BUILT PROJECTS. archinesia vol.7 > built projects

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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

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. 1

LOCATION Rangsit University, Pathumthani, Thailand

ARCHITECT'S TEAM Sirima Plienchareon

CONTRACTOR New Star International Co., Ltd

INTERIOR DESIGNER Studiomake

FLOOR AREA (SQ. M) 1,500 sq.m

SITE AREA (SQ. M) 1,420 sq.m

PHOTOGRAPHER Wison Tungthunya

WRITER Dini Kusumawardhani

STRUCTURE Borvornbhun Vonganan, Suradej Kaewprasert and Rittichai Ninphoo


CONSTRUCTION PERIOD 2011 - 2012

DESIGN PERIOD 2011

OWNER Faculty of Art and Design, Faculty of Digital Art and Faculty of Architecture at Rangsit University


DESIGN PRINCIPAL(S) David and Im Schafer

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Studiomake > Thailand

PATANA GALLERY Bangkok

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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 likeminded 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.

Since the term “creative industry” was ﬁrst ﬂaunted 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.

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.

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$3)!/)/!(26"3$:(

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.

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.

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 keluarmasuk 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.

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

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Roof Plan

Third Floor Plan

;+$3(16$(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.

UNESCO, and UNDP, comps. D,(.%#?(2E4+8+)&2F(3+,%2GHIJ;2K#$(8#892L+4./2:(?(/+3)(8%2B.%6-.&'M Rep. N.p.: UNESCO, 2013. Web. 4 Dec. 2014. Jormakka, K. 56(27/ͼ:"%46)(8;2<+%#+82#82=,46#%(4%",(C2NG2OP3,#89(,2P4#(84(2Q2R"'#8(''2<($#.C2GHHGSC2.44(''($2:(4()1(,2NC2GHINM 3 Macleod, S. F('6.3#892<"'(")2P3.4(;2=,46#%(4%",(C2:('#98C2ET6#1#%#+8'C2UV2O5.&/+,2Q27,.84#'C2GHHWSC2.44(''($2:(4()1(,2NC2GHINM 1 2

First Floor Plan

Second Floor Plan

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2

4

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Kaca sebagai dinding galeri pada sisi yang menghadap -./0-.& membuat pelintas turut menikmati karya seni dari luar.

Mezanin tanpa dinding penuh yang berada di lantai dua memberikan pengalaman berkumpul di '()#*+"%$++, bagi pengunjung galeri.

Penggunaan kaca membantu penyerapan sinar matahari ke dalam ruangan sehingga galeri terasa lebih terang dan luas.

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.

The mezzanine on the 3$.+/0(7++%'(#".@)/!("/&( complete walls, provides the experience of gathering in a semi-outdoor space for gallery visitors.

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Glass improves the penetration of sunlight into the interior, making it seem brighter and more spacious.

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 doublelayered powder coat.

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6

5

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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.

Section

North Elevation

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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.

East Elevation

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.

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BUILT PROJECTS. archinesia vol.7 > built projects

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