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A Box That Provokes: Eksplorasi Sekuens Ruang Berdasarkan Gagasan Arsitektur Tadao Ando Susanto Ginanjar Putro
his direct experiences, not taught intellectualism
dan tidak terikat dengan konvensi yang ada. … his powerful inner vision, ignores whatever movements, schools or styles that might be current, creating buildings with form and composition related to the kind of life that will be lived there.” places of habitation not as abstract design in a landscape
The value of (this building) as architecture does not necessary come from some stylistic method or abstract concept aimed at…it comes instead from a fundamental way of thinking about building a house for an inhabitant. Ando’s approach is to connect the art of building to the art of living.”
”chohatsu suru hako provokes
a box that
”I care not for interesting forms but for the spatiality of forms. Through the medium of simple geometrical forms, I seek to introduce a diversity of intentions and emotions and to take into account intangible factors…”
…using a geometric simplicity which reveals a subtlety and richness in spatial articulation.”
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a use of limited material, which have their texture exposed, and a ambiguous articulation of the function of space
metode enclosed space is the creation of a place for oneself, an individual zone, within society
Sense of sanctuary exposed At times walls manifest a power that borders on the violent. They domains. Walls are the most basic elements of architecture, but they can also be the most enriching.”
yang melingkupi immobile enclosed space khidmat, sehingga ketika sedikit saja elemen alami dimasukkan ke dalamnya, sensasi yang dihadirkan menjadi amat dramatis dan puitis. Eksperimen dalam chohatsu suru hako I do not believe architecture should speak too much, it should remain silent and let nature in the guise of sunlight and wind speak…They activate space, make us aware of the season, and ” Such things as light and wind only have meaning when they are introduced inside a house in a form cut off from the outside world. The isolated fragments of light and air suggest the entire natural world. The forms I have created have altered and acquired meaning through elementary nature (light and air) that give indications of the passage of time and the changing of the seasons, and through connections with human life. Although many possibilities for different kinds of development are inherent in space, I prefer to manifest these possibilities in simple ways…”
ruangnya yang sederhana, ”his focus upon nature as the essential counterform to his architecture makin menjelas.
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… when they agree with my aesthetic image, walls become abstract, are negated, and approach the ultimate limit of space. Their actuality is lost, and only the space they enclose gives a sense of really existing. Under these conditions, volumes and composition.” reductivist … the effect is not to deprive us of sensory richness. Far from it. All of his restraints seem aimed at focusing our attention on the relationships of his ample volumes, the play of light on his walls, and the processional sequences he develops. simplest way imaginable, without clever superimpositions or intermixing, as a collage of pure geometric signs. All excess is spurned, and frugality is exercised in making the composition
Bongkar Kotak (yang mem-) Provokasi: Church of the Light
wooden chapel dan minister’s house sacred dan profan antara gereja dengan lingkungan sekitarnya.
Site Plan
View
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freestanding concrete walls entrance. Dinding menciptakan enclosed space yang khidmat. Interiornya sendiri telanjang, tanpa
One of the features of the interior is the profound emptiness. void space and absolute quietness amounts to a sense of serenity. For Ando the idea of ‘emptiness’ means something different. It is meant to transfer someone into the realm of the spiritual. The emptiness is meant to invade the occupant so there is room for ”
untuk ”memprovokasi” penggunanya dengan permainan cahaya yang memukau,
dengan sengaja digelapkan. Luminosity is obliged to perform a symbolic function. In those made use of for contingent purposes; a giant cross of lights is incised into the wall behind the altar to articulate an otherwise hermetic space.” Sense of place
di sisi timur. Keremangan yang disengaja dihadirkan dalam ruang yang hampir tertutup sepenuhnya diperkuat oleh penggunaan material lantai kayu dan kursi gereja yang gelap.
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Situs McGill University mendeskripsikan sekuens pengalaman ruang yang akan The experience starts with the worshipper making his way past the existing minister’s house, to the back of the concrete church. The intersecting walls create an entry forecourt, forcing the visitor to take an S-turn to enter. Inside, the space is dominated by the glowing cross at the end of the nave. The bare concrete walls have no decorations that would mitigate the experience. The starkness creates an isolated, ascetic feeling inside the church. The interior is perhaps claustrophobic, with views to the outside only available through the 20 cm gap in the concrete wall that is the cross. The dominance of the cross is paramount in the church, requiring the pastor to preach from one side, which took some convincing on Ando’s part.”
Here I prepared a box with thick enclosing walls of concrete – a ‘construction of darkness’. I then cut a slot in one wall, allowing the penetration of light – under conditions of severe constraint. At that moment, a shaft of light sharply fractures the darkness. is revealed, as they simultaneously bounced back and forth Space is born. Yet, with each increment of change in the angle of light’s penetration, the beings of things, and their relationship, are recreated. Space, in other words, never begins to mature, but it is continually made new. In this place of ceaseless birth, people will thus be able to evoke the resonant implications of life.”
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amat khidmat sekaligus memukau pada saat yang sama, ”yet the simplicity of the church is its beauty ”… an effort to architecturalize or abstracted in the above sense the natural element of light. Space is nearly completely surrounded by substantial concrete walls. Inside is true darkness. In that darkness has been architecturalized and rendered abstract by opening in the wall imparts tension to the space and makes it sacred.” Bongkar (Lagi) Kotak (yang mem-) Provokasi: (Azuma) Row House
In its simple but rich spatial composition, in its expression of enclosure, and in the way light gives character to daily-life spaces, this house encapsulates an image of my architecture.
arah jalan
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buffering the other spaces from the outside world, while providing all with access to light and air.”
living room Lantai atas adalah kamar tidur di sisi yang paralel dengan jalan, dan studyroom
oleh Darlene Levy, return the ‘contact with light, air, rain, and other natural elements’ to the Japanese life-style. “In addition to providing light and serving as the focal point of family life, this small court is a spatial entity that attempts to compensate for the reduced physical space.”
privat, secluded kesan ini. ”Its unassuming and slightly austere concrete form belies a carefully composed interior, emphasizing functionality and privacy. entrance
by way of an inset stoop”
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It stands on a tight urban plot…has a long, thin and absolutely symmetrical layout on plan…(Ando) arranges blocks at the front and rear ends of the site and connects them by…bridge…crossing a central space which is left open as a courtyard…the façade is ruthlessly minimal: a taut wall in concrete, which ignores the urban scene of the street and concentrates on its own perfection…Grey and leaden in color and bereft of any other relieving gestures, with a tiny black hole for an entrance, this façade turns towards to the point of anti-domesticity…quite deliberately suppressing all possible awareness that there is anything outside at all. The simple, uniform concrete is its logical corollary and leitmotif”
courtyard, potongan perspektif usaha untuk menciptakan ”a microcosm centered on that courtyard a simple composition with diverse spaces and dramatized by light ruang tertutup yang mencari kedekatan dengan elemen alami dari rumah ini, The courtyard in Azuma house occupies one third of the site and links the inside with the outside. It is a device for appropriating but a true nature that is capable of confronting the individual. Of course… (it) tends make to life more severe…(but) were enriched. The courtyard is an important place where seasonal changes can be directly perceived through the senses. The expression of nature changes constantly. Sunlight, wind, and rain affect the senses and give variety to life. Architecture in this way becomes medium by which man comes into contact with nature.”
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…one enters the house and feel secure, but then one notices beyond that space an open courtyard. To enclose an outdoor space inside a building is contrary to common sense. To have an outdoor space where one would expect the indoors is to reserve space and to make space discontinuous…however, the discontinuity allows nature into the house.” a truly minimalist
The building remains a simple box, but nature and human movement alter the architecture in complex ways. To harbor spaces of great complexity in compositions that are geometrical and simple is to provide the unexpected and to stimulate a person’s consciousness…I want to enrich architecture by introducing complexity into that simple box.” (Coba) Susun Kotak (yang mem-) Provokasi
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chohatsu suru hako
microcosm Enclosed space yang memisahkan diri dengan menutup dirinya sendiri dari dunia luar. Penutupan ini tentu saja dilakukan dengan alasan untuk menyiapkan suatu kehadiran elemen luar. Hal yang ingin dilakukan menghadirkan provokasi tertentu di dalamnya.
elemen yang menonjolkan kesan sepi dan tertutup namun sekaligus paling
utama provokasi ruang yang dimau. Dengan makna dinding masif seperti yang
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mungkin, tidak hanya satu namun dua lorong, saling tegak lurus dimana yang sederhana yang terdiri dari dua lorong sempit dan panjang yang saling tegak
di sisi lorong kedua. Untuk mencapainya masih ada lorong pendek yang
tegak lurus dengan lorong kedua di salah satu sisinya.
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ruang di ujung luar sana memang menjadi tujuan. Dalam silau karena cahaya
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