BUILT - Studiomake · di Inggris pada era 90-an, ‘wabah’ kreatif menyebar ke seluruh dunia,...

21PB archinesia vol.7 > built projects 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

2322 archinesia vol.7 > built projects archinesia vol.7 > built projects

DES

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Studiomake > Thailand

PATANA GALLERY

Bangkok

22 archinesia vol.7 > built projects

1

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.


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 like-minded 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.

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.

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.

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/&#892

:"%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 keluar-

masuk 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.

Since the term “creative industry” was !rst "aunted 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.

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

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.

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

;+$3(16$(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.

1 UNESCO, and UNDP, comps. D,(.%#?(2E4+8+)&2F(3+,%2GHIJ;2K#$(8#892L+4./2:(?(/+3)(8%2B.%6-.&'M Rep. N.p.: UNESCO, 2013. Web. 4 Dec. 2014.2 Jormakka, K. 56(27/&#892:"%46)(8;2<+%#+82#82=,46#%(4%",(C2NG2OP3,#89(,2P4#(84(2Q2R"'#8(''2<($#.C2GHHGSC2.44(''($2:(4()1(,2NC2GHINM3 Macleod, S. F('6.3#892<"'(")2P3.4(;2=,46#%(4%",(C2:('#98C2ET6#1#%#+8'C2UV2O5.&/+,2Q27,.84#'C2GHHWSC2.44(''($2:(4()1(,2NC2GHINM

First Floor PlanSecond Floor Plan

Third Floor PlanRoof Plan


2

Kaca sebagai dinding galeri

pada sisi yang menghadap

-./0-.& membuat

pelintas turut menikmati

karya seni dari luar.

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.

4

Mezanin tanpa dinding

penuh yang berada di

lantai dua memberikan

pengalaman berkumpul

di '()#*+"%$++, bagi

pengunjung galeri.

The mezzanine on the

3$.+/0(7++%'(#".@)/!("/&(

complete walls, provides

the experience of gathering

in a semi-outdoor space

for gallery visitors.

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 double-

layered powder coat.

6

Penggunaan kaca

membantu penyerapan

sinar matahari ke dalam

ruangan sehingga galeri

terasa lebih terang dan luas.

Glass improves the

penetration of sunlight into

the interior, making it seem

brighter and more spacious.

2 4

6

5

3


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.

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.

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.

North Elevation

Section

East Elevation

7

7

BUILT - Studiomake · di Inggris pada era 90-an, ‘wabah’ kreatif menyebar ke seluruh dunia,...

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