Sigit Kusumawijaya | Design and Research

Borneo Sporenburg, Urban Planning Case Study in the Netherlands [Writing for Master Course, 2007]

2011-02-01T14:53:00.009+07:00

This paper work is a continuation from the previous post: Introduction of Urban Planning: Urban Design Methods and Theories [Writing for Master Course, 2007], an assignment submitted for the Master study course Urban Design Methods and Theories of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft). This writing is not the full version of the assignment, only one case study are showed.

Borneo Sporenburg

Context
In 1996, West 8 was commissioned to transform Borneo and Sporenburg, two expansive massive docks on Amsterdam’s eastern waterfront, into residential neighborhoods with 2,500 housing units. The program called for suburban-style, low-rise housing, each with a front door opening onto the street, to be introduced into a high-density urban setting with 100 units per hectare (roughly 2.5 acres), three times the density of a typical suburban development.

Borneo Sporenburg Area View

These requirements resulted in a design that features a rhythmic interplay of built and unbuilt forms. Drawing upon Dutch architectural heritage, the West 8 plan is inspired by villages on the former Zuiderzee, where small, intimate houses descend toward the water, as well as the sublime relationship between indoor and outdoor space in the paintings of Pieter de Hooch and Vermeer.

Actions and Achievements
Low-rise structures are arranged into strict banded blocks and sub-divided into individual parcels, each containing an inside void that comprises 30 to 50 percent of the parcel. More than 100 architects participated in the planning process, developing new housing prototypes that incorporate these voids. The resulting designs include patios, roof gardens, and striking views of the waterfront. The Borneo Sporenburg plan divides the grid of low-rise buildings in three zones with architecturally distinctive high-rise residential buildings, or “sculptural blocks,” which create significant landmarks within the harbor landscape. These sculptural blocks, informally known as the Sphinx, PacMan, and Fountainhead, also contain collective open spaces in the forms of courtyards or gardens. The water surrounding the docks serves as the dominant public space, open to Amsterdam’s boating culture.

The Area before intervention

Committed to creating unique structures within a unified whole, West 8 worked closely with the architects who designed the various structures including O.M.A., Neutelings Riedijk, Mastenbroek, Miralles, van Berkel en Bos, and Mateo. West 8 designed the gardens and other open spaces, as well as such landscape elements as the three sculptural bridges that connect the different neighborhoods on the peninsulas, each sculptural in appearance. Borneo-Sporenburg was completed in 2000.

Borneo Sporenburg Program

Low Bridge and High Bridge designed by West 8

The low-rise bars of rowhouses are broken with large housing blocks shifted at a diagonal to the streets. Geuze talks of this new housing type—high density but low rise—as a way to attract developers, satisfying the market’s need for a high number of units per acre and the consumer’s desire for a hybrid between a mid-rise apartment and a single-family detached home of the suburbs. The complex mixes social housing with market rate; some is for people with special needs, young families, single mothers, the elderly, and those needing psychiatric care. Sixty lots were sold as individual home sites and developed by the people who would live there, rather than by speculators. Costs were often defrayed by splitting the units, most often nesting one family’s unit with another. Various architects developed sections (a hybrid dream of the heroic Marseille block and the current Dutch vogue for an ambiguous—sinuous, continuous, intricate—interpretation of spaces). The variety of facades and materials, along with the interpenetration of schools, provide breaks in what could be viewed (especially in the United States) as an insistent linearity and repetitiveness.

Free Parcels and Quays challenging architects and clients

Even in this project there was the difficulty of bringing in “outside” architects (stars), and several of the architects who were initially hired found it difficult to work with a public client. The inevitable starts and stops of funding and the approvals process take their toll. As master planner, Geuze says that he worked hard to get a varied array of architects involved, believing that it was worth the effort and political capital. There had to be faith in the designers and in the unfamiliar, though bureaucracies are by nature risk-averse, which often restricts the ability of a project to adjust, redirect, and innovate—to make the leap that is required in moving forward.

Row Houses along the Waterside

The project is not without shortcomings. (Though it is the overwhelming success of Borneo Sporenburg and its planning that opens it to this closer scrutiny.) For instance, there is little commercial and retail development interspersed with the housing—the outcome of an agreement with the anchor commercial tenant at the edge of the housing. No small stores commingle on the blocks, requiring long walks for necessities. (even the original Levittown had small commercial centers, for the one-car families.) The public spaces seem less considered, though streets are carefully made and do refer back to an earlier Dutch type. The lack of relief in the form of mature green spaces and trees lends a sere quality to the surrounding landscape in its initial years.

Unlike the traditional model in which the developer is in the lead, here the design team devises the scheme, which is then presented to the municipality. The municipality agrees on a blueprint of its own, an overarching set of goals for physical planning. It then finds developers who will work within the broad guidelines established by the winning team of architects, landscape architects, and planners. This process differs fundamentally from most development work in the United States. It is not the developers’ fault; the public good is, literally, not their responbility. It is, however, the responsibility of civic government.

Sphinx; architect: Frits van Dongen

In the Borneo project, there was clearly the needed professional expertise “in house”: designers who worked for the city could evaluate design proposals. This responsibility has not been “outsourced” or relinquished. In contrast, we often find U.S. housing authorities with no professional design staff; they have ceded that responsibility to the development community and have gotten out of the business of participating actively in the design of public services. At this juncture, the erosion of rights for all citizens can occur. The city is, after all, our collective public space.

Sphinx Garden; architect: Frits van Dongen

Work such as this does not happen of its own accord. It is nurtured by support, in this case almost entirely public. Designers are commissioned to undertake public work and given the means and time to do that work. Most important, they are brought in at the beginning of the process. There is the confidence that design is not decoration, but fundamental to the rethinking of public institutions and public space. Not only are funds made available but governmental agencies actively engage emerging designers, allowing them to develop international opportunities and alliances through work on Dutch consulates overseas,. Architecture, landscape architecture, and industrial design are seen as viable exports, and ambassadors abroad.

The success of the Borneo project underscores the difficulties of making new sections of the city that are complex but conceived at one point in time. Leaving unassigned space for the incidental, accidental, spontaneous, and often fleeting colonization makes a city real.

Fountainhead; architect: Kees Christiaanse

Back in the historic center, walking to the hotel past the large framed by the great arched passageway of the Rijksmuseum, it is not the cleverness of the landscape design or the monumental gothic revival facades that are striking (though these all contribute to the impression), but the density of activity filling the space and surrounding streets—people lying on the grass, walking, eating and biking. It is a full-color version of a contemporary city in motion. In an abstract field of angles and points, cars, trams, and people make a grand prospect of a civil society out in public.

Delft, January 2007

Sigit Kusumawijaya

Urban Design Methods and Theories: Introduction of Urban Planning
Writer: Sigit Kusumawijaya
Supervisor: Ir. Willem Hermans
Status: assignment submitted for the Master study course Urban Design Methods and Theories of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft)
Year: 2007

Kop van Zuid, Urban Planning Case Study in the Netherlands [Writing for Master Course, 2007]

2010-12-04T18:35:00.009+07:00

Kop Van Zuid Area View

Overview of Regeneration Scheme
Kop van Zuid (“Southern Headland”) is a peninsula on the south bank of the River Maas directly opposite Rotterdam’s city centre. It covers some 125 ha and used to be an important port area with docks, a shipyard and a terminal for ocean-going liners, but all these activities closed down when the port moved downstream to the mouth of the river during in the 1960s and 1970s, and Kop van Zuid became abandoned. It was an isolated and largely hidden area, cut off from the river by warehouses and from surrounding areas by railway lines, and was poorly connected to the city centre. The wider area in which it lies, the ‘borough’ of Feyenoord (one of Rotterdam’s 13 sub-municipalities), consists mainly of poor residential neighborhoods where the people who worked in the port and other riverside industries used to live. It now has a high level of immigrants among its population. It has traditionally been an area of low educational achievement and high unemployment, and it used to have a very poor image, which made it difficult to attract private investment or people with choice to live there.

Satellite Map of Rotterdam (top) & Kop Van Zuid Location (bottom)

There were plans to redevelop the area for social housing, but in 1986, under a master plan commissioned by the new City Planning Director Riek Bakker, Kop van Zuid became seen as a key to unlocking huge potential for the whole city. If it was developed as a high-quality mixed-use area, with eye-catching buildings and a lively waterfront, and connected directly to the city centre, it could not only change Rotterdam’s image but also open up the entire south side of the city.

Kop Van Zuid Area Map:
1. North bank-city centre
2. Erasmusbridge
3. The district Noordereiland (an isle in the river, belonging to the borough of Feijenoord),
4. Wilhelminapier (KvZ Area-belonging to the city centre)
5. Zuidkade (KvZ Area-belonging to the city centre)
6. Landtong (KvZ Aera-belonging to the city centre)

The plan for Kop van Zuid aimed to create a series of distinctive buildings and quarters in order to broaden the population and create new jobs in the area. Two university colleges with 10,000 students were built. The plan provided for 5,300 residential units and 400,000 sq.m. of offices, but it was flexible enough to accommodate changes in the mix as the housing market gained in strength. The redevelopment has been carried out under a phased strategy spread over several years. Although only the first part of the scheme has been completed, it has already had a dramatic impact on the area and on Rotterdam.

Hotel New York by Night

Reuniting a Divided City
The Erasmus Bridge, the new Metro station in Kop van Zuid and extension of the tram system have linked the north and south sides of the city much more closely. By putting the main railway lines underground, the pedestrian links with the adjoining residential areas have been greatly improved, and new suburban stations have helped improve local accessibility. There is also a popular system of water taxis which cross the river and link up with various visitor attractions. Kop van Zuid is now only a few minutes from the city centre which is also now well-connected to the rest of south Rotterdam. People from the north of the river now visit the South Bank, and many of the new residents of Kop van Zuid have come from across the river as well as from the wider region. The high quality of the public realm, with direct pedestrian routes and high quality surfaces, has helped to attract people with higher incomes to live in the area, thus helping to rebalance the demographic profile, and rising property values are encouraging existing residents to stay, as the whole area is definitely ‘on the up’.

The Louis Pregerkade and the Binnenhaven

Changing the City’s Image
Apart from the bridge, Kop van Zuid now has a number of stunning buildings. Many were designed by leading architects such as Renzo Piano, Norman Foster and Rem Koolhaas. Historic older buildings too have been restored and re-used. For example, the former Holland America line terminal has been converted into the atmospheric Hotel New York, and the oldest dock in the area has been turned into an industrial museum. The Entrepot building became a supermarket and a series of restaurants with food from around the world, so as to retain some of its previous character. Although the restaurants failed as insufficient demand had yet built up, the scheme succeeded in changing the area’s image and in attracting private investment in high quality housing.

World Port Center, Hotel New York and Montevideo

High quality urban design has also been a notable feature (supported by Dutch planning policy in general and by Kop van Zuid’s Quality Team). Public art is used imaginatively to interpret the area’s history. The waterside has been opened up to people on foot. There is good lightning, a minimum of street clutter, and imaginative use of shared surfaces, with ample street parking in most residential areas combined with wide tree-lined pavements. The streets are kept scrupulously clean by gangs of cleaners and by the use of large receptacles into which rubbish has to be put.

Francine Houben’s Montevideo

Repositioning Rotterdam
The redevelopment of Kop van Zuid as a high quality mixed-use area close to the city centre is playing an important part in repositioning Rotterdam’s economy by making the city attractive to modern industries and to the people who work in them. Back in the 1980s the city feared that it could never compete with Amsterdam or The Hague as an office centre, let alone as a place for creative businesses. However this has now started to happen. Rotterdam was cited as one of the examples of urban renaissance by the Urban Task Force, and it won recognition as European Capital of Culture in 2001. Unemployment has fallen from 17% in 1991 to 6% in 2005 and the population of the city is slowly rising again. Much of the new employment has been created in the north west of the city (towards the airport) and many of the jobs in Kop van Zuid are in organisations that have relocated there from other parts of the city. What has succeeded in a big way is the new housing, and it has helped in attracting people with good jobs to live in the city. 40% of the residents of the area come from outside the region. These people are attracted by the prestige and convenience of the location. Furthermore, as Amsterdam is becoming more expensive and less accommodating of unconventional behavior, so Rotterdam with its new image is becoming the place for creative people to be. This is exactly what is required to reposition Rotterdam as not just a port but also a dynamic city for the 21st century.

The New Luxor Theatre by Night

Spreading the Benefits
In the Netherlands a high priority is given to social programmes. The growth in immigration of people with low skills, combined with the changing labor market, put major pressures on Rotterdam, particularly in areas like Feyenoord. While the redevelopment of Kop van Zuid was aimed at repositioning Rotterdam for the future, there was a danger that it might leave the poorer communities right next to it largely unaffected. When the plans for Kop van Zuid were first made public, there was concern in the City Council and among the local neighborhood associations over the problems that might be caused by putting luxurious development next door o deprived areas. It was therefore agreed that a concerted effort would be made to ensure that the project also created benefits for local people. The neighborhood associations were included in the project organization, and a Mutual Benefit programme was developed to help channel as many as possible of the jobs generated by the development to local people and to improve the economies of the surrounding areas.

Delft, January 2007

Sigit Kusumawijaya

Introduction of Urban Planning: Urban Design Methods and Theories [Writing for Master Course, 2007]

2010-11-28T12:48:00.009+07:00

This paper work is an assignment submitted for the Master study course Urban Design Methods and Theories of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft). This writing is not the full version of the assignment, only Introduction chapter are showed.

I. Urban Planning

City Planning or Urban Planning, the unified development of cities and their environs. For most of its history, city planning dealt primarily with the regulation of land use and the physical arrangement of city structures, as guided by architectural, engineering, and land-development criteria. In the mid-20th century it broadened to include the comprehensive guidance of the physical, economic, and social environment of a community. Elements characteristic of city planning include (1) general plans that summarize the objectives of (and restraints on) land development; (2) zoning and subdivision controls that specify permissible land uses, densities, and requirements for streets, utility services, and other improvements; (3) plans for traffic flow and public transportation; (4) strategies for economic revitalization of depressed urban and rural areas; (5) strategies for supportive action to help disadvantaged social groups; and (6) guidelines for environmental protection and preservation of scarce resources. City planning is conducted by governments on all levels—local, country, regional, state, and federal—and by private groups.

Barcelona Moll de la Fusta project as a Revival of the design of the Urban Public Space

While urban design concerns the arrangement, appearance and functionality of towns and cities, and in particular the shaping and uses of urban public space. It has traditionally been regarded as a disciplinary subset of urban planning, landscape architecture, or architecture. However, with its increasing prominence in the activities of these disciplines, it is better conceptualized as a design practice that operates at the intersection of all three, and requires a good understanding of a range of others besides, such as urban economics, political economy and social theory.

II. Urban Planning in the Netherlands

National and Regional Policies
The Netherlands is a small, low lying and densely populated country (population 16.3 million) which is known for being neat and tidy and relatively classless. This is often attributed to the ‘polder mentality’ of people having to collaborate to maintain the dykes that keep out the sea. There has been a tradition of discouraging urban sprawl, especially into the area between the four big cities through voluntary collaboration between local authorities. Concern to reduce travel by car (and to encourage walking, bicycling and the use of public transport) has reinforced the commitment to ‘compact cities’. Furthermore, a national priority has been to upgrade the centres of the main cities in the belief that they act as dynamos for their wider city-regions.

Total planning and control of the territory to maintain the dykes that keep out the sea.

Urban Renewal
Following the housing shortages caused by the war and the influx of immigrants, the government undertook an extensive house building programme. Quickly a need to focus on inner urban areas appeared. In Rotterdam a group of elected politicians led the way by setting up local urban renewal organisations and campaigning for government-funded ‘renewal areas’ to be created. This policy was largely successful and by 1996 more than 50% of the housing stock in the renewal areas (including parts of Feyenoord) had been modernized. However this policy did not tackle unemployment of the wider social aspects of urban living. Eventually the mayors of the four large cities collectively lobbied the national government for greater support for a broad-ranging approach to urban renewal. This led to the Major Cities Policy (Grote Steden Beleid) which aimed at creating a ‘complete city’ through economic, social and physical measures and had a bottom-up approach to implementation. The outcome was a five-year funding agreement between the central government and the local authorities (municipalities) in each of the four cities, including Rotterdam. The first agreements were made in 1994. There have been two further 5-year agreements since, and the number of participating towns has increased to thirty. Each agreement sets out an agreed strategy and a financial commitment from the national government. The implementation programme is drawn up by the municipality concerned and includes a limited number of output targets. When agreement has been reached, the municipality accepts responsibility for the implementation of the programme and for the success of their town. This represents an important devolution of power and responsibility.

Decentralisation
Historically the Netherlands used to be a decentralised state, with a strong stress on local collaboration (the so-called ‘polder mentality’). Although the autonomy of local authorities had been gradually reduced during the late 19th and early 20th centuries, they still retained significant roles. After World War II, the call for a larger welfare state, and the need for large scale provision of housing and the repair of damaged urban areas, resulted in more power, and a greater share of financial resources, being taken by the central government. However, during the 1990s there was a reduction in state intervention in welfare and housing (including, for example, the promotion of owner-occupation), and a move to give more responsibilities back to local authorities so that they could make decisions and integrate activities at a more local level. The Major Cities Policy is an example of this.

The National Spatial Strategy (Nota Ruimte) from the Dutch Government

The result is that municipalities can be flexible in the way that they implement national policies. Central government sets the policy framework, and local authorities implement the policies in the way that best fits local circumstances. This flexibility allows local authorities to take a more proactive and entrepreneurial approach in both planning and policy implementation. In Rotterdam this has led to an ‘Integrated Area Approach’ which focuses on priority areas and tackles local employment and quality of life issues as well as making physical improvements. Great stress is now placed on ‘working together’ – involving residents, landowners, businesses, local politicians, local agencies such as housing associations etc – and on communication. Social inclusion is also given a high priority, especially because of the large number of immigrants in the city.

Randstad (upper right) competitiveness with other agglomeration in Europe: Paris (upper left), Milan (below left) and Rhine (below right)

Working together
Another important characteristic of the ‘Dutch approach’ is the ability and willingness to work through informal networks. As in Sweden and Northern France (which is Flemish in origin) the concept of working together, across professions and sectors, towards the common good is widely accepted. This appears mainly to take place in a voluntary way. Although there are many formal partnerships, it is not just the structures that are important but the attitudes of the parties involved and their ability to be flexible and co-operate at a practical level.

The Netherlands, however, does not have a formal ‘city-region’ layer of government. An experimental Rijnmond Region around Rotterdam was tried, but it failed – partly because of confusion over its role in co-ordinating policies among municipalities, and partly because it would create a fourth tier of government. A referendum was held on whether there should be a formal city-region, but this was rejected. However, the municipalities recognize that they need to co-operate in order to promote economic competitiveness and so informal city-regions (in which the individual municipalities keep their independent identities) have in fact developed around the major cities. There is also increasing collaboration across the Randstad (‘Regio Randstad’) with a view to increasing its overall international competitiveness too.

Delft, January 2007

Sigit Kusumawijaya

[A-a] connection | Amsterdam-Almere Connection [master project semester 1, 2006]

2010-10-05T23:16:00.008+07:00

This work is an assignment submitted for the Master study course Perspective Spatial Development Strategies of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft).

Overall View

[A-a] connection is one of the strategic projects for POWERED by LANDPORT perspective theme of our group that will determine the development of Almere, the Netherlands in the future. Boosting the development of Almere needs a good accesibility. This new 8 km bridge will relieve the load of congestion problem in A1-A6 which connects Amsterdam and Almere.

The overall integrated features in this connection will improve the development of independent Almere to become the 4th city in the Netherlands (population wise).

Ijburg Area

Via Ijburg, commuters from Almere could reach Amsterdam as an alternative way to A10. HSL meet normal railway track to Schiphol.

Almere Pampus Area

Attractive & experiment housing and recreation area at Almere Pampus as a welcome area for visitors.

Aa connection meet new Almere Ringroad directly.

Strategic Effects

remove bottleneck at existing Aa connection (A1-A6)
connect Amsterdam (A10) via Ijburg as an alternative way
accommodate the possibility of five times multiplied traffic current number in 2040 (approximately 300.000-500.000)
improve the development of Almere economically and socially
promote Pampus Fort Island to attract more visitors by [ps]
HSL connect Schiphol to the new promising airport at Lelystad and more to the N & E of Netherlands

In the larger scale, this connection will be a gateway to the North and East of the Netherlands and a new power for Randstad to compete with other agglomerations in Europe in the future.

Work Description

Title : [A-a] connection

Location : Amsterdam-Almere, the Netherlands

Status : Master Project Semester1

School : Department of Urbanism, Delft University of Technology (TU Delft), The Netherlands

Year : 2006

Spatial Feasibility Studies: Comparison of Jakarta & Rotterdam [Paper Work for Master Course, 2007]

2010-09-19T09:02:00.007+07:00

This paper work is an assignment submitted for the Master study course Feasibility Studies of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft). The writing here is showed in poster format.

Introduction

Research so far has shown that a well inter-connected urban grid creates vital urban areas with successful economic and social activities (Hillier 1996, Hillier 1999, Read and van Nes 2003). Thus, spatial feasibility is then understood in terms of the spatial configuration of urban networks. Urban space can be approached topologically as well as geometrically. As will be argued subsequently economic and social issues favor a topological approach.

The cities that we analyzed are two different cities that have different location and culture. However, historically both Jakarta and Rotterdam have a history in trade. Both cities started with the Dutch tradition of settlements, one as the capital of a colony and the other as a little trade village. Both cities were also designed by Dutch urban planner in the beginning of their development. The old city area, called Kota (formerly known as Batavia), in Jakarta was designed by Jan Pieterzoon Coen in May 30th, 1619.

If we compare these both cities, Jakarta still has its original city centre, but Rotterdam has lost hers in the Second World War. A point of interest is what differences there are between them, and if the planning authorities used the opportunity in Rotterdam to really connect the city centre to the national network of highways, in comparison to Jakarta which had to adjust their network to the old city.

In the next sub-chapter we compared these both cities according to the questions in the assignment. We state here that we analyzed these both cities from the citizen of the city point of view not from the tourist point of view, so that we know quite enough about our own city.

[click to enlarge the images below to see clearly]

Delft, January 2007

Sigit Kusumawijaya

Spatial Feasibility Studies: Comparison of Jakarta & Rotterdam
Writer: Sigit Kusumawijaya
Supervisor: Dr. Ir. Paul Stouten eds.
Status: assignment submitted for the Master study course Feasibility Studies of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft)
Year: 2007

Visi & Misi Pemilihan Ketua PPI Delft Periode 2007-2008 Sigit Kusumawijaya

2010-09-16T00:36:00.002+07:00

This writing is Sigit Kusumawijaya's Vision and Mission for the Campaign for the Election of President of Indonesian Student Association (Perhimpunan Pelajar Indonesia - PPI) in Delft for period of 2007-2008.

Prakata

Assalamu Alaikum Wr.Wb.
Salam sejahtera,

Teman-teman yang baik,
Setelah mengalami proses yang cukup panjang untuk membangun kembali Perhimpunan Pelajar Indonesia untuk kota Delft, puji syukur kepada Allah akhirnya kita sampai pada tahap Pemilu. Saya ucapkan terima kasih kepada teman-teman semua baik panitia persiapan Pemilu maupun teman-teman lainnya yang telah bekerja keras untuk bersama-sama membangun kembali PPI Delft. Semoga ke depannya dengan hasil ketua yang terpilih dan teman-teman yang duduk sebagai pengurus dan teman-teman lainnya dapat bekerja bersama-sama demi suksesnya kepengurusan PPI Delft yang baru nanti.

Merunut kembali latar belakang rencana pembentukan PPI Delft ini, mayoritas teman-teman di Delft mendukung terbentuknya PPI Delft kembali. Dengan berbagai karakter pelajar Indonesia di Delft yang pluralistik menjadi sebuah tantangan juga kesempatan untuk membentuk jaringan yang kuat dan luas. Pelajar Indonesia di Delft berkisar 100-an yang merupakan pelajar dari TU Delft, IHE dan Inholland baik untuk program Bachelor, Master maupun Phd. Pluralistik yang lain adalah agama, suku, tempat tinggal maupun minat yang berbeda-beda sehingga membentuk kelompok-kelompok kecil. Di atas itu semua salah satu kesibukan yang utama dalam kehidupan pelajar Indonesia di Delft adalah pekerjaan dan tugas yang menyita banyak waktu. Kurangnya sebuah link penghubung antar kelompok-kelompok kecil inilah yang menjadi hambatan sekaligus oportuniti untuk membangun sebuah “jembatan” dengan bentuk PPI Delft.

Visi
Dengan latar belakang tersebut ijinkan saya menyampaikan visi untuk PPI Delft mendatang sebagai wadah atau medium untuk sarana komunikasi, informasi, jaringan dan pelayanan antar pelajar maupun alumni pelajar di Delft secara internal dan juga secara eksternal ke berbagai instansi terkait seperti TU Delft, IHE, Inholland, KBRI, PPI kota lain, NEC, Duwo, perusahaan-perusahaan yang berkepentingan dan lain sebagainya. Tujuan untuk visi ini adalah mempererat tali persaudaraan dan silaturahmi antar anggota maupun elemen-elemen lainnya di dalam kota Delft. Dengan adanya hubungan eksternal tadi juga akan meletakkan kembali PPI Delft dalam skala lokal, regional maupun internasional.

Dengan wadah ini, PPI Delft akan menjadikan pelajar dan kebutuhan pelajar itu sendiri sebagai faktor terpenting dan bukan kehidupan organisasinya itu sendiri sehingga pelajar dapat melihat dan merasakan manfaat dari PPI.

Misi
Untuk mewujudkan visi di atas maka dibutuhkan misi-misi yang berkesinambungan. Mengingat PPI ini adalah PPI yang terlahir kembali setelah masa kevakuman sebelumnya, maka misi yang akan dicapai juga tidak terlalu muluk-muluk. Penguatan hubungan internal antara pelajar di Delft dan mengusahakan kesejahteraan anggota adalah yang terpenting. Baru setelah itu hubungan lebih diperluas secara eksternal. Dengan membangun pondasi kembali PPI Delft yang baru ini akan menjadi acuan bagi pengurus PPI Delft tahun berikutnya untuk dapat lebih baik lagi.

Misi kerja PPI Delft nantinya serius namun tetap santai dengan tidak membebani pengurus dan anggota di tengah-tengah kesibukan tugas dan pekerjaan yang lebih penting. Kesadaran berorganisasi juga merupakan salah satu misi yang diemban dengan tidak membuat PPI itu sendiri sebagai sesuatu yang eksklusif. Pemanfaatan potensi yang dipunyai pelajar di Delft (ilmu pengetahuan dan teknologi) juga menjadi faktor untuk diperhatikan. Rencana kegiatan pun disesuaikan dengan segmen-segmen pelajar di Delft sehingga manfaatnya lebih terasa.

Rencana Program Kerja:

Pengintensifan kegiatan-kegiatan kebersamaan seperti: Olah Raga (Sepakbola, Bulutangkis, Tenis Meja, Billiard, Fitness), kegiatan ibadah (Sholat Jumat, Pengajian, kebaktian Gereja, buka puasa bersama, dll), belanja, masak dan makan-makan bersama, plesiran atau jalan-jalan (ekskursi) bersama ke kota lain di dalam atau luar Belanda.
Pembuatan Web official untuk PPI Delft sebagai one-stop information yang akan dapat menciptakan forum baru sesuai minat dan bidang masing-masing serta memperkuat network internal (pelajar-pelajar TU Delft, IHE, Inholland, warga Indonesia di Delft) dan eksternal (PPI kota lain, instansi-instansi yang terkait seperti KBRI, TU Delft, IHE, Inholland, NEC, Duwo, perusahaan-perusahaan yang berkepentingan, dll.)
Pendataan anggota PPI Delft, pelajar Indonesia di Delft, civitas akademisi lainnya (Pengajar dan Alumni) untuk memperluas jaringan dan kesempatan kerja.
Pengumpulan beberapa karya ilmiah baik tugas paper, soal ujian tahun-tahun sebelumnya ataupun Skripsi, Thesis, Disertasi atau karya lainnya ke dalam web yang dapat membantu teman-teman lain yang membutuhkan dengan tetap menjaga copyright masing-masing karya (misalnya hanya abstraksi dari karya tersebut yang diupload, sisanya bisa menghubungi yang berkepentingan).
Kegiatan kemanusiaan seperti program adik asuh untuk adik-adik kita di Indonesia yang membutuhkan bantuan baik material maupun non-material melalui penggalangan dana.
Seminar dan diskusi dengan mendatangkan pakar-pakar Ilmu Pengetahuan dan Teknologi yang disesuaikan dengan segmen pelajar Indonesia di Delft.
Penampungan dan pengkoordinasian barang-barang warisan dari teman-teman yang sudah lebih lama tinggal di Delft yang akan pulang ke Indonesia atau sekedar ingin pindah tempat tinggal kepada anak baru (atau anak lama yang membutuhkan).

Demikian Visi Misi yang dapat saya sampaikan demi terwujudnya PPI Delft baru yang lebih baik. Terima kasih atas perhatiannya dan mohon maaf bila ada salah kata.

Wassalamu Alaikum Wr. Wb.

Sigit Kusumawijaya

Notes: Unfortunately Sigit Kusumawijaya was lost for the election from his opponent, Anggara Rhabenta. Sigit later became a Vice President of Indonesian Student Association (Perhimpunan Pelajar Indonesia - PPI) in Delft for 2007-2008 Period

Sun Wind Water Earth Life Living: Legends for Design [Project for Master Course, 2007]

2010-09-15T23:37:00.009+07:00

This project is an assignment submitted for the Master study course Territory (Grondgebied) [: Sun wind water earth life living; legends for design] of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft). The writing here is not the full version of the assignment, only Summary of All Chapters are showed

The project has been published on the website: http://sigit2006grondgebied.wordpress.com/. The tasks stand in the Pages sidebar menu, arranged per course category. The title of this website site has been borrowed from the publication “Sun wind water Earth life and living; legends for design” of T.M. de Jong, M.J. de Moens, C. van den Akker and C.M. Steenbergen.

For further information of the course and the Technical Ecology and Methods (TEAM) board you can access on this link: http://team.bk.tudelft.nl/.

Projects for Assignment

The projects submitted for the course assignment are projects that have been done while working in two different architecture companies.

Malaysia Design Technology Center (MDTC), Malaysia
Malaysia Design Technology Center or MDTC is the project for my Internship Work for T.R. Hamzah & Yeang Sdn. Bhd., Kuala Lumpur, Malaysia that leaded by Ken Yeang and T. R. Hamzah in 2003.

MDTC is Malaysia’s national design and technology hub, and comprises of the International Design Museum and exhibition spaces, professional design offices, and the HQ for the ‘Limkokwing Institute of Creative Technology’ campus. The prominent hill-top location above the new technology town of Cyberjaya reflects MDTC’s status for innovative technologies and creative design.

for more detail click here

Anto Residence, Jakarta, Indonesia
The second project is a residential project located in the East part of Jakarta, Indonesia. Anto Residence designed by Andra Matin Architect, Jakarta, was finished by 2005.

This house concept is a “Warehouse”. The clients wanted their house look like a factory or a warehouse. As a project architect of this project, I translated their will by using materials that represent Industrial type of building like rust iron for the facade, smooth cement for floor, exposed steel frame plafond, and other natural look like materials.

for more detail click here

These two projects will be analysed by every category of the course (eg. sun, water, wind, traffic, noise, environment, soil & plantation). The elements of ecology that are analyzed:

Please click on each of the ecological elements.

Actual Works

Introduction

The Landport region is an area in centre of the Netherlands. It consists of three completely different parts, two on the old land and one on the new made polder. Especially the last part of the region is in need of boosting. Randstad in Europe will be strengthened, influencing the whole economical situation in the Netherlands in a positive way.

Perspective

The perspective is called ‘Powered by Landport’, implying the boost that Landport gives to the Randstad and the boost that is given to Landport in the perspective. The boosting is very much relaying on the improvement of the connectivity within and outside the region and on different scales. Half of the strategic projects are in fact infrastructure projects. In the same time current green is also taken up in the perspective. The water defence line will be protected and where possible be exploited more.

The limits of the growth of Almere are also already set in the perspective. A great green strip will functions as a boundary as well as a recreational strip for the people who will live there. Coming to the last point of the perspective which is housing. New houses will be needed and realised southeast of the current city.

And finally, some small housing extensions are planned north and west of Amersfoort Project. The perspective leads up to 8 different strategic projects.

Aa connection
HSL North
Airport
Light rail
Landmark
University
Green Strip
Water Defence Line

The elements of ecology that are analyzed:

Please click on each of the ecological elements.

Ideas for the Future

This part focuses on Ideas for the Future that relate to Architecture, Urbanism and Ecology that use issue of Sustainability.

Sustainable Architecture, also known as “Green Architecture” or “Green Building,” is an approach to architectural design that emphasizes the place of buildings within both local ecosystems and the global environment. Sustainable architecture, framed by the larger discussion of Sustainability having to do with the pressing economic and political issues of our world, seeks to minimize the negative environmental impact of buildings by enhancing efficiency and moderation in the use of materials, energy, and development space.

The elements of ecology that are analyzed:

Please click on each of the ecological elements.

Other Actual Projects for Reference Ideas

This part contains some actual architecture works that could be a good example for sustainable design and ideas for the future as well:

Please click on each of the actual works options above.

Delft, January 2007

Sigit Kusumawijaya

Sun Wind Water Earth Life Living: Legends for Design

Writer: Sigit Kusumawijaya
Supervisor: Prof. T.M. De Jong.
Status: assignment submitted for the Master study course Territory (Grondgebied) [: Sun wind water earth life living; legends for design] of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft)
Year: 2007

Infrastructure Regeneration in Jakarta [Writing for Master Course, 2007]

2009-05-15T04:02:00.009+07:00

This writing is an assignment submitted for the Master study course Social Development of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft). This writing is not the full version of the assignment, only Abstract and Summary of All Chapters are showed.

[1] JAKARTA
Jakarta, formerly known as Sunda Kelapa, Jayakarta and Batavia is the capital and largest city of Indonesia. Located on the northwest coast of the island of Java, it has an area of 661.52 km² and a population of 8,792,000 (2004). Jakarta has been developed for more than 490 years and currently is the ninth most dense city in the world with 44,283 people per square mile. It's metropolitan area is called Jabotabek and contains more than 23 million people. Jakarta has extraordinarily developed and would be at the forefront in Asia over the next few decades. Jakarta is unique with its status as the capital city of Indonesia and the center of the city administration. Jakarta is also a center of social, cultural and health activities.

Sudirman Centre Business District, Jakarta

Problem Definition
Like many big cities in developing countries, Jakarta suffers from major urbanization problems. The population has risen sharply from 1.2 million in 1960 to 5.8 million in 2000, counting only its legal residents. The rapid population growth has outgrown the government's ability to provide basic needs for its residents.

Slum life, Jakarta

The infrastructure problem of Jakarta still occurs until present. The number of private automobiles, used mainly by people with middle and upper incomes, has increased faster than any other form of transportation in Jakarta and this has created a demand for the expansion of roads and parking. Traffic congestion is a serious problem despite costly efforts to create new and improved roads. Traffic control measures, such as restricted lanes for high-occupancy vehicles, have helped somewhat. The majority of people must rely on public transportation. Although the fleet is old and breakdowns are frequent, buses are the most common form of mass transit. In addition, a variety of smaller vehicles, including the motorized three-wheeled bajaj, are important. To ease congestion, the government banned the use of becaks (three-wheeled pedi cabs). However, they are still widely used in the city's neighborhoods as an inexpensive and accessible mode of transportation. The modernization and expansion of Jakarta's urban rail system has been an important planning issue since the 1970s; a major upgrading of the electrical rail network is now in progress.

[2] PROBLEM ANALYSIS
Transportation Issue
There are railways throughout Jakarta; however, they are inadequate in providing transportation for the citizens of Jakarta. In peak hours, the number of passengers simply overloads the capacity provided. The railroad tracks connect Jakarta to its neighboring cities: Depok and Bogor to the south, Tangerang and Serpong to the west, and Bekasi, Karawang, and Cikampek to the east. The major rail stations are Gambir, Jatinegara, Manggarai, Tanah Abang and Jakarta Kota.

Buses and Busway takes less than half an hour to traverse a route which would normally take more than an hour during peak hours. Construction of the 2nd and 3rd corridor routes of the Busway was completed in 1999, serving the route from Pulogadung to Kalideres. Busway serving both corridor routes has been operational since January 2002.

Everyday traffic jam, Jakarta

Despite the presence of many large, wide roads Jakarta suffers from congestion due to heavy traffic, especially in the central business district. To reduce traffic jams, some major roads in Jakarta have a 'three in one' rule during rush hours, first introduced in 1992, prohibiting passengers on certain roads. In 2005, this rule covered the Gatot Subroto Road.

Jakarta's road is notorious for the behaviour of the traffic; the rules of the road are broken with impunity as a simple bribe of a few US dollars will simply make all one's legal problems disappear. Furthermore, in recent years the number of motorcycles on the streets has being growing almost exponentially, ensuring many a problem due to ill-disciplined motorcyclists.

[3] SOLUTION
Policy Program
The integrated highlight policy of Jakarta is fully included in Jakarta Main Plan. The Plan belonging to the Jakarta City Administration encompasses the Jakarta development from 1985 - 2002. The Jakarta administration also determines the Strategic Plan (Renstrada) to complete the main Plan. Renstrada explains the special duties and goals that must be carried out by the governor. The City Administration proves the high self-managing in financing the long-term, the middle-term and the short-term plans as most of the Regional Budget is from the local sources.

The improvement of public transportation quality is one of the plans in the Renstrada of the Jakarta Municipality. The target is to enhance the public transportation service. The plans are attach the quantity of the public transportation with the support from some private sectors, reorganize the route according to the road hierarchy and function, and selectively develop the new shorter access and new mass rapid transportation for the public transportation facility.

The other infrastructure plan in Renstrada is to enhance the traffic management. The target is the optimal traffic management in Jakarta. The defined activities are make best use of the space street function by restricting the traffic selectively and raise the harmony between each transportation mode.

Bus Rapid Transit System, Called Busway
TransJakarta is a bus rapid transit system in Jakarta, Indonesia. The system is modeled on the successful TransMilenio system in Bogotá, Colombia. Alternative common names include Busway or TJ. The first TransJakarta line opened to the public on January 15, 2004.

Busway Operational, Jakarta

TransJakarta buses use fully dedicated road lanes. The buses have the doors that are higher than normal buses, so they can only reached from the special Busway stops. Tickets are purchased at the entrance to the air-conditioned stop building. The tickets use smart card technology and must be validated on entry. As of March 2006, TransJakarta carried an average of 120,000 passengers per day, up from 65,000 in late 2005. Ridership has grown rapidly in Corridors II and III while steadily increasing in Corridor I. For the three currently operating corridors, ridership is expected to peak at 260,000. Further growth will come with the construction of Corridors IV, V, VI, and VII in late 2006. There is a special program for the student groups. They have special bus not merged by the general passengers. The target is to train these students to stand in line, be decent, and like the transport car.

The line open for the first time is Corridor I along 12,9 km that serves Blok M-Kota. Corridors II (Pulogadung-Harmoni) and III (Kalideres-Harmoni) started operation on January 15, 2006. The routes are initially operated with only 25 buses total, a number that should increase to 71 in April 2006. For future corridors line 4,5,6, & 7 are currently under construction and are due for operations on Jan 5, 2007. Jakarta City Administration is committed to run a total of 15 Busway corridors by 2010.

Jakarta Busway is managed by consortium called TransJakarta Consortium under control of the Government of DKI Jakarta province. Other actors that also support this program are city bus companies, other small scale public transportation organizations and PT KAI (mass rapid train company) that support as a feeder of Busway. PERTAMINA (Private oil company) has a cooperation with the consortium to supply the fuel energy of Busway. Excluded actors like urbanists, city environmentalists and public always monitor this system as well to make sure this system goes in the right track. All these actors are working together to make this program works properly and effectively.

The vision and mission of the TransJakarta Consortium
Vision:

Support Jakarta as a capital of the Republic of Indonesia that humane, efficient, and have a power to compete and parallel with other cities in the world globally, settled by society that participative, have character, prosperous and have civilation in the secure and sustainable life environment.
Create efficient public transportation system, and able to support the economic growth and give best alternative to the public in travelling.

Mission:

Promote and increase the public transpotation use by Jakarta society.
Develop and give the best service level of modern public transportation as other big cities in the world.
Integrate multi-mode transportation system to give convenience and comfort public promenade.
Grow discipline habit by good transportation.

[4] EVALUATION & CONCLUSION
Short Term Evaluation
There are many solution to solve this infrastructure problem which have already been decided and implemented in Jakarta. Busway is one of the new public transportation system that is just been introduced to the public. First time when this system was launched, many people has a doubt about it. They doubt that this program will not work succesfully, instead will make another traffic problem because the Busway line will take one street line for it line and separated by lane separator. Moreover, around 95 % of transportation observer refused Busway. But, when it starts its operation, people turn to support Busway, because it can overcome traffic jams in Jakarta.

Busway Operational, Jakarta

Before it was launched, city Jakarta Governor Sutiyoso was optimistic residents will accept Trans Jakarta or Busway program as Busway is not a lavish project. The Busway, governor went on to say, departs from macro transport scheme developed by the city Jakarta administration in anticipation of a numerous vehicles.

However, from the beginning when Busway was launched on the first time, public is satisfied with this new system. After two weeks of fully operation, Busway passengers edge up sharply by 532,685 passengers, totaling 17,837 passengers from January 15. On the first week of operation, launched on February 1 to February 7, the bus can convey around 257,424 passengers. TransJakarta management unveils that the Busway passenger rate indicates a positive result after three months of operation. In responding the expected target, the head of TransJakarta management said people welcomed the Busway warmly, adding the mangement needed to work harder to improve the Busway service.

TransJakarta-Busway management, as a matter of fact, puts the target of 18,000 passengers/direction/hour, but it fails to meet the target. In order to support the Busway optimally, TransJakarta management and Jakarta Transportation agency had already employ as many as 383 feeder buses.

In a bid to improve its service to all people, TransJakarta-Busway management keeps on conducting some efforts that are believed to be able to materialize its purpose. One of the efforts is to involve the people in monitoring the Busway officers, as the Busway frontliners, during their duties TransJakarta wants all passengers to be safe and comfortable during on the bus, and at the shelters because the officers are stationed there.

The head of center for Transport Studies (CS) of Indonesia University Prof. Sutanto Sehodho confirmed that the TransJakarta Busway program launched last year gets successful. The program according to him indirectly has changed the Jakartans’ attitude to willingly make a line and to have a sense of belonging. However, he suggested the Jakarta administration should form a special body to take care of the public transportation. Having a success program on Busway corridor we believe we would be able to provide better service for people in the future.

This TransJakarta Busway system could be a model transportation for other cities nationwide. The Busway project could be followed with several transportation modes as TransJakarta was on of the alternative ways to deal with the capital complicated traffic. The traffic problem will not be able to deal with properly providing that the city administration simply counts on Busway.

Long Term Plan
Jakarta will have overall integrated infrastructure in 2010. There will be 15 corridors of Busway (1 corridor will be disable after a subway line is operated), 2 line of Jakarta Monorail (LRT), Blue Line and Green Line, MRT Subway with elevated track, ground track and underground track, and also Waterbus on Banjr Kanal Timur and Banjir Kanal Barat.

After making a success on Busway corridor, Jakarta administration is expected to plan bicycle corridor on city's thoroughfares in the future. The expectation is conveyed by bike lovers while conducting a parade on Jl. Thamrin and Sudirman, business main street of Jakarta. Making a start in front of Bank Danamon on Jl. Sudirman the bikers cruise the thoroughfares, conveying a message to Jakartans to use bicycles in a bid to promote clean and healthy air. They can go to work by bicycles in replacement of private cars and public transportation.

First there was the Busway, then the monorail system, and now the city is once again dusting off the Mass Rapid Transport system, or MRT. The Jakarta administration and central government are teaming up to start the ambitious US$767.66 million project in an effort to ease chronic traffic woes in the capital. Part subway, part suburban rail system, the first phase will include three underground stations and nine elevated ones.

Jakarta Overall Integrated Infrastructure

Dream of Jakarta residents to have river transportation facility also will be realized soon. At the moment, Department of Transportation is preparing the concept of river transportation. River transportation is one of three macro transportation pattern in Jakarta. There’re three pattern of macro transportation in Jakarta: land, water, and rail transportation. For initial step, river transportation development will be conducted at Manggarai-Karet way of Banjir Kanal Barat. The reason is that area is considered as centre for business and trade. Manggarai-Karet route in the future will be one of meeting point between Busway and monorail. It would be 5 harbours along the route. The location would be Manggarai, Mampang, Rasuna Said, Tamrin-Sudirman, and KH. Mansyur. If that project is finished, development will be continued to all Banjir Kanal Barat route.

The parallel alternative modes are monorail, subway and water or river transportations. Jakarta metropolitan administration, as a matter of fact, has put the modes of transportation in its main agenda, stipulated in Jakarta macro transportation plan. However, the administration has yet to say for sure when the macro transportation construction to start.

Jakarta Provincial Government also plans to make all vehicles traveling city roads to drive on natural gas by 2010. But, as the first step, the use of natural gas will be applied to operational vehicles of City Administration only. The use of natural gas was environment friendly and save the energy. Moreover, Jakarta is a pilot project for other provinces in Indonesia in terms of using natural gas. Currently in Jakarta, there are 14 natural gas stations, but only 8 of them that have function. Therefore, in the near future, the agency will repair those natural gas stations.

Conclusion
The transJakarta Busway has changed the transportation paradigm in Jakarta. Ever since it started to operate on January 15, 2004, transJakarta Busway has become the favorite of the Jakartans from many groups, either common people or yuppies who work alongside the Busway passage. Also since the passage II and III started to operate on January 15, 2006 has transformed the personal vehicle user into the transJakarta user. Around 14% of personal vehicle user has transformed into transJakarta user. According to the data from Jakarta Department of Transportation, Busway passage I-III carry around 120.000 passenger/day.

Jakarta by night

This new infrastructure system called Busway that has been implemented in Jakarta is an urban regeneration project of this city. This project could fulfill all the urban regeneration aspect, for example that this Busway program is a comprehensive and integrated vision and action that made by the consortium of TransJakarta. This program also leads to the resolution of urban problem and seeks to bring about a lasting improvement in the economic, physical, social, and environmental condition of an area that has been subject to change because the congestion of Jakarta traffic can be reduced maximally. This program is also an activity which straddles the public, private and community sectors because it involves all the Jakarta important sectors. This Busway program is also a means of determining policies and actions designed to improve the condition of urban areas and developing the institutional structures necessary to support the preparation of specific proposals for a better infrastructure of Jakarta.

Delft, January 2007
Sigit Kusumawijaya

REFERENCES

Administration`s Strategic Development ( 2002 - 2007) Plan. Chapter 1
Berita Jakarta, http://www.beritajakarta.com/english/default.asp, visiting website October 27th, 2006.
Bishop, Ian D., Francisco Escobar, Sadasivam Karuppannan1, Ksemsan Suwarnarat, Ian P. Williamson, Paul M.Yates, Haider W. Yaqub. Spatial Data Infrastructures For Cities In Developing Countries: Lessons From The Bangkok Experience, (University of Melbourne and the Bangkok Metropolitan Administration).
Buehler, Ralph. Urban Development in Mega-Cities in Developing Countries: Potentials of Citizen Participation in Planning and Managing Urban Development, (Universität Konstanz, Fachbereich für Politik- und Verwaltungswissenschaften, 2003).
Microsoft Corporation. Microsoft Encarta, (Redmon: Microsoft Corporation, 2005), keyword: Jakarta
Municipality of Jakarta Official Website, http://www.jakarta.go.id/v21/home/default.asp?lg=2, visiting website October 8th, 2006.
Municipality of Jakarta Official Website. The Jakarta City
Roberts, Peter & Hugh Sykes. Urban Regeneration: A Handbook, (London: SAGE Publications Ltd, 2004)
Wikipedia, the free encyclopedia, http://en.wikipedia.org/, visiting website October 8th, 27th & 29th, 2006.

Work Description:
Title: Infrastructure Regeneration in Jakarta
Writer: Sigit Kusumawijaya
Supervisor: DR. E.D. Huysbergen.
Status: assignment submitted for the Master study course Social Development of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft)
Year: 2007

Urban Regeneration [book review]

2009-04-20T19:37:00.010+07:00

This writing is a critical comments of the Urban Regeneration book written by Peter Roberts and Hugh Sykes, submitted for the Master study course Social Development of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft) and also as a reference of the next paper for the same course.

Urban Regeneration [book review]
by: Sigit Kusumawijaya

This writing is more or less analysed based on Urban Regeneration book by Peter Roberts and Hugh Sykes. The book itself is quite clear and comprehensive to explain about how urban regeneration works in several places in the world, the theory, managing, monitoring and evaluating urban regeneration. The book also review and reexaminating the history and context of urban regeneration, look deeply at education, economy, politic, social and environmental aspects and also consider at implications of funding.

The book is organized orderly from the introduction part that explain about the context, history, evolution, definition, purpose and also strategy and partnership in dealing with urban regeneration. Next part explains more focus on several topics, for instance economy, physical and environmental, social and community, employment, education and training, and housing. Then, how to manage urban regeneration is explained in the next part, for example the monitoring and evaluating the result, and organisation and management of urban regeneration. The last chapter is about the study case examples of how urban regeneration is implemented in United States and Europe.

Relate with the infrastucture regeneration issue in Jakarta, this book is quite helpfull for the author to analyze. Since the beginning of the book part, author could easily relate the special infrastructure regeneration issue in Jakarta with the book by understanding of all the explanation. The most problem to understand this book is about the difficulty of language used in this book. Some statements are quite difficult to be understood. However, with all the comprehensive explanation, this book is required reading for students of urban studies and practitioners involved in regeneration.

another link in Sigit Kusumawijaya Multilpy site: Urban Regeneration: http://sigitkusumawijaya.multiply.com/reviews/item/11
link to buy this book in Amazon.com: http://www.amazon.co.uk/gp/product/0761967176/ref=sib_rdr_dp

Work Description:
Title: Urban Regeneration [book review]
Writer: Sigit Kusumawijaya
Status: book review submitted for the Master Study course Social Development of the Department of Urbanism, Faculty of Architecture, Delft University of Technology (TU Delft)
Year: 2006

Keringnya Warna-warna Baru dan Segar dalam Kekayaan Seni dan Desain Indonesia [exhibition review]

2009-04-18T02:59:00.007+07:00

This writing is a review for Biennale Jakarta 2006 exhibition "BEYOND", May 22nd - June 25th, 2006 at Jakarta.

Keringnya Warna-warna Baru dan Segar dalam Kekayaan Seni dan Desain Indonesia
(sebuah refleksi dari pameran Biennale Jakarta 2006 “BEYOND”, 22 Mei-25 Juni 2006)
by: Sigit Kusumawijaya

Menyusuri masa lalu merupakan sebuah perjalanan yang dapat membangkitkan memori kita tentang kenangan-kenangan baik yang indah maupun buruk yang telah lewat. Namun melihat masa lalu tanpa mengambil intisari dan hikmah yang terkandung di dalamnya akan membawa kita pada kekeringan ide untuk memperkaya khasanah kita ke depannya. Kurangnya karya-karya baru yang fresh inilah yang terlihat pada pameran Biennale Jakarta 2006 yang diselenggarakan pada tanggal 22 Mei-25 Juni 2006 di beberapa tempat di Jakarta seperti Galeri Nasional Indonesia, Museum Seni & Keramik, Galeri Cipta II & III TIM, Galeri Cemara 6 dan Galeri Lontar. Masing-masing tempat mempunyai tema sendiri-sendiri untuk karya-karya yang dipamerkannya. Galeri Nasional Indonesia dan Museum Seni Rupa & Keramik memamerkan karya dengan tema “Milestone” atau Tonggak Sejarah. Galeri Cemara 6 dan Galeri Lontar mengusung tema “The Others” yang berisi karya-karya perupa ekspatriat. Sedangkan di Galeri Cipta II & Galeri Cipta III TIM memakai tema “Beyond” yang banyak memamerkan karya dengan menggunakan media baru.

Menurut namanya sendiri, Biennale merupakan sebuah tradisi pameran seni rupa internasional yang diselenggarakan setiap 2 tahun sekali dan melibatkan sekelompok juri internasional untuk menghimpun dan melakukan penilaian atas karya-karya yang dipamerkan. Pameran Biennale yang terkenal salah satunya adalah Venice Biennale yang telah berlangsung sejak tahun 1895. Namun kemudian banyak kota besar dunia lainnya yang juga secara rutin mengadakan pameran Biennale internasional, seperti Sao Paulo, Paris, Teheran, Tokyo dan kota-kota lainnya, tak terkecuali Jakarta, Bali dan Yogyakarta.

Sedangkan sejarah pameran Biennale di Indonesia sendiri baru dimulai sejak tahun 1974, namun pada waktu itu belum dinamakan “Biennale”. Penggunaan nama “Biennale” dimulai sejak tahun 1982. Penyelenggaraan pameran Biennale Jakarta sendiri banyak mengalami pasang surut sejak pertama kali diadakan pada tahun 1974. Sejak pameran tahun 1974, 1976, 1978 dan 1980 keseluruhan karya masih berupa karya lukis dengan nama pameran “Pameran Besar Seni Lukis Indonesia”. Hingga akhirnya mulai pada pameran 1982 kemudian berturut-turut 1984, 1987, 1989, 1993, 1996, 1998, sempat mandeg cukup lama dan terakhir yang sekarang 2006, karya yang dipamerkan mulai beragam, dari karya lukis, patung, instalasi, performance art, sampai karya-karya dengan menggunakan media baru. Nama pamerannya pun mulai menggunakan Biennale seperti pada pameran tahun ini, Biennale Jakarta 2006.

Selain pameran Biennale Jakarta 2006 yang diselenggarakan oleh Dewan Kesenian Jakarta ini, Indonesia juga mempunyai pameran Biennale lainnya seperti Biennale Bali, Biennale Yogyakarta dan yang terakhir CP Biennale. Menurut keterangan, mulanya Biennale Jakarta ini rencananya dilangsungkan sekitar bulan Desember 2005, namun karena waktunya sangat dekat dengan pameran Biennale lainnya yang pada tahun 2005 diselenggarakan secara berangkaian dan banyaknya peserta yang belum siap dikarenakan karya-karya yang ditampilkan harus berbeda dari Biennale satu ke Biennale lainnya, maka penyelenggaraan Biennale Jakarta ini terpaksa mundur.

Mengusung tema besar “BEYOND”, pameran kali ini berusaha menafsirkan kenyataan-kenyataan masa lalu maupun masa kini dari seni rupa Indonesia. Dengan menggunakan kata “BEYOND”, dewan penyelenggara dan kurator ingin mengungkapkan sebuah pembacaan terhadap berbagai fenomena budaya dan perkembangan seni rupa Indonesia yang memiliki pola khas dan “menyimpang” dari perspektif dan konstruksi pemikiran yang lazim; atau, sejarah perkembangan seni dan budaya modern kita yang “subversif” sesungguhnya tidak dapat ditaklukkan hanya dengan teori-teori yang terbatas. Berdasarkan keterangan, dari persepektif sejarah seni rupa modern Indonesia, kata BEYOND dapat dipahami sebagai “bagian terpisah” dari sejarah seni rupa dunia, dan selalu menunjukkan “keterpisahannya” karena tidak mengikuti proses perkembangan yang runtut dan “logis” dari perspektif seni rupa dunia.

Berikut penulis akan mencoba mengulas isi dari pameran tersebut menurut perspektif penulis secara singkat di tiap-tiap tempat pameran, kecuali Galeri Lontar, dikarenakan waktu yang tidak mencukupi untuk mendatangi keseluruhan tempat pameran dalam satu hari. Di Galeri Nasional Indonesia dan Museum Seni & Keramik yang keduanya mengusung tema “Milestone” atau Tonggak Sejarah, karya-karya yang dipamerkan kebanyakan karya lukisan dari generasi pelukis terdahulu seperti Hendra Gunawan (dengan judul Pengantin Revolusi), Sapto Budoyo (Peratapan Gerilya), S. Sudjojono (Prambanan 3 Juli 1949/tahun pembuatan: 1968, Ketoprak/1970, Laskar Tritura/1966, Rontok/1966 dan High Level/1970), Otto Djaja (1946-1947), Agus Djaja (Kuda Kepang/1955), Affandi (Pemakaman Raja Inggris/1952, Ibuku/1994), Ade Pirous (Bersepeda/1966), Bagong Kussudiardjo (Tangki Minyak/1970), Jim Supangkat (Pengumuman/1975), Basoeki Abdullah, Henk Ngantung (Gadis/1947), Dullah, Soedibyo, Raden Saleh (Badai/1857), dan lain-lain. Karya-karya lukis yang masih baru hanya sedikit seperti karya Astari (Elvis/2006, Envy/2006), Hendro Suseno (Munir/2001) Laksmi Shitaresmi (The Passion of Life/2006), Entang Wiharso (Justification/2006), Yusuf Affendi (Udan Lisris Pagi/2006), Hanafi (Janin Merah/2006) dan Ivan Sagita (Sepasang Terpisah/2006). Selain karya lukis, ditampilkan pula karya-karya lain seperti pematung Iriantine Karnaya (seorang dosen Seni Rupa di Arsitektur UI dari penulis) dengan karyanya Unlimited (2006) dan Gula & Semut (1995), Nyoman Nuarta (Borobudur) dan Rita Widagdo (2005), serta fotografer Oscar Motuloh dengan karya fotografinya: The End. Yang lainnya seperti karya instalasi & video art Agoes Djolly, karya instalasi ilalang oleh Nyoman Erawan (Ritus Kepala Tertusuk-tusuk) dan video art karya Krisna Murti (No Hero/2006) yang mencoba untuk mengajak kita berempati terhadap TKW-TKW yang sedang bekerja di luar negeri seperti Singapura, Hongkong dan Shanghai.

Dari keseluruhan karya di Galeri Nasional Indonesia dan Museum Seni & Keramik ini terlihat bahwa panitia ingin menampilkan sejarah perkembangan seni lukis dan seni rupa di Indonesia dari masa pelukis Raden Saleh hingga generasi sekarang. Namun menurut sudut pandang penulis, yang terlihat justru terlalu banyaknya karya-karya lama yang ditampilkan dan sedikitnya karya-karya baru, sehingga dapat menjadi sebuah pertanyaan apakah karya-karya baru yang masuk ke dewan kurator memang kurang untuk pameran sebesar Biennale Jakarta ini. Tata letak karya juga cenderung tidak diatur per kategori ataupun dengan terlalu banyaknya karya yang dipamerkan sehingga pengunjung tidak dapat fokus untuk satu karya saja, karena karya lain letaknya terlalu dekat. Memang beberapa karya, walaupun karya lama, masih terlihat sebagai sebuah karya yang abadi seperti karya Raden Saleh, Affandi dan Basoeki Abdullah sehingga masih terlihat eksotis keindahannya. Karya-karya seniman generasi baru yang menarik juga bisa dilihat dari karya Nyoman Nuarta, Iriantine Karnaya, Rita Widagdo, Agoes Djolly, Nyoman Erawan dan Krisna Murti.

Di tempat lain, Galeri Cipta II dan Galeri Cipta III TIM, memakai tema “Beyond” dan lebih menampilkan seniman-seniman baru yang berpameran seperti Rudy Rahadian dengan patungnya yang menggunakan bahan baja dengan judul: Tanpa Judul (2005) dan Hukuman (2006), video art karya Ridwan (Sendirian/2006), Tintin Wulia (kolega penulis ketika membantu pameran Andra Matin di CP Biennale 2005) dengan karya videonya Exercising Realities part 1: Ever After (2006), karya instalasi Bunga Jeruk (Varisasi), instalasi & video Nevfita Primadewi ((tidak) 100% Bebas Seniman/2006), film semi dokumenter karya Ariani Darmawan (Anak Naga Beranak Naga/2006), Yuriza Kenobi & Dendi Darman dari Endjoy Division dengan karya mix media-nya: Make War Love Too (2006) dan lain-lain. Karya-karya seniman muda ini terlihat sangat kurang kuantitasnya sehingga secara keseluruhan terasa kering kualitas. Karya-karya yang penulis anggap menarik dan inovatif seperti karya Bunga Jeruk sebagai sebuah satire dari kondisi keluarga di Indonesia, Ariani Darmawan dengan karya filmnya Anak Naga Beranak Naga yang baru-baru ini juga di-launch di beberapa tempat, serta karya Tintin Wulia yang menampilkan sebuah video art realita tentang pernikahan Andrew Linggar-Angela Andini dengan kespontanan para pelaku acara pernikahan tersebut.

Sedangkan di Galeri Cemara 6 hanya menampilkan empat buah karya perupa ekspatriat. Mereka kesemuanya warga asing yang sering mengunjungi dan pernah menetap di Indonesia untuk berkarya seperti Ann Wizer (USA, Jakarta, Manila) dengan karyanya: Under the Doors & Over The Wall, Midori Hirota (Jepang, Bali) dengan karya: The Back Affection, pelukis Pieter Dittmar (Jerman, Ubud, Sydney) dengan karya-karya lukis kontemporernya dan yang terakhir Hie Siok Ke (Korea, Finlandia) dengan karya instalasinya. Pameran di Galeri Cemara 6 dan di Galeri Lontar mungkin hanya sebagai pelengkap dari keseluruhan pameran Biennale Jakarta 2006 ini karena hanya sedikit karya yang ditampilkan. Penulis hanya menaruh poin yang menarik pada karya Ann Wizer yang menggunakan bahan kertas-kertas sampah yang didaur ulang dan dikemas dalam bantal-bantal plastik transparan yang kemudian disusun menjadi sebuah karya yang menarik. Karya-karya lainnya mungkin masih sama kualitasnya dengan karya-karya seniman Indonesia.

Secara keseluruhan, pameran Biennale Jakarta 2006 ini menurut kacamata penulis sangat kurang akan karya-karya baru yang segar sehingga yang lebih banyak ditampilkan adalah karya-karya seniman dari generasi terdahulu yang kebanyakan juga sebetulnya karya-karya yang berasal dari koleksi Galeri Nasional Indonesia, Gedung Kesenian Jakarta dan Museum Seni & Keramik. Kesan yang timbul adalah karya-karya seniman baru tidak banyak yang masuk ke dewan kurator, sehingga akhirnya yang ditampilkan adalah karya-karya lama tadi. Walaupun tema besar yang diangkat adalah “Beyond”, namun dari segi porsi keseluruhan karya baru sangat kurang. Terlalu banyaknya karya yang dipamerkan ini juga dapat membuat fokus pengunjung menjadi tidak jelas karena terlalu sering diinterupsi oleh karya lain disaat pengunjung sedang fokus ke sebuah karya. Hal lain yang menjadi titik kritis dari penulis adalah bahwa dari sisi lokasi pameran, penyebaran karya-karya kurang diperhatikan dengan jeli, sehingga penumpukkan karya terlihat pada Galeri Nasional Indonesia dan Museum Seni & Keramik. Tempat pameran lainnya sangat kurang akan karya. Meskipun mungkin panitia ingin mendekatkan acara pameran dengan ulang tahun yang ke-479 kota Jakarta pada bulan Juni ini sehingga penyebaran pameran dilakukan di beberapa titik Jakarta agar merata, namun lagi-lagi porsinya tidak seimbang. Publikasi pameran juga masih terasa kurang gaungnya, mungkin masih kalah dengan publikasi CP Biennale 2005 yang lalu (yang terbantukan oleh media infotainment atas kasus bugilnya Anjasmara). Seperti halnya yang diungkapkan oleh Bambang Bujono, wartawan dan penulis seni rupa di harian Kompas, Minggu, 4 Juni 2006, penulis juga mempunyai anggapan sama bahwa secara keseluruhan karya seni lama yang dipamerkan jauh lebih bagus daripada yang “new-new” ini.

Terlepas dari kritik semua di atas, ada sisi positif yang bisa diangkat dari sebuah pameran Biennale Jakarta 2006 ini. Dengan menjelajahi waktu melihat karya-karya seni dari generasi terdahulu yang sangat tinggi nilai estetika dan moralnya, kita dapat memetik pelajaran dari mereka akan kaya dan beragamnya seni Indonesia dan berusaha untuk berbuat dan berkarya yang lebih baik dengan dibantunya kemudahan-kemudahan informasi dan teknologi. Bagi penulis pribadi dan teman-teman yang sama-sama masih ingin belajar tentang desain dan seni, kesempatan-kesempatan melihat sejarah perkembangan karya-karya seni Indonesia dari generasi terdahulu hingga generasi kita sekarang seperti ini sangat langka terjadi. Pengalaman-pengalaman seperti ini secara sadar ataupun tidak dapat memperluas khasanah akan seni dan desain serta menjadi sebuah kosakata yang tersimpan dalam memori kolektif masing-masing kita untuk berkarya ke depannya.

Salam dan terima kasih.
- Sigit Kusumawijaya -

another link in Sigit Kusumawijaya Multilpy site: Keringnya warna-warna baru dan segar dalam kekayaan seni dan desain Indonesia: http://sigitkusumawijaya.multiply.com/journal/item/3

Work Description:
Title: "Keringnya Warna-warna Baru dan Segar dalam Kekayaan Seni dan Desain Indonesia"
Writer: Sigit Kusumawijaya
Status: Exhibition review
Year: 2006

Nilai Keserdehanaan dan Kejujuran Sebuah Desain [journey review]

2009-04-15T02:45:00.010+07:00

This writing is a review for a journey of Yogyakarta and Solo in 2006. With his colleagues: Rafael, Arko, Bayu, Gita, Novy, Riska, Novie and Sietze Meijer, Sigit had an excursion in some gorgeous architecture spot.

Nilai Keserdehanaan dan Kejujuran Sebuah Desain
by: Sigit Kusumawijaya

“jalinan kata terkadang belum mampu mewakilkan perasaan dan pengalaman yang dialami secara langsung”

Tulisan ini saya buat sebagai catatan perjalanan saya dan beberapa orang teman (yaitu dari Jakarta: Rafael, Arko, dan Bayu, arsitek muda yang bekerja di PT. Han Awal & Partners, Gita dan Novy, 2 orang penulis muda tentang arsitektur yang bekerja dengan Imelda Akmal, Riska dan Novie, lulusan arsitektur UPH dan seorang teman dari TU Delft Belanda, Sietze Meijer yang sedang magang di PT. Han Awal & Partners juga, teman dari Yogyakarta: Hari, dosen muda arsitektur UGM dan Eby, mahasiswa arsitektur Universitas Duta Wacana angkatan 2001, dan terakhir dari Solo: Andhika dan Galuh, lulusan arsitektur UNS, serta Tiwi, mahasiswa arsitektur UNS angkatan 2004) ketika melakukan perjalanan selama 5 hari ke daerah Yogyakarta dan Solo beberapa hari yang lalu tepatnya tanggal 24-28 Mei 2006. Tulisan ini hanya sekedar membagi apa yang telah kami rasakan dan alami selama perjalanan dan bagaimana kami dapat menemukan sebuah pengalaman dan pelajaran yang berharga tentang desain.

Dengan menggunakan transportasi dan akomodasi yang seadanya (pas-pasan) karena setengah backpacking setengah refreshing (kereta Bisnis, mobil sewaan dan meminjam mobil kawan, menumpang rumah kawan dan Guest House) dan diselingi pengalaman yang mengesankan karena sempat merasakan gempa pada hari Sabtunya (beruntung kami sedang berada di Solo ketika itu, namun cukup besar juga getaran yang dirasakan dari Solo) kami mendapatkan sebuah pelajaran tentang nilai kesederhanaan dan kejujuran dari sebuah desain.

Butet's House and Butet & Jaduk's Studio design by Eko Prawoto

Selama ini saya sering melewati daerah Yogyakarta dan Solo kalau sedang mudik lebaran, namun biasanya saya hanya berhenti di tempat-tempat yang terkenal saja seperti Malioboro, Keraton Yogyakarta, Candi Borobudur, Prambanan atau Pasar Gede. Baru setelah melakukan perjalanan kemarin ternyata selama ini saya melewatkan objek-objek indah yang memiliki kualitas desain yang sangat mengagumkan dan secara sederhana dan jujur dapat mewakili kontekstualitas objek tersebut terhadap lokasinya yaitu Yogyakarta dan Solo.

Dengan jadwal yang cukup padat tiap harinya, kami menghabiskan perjalanan dengan mengunjungi tempat-tempat seperti di daerah Yogyakarta: tempat retreat dan perziarahan Sendang Sono karya Romomangun di daerah Muntilan, melewati Candi Borobudur dari jaman dinasti Syailendra karya Gunadharma di abad ke-9, Cemeti Art House (rumah seni yang pernah mendapatkan IAI/Ikatan Arsitek Indonesia Award) karya arsitek Eko Prawoto (satu-satunya arsitek Indonesia yang pernah diundang ke pameran Venice Biennale), sanggar seni serta studio rekaman milik Butet Kartarahardja dan Djaduk karya Eko Prawoto, rumah tinggal Butet karya Eko Prawoto juga, serta rumah Eko Prawoto sendiri, Candi Prambanan dari jaman dinasti Sanjaya dengan rajanya Rakai Pikatan, tempat pemandian putri Kraton Yogyakarta Taman Sari karya arsitek dari Portugis dan melewati Kali Code karya Romomangun yang berhasil mendapatkan penghargaan internasional Aga Khan Award. Sedangkan di Solo kami mengunjungi tempat-tempat seperti sanggar seni budaya Sono Seni milik Sardono W. Kusumo (seniman), guest house tradisional bernama Cakra, kampus UNS, kantor Java Plant di Tawangmangu karya arsitek Andra Matin (sebuah proyek yang saya pernah terlibat namun belum sempat melihat secara langsung) serta rumah karya arsitek Idris Samad dan 3 buah karya seorang kontraktor bernama Paulus.

Eko Prawoto's House design by Eko Prawoto

Selain mengunjungi dan merasakan objek-objek tersebut, kami juga mendapat kesempatan belajar (kuliah singkat) dari orang-orang yang terlibat langsung dengan karya-karya tersebut seperti dari teman-teman di Cemeti Art House (kolega Belajar Desain juga), bapak Bambang yang menjadi pengurus di sanggar seni milik Butet dan Djaduk, bapak Eko Prawoto sendiri di rumahnya, salah seorang pengurus sanggar seni Sono Seni milik Sardono W. Kusumo serta bapak Paulus yang dengan baik hati mengantarkan kami ke tempat objek-objek yang merupakan karyanya sendiri.

Di Jakarta atau kota-kota besar lainnya kita sering disuguhi dengan berbagai macam desain dengan beragam style, corak, karakter, tren dan lain sebagainya. Namun terkadang dengan dipesonakannya kita dengan bermacam-macam ragam tersebut, kita seperti terbuai dengan gemerlapnya warna-warni desain yang beragam yang akhirnya membawa kita untuk ikut berlomba meramaikannya. Kadang kita lupa dengan apa yang namanya kontekstualitas. Setelah merasakan pengalaman-pengalaman tadi akhirnya timbul pertanyaan dari benak masing-masing kami, apakah Jakarta atau kota-kota besar lainnya memiliki kontekstualitas? Mungkin kota-kota besar lain seperti Surabaya, Bandung, Medan masih mempunyai sebuah kontekstualitas walaupun sudah mulai terkikis oleh derasnya arus kapitalisme. Bagaimana dengan Jakarta, apakah Jakarta punya? Dan kontekstualitas Jakarta itu seperti apa sich? Kami yang telah melakukan perjalanan tadi mempunyai kesimpulan bahwa Jakarta hampir “no-context”. Kenapa hampir? Karena di beberapa spot Jakarta, masih terdapat semangat-semangat yang masih mempertahankan kontekstualitas Jakarta sendiri walaupun sudah mulai terdesak dengan gelombang pembangunan yang secara membabi buta menerornya.

Java Plant office design by Andra Matin

Namun disini saya tidak akan membahas masalah kontekstualitas Jakarta, saya hanya ingin membagi pengalaman yang kami alami selama perjalanan mengunjungi tempat-tempat yang menurut kami sangat kontekstual. Saya secara pribadi langsung gemetar setelah masuk dan merasakan tempat-tempat tersebut, seperti tersihir oleh alunan melodi yang ditiupkan suasana. Kesederhanaan dan kejujuran desain langsung muncul sesaat kami melihatnya. Dengan menyesuaikan konteks lokasi/site desain tersebut berada, masing-masing objek banyak menggunakan dan mengoptimalkan potensi-potensi lokal daerahnya. Material-material seperti batu, kayu, tanah liat dan logam yang digunakan seperti di Sendang Sono, Borobudur, Prambanan, karya-karya Eko Prawoto berasal dari daerah sekitar objek. Tersebarnya candi-candi di pulau Jawa seperti Borobudur, Prambanan, Boko, Kalasan, Mendhut, dll menjadi sebuah kebanggaan akan budaya nusantara bahwa nenek moyang kita telah memperlihatkan kepada dunia bahwa kita pernah mempunyai budaya adi luhung yang kadang kita lupa dan merasa puas sehingga akhirnya kita kurang berusaha untuk berbuat lebih baik. Kesederhanaan akan bentuk juga terlihat dari karya Eko Prawoto seperti Cemeti Art House, rumah dan studio rekaman milik Butet dan Djaduk, rumah Eko Prawoto sendiri dengan menggunakan ornamen-ornamen tradisional Jawa yang sudah tidak terpakai lagi (bekas) sebagai elemen-elemen tambahan yang sekaligus mempunyai kualitas estetik yang tinggi walaupun ruang menjadi terlihat rustic, seperti pemakaian kayu yang dipanggul sapi atau kerbau membajak sawah sebagai railing tangga dalam karya-karyanya, kusen bekas rumah sederhana perumnas yang dipakai sebagai pintu depan rumahnya, pintu bekas rumah sakit yang berfungsi sebagai jendela serta bak pemandian mayat yang dipakai di rumah Butet sebagai kolam teratai. Eksperimen-eksperimen lainnya dengan menggunakan material-material bekas juga banyak dilakukan Eko Prawoto dan Paulus dalam karyanya seperti teknik pemasangan batu bata yang tidak konvensional disusun secara vertikal atau eksperimen lain seperti antar bata peletakkannya hanya selisih 2 mm, pola bata disusun menyerupai gedhek bambu, bata-bata bekas disusun secara horisontal sebagai alas carport, bahkan keseluruhan bata ekspos sering digunakan Paulus sebagai fasad bangunan-bangunannya dengan komposisi yang sangat menarik. Penyusunan bata pada karya Andra Matin juga tidak konvensional, bata disusun lurus ke atas secara vertikal dan selang-seling sebagai dinding sekaligus ventilasi silang untuk udara. Pemasangan keramik-keramik bekas pada lantai juga dikomposisikan secara tidak konvensional, bahkan menggunakan pecahan-pecahan keramik yang disusun dengan keramik yang masih utuh oleh Eko Prawoto, sedangkan Paulus menggunakan kayu bekas rel kereta api sebagai pathway pada entrans (pintu masuk) dengan penyusunan yang cukup rapi.

Memanfaatkan konteks dalam hal penyesuaian desain terhadap iklim tropis setempat juga dilakukan oleh arsitek-arsitek Eko Prawoto, Paulus, Andra Matin dan Idris Samad pada karya-karyanya. Semua karya mereka untuk ruang bersama tidak memakai penyejuk ruangan (AC), mereka memanfaatkan ventilasi silang di lokasi yang juga banyak memiliki vegetasi yang rimbun yang secara sengaja pula tetap dibiarkan (tidak dibabat habis). Pada karya Eko Prawoto di rumahnya dan rumah Butet serta karya Paulus, desain merekalah yang menyesuaikan peletakkan pohon di site, dan tidak membabat habis pohonnya, bahkan di dalam rumah Eko, pohon tetap dibiarkan sebagai elemen interior yang langsung menembus atap. Idris Samad dan Paulus banyak melakukan pendekatan desain beriklim tropis dengan memanfaatkan atap sebagai pendingin ruang dibawahnya dengan memakai roof garden, atap ditanami rumput yang tinggi-tinggi terlihat pada karya-karyanya dan kantornya sendiri.

Sonoseni Art Studio of Sardono W. Kusumo

Sedangkan di sanggar seni Sono Seni milik Sardono W. Kusumo, saya seperti melihat sebuah karya yang menerapkan konsep dekonstruksi secara tidak sadar. Lokasinya berada di dalam sebuah gang sempit di kota Solo, dan memanfaatkan rumah bekas yang direnovasi secara tidak konvensional. Keunikannya terlihat seperti pada pintu-pintunya termasuk pintu gerbang yang dibuat hanya dengan membongkar dinding dan tidak dirapikan kembali. Kemudian di lokasi juga dibuat ruang-ruang khusus seperti ruang bermeditasi yang sebenarnya berfungsi sebagai ruang latihan vokal. Selain itu juga terdapat 3 buah panggung yang dapat digunakan secara terbalik-balik, panggung kesatu berfungsi sebagai panggung pentas, sedangkan lainnya sebagai tempat duduk penonton, atau bisa sebaliknya. Pentas internasional sering digelar di tempat ini termasuk yang diadakan oleh Erasmus Huis ataupun Japan Foundation.

Tempat pemandian putri keraton Yogya Taman Sari karya seorang arsitek yang berasal dari Portugis juga merupakan karya dengan luas lahan yang cukup besar, pola sirkulasinya hampir menyerupai labirin yang di dalam lokasi tersebut juga terdapat perkampungan penduduk. Sayang karya yang megah terebut ada bagian yang roboh ketika terjadi gempa kemarin, walaupun sedang dilakukan reservasi oleh mahasiswa-mahasiswa UGM. Kami beruntung karena kami mengunjungi tempat tersebut serta tempat-tempat di Yogyakarta lainnya pada hari Jumat, sedangkan ketika gempa hari Sabtu kami sudah berada di Solo, sehingga sempat mendokumentasikannya. Namun kami cukup prihatin dan ikut berduka cita atas kejadian musibah gempa kemarin yang menelan cukup banyak korban.

Sendang Sono by Romomangun

Kesederhanaan dan kerendahan hati juga terihat dari aura pribadi Eko Prawoto dan Paulus ketika memberikan wejangan-wejangan kepada kami. Eko Prawoto menjelaskan bahwa selama ini dia tidak berusaha membuat desain dengan keidealisannya ataupun dengan berkompromi dengan klien, namun ia hanya merancang struktur karakter dari klien tersebut dan menguatkannya ke dalam desain. Kedekatannya dengan para seniman membuka mata, bahwa sejak dini kita harus membangun koneksi/network sebanyak-banyaknya, tidak hanya dengan teman seprofesi saja, karena akan berguna kelak di kemudian hari. Sedangkan Paulus yang terlihat lebih bersahaja penampilannya tidak segan-segan untuk menjelaskan maksud dari eksperimen-eksperimen yang selama ini dia lakukan untuk membuat karya yang lebih baik dan memberi nasehat kepada kami agar tidak pantang menyerah dan tidak takut untuk mencoba segala hal yang baru.

Semua yang kami alami serta rasakan membawa pelajaran yang berharga buat kami semua yang sedang belajar akan sebuah proses kreatif dalam mendesain. Kami berharap referensi-referensi yang terekam dalam memori kita secara intuitif dapat memberikan kekuatan fondasi kami dalam mendesain sebuah karya yang tetap menjunjung nilai kesederhanaan dan kejujuran terhadap konteks dan tidak silau lagi menghadapi desain-desain yang saling berlomba-lomba mengikuti tren dan pasar belaka. Mudah-mudahan tulisan ini juga bermanfaat buat teman-teman semua. Terima kasih.

Sigit (left) & his journey friends waiting for a train in Senen Station, Jakarta

Jakarta, 30 Mei 2006
- Sigit Kusumawijaya -

another link in Sigit Kusumawijaya Multilpy site: Yogyakarta & Solo, Indonesia 2006 (Traveling) "Nilai Keserdehanaan dan Kejujuran Sebuah Desain": http://sigitkusumawijaya.multiply.com/photos/album/42

Work Description:
Title: "Nilai Keserdehanaan dan Kejujuran Sebuah Desain"
Writer: Sigit Kusumawijaya
Status: Journey review
Year: 2006

Belajar Desain [:design learning] Publications and Flyers

2009-04-14T02:46:00.008+07:00

These are several Publications and Flyers of BELAJAR DESAIN (in english we name it DESIGN LEARNING), an open designers community for young designers, artist, architects and other design practitioners to discuss and exhibit their works regularly. All these works were designed by Sigit Kusumawijaya as a Public Relation for Belajar Desain.

Belajar Desain [:design learning] Publications

Belajar Desain [:design learning] Flyers

All graphic design by Sigit Kusumawijaya

BELAJAR DESAIN [: designers open community]

! NO BOUNDARY IN LEARNING DESIGN !

[architecture, interior, graphic, product, visual communication, art, music, dancing, theater, photography, film & cinematography, writing, fashion, and other kind of design]

our mailing list: http://groups.yahoo.com/group/belajardesain/

to subscribe, send a blank email to: belajardesain-subscribe@yahoogroups.com

we also have GROUP in FACEBOOK, called DESIGN LEARNING [: designers open community] in this link: http://www.facebook.com/group.php?gid=33698896886 (you should have a Facebook account to join)

Sebuah Kenangan Manis dari Seorang “Bapak” yang Murah Senyum & Berdedikasi Tinggi [published on PIJAR PARADHARMA]

2009-04-14T01:35:00.010+07:00

This paper is made as a contribution for the book "Pijar Paradharma", a book dedicated to Ir. Diyan Sigit, lecturer of Department of Architecture, University of Indonesia (UI) for his 72 years birthday and dedication for the Department. The cover of this book was also designed by Sigit Kusumawijaya.

Sebuah Kenangan Manis dari Seorang "Bapak" yang Murah Senyum & Berdedikasi Tinggi
by: Sigit Kusumawijaya

Book Cover design by Sigit Kusumawijaya

Sebagai mahasiswa, saya mengenal bapak Diyan Sigit ketika saya mengambil mata kuliah Perancangan Arsitektur akhir atau PA-C ketika semester 8, tepatnya bulan September 2002. Sebelum mengenal beliau, saya sudah banyak mendengar cerita dari rekan-rekan mahasiswa senior sebelumnya tentang beliau. Mereka berpendapat bahwa beliau adalah seorang yang ramah, murah senyum, suka membantu orang lain tanpa pamrih, disiplin, dan mempunyai pengabdian yang sangat tinggi terhadap pekerjaan yang beliau tekuni. Maka, ketika saya tahu bahwa dosen pembimbing yang akan membimbing saya dan kelompok saya (ketika itu Sigit Kusumawijaya, Belmeier Raymond, Ova Candra Dewi, Deuxiene Hadiningtyas (Dede), Ih Ven, Rany Nasir dan Retno Dwi Wulandari) dalam mata kuliah PA-C adalah beliau, saya sangat senang. Begitu juga ketika ternyata saya berkenalan langsung dengan beliau, seketika itu juga saya membenarkan apa yang diceritakan orang-orang mengenai beliau walau hanya dengan melihat wajahnya yang murah senyum itu.

Saya mengenal secara dekat dengan beliau memang hanya 1 semester, yaitu ketika bapak Diyan Sigit menjadi dosen pembimbing untuk perancangan akhir saya tadi. Namun perkenalan yang dirasa singkat tersebut masih tetap membekas dihati saya. Ini disebabkan karena ternyata setelah mata kuliah tersebut berakhir bahkan hingga sekarang, setiap kali saya bertemu dengan beliau, beliau masih ingat dengan saya secara dekat (mungkin karena ada kesamaan nama Sigit juga), bahkan setiap kali bertemu beliau selalu ingat dan menanyakan tentang kegiatan atau pekerjaan yang saya lakukan terakhir kali yang saya ceritakan kepada beliau. Hal itulah yang membuat saya menilai bahwa beliau memang benar-benar orang yang sangat memperhatikan orang lain tanpa memandang orang lain tersebut.

Karena saya juga seorang staff pengajar atau asisten dosen untuk Departemen Arsitektur UI hingga tulisan ini dimuat, saya masih sering bertemu dengan beliau setiap kali beliau hadir di kampus. Momen tersebut selalu saya manfaatkan untuk bersilaturahmi kembali atau sowan dengan beliau serta berdiskusi dan meminta pendapat tentang apa yang saya kerjakan belakangan, karena beliau selalu memberi saran, masukan, nasehat bahkan kritik dengan tangan terbuka.

Ketika saya masih mahasiswa pun, beliau tidak segan-segan untuk memberi masukan dan kritik kepada setiap mahasiswa yang meminta asistensi terhadapnya bahkan dengan mahasiswa yang bukan dari kelompok yang dibimbingnya ataupun mahasiswa lain yang sedang mengambil Perancangan Arsitektur lain. Secara pribadi dan juga teman-teman angkatan saya (’99), kami juga pernah merasakan kedekatan yang lebih dengan beliau. Ketika itu, bulan November 2002, pak Diyan Sigit dan keluarga menyediakan tempat berupa villa kepada angkatan kami untuk mengadakan acara kumpul bersama. Masih teringat, ketika itu kami dengan lepasnya bisa bercengkerama dengan beliau beserta istrinya yang juga ikut hadir. Bahkan keesokan paginya, kami juga sempat berpoco-poco ria dengan istri beliau di villa tersebut. Kesan lainnya yaitu ketika kelompok PA kami membuat kejutan untuk ulang tahun beliau pada tahun 2002, beliau sangat terkejut dan tidak menduga bahwa ternyata mahasiswa-mahasiswanya membuat acara seperti itu. Kesan dan pengalaman tersebut patut kami syukuri karena mungkin tidak banyak yang dapat mengenal beliau secara lebih dekat seluruh mahasiswanya dalam satu angkatan. Ini adalah bukti bahwa beliau adalah sosok pembimbing yang mempunyai sifat “kebapakkan” yang mudah dekat dengan anak-anak yang dibimbingnya tanpa pilih kasih.

Sikap disiplin yang tegas dan dedikasi yang tinggi juga tetap terjaga dalam dirinya yang murah senyum tersebut. Teringat juga ketika saya masih mahasiswa, anak-anak cenderung membandel dan menghindari bertemu dengan dosen jika pekerjaan PA-nya belum selesai, sementara pak Diyan Sigit tetap disiplin untuk selalu datang pada mata kuliah yang diajarkannya. Kemudian beliau akan menelpon mahasiswa-mahasiswa yang bandel tersebut satu per satu untuk tetap datang dan asistensi pekerjaannya sejauh yang telah diselesaikannya walaupun belum selesai banyak. Seperti halnya, ketika saya harus minta ijin sebentar, kira-kira seminggu, untuk ikut berpartisipasi dalam Temu Karya Ilmiah Mahasiswa Arsitektur Indonesia (TKI-MAI) XIX 2002 di Padang yang menyebabkan saya harus absen dari PA, pak Diyan Sigit masih sempat menelepon saya dari Jakarta ke Padang untuk menanyakan keadaan saya dan memberi nasehat kepada saya untuk tetap memikirkan tugas PA-nya. Kepedulian terhadap orang lain serta terhadap institusi yang beliau abdikan sangatlah tinggi. Sejauh yang saya tahu beliau telah mengabdi kepada Fakultas Teknik UI sejak 1965, atau mungkin lebih lama dari itu. Ini merupakan sebuah dedikasi yang sangat tinggi yang dilakukan seseorang selama lebih dari 40 tahun terhadap lembaga khususnya Departemen Arsitektur FTUI.

Di dalam bidang yang beliau geluti, yaitu arsitektur, beliau sangat menekankan pentingnya kegunaan atau fungsi, utilitas serta kontekstualitas sebuah bangunan yang akan dirancang. Saya masih teringat akan kritik beliau ketika sidang PA-C saya. Kritisi beliau tentang kurangnya fungsi utilitas bangunan yang saya rancang, ketika itu merancang bandara Halim Perdana Kusuma, baru benar-benar saya sadari dan rasakan setelah saya merasakannya di dunia kerja, bahwa ternyata fungsi utilitas harus benar-benar diperhatikan, jika tidak akan membuat sistem utilitas bangunan tersebut tidak bekerja dengan baik. Dan ternyata merancang sistem utilitas dengan baik memang sangatlah sulit dan dibutuhkan pengetahuan yang lebih mendalam. Begitu juga halnya dengan fungsi bangunan, beliau selalu lebih memprioritaskan fungsi daripada bentuk bangunan walaupun beliau juga percaya bahwa keduanya penting untuk diperhatikan. Selain itu menurut beliau, bangunan yang dirancang harus sesuai dengan konteks bangunan tersebut berada dan kapan dibangunnya. Beliau juga lebih menekankan agar bangunan yang dirancang di Indonesia harus mencerminkan arsitektur Indonesia dan sesuai dengan konteks seperti kondisi geografis, bentuk harus beradaptasi dengan iklim setempat, fisika bangunannya harus lebih diperhatikan, tinjauan budaya, dan lain-lainnya.

Mudah-mudahan semua kesan dan pengalaman saya secara pribadi untuk dapat mengenal beliau dapat bermanfaat bagi saya untuk dapat berkarya lebih baik. Selain ilmu dan pengalaman yang dapat saya serap dari beliau, saya juga berharap agar dapat mengikuti dan mempraktekkan sifat-sifat teladan beliau sebagai sebuah pelajaran pengalaman dalam hidup.

Selamat ulang tahun pak Diyan Sigit, terima kasih atas semua yang telah bapak berikan kepada saya dan mohon maaf jika selama ini atau dalam tulisan saya ini ada kata atau prilaku yang kurang berkenan buat bapak.

Jakarta, 18 Desember 2005
- Sigit Kusumawijaya -

Work Description:
Title: "Sebuah Kenangan Manis dari Seorang “Bapak” yang Murah Senyum & Berdedikasi Tinggi"
Writer: Sigit Kusumawijaya
Cover Design: Sigit Kusumawijaya
Status: Contribution Paper for PIJAR PARADHARMA, 72 tahun Ir. Diyan Sigit P., Published by Departemen Arsitektur, Fakultas Teknik, Universitas Indonesia
Year: 2006
Achievement:
* Published on PIJAR PARADHARMA, 72 tahun Ir. Diyan Sigit P., by Departemen Arsitektur, Fakultas Teknik, Universita Indonesia, 2006

Empati Dalam Budaya “Elu-Elu, Gua-Gua” [published on OUTMAGZ Magazine for videography project: "Where R Ur Empathies, Jakartans?", 2006]

2009-04-13T20:42:00.014+07:00

This is an article written by one of my colleagues, Yoso Bayudono, which was published in OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61 for the videography project: Where R Ur Empathies, Jakartans? “urban distortion phenomenon of Jakarta in design perspective” [:campaign project] -- an initiative urban campaign project to critize the urban phenomenon of Jakarta. With his colleague, Priyanto under the team called urbVIZ [:studio] or Urban Visualization Studio, Sigit tried to expose some issues and want to stress on some problem in Jakarta as one of megapolitan cities in the world.

Empati Dalam Budaya "Elu-Elu, Gua-Gua"
By: Yoso Bayudono

Seorang kawan yang setiap hari mengendarai mobil untuk bekerja sering bercerita tentang bagaimana setiap hari saat berangkat dan pulang kerja ia harus menghadapi macetnya jalanan Jakarta yang menggila. Saya yang bukan termasuk pengendara mobil sejati hanya mesam-mesem saja. Selama ini saya cukup puas dengan hanya memegang label penumpang (karena sudah ada supir saya…, supir kita bersama mungkin alias supir kendaraan umum) sehingga tidak terlalu mengeluh seperti dirinya meskipun sebenarnya juga sudah cukup muak dengan kondisi tersebut, hanya saja kaki tidak lelah menginjak gas, rem dan atau kopling. Hanya lidah dan hati yang lelah mengutuk. Yah…mungkin memang nasib pengendara mobil seperti itu, macet sudah menjadi penyakit kronis untuk sebuah kota besar seperti Jakarta ini. Konon bahkan kemacetan jalan pertama kali terjadi pada zaman Romawi dan masih lestari hingga kini.

Lain lagi cerita seorang kawan yang sangat irit ongkos sehingga lebih memilih untuk berjalan kaki baik untuk bepergian (jarak dekat tentunya…) maupun sekedar mencari udara segar dan berolahraga secara murah meriah. Suatu pagi ia sedang berjalan kaki di pedestrian sebuah jalan protokol yang cukup ramai di selatan Jakarta. Maklum sebagai seorang freelancer, ia tidak perlu datang pagi-pagi ke kantor, pasang muka dan absen, jadi ia menikmati jalan kaki paginya itu. Sementara kondisi jalanan macet merayap, insan-insan Jakarta serentak beranjak ke kantor, tempat meeting, sekolah, kampus dan lain-lain. Saat sedang asyik-asyiknya menikmati suasana, terdengar suara deru mesin motor di belakangnya diiringi klakson menyalak-nyalak. Kontan kawan saya itu minggir dengan wajah kaget. Melintaslah beberapa sepeda motor di pedestrian tersebut dengan wajah para pengendaranya yang bersungut-sungut, malah ada satu orang yang mengutukinya, “Mas, minggir dong…saya buru-buru nih!”. Lho……….?

Itu sekelumit kisah dari beberapa kawan yang tiap hari mengakrabi Jakarta. Menjadi salah satu bagian yang mengisi jalan-jalan Jakarta dan ruang-ruang publik lainnya. Menemui fenomena-fenomena urban yang menjadi bumbu dalam kehidupan metropolis ini. Menjadi bagian dari budaya jalanan.

Manusia Jakarta punya ruang pribadi masing-masing baik itu dalam rumah pribadi, kontrakan, kamar apartemen atau kamar kos…atau tempat apapun untuk melabuhkan diri pada akhir perjalanan hari…dan memulai hari esoknya kemudian. Di luar itu, manusia Jakarta kembali tumpah ruah di jalan dan ruang publik lainnya yang menjadi ajang bersinggungannya pribadi-pribadi manusia Jakarta lebur dalam ruang bersama, menyatu, saling berinteraksi, baik itu para pejalan kaki, pengendara kendaraan bermotor roda dua, tiga atau empat. Tapi masalahnya mungkin tanpa disadari manusia Jakarta sungguh berbudaya, kata-kata mutiara “elu-elu, gua-gua” masih dihayati begitu lekat , dimana porsi penggunaan ego cukup tinggi, sehingga sangat memungkinkan terjadinya friksi antar pribadi-pribadi tersebut. Akhirnya jalan dan ruang publik Jakarta menjadi semacam arena pertarungan antara para gladiator baik yang berdiri sendiri maupun yang menggunakan chariot atau kereta berkuda untuk bisa survive. Yang kuat menghajar yang lemah sehingga tidak haram hukumnya untuk menghancurkan pihak lain…apalagi bila posisinya lemah. Sikaaat!!!

Mungkin selain kawan-kawan saya, banyak dari kita yang pernah memiliki pengalaman-pengalaman seperti di atas, mungkin juga tubuh dan jiwa ini sudah lelah menghadapinya, lidah sudah lelah menyumpah serapah. Tapi pernahkah anda coba bertanya sendiri apa anda merasa ada yang salah disini? Atau semuanya malah wajar adanya dan sudah berjalan semestinya? Atau anda malahan tidak tahu apa-apa?

Hal inilah yang dirasakan oleh dua orang kawan, Sigit Kusumawijaya dan Priyanto, arsitek freelance sekaligus videographer yang mencoba menanggapi fenomena-fenomena urban yang mereka lihat selama ini dengan menciptakan karya dalam media video art berjudul Where R Ur Empathies, Jakartans? [:campaign project] “fenomena distorsi urban di jakarta dalam perspektif desain”. Dengan label urbVIZ [:studio] mereka mencoba memberikan pertanyaan yang menggelitik, nakal, dan iseng. Bukan ingin menjadi hakim dan menentukan mana yang salah dan mana yang benar, atau menjadi sufi bijak yang mampu memberikan jawaban atas semua masalah. Namun hanya mencoba mengajak kita untuk sedikit ber-empati dan menyadari adanya fenomena-fenomena urban tersebut yang ternyata menjadi bagian hidup kita sehari-hari. Siapa tahu mungkin ada sedikit bagian dari sisi hati kita yang tergugah. Dan…berbuat sesuatu mungkin?

Proyek ini melibatkan beberapa pihak sebagai partner diskusi dan kontributor antara lain Andra Matin dan VistaVastu (arsitek), Iriantine Karnaya (perupa), Davy Linggar (fotografer), Komunitas Ruangrupa dan Belajar Desain, serta beberapa mahasiswa sebagai sukarelawan.

Empat isu ditampilkan dalam proyek ini. Isu pertama berjudul “Coloring the Gloominess of Jakarta’s Concrete” (reducing stress in the middle of Jakarta’s traffic). Sesuai dengan tema Outmagz edisi kali ini, isu “mewarnai kesuraman beton-beton Jakarta” ini akan dibahas secara lebih banyak.

Stres saat menghadapi kemacetan jalan selama berjam-jam dan merasa…MUAK? Sementara pemandangan di luar kaca mobil yang terlihat melulu jalan, flyover, underpass membelah dan mengitari kota dengan warna…abu-abu suram, kelam… gloomy. Jakarta seakan hanya merupakan kota dengan warna-warna mati seperti Gotham City dalam film Batman dan Batman Returns hasil imajinasi Tim Burton. Mungkinkah pemandangan yang kita nikmati sepanjang perjalanan kita turut mempengaruhi kondisi unconscious kita? Ya tidak tahu, saya kan bukan seorang psikolog atau semacamnya! Tapi saya bisa mengatakan itu MUNGKIN SAJA!…maksudnya mungkin saja stres muncul dari kondisi unconscious kita yang tidak mendapat pencerahan dari “pengalaman menjelajah kota” (bukan bisa saja saya menjadi seorang psikolog!).

Kalau tiba-tiba ada ide “nakal” untuk mewarnai semuanya dengan warna oranye, hijau, biru, me-ji-ku-hi-bi-ni-u atau mungkin polkadot kombinasi kuning dan ungu, mungkinkah akan punya efek psikologis mengurangi stres? Selama ini sering juga kita lihat di beberapa tembok jalan Jakarta yang sudah di”eksplorasi” oleh komunitas-komunitas grafiti seperti Tembok Bomber atau @rtcoholic sehingga terlihat lebih berwarna, tapi hal ini tidak lama karena beberapa hari lagi sudah berganti dengan cat favorit Pemda kota yang berwarna putih atau abu-abu, kembali menjadi foto buram Jakarta yang seperti dicetak sephia atau black & white.

Saya jadi ingat bagaimana mendiang Romo Mangun mengangkat citra kampung marjinal Kali Code di Yogyakarta yang semula berkesan kumuh dan jorok, seperti sebuah kutil dalam kemajuan kota yang harus dilenyapkan menjadi berkesan asri dan tumbuh harmonis dengan perkembangan kota. Selain didesain ulang secara sederhana namun bersahaja, Romo Mangun dengan dibantu warga dan sukarelawan memberikan “warna baru” pada kampung dengan cara mengecatnya berwarna-warni menciptakan citra baru kampung yang indah, hidup, tidak suram. Nah…kalau konsep tersebut kita terapkan dalam skala kota Jakarta secara menyeluruh…membuat Jakarta lebih berwarna dengan mengecat hutan beton Jakarta menjadi berwarna-warni…mungkin menjelajah Jakarta menjadi sebuah pengalaman yang menyenangkan alih-alih bikin stress. “Jakarta kota berwarna” atau “Warnai Jakarta” mungkin bisa jadi jargon pariwisata tahun depan.

Tapi kalau menjelajah Jakarta jadi aktivitas yang menyenangkan, bisa-bisa semua orang tumpah ruah ke jalan dan menambah macet jalan…meskipun itu terjadi mungkin paling tidak kita bisa menikmati dengan senang suasana macet itu!

Isu kedua berjudul “Pedestrian, abc & dis(Comforts)” mempertanyakan tentang pedestrian yang sesuai fungsinya ditahbiskan untuk menjadi “ruang pribadi” para pejalan kaki, namun realitanya sering dijumpai ruang ini diinterupsi oleh motor dan pedagang K5. Pertanyaan yang kemudian muncul adalah sudah nyamankah pejalan kaki berjalan di pedestrian tanpa harus was-was terserempet motor yang nyelonong lewat, atau terpaksa ikut slalom test diantara jajaran pohon dan tiang listrik, atau dihadang kumpulan pedagang K5 sehingga harus turun ke jalan “menjajah” ruang kendaraan bermotor? Setiap aktivitas membangun konstruksi ruangnya masing-masing serta menciptakan definisi atas ruang dan aktivitas itu sendiri. Bila aktivitas tersebut menjamah ruang aktivitas lain, dan budaya “elu-elu…gua-gua” masih dihayati begitu lekat, konflikpun tidak dapat dihindari.

Isu ketiga berjudul “re-PUZZLING Bus Shelter” (focusing on bus shelter contextuality) berusaha mengangkat realita halte–halte bus di Jakarta yang didesain dan diletakkan tidak kontekstual dengan lingkungannya. Mempergunakan metode mix & match & permainan puzzle, bagian ketiga ini mencoba memasukkan atau menukar desain halte-halte tersebut dengan desain halte dari luar negeri, membebaskan orang-orang untuk berpikir dan menentukan sendiri mana yang mereka anggap cocok.

Isu terakhir atau keempat menyajikan sebuah wacana tentang kota dan identitasnya. Dengan judul “(toothless) famed Landmark”, bagian ini menghadirkan ironi ompongnya landmark Jakarta. Landmark seperti patung, tugu atau lapangan terbuka yang merupakan ikon jalan atau wilayah sebagai penanda/identitas wilayah tersebut kondisinya semakin tertindas, kalah oleh pembangunan yang kurang menghormati/menghargai keberadaannya. Setiap bangunan seakan “berteriak”, saling berlomba paling tinggi, paling indah tanpa menghargai keberadaan landmark yang lebih dulu berada disana. Tugu Selamat Datang di bundaran HI menjadi salah satu contoh landmark yang terkepung oleh gedung-gedung tinggi yang masing-masing punya posisi cukup kuat .

Proyek ini sendiri merupakan semacam proyek kampanye yang akan diikuti dengan roadshow untuk pameran dan presentasi ke beberapa tempat seperti Open House Arsitektur UI, Belajar Desain Gathering, Ruangrupa, dan tempat-tempat lain yang memungkinkan.

Nah…kalau selama ini kita (pura-pura?) tidak menyadari adanya fenomena-fenomena urban tersebut, terlalu cuek dengan dunia ruang hidup kita sendiri, mungkin tidak ada salahnya jika membuka sedikit jendela pemahaman kita terhadap fenomena-fenomena tersebut dengan mencoba tidak hanya berdiri di satu sisi. Sedikit mencoba memahami dan “seakan-akan” menjadi orang lain untuk bisa menyelami alam pikirnya. Trying to understand another people state of mind. Itu yang kita sebut dengan empati. Siapa tahu horison pemahaman kita bisa terbentang lebih luas dan jelas.

Jadi, sudah cukupkah anda ber-empati? Atau tidak cukup peduli? Tanya kepada orang di sebelah anda!

- Yoso Bayudono -
penggiat & kontributor Belajar Desain [:designers open community], bekerja sebagai arsitek di biro Vistavastu, penulis lepas, model amatir, tinggal di Cipete.
Yoso's blog: http://gerrilya.wordpress.com/

another link in Sigit Kusumawijaya Multilpy site:
JKT urban-cinematography [:project] >>>01 Publication on Magazine: http://sigitkusumawijaya.multiply.com/photos/album/13

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: Empati Dalam Budaya “Elu-Elu, Gua-Gua”
Writer: Yoso Bayudono
Ilustrator: Adhi Nugroho
Status: Article on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61
Year: 2006
Achievement:
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Public Response for videography project: "Where R Ur Empathies, Jakartans?", 2006

2009-04-13T17:50:00.014+07:00

These are several responses from the public about their feeling, hope, critic and aspiration about their beloved city, Jakarta, and also comments for the videography project: Where R Ur Empathies, Jakartans? “urban distortion phenomenon of Jakarta in design perspective” [:campaign project] -- an initiative urban campaign project to critize the urban phenomenon of Jakarta. With his colleague, Priyanto under the team called urbVIZ [:studio] or Urban Visualization Studio, Sigit tried to expose some issues and want to stress on some problem in Jakarta as one of megapolitan cities in the world.

Public Response

This campaign project has been exhibited and presented in several places such as Open House Arsitektur UI 2006, Belajar Desain [Design Learning] Gathering #22, 2006, and Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI). Many comments, critics and aspirations are given to this project. Public was really enthusiastic about the idea to make their beloved city, Jakarta be more comfortable to live humanly. Some of them are optimistic that we as the inhabitant can make a change. The other are still very pessimist. However the responses were great. It can be seen that there is still a hope and enthusiasm from people to make this greatest city of Indonesia become more livable.

These pictures were taken while the project being presented in Belajar Desain [Design Learning] Gathering #22, 2006.

While the exhibition and presentation were held, the audience was given the paper to share their opinion about their beloved city freely. Many thought, idea, comment, feel, aspiration, critic and other else were written by them. Some of the opinions are showed in the poster below.

However change needs time. There are other initiative urban projects like this already exist either by architects, urban designers, artists, NGO's, musicians, and many other components which also have same purpose to make Jakarta more liveable. With those colorful of ideas we can still see many enthusiasm by the public. There is still a hope and we can do our best for our better city.

another link in Sigit Kusumawijaya Multilpy site:
JKT urban-cinematography [:project] >>>10 Public Responses of the Project: http://sigitkusumawijaya.multiply.com/photos/album/12

Poster Design by Sigit Kusumawijaya

Work Description:
Title: videography project: Where R Ur Empathies, Jakartans?
Team: Sigit Kusumawijaya & Priyanto
Year: 2006
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Empathy [presentation for videography project: "Where R Ur Empathies, Jakartans?", 2006]

2009-03-31T02:29:00.024+07:00

This is a synopsis of the introductory presentation for the videography project: Where R Ur Empathies, Jakartans? “urban distortion phenomenon of Jakarta in design perspective” [:campaign project] -- an initiative urban campaign project to critize the urban phenomenon of Jakarta. With his colleague, Priyanto under the team called urbVIZ [:studio] or Urban Visualization Studio, Sigit tried to describe what "empathy" is and why we should empathize others.

"Empathy"

the identification and understanding of another’s situation and feelings
the action of being sensitive to another person’s experience and feelings
understanding and entering into another person’s feelings

While the ability to imagine oneself as another person is a sophisticated imaginative process which only fully develops later on in life, the roots of this ability are probably innate.

Human capacity to recognize the emotions of others are related to our imitative capacities, and seem to be grounded on the innate capacity to associate the bodily movements and facial expressions we see, with the proprioceptive feelings of those same movements or expressions.

Humans also make the same immediate connection between the tone of voice and inner feeling. Hence by looking at the facial expressions or bodily movements of others, or hearing their tone of voice, we are able to get an immediate sense of how they feel on the inside.

We experience this as directly seeing their emotion (say sadness or anger) not just the behavioral symptoms of that emotion.

One must be careful not to confuse empathy with sympathy, which is a distinct social emotion characterized by a general pro-attitude towards another person and their goals.

empathy can affect sympathy

Some experts (psychologist, scientist, psychiatrist) believe that not all humans have an ability to feel empathy or perceive the emotions of others. For instance, Autism and Asperger's syndrome are often characterized by an inability to empathize with others.

Even more, People can empathise with animals.

As such, empathy is thought to be a driving psychological force behind the animal rights movement (an example of sympathy), whether or not using empathy is justified by any real similarity between the emotional experiences of animals and humans.

just try to do these simple things:
See what other sees
Hear what other hears
Feel what other feels

another link in Sigit Kusumawijaya Multilpy site:
JKT urban-cinematography [:project] >>>03 Presentation about "Empathy": http://sigitkusumawijaya.multiply.com/photos/album/5

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: Empathy [introductory presentation for the videography project: Where R Ur Empathies, Jakartans?]
Presenter: Sigit Kusumawijaya
Team: Sigit Kusumawijaya & Priyanto
Year: 2006
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

(toothless) famed Landmark [videography project, 2006]

2009-03-25T05:25:00.010+07:00

This project is one of the issues from the videography project: Where R Ur Empathies, Jakartans? “urban distortion phenomenon of Jakarta in design perspective” [:campaign project] -- an initiative urban campaign project to critize the urban phenomenon of Jakarta. With his colleague, Priyanto under the team called urbVIZ [:studio] or Urban Visualization Studio, Sigit tried to expose some issues and want to stress on some problem in Jakarta as one of megapolitan cities in the world.

(toothless) famed Landmark
[issue #04]

[scroll down for English version]

[Bahasa Indonesia]

Latar Belakang
Landmark. Suatu wilayah atau kawasan atau daerah dapat dikenali oleh masyarakat melalui keberadaaan landmark. Dan begitulah kira-kira tujuan dan maksud diberadakannya sebuah landmark yang mungkin letaknya tidak hanya sekedar petanda wilayah, namun juga menjadi penghias wilayah, jika kita kaitkan dengan pengolahan kota dan wilayah. Di Jakarta, tidak hanya satu dua landmark yang ada, yang mungkin sering sekali kita lihat terutama di kawasan perkotaannya. Menjadi sebuah ikon yang kadang begitu disukai bahkan oleh anak kecil yang melihat semacam patung batu besar dengan proporsi yang tidak manusiawi dan berlekuk dengan satu macam gaya yang kadang mengundang tanda tanya. Namun ke-gigantisme-annya yang memang ditujukan agar semua orang yang melintasi suatu wilayah atau kawasan itu bisa melihat, selain menjadi penghibur perjalanan di kawasan perkotaan terutama yang kadang menjenuhkan dengan image kemapanan dan kejayaan yang semu.

Tujuan projek ini adalah untuk menjadi sebuah wacana tentang kota dan identitasnya dengan segala kemajuan yang dimilikinya. Menjadi sebuah gambaran realita hilangnya (baca: memudarnya) ikon-ikon jalan atau wilayah karena pembangunan yang kurang bisa mengendalikan diri dengan segala penghormatannya terhadap kota.

[English]

Background
Landmark. The area or space can be recognized or identified by the people with the existence of the landmark. And it is the purpose and mean of landmark which not only as a mark for an area but also as an aesthetic element of some area. In Jakarta, there are not only one or two landmarks that perhaps we often see especially in the urban area. Becoming as an icon that perhaps kids very much like of its shape who see a kind of giant rock sculpture which in unhuman proportion and raise a question. However its gigantism which has a purpose so that every person passing the area can see, beside as an entertainment of the journey in the urban area that often boring with the fake greatness.

The purpose of this project is become a discourse about city and its identity with their progressive development. Becoming a reality image about the fade of area and street icon because of uncontrollable development with all respects towards the city.

video #05 - (toothless) famed Landmark
youtube link: http://www.youtube.com/watch?v=EoOyvbRbgLg

another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/6/6
[video]: http://sigitkusumawijaya.multiply.com/video/item/31/Priyanto_Sigit_-_05_toothless_famed_Landmark

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: (toothless) famed Landmark
Director: Priyanto
Editing: Priyanto
Duration: 4'53''
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

re-PUZZLING Bus Shelter [videography project, 2006]

2009-03-25T04:14:00.017+07:00

re-PUZZLING Bus Shelter
[issue #03]

[scroll down for English version]

[Bahasa Indonesia]

Latar Belakang
Isu ini ingin mengangkat fenomena banyaknya halte bus yang tidak sesuai dengan konteks lingkungannya. Halte-halte bus didesain sedemikian serupa harus disesuaikan dengan konteks lingkungannya. Di Jakarta, halte-halte bus pada daerah Business District seperti di area Sudirman-Thamrin sudah tepat dalam hal desainnya yang sesuai konteks lingkungannya. Halte-halte lain di daerah sekeliling monas juga sudah didesain sesuai konteks lingkungannya. Namun masih banyak halte-halte yang didesain dan diletakkan tidak sesuai konteks lingkungannya. Bahkan cenderung halte bus tersebut banyak yang sudah tidak berfungsi dan rusak sehingga banyak penumpang bus yang tidak memakai halte tersebut dengan semestinya yang mengakibatkan bus atau angkutan umum lain berhenti sembarangan karena penumpangnya tidak merasa nyaman menunggu di halte tersebut. Permasalahan ini coba ditangkap dan dianalisis untuk dicarikan penyelesaian-penyelesaian yang sederhana dan bersifat menggugah dan menyentil.

Tujuan dari projek ini adalah untuk mengangkat realita halte-halte bus di Jakarta yang banyak didesain tidak sesuai konteks. Disini dicoba untuk saling menukar halte, baik yang kurang kontekstual ditukar dengan yang lebih kontekstual, ataupun juga menukar halte yang sudah kontekstual dengan yang tidak kontekstual sebagai sebuah satire dan sindiran.

[English]

Background
This issue want to raise phenomenon of many bus stop that not suitable with the context of its environment. Bus stops is designed to match with its context. At Jakarta, bus stops on the Business District area like Sudirman-Thamrin corridor have already matched with its environment context in term of its design and function. It also happens in the area of National Monument (Monas). However there are still many bus stops designed not suitable with the context. Indeed those bus stops are already broken so that passengers do not use it properly that result in bus or other public transportation stop in the proper place. Those passengers do not want to wait at those bus stops because of uncomfortable reason.

The purpose is to raise the reality of bus stops in Jakarta that are designed unsuitable with the context. In this project we try to exchange bus stops one with another to let the viewer think and decide and also as a satire of the bus stop malfunction.

video #04 - re-PUZZLING Bus Shelter
since Warner Music Group blocked the video I put in youtube link: http://www.youtube.com/watch?v=mPt1qXP7NHc you can watch video below
another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/7/7
[video]: http://sigitkusumawijaya.multiply.com/video/item/39

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: re-PUZZLING Bus Shelter
Director: Sigit Kusumawijaya
Editing: Sigit Kusumawijaya
Duration: 5'40''
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Pedestrian, abc & (dis)Comforts [videography project, 2006]

2008-12-17T21:21:00.016+07:00

Pedestrian, abc & (dis)Comforts
[issue #02]

[scroll down for English version]

[Bahasa Indonesia]

Latar Belakang
Jalan kaki. Entah kenapa ada sebuah pertanyaan (di kepala penulis), kenapa masyarakat Jakarta malah berjalan kaki, padahal ada yang namanya trotoar. Jawabannya bisa bermacam-macam. Karena panas (memang Jakarta panas), karena debu bus kota yang membabi buta, karena tidak nyaman dengan kondisi pedestrian yang tidak terawat, atau karena sekedar gengsi jika harus berjalan kaki di kota Jakarta yang fasilitas transportasinya telah lengkap (meski tidak juga terbebas dari kemungkinan-kemungkinan diatas). Namun ternyata setelah kita coba sedikit lihat lebih jauh, kemungkinan itu tidak hanya sebatas itu. Sering kita melihat di televisi atau film-film (barat), betapa tenangnya seorang aktris berjalan sendiri di tengah kota, sendiri, bahkan sudah agak malam. Ternyata memang, kondisi pedestrian di kota tercinta yang bernama Jakarta ini cukup kronis. Seorang pejalan kaki seolah tidak diberi ruang untuk berjalan, bahkan tanpa menggunakan predikat ‘nyaman’. Memang perlu diakui juga tidaklahsemua jalur pedestrian di Jakarta ini sudah diperkosa habis semua oleh para penjahat-penjahat jalanan, dan sudah ada sedikit upaya dari pihak yang memang berwenang untuk menangani permalahan tersebut.

Tujuan dari projek ini menjadi sebuah pertanyaan, apakah masih perlu adanya jalur pedestrian. Atau sekalipun kita masih berjalan di jalur pedestrian yang memang ada, apakah itu memang untuk pejalan kaki, atau memang bukan untuk pejalan kaki saja.

[English]

Background
Walking. There is a big question in the head of filmaker, why Jakarta society is quite lazy to walk, whereas there is a pedestrian path. The answer could be variable. Because of hot (indeed, Jakarta is very hot), or dust from the city bus which like a machine gun, or there is gangster that ready to rob with their weapons, or because of not convenient with the condition, or even prestige to ride a vehicle. Apparently after we try to look further, the possibility is not only those reasons. We often watch on the television or wester film, how all the pedestrian is very convenient to walk alone in the middle of the city even in the midnight. In fact the conditon of pedestrian path in Jakarta is very chronic. A pedestrian is not given a space to walk, even without “comfort” term. We can admit that not all of the pedestrian path in Jakarta have been ripped by the street felon, but there is also some effort from the municipality to solve these problems.

The purpose of this project is as a question if Jakarta still needs a pedestrian path. Or eventhough we still walk in that pedestrian path, is it only for pedestrian or is it also for other users?

video #03 - Pedestrian, abc & (dis)Comforts
youtube link: http://www.youtube.com/watch?v=MQOOVq7ifmI&feature=channel_page

another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/8
[video]: http://sigitkusumawijaya.multiply.com/video/item/32

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: Pedestrian, abc & (dis)Comforts
Director: Priyanto
Editing: Priyanto
Duration: 6'29''
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Coloring the Gloominess of Jakarta Concrete [videography project, 2006]

2008-12-17T20:29:00.012+07:00

Coloring the Gloominess of Jakarta Concrete
(reducing stress in the middle of Jakarta traffic) [issue #01]

[scroll down for English version]

[Bahasa Indonesia]

Latar Belakang
Isu ini ingin mengangkat permasalahan urban Jakarta yang paling jelas terlihat, yaitu masalah kemacetan jalan raya. Apa yang dirasakan para pengendara ketika mengalami macet? Apakah mereka merasa suntuk atau bahkan stres ketika menunggu dalam kemacetan? Kalau kebanyakan pengendara mengalami hal-hal itu, kita mencoba mencari tahu apa yang dapat menjadi penyebab keadaan suntuk atau stres tersebut. Penyebab-penyebab tersebut coba dihubungkan dengan psikologi arsitektur, seperti efek warna dalam ruang publik terhadap psikologis manusia. Apakah warna-warna dalam ruang publik tersebut dapat mempengaruhi psikologis manusia? Apakah warna-warna suram yang terdapat di bypass, flyover, maupun underpass dapat membuat pengaruh terhadap psikologis orang-orang yang sedang mengalami kemacetan menjadi lebih stress ataupun mempengaruhi emosi manusia?

Tujuan dari projek ini adalah untuk mengangkat fenomena kemacetan yang terjadi di urban Jakarta dan bagaimana pengaruhnya terhadap psikologis orang yang sedang mengalaminya.

[English]

Background
The issue wants to raise the problem of urban Jakarta which we can see clearly, traffic jam. What do the drivers feel when they trap in the traffic? Are they feel bored, weary, tired or even stress when they wait in the busy traffic line? If most of the driver suffer with those kind of feelings, we try to find what caused it. The reasons try to be related with the architecture psychology, for instance the colour effect in the public space towards the human psychology. Are those colours in the public space can affect towards the human psychology? Is the gloomy concrete on the wall of flyover and underpass can make an influence to the psychology of people who trap in the traffic more stress or affect human emotion?

The purpose is to raise the phenomenon of traffic happened in urban Jakarta and how the effects towards psychology of human who trap in it.

video #02 - Coloring the Gloominess of Jakarta Concrete
youtube link: http://www.youtube.com/watch?v=HwJoHG-oujY&feature=channel_page

another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/9
[video]: http://sigitkusumawijaya.multiply.com/video/item/32

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: Coloring the Gloominess of Jakarta Concrete
Director: Sigit Kusumawijaya
Editing: Sigit Kusumawijaya
Duration: 6'56''
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Where R Ur Empathies, Jakartans? [videography project, 2006]

2008-12-14T18:55:00.024+07:00

This is an initiative urban campaign project to critize the urban phenomenon of Jakarta. With his colleague, Priyanto under the team called urbVIZ [:studio] or Urban Visualization Studio, Sigit tried to expose some issues and want to stress on some problem in Jakarta as one of megapolitan cities in the world.

Where R Ur Empathies, Jakartans?
“urban distortion phenomenon of Jakarta in design perspective” [:campaign project]

[scroll down for English version]

[Bahasa Indonesia]

Latar Belakang
Fenomena urban Jakarta yang sering kita lihat dan sekaligus rasakan mungkin sudah banyak dijadikan wacana oleh beberapa pihak. Beberapa fenomena urban tersebut kami coba mengangkatnya dalam bentuk media video art. Realita masalah-masalah perkotaan yang banyak terjadi di Jakarta seperti masalah kemacetan, kekurang-empatian warga terhadap sesamanya, penyalah-gunaan fungsi-fungsi dan lain-lainnya cukup menarik untuk diangkat sebagai salah satu bentuk kepedulian kita terhadap kota Jakarta. Kami melihat dan mengamati, masih banyak warga yang kurang peka maupun terlebih lagi kurang peduli akan beberapa masalah yang memang sudah banyak di depan mata. Projek ini merupakan proyek kampanye untuk sedikit menggugah atau istilah kami “menyentil” warga Jakarta bahwa di sekeliling kita banyak masalah-masalah urban yang perlu dicermati, dianalisis bahkan diselesaikan untuk mencapai kondisi yang lebih baik dan ideal bagi semua pihak dan kalangan. Dampak globalisasi juga sangat terasa bagi Jakarta yang cenderung ‘kaget’ oleh budaya baru (budaya luar) yang datang. Banyak penyalah-gunaan bahasa dalam ruang publik, tidak terkendalinya pembangunan lahan dan gedung komersial seperti mal-mal yang menjamur dimana-mana bahkan banyak yang diletakkan di tempat-tempat yang menurut mereka (pengembang) strategis, padahal di tempat tersebut terdapat landmark wilayah tersebut yang hampir tergeserkan porsi keberadaannya. Produk dari proyek ini akan coba ditampilkan dalam beberapa pameran video art atau urban dalam beberapa instalasi yang kami harapkan dapat dinikmati oleh semua warga dan kalangan masyarakat agar dapat memberi sumbangan ide dan pemikiran untuk kota tercinta ini.

[English]

Background
The phenomenon of Jakarta urban that we often see and feel has already been a discourse by many elements. Some of that urban phenomenon tries to be raised in the media format of video art. The reality of urban problems happened in Jakarta, for instance: traffic jam, malfunctions of space, less empathies of the Jakarta inhabitants and so on, are very interesting to be discussed as our consideration to Jakarta city. We saw and observed that still so many inhabitants are not sensitive and indeed are careless about all the problems right in front of our eyes. This project are a campaign project that try to arouse or our term is “to snap society’s fingers” that in our surrounding there are still many problems that we need to be sensitive, to analyze and solve to achieve better and ideal condition for every elements in Jakarta. The globalizations effects also can be felt by Jakarta that has a tendencies of shocking by the incoming western culture. Many misuse of language in the public space, uncontrollable of development and commercial building like the mushrooming of big super mall located which they (developer) think that it is strategic, but there is a landmark that it’s meaning already been shifted. The product of this project has already been exposed and presented in some video art and urban exhibitions in some installations that we expect can be watched by the society so that can give a contribution of idea and thought to our beloved city.

The issues (will be explained in the next blog):
> Coloring the Gloominess of Jakarta Concrete (reducing stress in the middle of Jakarta’s traffic)
> Pedestrian,abc & (dis)Comforts
> re-PUZZLING Bus Shelter (focusing on bus shelter contextuality)
> (toothless) famed Landmark

video #00 - Brainstorming (Jakarta, beginning of 21st Century)
youtube link: http://www.youtube.com/watch?v=OyQJeMrwl-I&feature=channel_page

another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/11
[video]: http://sigitkusumawijaya.multiply.com/video/item/45

video #01 - Intro (Where R Ur Empathies, Jakartans?)
youtube link: http://www.youtube.com/watch?v=acyn3UtB_VU&feature=channel_page

another link in Sigit Kusumawijaya Multilpy site:
[captured video]: http://sigitkusumawijaya.multiply.com/photos/album/10
[video]: http://sigitkusumawijaya.multiply.com/video/item/44

This project has been presented on Belajar Desain [Design Learning] Gathering #22 on 24 Februari 2006. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/2082583944/pic/list

Poster Design by Sigit Kusumawijaya

Work Description:
Title: Where R Ur Empathies, Jakartans?
Director: Sigit Kusumawijaya & Priyanto
Editing: Sigit Kusumawijaya & Priyanto
Duration: 1'48''
Team:
Director: Sigit Kusumawijaya & Priyanto
The discussion partners & contributors: Open House Arsitektur UI 2006 comittee, Andra Matin, Avianti Armand, Andi Pratama, Gatot Roseno Aji, Margunawan & Vistavastu (architect), Iriantine Karnaya (artist), Davy Linggar (photographer), Erick Budhi Yulianto (Belajar Desain Community), Ade Darmawan & Dimas Jayasrana (Ruangrupa), Aram Kaleva & Babam (Graphic Visualizer), Yoso Bayudono (model), Adhi Nugroho (comic artist), Ardiansyah (contributor), Indhira Sagita, Jessica Patria, Ronny Gani, Marissa Aviana, Muttabati, Ika, Dewi Andhika P., Fathur Rohman, Merilira Indra, Prasetya Andhika W., R.M Ramadana P., Susanto GP., Windy Harfiani (students)
Achievement:
* Entry for OK Video 2006, International Video Competition held by Ruang Rupa, Jakarta
* Presented and exhibited on Open House Arsitektur UI, Januari 2006, Jakarta
* Presented on Belajar Desain [Design Learning] Gathering #22, 24 Februari 2006, Jakarta
* Presented on Forum of Indonesian Young Architect (Forum Arsitek Muda Indonesia/AMI), Jakarta
* Published on OUTMAGZ Magazine vol.13//April 2006//COLOR on page 58-61

Belajar Desain Gathering Opening Clip [videography project, 2006]

2008-12-12T17:02:00.008+07:00

This clip is the project for Belajar Desain Gathering. The clip is always played for the opening of the Belajar Desain Gathering. As explained in the older post before, BELAJAR DESAIN (in english we name it DESIGN LEARNING), is an open designers community for young designers, artist, architects and other design practitioners to discuss and exhibit their works regularly.We established since October 2004 and already have more than 3500 mailing list members in December 2008.

BELAJAR DESAIN [: designers open community]

! NO BOUNDARY IN LEARNING DESIGN !

[architecture, interior, graphic, product, visual communication, art, music, dancing, theater, photography, film & cinematography, writing, fashion, and other kind of design]

our mailing list: http://groups.yahoo.com/group/belajardesain/

to subscribe, send a blank email to: belajardesain-subscribe@yahoogroups.com

we also have GROUP in FACEBOOK, called DESIGN LEARNING [: designers open community] in this link: http://www.facebook.com/group.php?gid=33698896886 (you should have a Facebook account to join)

youtube link: http://www.youtube.com/watch?v=sZOWX5T0nz0&feature=channel_page

another link in Sigit Kusumawijaya Multilpy site: http://sigitkusumawijaya.multiply.com/video/item/41

Work Description:
Title: Belajar Desain Gathering Opening Clip
Director: Sigit Kusumawijaya
Editing: Sigit Kusumawijaya
Duration: 1'49''

Pakubuwono Lawyer Office [Work Experienced Project at Andra Matin Architect, 2005]

2008-12-12T16:31:00.007+07:00

This lawyer office project finished at 2006, was also designed officially by Andra Matin Architect (Jakarta) on 2004-2005. In this project, my position here is a project architect. The client has a big popularity in law field in Indonesia. Their old office was located at the penthouse of one of the tallest building in Jakarta, Mulia Tower at the Sudirman CBD. They wanted to move their office closer to the ground. They built their office in one of the area which easily accessible to other main road in the sotuh of Jakarta. This office has four floors including basement parking plus roof garden at the top level. The concept of the interior is unusual for the lawyer firm by playing the height of the floors. Each level has two different heights and is separated by void to the ground level. All the rooms are transparent with glass as a partition so that the space looks bigger and wider.

The expression of the exterior try to match with the facade expression of building surround. This area, called Pakubuwono, quite famous with the identity of its building exterior expression. The area was a housing area for Dutch inhabitants and some rich Indonesian which has unique character for their house facade, called Jenky house. Using metal material as a mask this building try to translate that expression.

Materials used in this project are variable. However the image wanted to be expressed here is the natural material. By using the original colour of each material, the concept is want this building has a natural artistic image. Rust iron, wood and glass are dominant as a partition of every room whether office room and meeting room. The floor use white marble and concrete layered by carpet in the interior and wood and granite for the exterior. We also designed the furniture as it has to fit with the unique shape of each room.

We propose several other rooms beside main room for office activities. Entertainment and game room are provided in the ground floor area as the workers need to relax in their break time. The other unique characterisitic of this project is that small swimming pool is added in the first floor hanging with the big and strong concrete support it. From the entrance on the outside we could not see this pool as it is covered by the metal facade of this building in front. This swimming pool can be seen from the office room in the first floor or above. There is also garden in the deck of second floor.

When we enter this building, the space called “Laptop Bar”, parallel with the ramp will greet us. This idea is came from the bar that we use it as a space for guest or workers who want to use their laptop or have some small meeting. In the backside of this building you will find small garden as a void and also as a smoking room. It is surrounded by glass wall which the stair from basement floor to the top of the building is behind it. We also propose glass floor as it was designed as a small void before. Due to the strict cost and safety it was changed as a glass floor which also add the uniqueness of the building interior. 9 by 3 meter swimming pool is located in the front of the building at the first floor as it is can be seen from the office room next to it. This building was succesfully finished at 2007 when I as a project architect had left Andra Matin Architect at 2006. However I designed this project from the beginning until the start of the construction.

Work Description
Title: Pakubuwono Lawyer Office
Location : Pakubuwono, Jakarta, Indonesia
Status : Finished Project
Year : 2005-2006
Office : Andra Matin Architects, Jakarta, Indonesia

Team : Andra Matin (Principal), Sigit Kusumawijaya (Project Architect), Noerhadi (ext. Project Architect), Angie Miranti (Interior Designer), Heddy Poernomo (Model Maker), Asep Tatang (Drafter)

"Journey", Andra Matin Architects installation at CP Biennale 2005 [Exhibition Project for Andra Matin Architect, 2005]

2008-12-12T14:53:00.012+07:00

The project led by Andra Matin Architect was exhibited at CP Biennale 2005: "urban/culture" held by CP Foundation (http://www.cp-foundation.org/) at the Bank Indonesia Museum in Kota, Jakarta from September 5, 2005 to October 5, 2005. This second CP Biennale has been designed to commemorate the 60th anniversary of the Republic of Indonesia and the 50th anniversary of the Asia-Africa Conference.

The curation of CP Biennale II, 2005 is meant to provide a clearer look at the social function of art, particularly in Indonesia. The Theme Urban/Culturesets forth a variety of issues: development and progress, social problems, economics and politics, as well as the matter of history. A seminar with the theme "Urban Reflection", which was held on September 6, during the CP Biennale II, 2005, deal specifically with the various dimensions of the problems facing urban communities.

Andra Matin Architects Installation: "Perjalanan (Journey)"
Dimensions vary
Installation
(architecture model, maquette/model, multimedia)

installation images are taken from: http://biennale.cp-foundation.org/2005/featured_andra_matin.html

project #1: Gedong Panjang and Pluit Interchange under-toll road settlement
Ever since roadways in Jakarta multiply in dimension, I believe we need to start thinking about new spaces emerging around it. The team focused on studying the spatial typology of spaces beneath the flyover and came out with creative and realistic solutions.

Two sections of the flyover that circles around Jakarta have been chosen: Gedong Panjang and Pluit Interchange.

Each space has unique characters that clearly differentiate its core problems with one another.

Together, the problems will envisage the diverse problems that surfaced along with the development of flyovers in a developing metropolis like Jakarta.

project #2: Blok M - Taman Puring (Puring Park) strip
The ideas for the project emerged from an interesting phenomenon about spatial experience that will be seen if we can further explore our walk from Blok M through Taman Puring. There is a vivid differentiation of economic levels and an abundance of spatial experiences between Blok M area and Mayestik if we seriously develop the analysis from the walk.

There is an enormous potential of roadside street vendors. The secondhand electronic market, bird market, fruit market, flower market, fish market, food-stalls, and the two lush parks will form a coagulation whose presence, when unmasked from the roadside vendors lining up around them, will be felt more significantly by the people living around that area.

some text is cited from: http://biennale.cp-foundation.org/2005/featured_andra_matin.html

(except for the layout, all images are copyright Andra Matin Architects, 2005; photographs are copyright of Davy Linggar)

Work Description
Title: Perjalanan (Journey), Andra Matin Architects installation for CP Biennale 2005: "urban/culture"
Location : Bank Indonesia Museum in Kota, Jakarta, Indonesia
Status : Exhibition Project
Date : September 5, 2005 - October 5, 2005
Office : Andra Matin Architects, Jakarta, Indonesia

Team :
Principal: Andra Matin
Project Manager: Sigit Kusumawijaya, Astrid Susanti
Team Members: Avianti Armand, Andi Pratama, Noerhadi, Patisandhika Sidarta
Photographer and video editor: Davy Linggar, Tintin Wulia
Panel Graphic Layout: Hermawan Tanzil
Model Maker: Heddy Poernomo and students from University of Indonesia
Students: Muttabati Arafatiani, Grita Anglila, Alexander Mario Rannu, Hardyanthony Wiratama, Anjasmoro Maroef, Andi Indra Utama, Paskalis Khrisno Ayodyantoro (Gedong Panjang-Pluit Interchange Team); Ronny Gani, Indhira Sagita, Jessica Patria, Marissa Aviana, Andi Indra Utama, Sony Sutandhi (Blok M-Taman Puring Strip Team)
Achievement:
* Exhibited and presented at CP Biennale 2005: "urban/culture" at the Bank Indonesia Museum in Kota, Jakarta from September 5, 2005 to October 5, 2005
* Published on CP Biennale official site: http://biennale.cp-foundation.org/2005/cpb_2005.html
* Published on Kompas daily paper

Children Visual Perception [videography project, 2005]

2008-12-12T06:19:00.010+07:00

This video has been presented & exhibited by Sigit Kusumawijaya & Avianti Armand in "Secondary Skin" Budi Pradono Architect Exhibition, Jakarta 2005

Children Visual Perception

We believe that children have their own spatial conception and it has a very close relationship to their visual perception. Children from kindergarten to elementary school have certain height different from grown ups. Although it matters a lot, we - grown ups, often forget about it.

This short movie was taken in different places and situation, from an angle we assume belong to average 7 year old kids, maybe about 110 cm to 120 cm from the ground. For grown ups, this, hopefully, can be used as a simple tool to understand different point of views. And for children, they have to be given this notification that they are important.

Shots took in :
- public bathroom
- escalator
- ramp to busway station
- busway ticket locket
- inside the busway
- on street intersection, below the traffic light
- crossing the very busy street
- inside a park, monas
- in the train station, gambir
- the fast food queue
- inside the national museum, in front of every exhibits
- inside a supermarket
- inside a cinema
- inside a basement parking lot
- in an elevator
- in a book store
- in a cd store
- in a snooker hall
- time zone
- end up in secondary skin exhibition

The duration of is about 10 minutes. Every change of scene is separated with a blank page, either white or black.

another link in Sigit Kusumawijaya Multilpy site: http://sigitkusumawijaya.multiply.com/video/item/14

Work Description:
Title: Children Visual Perception
Director: Sigit Kusumawijaya, Avianti Armand
Editing: Sigit Kusumawijaya
Duration: 10'00''
Achievement:
* presented & exhibited in "Secondary Skin" Budi Pradono Architect Exhibition, Jakarta 2005

WAREhouse [Work Experienced Project at Andra Matin Architect, 2005]

2008-12-11T21:31:00.012+07:00

This project was designed officially by Andra Matin Architect (Jakarta) on 2004-2005. As a project architect, I tried to translate the client's will to have his house look like a factory. We call this house as a "WAREhouse" for its concept. This 200 m2 house uses many unfinished materials to represent the concept. For its facade it uses perforated metal material with rust iron finish to make a "HARD" image. Other materials that are used for this house is refined plaster cement finish for wall without color painted and also for floor to make the interior more natural. The material of door and window frame are also use rust iron finish that still remain the natural dark blue color of the metal. The ceiling uses exposed steel frame in the living room and exposed wood in some rooms.

Located in East part of Jakarta which known as its high tropical temperature, this house uses cross ventilation and two big voids to flow the wind across through the house. These big voids also make the interior looks wider even-though the site area is not too large so that their kid can play freely.

Many rust iron finished materials are used in this house to emerge its artistic image. One of the element that use rust iron finish is the stair which is protected by thin plate balustrade that stretch from the floor until the half of house height. The stair step uses perforated steel plate which is usually used for catwalk in the factory. The exposed steel frame on the ceiling is also remained the color as its natural color. The aluminum foil and glass wool is inserted between the ceiling and the metal deck roof on the top of the house to reduce the heat.

Grey become the basic color of this house as can be seen at the floor and the wall. Its floor is finished with smooth plaster cement with grey floor hardener material to make this floor look glossy and easy to clean. The wall is also finished by its natural grey color to emerge its artistic image.

This project also uses many sun light games to eliminate the electricity use in the afternoon. Transparent glasses are put in the wall that is adjacent to the outside. The purpose is to let the sun light come into the house as much as possible. The first floor child room which is also adjacent to the outside in front of the house use transparent glass too. However, the building face to South West direction that means almost get the sunset light directly from the west. To reduce the direct sunset light, near massive iron plate is used in the facade. But as it is said on the top of this page, this near massive iron plate is perforated to still let the sun light come into the room dramatically. The sandblast glasses are used in the private owner's room like master bedroom and bathroom. This sandblast glasses still can be opened to let the wind flow across the room.

The project was successfully finished within one year with not spend a lot of budget to build if it is compared with the normal house price in Jakarta. Instead this project budget is quite cheap than others which has the same wide. Both the architect and the clients are satisfied with the design and the house application itself. This project has also been published in several architecture medias in Indonesia, for instance RUMAH Tabloid on 2006, LARAS Magazine (Mei 2007), and at Kompas.com (http://www.kompas.com/read/xml/2008/05/05/11462630/membuat.rumah.bernuansa.pabrik).

All photos were taken by the photographer of RUMAH Tabloid. Some photos have already been published in RUMAH Tabloid edition 91.IV/25 July-07 August 2006. Thanks to Dekardha Dian of RUMAH Tabloid.

another link in Sigit Kusumawijaya Multiply site: http://sigitkusumawijaya.multiply.com/photos/album/48
this project has also been analyzed for the course of Territory (Grondgebied) [: Sun wind water earth life living; legends for design] (course code: AR2U070) in the MSc. of Urbanism, Faculty of Architecture, TU Delft, The Netherlands, 2006, in the site: http://sigit2006grondgebied.wordpress.com/

This project has been presented on Belajar Desain [Design Learning] Gathering #15 on 26 June 2005. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/1545024098/pic/list

Poster Design by Sigit Kusumawijaya

Work Description
Title: Anto Residence
Location : Pulomas, Jakarta, Indonesia
Status : Finished Project
Year : 2004-2005
Office : Andra Matin Architects, Jakarta, Indonesia

Team : Andra Matin (Principal), Sigit Kusumawijaya (Project Architect), Heddy Poernomo (Model Maker)
Achievement:
* Presented on Belajar Desain [Design Learning] Gathering #15, 26 June 2005
* Published on RUMAH Tabloid, edition 91.IV/25 July-07 August 2006.
* Published on LARAS Magazine, #221, Mei 2007
* Published on Kompas.com at: http://www.kompas.com/read/xml/2008/05/05/11462630/membuat.rumah.bernuansa.pabrik

Is This the End of Us [videography project, 2005]

2008-12-10T17:06:00.008+07:00

"is this the end of us"
cinematography projext #4-x 2005

Another project for OK Video 2005, International Video Competition held by Ruang Rupa, Jakarta
youtube link: http://www.youtube.com/watch?v=ViIOftW8Dsk

another link in Sigit Kusumawijaya Multilpy site: http://sigitkusumawijaya.multiply.com/video/item/46

Work Description:
Title: Is This the End of Us
Director: Sigit Kusumawijaya
Editing: Sigit Kusumawijaya
Duration: 5'18''
Achievement:
* Entry for OK Video 2005, International Video Competition held by Ruang Rupa, Jakarta

Sigit Kusumawijaya panel for exhibition of Ninetyniners Joint Exhibition “Ours, 1999 – present: Architecture – Art – Photography

2008-12-10T16:46:00.007+07:00

This is Sigit Kusumawijaya panel for exhibition of Ninetyniners Joint Exhibition “Ours, 1999 – present: Architecture – Art – Photography, December 4th-11th, 2003, 2nd floor Department of Architecture, University of Indonesia.

Black and red are dominant for the colour scheme of the panel.

Profile of Sigit Kusumawijaya for the installation.
Images and layout are copyright of Sigit Kusumawijaya, 2003

Poster for Ninetyniners Joint Exhibition “Ours, 1999 – present: Architecture – Art – Photography
Poster design by Sigit Kusumawijaya

Everyone will Stop the Fear [videography project, 2005]

2008-12-04T01:33:00.011+07:00

"everyone will stop the fear"
cinematography projext #2-x 2005

dvd cover design by Sigit Kusumawijaya

Project for OK Video 2005, International Video Competition held by Ruang Rupa, Jakarta
youtube link: http://www.youtube.com/watch?v=-XTxrSs0Kuw

another link in Sigit Kusumawijaya Multilpy site: http://sigitkusumawijaya.multiply.com/video/item/28

Work Description:
Title: Everyone will Stop the Fear
Director: Sigit Kusumawijaya
Editing: Sigit Kusumawijaya
Duration: 6'19''
Achievement:
* Entry for OK Video 2005, International Video Competition held by Ruang Rupa, Jakarta

Club House Semarang International Golf Course [competition project, 2004]

2008-12-03T15:35:00.009+07:00

Indonesian culture that we want to introduce to the International users in this Club House is general Indonesian traditional architecture, three principle parts of the building, which is head part (roof), body part (wall), and leg part (column), modified and combined with the present contextuality in term of material, expression, and site location.

The blind of horizontal and vertical wood positioned in the front of the opening (glass wall) is designed to reduce the sunshine entering the building and possibly disturbing the visitors’ convenience.

This project has been presented on Belajar Desain [Design Learning] 1st Gathering on 17 September 2004. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/32900535/pic/list

Poster Design by Erick Budhi Yulianto

Work Description

Title : Club House Semarang International Golf Course

Team : Erick Budhi Yulianto, Budiarti Prananingrum, Sigit Kusumawijaya

Location : Semarang, Indonesia

Status : National Architecture Design Competition

Organizer : PT. Putra Wahid Sejahtera and PKAK JAFT, University of Diponegoro, Semarang

Year : 2004

Achievement:

* 5 best nominee

* Presented on Belajar Desain [Design Learning] Gathering #01, 17 September 2004

Belajar Desain Concept [:design learning concept]

2008-12-03T04:46:00.018+07:00

This is the first concept (or can we call it manifesto?) of BELAJAR DESAIN (in english we name it DESIGN LEARNING), an open designers community for young designers, artist, architects and other design practitioners to discuss and exhibit their works regularly.We established since October 2004 and already have more than 3500 mailing list members in December 2008.

BELAJAR DESAIN [: designers open community]

! NO BOUNDARY IN LEARNING DESIGN !

[architecture, interior, graphic, product, visual communication, art, music, dancing, theater, photography, film & cinematography, writing, fashion, and other kind of design]

our mailing list: http://groups.yahoo.com/group/belajardesain/

to subscribe, send a blank email to: belajardesain-subscribe@yahoogroups.com

we also have GROUP in FACEBOOK, called DESIGN LEARNING [: designers open community] in this link: http://www.facebook.com/group.php?gid=33698896886 (you should have a Facebook account to join)

latar belakang

Berkumpul, berpresentasi membedah suatu desain adalah hal yang lazim dilakukan oleh kita yang memang dilatar belakangi oleh pendidikan yang beorientasi desain. Seni mencipta yang dari hari ke hari semakin berkembang dengan pesat tentu tidak lepas dari perhatian kita sebagai pengamat, penikmat dan pelaku dari dunia desain. Langgam, teknologi sampai manifesto baru yang didengung-dengungkan oleh berbagai pihak dari seluruh belahan dunia, sudah barang tentu mempengaruhi kita yang berkecimpung dalam dunia desain ini. Kolaborasi-kolaborasi antar disiplin desain sudah banyak terjadi yang membuat kita mau tidak mau memberi perhatian yang lebih tidak hanya pada satu disiplin desain tertentu saja.

Hal tersebut mendapat perhatian dari kami yang sangat peduli dan ingin memberikan sumbangan bagi perkembangan dunia desain di Indonesia khususnya bagi desainer-desainer muda di Indonesia baik yang berasal dari disiplin arsitektur, interior, produk, grafis, komunikasi visual, seni, musik, teater, koreografi, fotografi, sinematografi, sastra, fashion dan seni-seni desain lainnya.

maksud dan tujuan

Dengan berbagai potensi yang dimiliki oleh desainer-desainer muda yang gemar bereksplorasi dan tengah berpraktisi tersebut, kami mengupayakan berjalannya sebuah komunitas belajar, yang kami namai BELAJAR DESAIN. Komunitas ini dalam setiap kesempatannya akan berusaha mempelajari setiap perkembangan, pergerakan dan isu-isu di seputar dunia desain. Hal ini kami lakukan dengan cara melakukan presentasi-presentasi desain, pameran antar disiplin desain, sayembara desain, membedah buku-buku desain terbaru, dan mengadakan diskusi-diskusi antar disiplin desain.

Tujuan dari hal-hal yang dilakukan diatas sudah barang tentu berusaha menghasilkan komunitas yang sangat sadar akan desain apa yang berkembang di sekitar kita dan pada akhirnya dapat teraplikasi dalam setiap tarikan garis, ucapan yang terlontar dan karya yang tercipta.

Efek positif yang diinginkan, tentu saja sebagai ajang aktualisasi diri individu-individu yang berkecimpung di dalam komunitas. Dan tujuan lainnya adalah memberikan sumbangan pemikiran dan karya bagi dunia desain di Indonesia.

Hal tersebut tentu saja membutuhkan kesinergian dari semua pihak agar maksud dan tujuan diatas dapat tercapai. Walaupun mungkin saja di tengah perjalanan akan mendapatkan rintangan, namun kami optimis apabila semua pihak yakin dan saling bahu-membahu, maka segala macam hambatan kelak akan terlewati.

macam kegiatan

Presentasi desain

Pameran antar disiplin desain

Sayembara desain

Bedah buku desain

Diskusi antar disiplin desain

Kunjungan ke workshop

Menikmati dan merasakan desain baru

peserta kegiatan

Mahasiswa desain di Indonesia

Praktisi desain di Indonesia

Institusi desain di seluruh Indonesia

Masyarakat umum

waktu & tempat kegiatan

Jum’at malam, minggu kedua dan keempat setiap bulan, pukul 19.00-21.00,

tempat tentative

Jum’at malam setiap 2 bulan sekali kerjasama dengan aksara bookstore,

tempat di aksara bookstore Kemang

kerjasama antar pihak

Bagi semua pihak yang mendukung terselenggaranya acara ini, maka nama pihak tersebut akan di tayangkan di setiap awal presentasi.

dokumentasi kegiatan

Setiap karya yang telah dipresentasikan, akan di masukkan kedalam website karya yang telah kami siapkan, sehingga tetap dapat diakses setelah acara berlangsung. Linknya adalah: http://groups.yahoo.com/group/belajardesain/photos/album/0/list

contact person

Moderator milis Belajar Desain: belajardesain-owner@yahoogroups.com

Erick Budhi Yulianto: erickbudhi@yahoo.com

Cahyo Candrawan: gonxi_pocai@yahoo.com

Margunawan: margunawan@yahoo.com

Sigit Kusumawijaya: expialidocious99@yahoo.com

Kemang Apartment [Work Experienced Project at Andra Matin Architect, 2004]

2008-12-03T00:22:00.016+07:00

This apartment complex consist of 24 units, 6 for bachelor & 18 for family purpose.

Each units’ ground floor that directly connect with public space is used for functions that still allow visual intrusion from the outside like living room, dining room & pantry. Meanwhile the upper floor is used for functions with higher privacy like bed rooms.

The building mass is placed with disorder composition, very responsive to the existing condition and site border line.

The apartment units is designed to have differences one to another. some moduls on the ground floor can be similar, but on the upper floor there are some units that interlock one with another horizontally & vertically as well.

This internal condition is showed on the facade & building mass treatment, so that expression that happened is as different shape composition & material using.

This project has been presented on Belajar Desain [Design Learning] Gathering #02 on 1 October 2004. The documentations can be found in this link: http://groups.yahoo.com/group/belajardesain/photos/album/1585427728/pic/list

Poster Design by Erick Budhi Yulianto

Work Description

Title: Kemang Apartment

Location : Kemang, Jakarta, Indonesia

Status : Proposal Project

Year : 2004

Office : Andra Matin Architects, Jakarta, Indonesia

Team : Andra Matin (Principal), Sigit Kusumawijaya (Project Architect), Heddy Poernomo (Model Maker)
Achievement:
* Presented on Belajar Desain [Design Learning] Gathering #02, 1 October 2004