA MAKSIMAL MENGAPRESIASI ALAM MENGGUGAH SEBUAH KAWASAN PERBUKITAN DI UBUD MENJADI VILLA "PERKAMPUNGAN" YANG PENUH KEJUTAN.

DENTON CORKER & MARSHALL (DUTA CERMAT MANDIRI JKT)

Maya Ubud sebuah resort - terletak di punggung bukit yang diapit dua lembah, Sungai Petanu, dan salah satu anak sungainya - yang di desain bergaya perkampungan, hadir menjawab satu fenomena tersebut.

Resort yang mengedepankan konsep natural ini mampu menyulap lahan seluas dua belas hektar yang terdiri dari punggung bukit, lembah, dan jurang terjal yang mengerikan menjadi kekuatan lansekap yang menakjubkan !. Dengan mengadopsi langgam lansekap pedesaan di Bali, arsitek merancan site plan dengan menarik aris as utama utara-selatan pusat dan tolok ukur pembangunan lingkungan villa selanjutnya. Dalam konteks Bali kuno, aris kuat tersebut merupakan terjemahan dari as utama kaja - kelod yang secara spiritual menghubungkan gunung-gunung di Bali Tengah (kaja) dengan laut di selatan (kelod).

Setelah melalui bangunan lobby, tiga kawasan perkampungan villa dirancang mengikuti lengkungan tebing, sehingga membentuk lansekap oval. Masing-masing perkampungan pun mempersembahkan view berbeda. View persawahan disebelah kanan dan perbukitan di sebelah kiri. Sebagai penguat garis as utama ditanamlah pepohonan kelapa disepanjang jalan menurun ke arah dasar lembah Maya Ubud. Peletakan lumpang terbalik seolah seperti bebatuan yang bermunculan dari dalam tanah menambah unik pemandangan.

Di balik sensasi yang ditawarkan, Maya Ubud sesunguhnya tak hanya mengadopsi lansekap langgam perkampungan di Bali, tapi jua menganalogikan gaya hidupnya. Ia merefleksikan sebuah desa di sebuah desa di kawasan perbukitan Bali yang memanfaatkan punggung bukit sebagai ruang as terbuka dengan desain bale bengong sebagai tempat berkumpul (ruang komunal). Sementara itu, rumah-rumah penduduk dibangun di kawasan lembah, sehingga harus naik ke punggung bukit jika hendak mengambil air.

Selaras dengan langgam lansekap Bali yang teraplikasi, materi natural lokal pun kukuh mendominasi rancangan villa dan bangunan lain. Sebuah karya yang mengagungkan kebesaran alam dan spirit arsitektur Bali telah berpadu harmonis di Maya Ubud. Selamat buat Budiman Hendropurnomo dan tim DCM....

All image courtesy of Maya Ubud Resort & Spa

SUKHUMVIT SOI 53 APARTMENTS, BANGKOK

TO EXPERIENCE A PROJECT BY KERRY HILL ARCHITECTS IS ENJOY THE CHOREORAPHY OF LIGHT AND SADE IN SPACE.









KERRY HILL ARCHITECTS


This small development of four apartments supports this expectation with an exquisite manipulation of solid and screened surfaces. The compound provides apartments for the owner and his three grown children and establishes a private and secluded refuge within the extremes of the Bangkok reality.

The apartments are organized into double-storey duplex units, stacked vertically onto a six-storey solution. The ground floor provides a communal space with swimming pool, dining terrace, gymnasium and entry spaces. The strength of the rectilinear geometries of the apartments is enriched by the fine grain of timber screens, which provide shade and privacy, and by solid masonry enclosures. Both are reflected in the extensive pools.

Clear graphic order of architectural elements and a commitment to beautifully considered detail are a consistent theme in the oeuvre of this practice and this understated example is a worthy recipient for the return of the international award.