Architecture Firm: Realrich Architecture Workshop
Contact e-mail: email@example.com
Firm Location: Aries Utama H 4 A – Indonesia
Completion Year: 2020
Gross Built Area: 600 sqm
Project location: Taman Villa Meruya, Tangerang, Indonesia
Lead Architects: Realrich Sjarief
Lead Architects e-mail: Realrich@raw.co.id
Design Team: Amud, Mohammad Enoh, Alifian Kharisma, Miftahuddin Nurdayat, Septrio Effendi, Fakhriyah Khairunnida, Vivi Yani Santosa, Tirta Budiman, Aqidon Noor Khafid, Amirul Farras
Clients: Realrich Sjarief + Laurensia Yudith
Engineering: Singgih Suryanto, Sudjatmiko, Endang Syamsuddin, Eddy Bahtiar, Yudi Atang, Sakum,
Landscape: Realrich Architecture Workshop
Photo credits: 1. Eric Dinardi, 2. Ernest Theofilus
Photographer’s e-mail: 1. firstname.lastname@example.org, 2. email@example.com
Video link: https://www.youtube.com/watch?v=Ohhy-1u-6co
About the Firm Realrich Architecture Workshop
Realrich Architecture Workshop which well-known by the name of RAW Architecture is an experimental design studio created by Realrich Sjarief. The Studio continues the craftsmanship technique of 3 generations of Realrich’s builder family since Indonesia independence. The conceptual approach involves a poetic solution to overcome the design brief. The technique elaborated in the Realrich Architecture Workshop is the studies of context, application of tectonics grammar, evaluation of critical methodology grammar, and uses of stereotomic forms. The sum of all of the concept calls the objective of the studio to achieve a natural state of architectural mastery.
The new project, named Guha Bambu is on the east side. This building stands in the lot of 7.5 x 26 m size consisted new 3 story Bamboo structure, 2 stories of the basement. The technique to build the structure is elaborated from the experimental school of the alfa omega project. The technique separates the steel plane truss structure as a roof and bamboo structure to hold the 3-floor plate under the steel structure roof.
Bamboo always has two sides, a quality of exploration, and of uncertainty. Both of them are the fact that research and development of construction technology for bamboo has not yet been developed. However, bamboo construction is rife in Indonesia before the bubonic plague caused by rats. The varying tubular cross-section sizes cause difficulty in completing the details which then creates unreachable gaps where rats can occupy.
Second is the lack of standardization of the supply and technology of bamboo preservation. In Guha bamboo-this is solved by providing a threshold barrier for the transition space and closing the gap with bamboo which is split and stuck with construction glue. Furthermore, these bamboo elements can form curved experiments quickly, easily, and efficiently which enable the processing of shapes and functions that have surprises, new possibilities.
Bamboo construction, like any other construction, always has a purpose. Robert Curedale discusses the purpose of a design element into how it needs to have elements to focus on the user, collaborative, need to develop Research + Development (tested and evaluated), have an iteration process, have surprises, have a choice of methods and tools that can solve problems that can anticipate repeated failures. And interestingly, the first step is an important step, the process of opening up new possibilities, a motive for exploring.
The design and construction process of Guha bamboo made us learn about integrative design exploration using natural fiber composite materials with industrial materials forming a sustainable design.
The landscape concept around Guha consists of plants that are selected from wild plants and are easily treated such as weeds, frangipani trees, and grass. The idea is to form a park that is as simple as possible, without pretension, the aim is to provide a “micro-climate”. An experiment in landscaping that helps reduce ambient temperature, beautiful surroundings.
Over time, several medicinal plants, vines as insulation and supporting the shady microclimate were introduced. Starting from seedlings to dense once so that some seeds that are ready can be distributed to friends in need. Sometimes I ask builders to plant these seeds around so they can benefit others. The Guild transformed like a forest, equipped with rainwater catchments and reservoirs.
The bamboo cave building has changed color twice, the first color is a golden color, the natural color of a mature bamboo vein. The second color is gray, this is the result of an architectural pilgrimage to Father Mangunwijaya’s work, the house of Arief Budiman. In that house, bamboo screens are covered with white oil paint. This layer preserves the quality of the bamboo from 1987. From there came a decision to coat the natural color of bamboo on the side exposed to sunlight and rainwater.
Father Mangun works by creating a harmony of work between his artisan workers, the client who will inhabit his work, as well as himself. This gave rise to a combination of complex tectonics, not simple, mutually reinforcing, a symphony of material, such as the musical language of Ananda Sukarlan, “Rapsodia Nusantara”.
All of these, knitted in the tectonics grammar (Tectogram), an assembly language of material with a variety of shapes and shapes that provides a functional, artistic touch, and surprise architectural details integrated with MEP and structure, a concept of “integrative approach” between a series of poetic architectural details.
The front view of Guha bamboo is inspired by the face of the Barong mask, like the face of a tiger, king of the symbol of goodness. Back in my childhood, I spent part of my childhood in Bali, I often hid when there was a Barong show, which made my father and mother laugh at those moments. The interior is designed with repetition of bamboo, vertical bamboo to support the roof structure which creates the impression of a twisting bamboo forest.