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archinesia vol.

7 > built projects 21

BUILT
Studiomake > Thailand
Patana Gallery, Bangkok
andramatin > Indonesia
The 'Sculpture' Musala, Banyuwangi
IDIN Architects > Thailand
Habitia-H Club, Bangkok
SUB > Indonesia

PROJECTS
Trimmed House, South Tangerang
andramatin > Indonesia
GW Residence, Semarang
SO > Thailand
Wonderwall House, Chiangmai
S+Na. Sanuki+Nishizawa architects >
Vietnam
ANH House, Ho Chi Minh City
MM++ Architects > Vietnam
Oceanique Villas, Binh Tuan
1
22

clearly visible.
pada kulit bangunan
terlihat dengan jelas.
dalam pada saat senja

in the buildings casing


the steel reinforcement
membuat tulangan baja

of Patana Gallery makes


Cahaya lampu dari ruang

Bright light from the interior


archinesia vol.7 > built projects

Studiomake > Thailand

Bangkok
PATANA
GALLERY
archinesia vol.7 > built projects

DESIGN PRINCIPAL(S) OWNER SITE AREA (SQ. M) STRUCTURE


David and Im Schafer Faculty of Art and Design, Faculty 1,420 sq.m Borvornbhun Vonganan, Suradej
of Digital Art and Faculty of Kaewprasert and Rittichai Ninphoo
ARCHITECT'S TEAM Architecture at Rangsit University FLOOR AREA (SQ. M)
Sirima Plienchareon 1,500 sq.m WRITER
DESIGN PERIOD Dini Kusumawardhani
2011 INTERIOR DESIGNER
LOCATION
Studiomake PHOTOGRAPHER
Rangsit University, Pathumthani,
CONSTRUCTION PERIOD Wison Tungthunya
23

Thailand
2011 - 2012 CONTRACTOR
New Star International Co., Ltd
24 archinesia vol.7 > built projects archinesia vol.7 > built projects 25

Sejak istilah industri kreatif pertama kali didengungkan Since the term creative industry was rst aunted
di Inggris pada era 90-an, wabah kreatif menyebar ke in England in the 90s, the creative plague spread
seluruh dunia, termasuk Thailand. Per 2013, UNESCO dan throughout the world, including Thailand. As of 2013,
UNDP mencatat bahwa di Thailand national networks UNESCO and UNDP recorded that in Thailand national
of creative professions are being established and like- networks of creative professions are being established
minded people engaged in various creative industries are and like-minded people engaged in various creative
connecting and collaborating actively.1 Dalam menjaga industries are connecting and collaborating actively1. In
keberlangsungan proses kreatif tersebut, kolaborasi safeguarding the continuity of the creative process, the
antara pelaku industri dan akademisi menjadi sangat collaboration between the industry and the academics
penting. Untuk itu, salah satu universitas di Bangkok is very important. Therefore, one of the universities in
mendirikan fasilitas kegiatan akademis sekaligus wadah Bangkok established a facility for academic activities and
aktualisasi diri pelaku kreatif, yaitu Patana Gallery. self-actualization for creative workers: the Patana Gallery.

Galeri ini berfungsi utama sebagai ruang pertemuan bagi arsitek, The gallery functions mainly as a gathering hall for Bangkok's architects,
desainer dan seniman di Bangkok. Selain ruang pertemuan, fasilitas designers and artists. In addition to gathering hall, other facilities such as
pelengkap seperti galeri, perpustakaan, kantor dan taman di atas atap !"##$%&'(#)*%"%&'(+,-.$'("/0("(%++,1+2(!"%0$/("%$("#3+("..+44+0"1$0(5)16)/(
juga diakomodasi di bangunan tiga lantai ini. Lokasinya yang berada the three-storied building. Located right in the middle of the campus, this
di tengah kampus membuat bangunan menjadi perlintasan umum, building becomes a place where peopleboth visitors and passersby
sehingga arsitek tidak hanya mempertimbangkan sirkulasi untuk intersect, thus the architect did not only take into account the circulation
pengunjung, tetapi juga pelintas. Oleh karena itu, pergerakan dan !"#$#%& of visitors, but also the circulation of passersby. Therefore, movement and
menjadi isu utama yang dipertimbangkan arsitek dalam merancang. 78)0)1&(5$%$(16$(4"9+%()338$3(.+/3)0$%"1$(08%)/!(16$(0$3)!/)/!(26"3$:(

Untuk memecahkan isu tersebut, arsitek merancang '()#*+"%$++, To solve these issues, the architect designed a semi-outdoor walkway
-./0-.& yang menempel pada bangunan utama. Bagi pelintas, attached to the main building. To passersby, this walkway is a long,
-./0-.& ini menjadi galeri panjang yang menyegarkan karena mereka refreshing gallery through which they can enjoy the creative products
dapat mengamati produk-produk kreatif di area dalam melalui dinding displayed in the inner area without actually stepping into the gallery.
kaca di salah satu sisi -./0-.& tanpa harus masuk ke galeri.
Besides the walkway that compels passersby to keep moving, the
Tidak hanya melalui -./0-.& yang membuat pelintas terus bergerak, architect also psychologically created a dynamic effect through the
arsitek juga menciptakan efek dinamis secara psikologis melalui permukaan surface of the building. The casing that covered the walkway on the side
dinding. Kulit yang melapisi -./0-.& di sisi yang berbatasan dengan facing the street consists of links of steel with double-layered powder
jalan terdiri dari tautan baja yang dilapisi $+"1/(*/.&(,($23+-$(,24+.% coat,2creating a wavy, transparent, and glimmering effect as passersby
sehingga menghasilkan efek permukaan yang bergelombang, transparan stroll along the walkway. This kind of dynamic effects generated Third Floor Plan
dan berkilau seiring pelintas melalui -./0-.&. Efek dinamis melalui media through other media is what theorist Kari Jormakka discussed in "The Roof Plan
lain seperti inilah yang dibahas teoris Kari Jormakka dalam "56(27/&#892 Flying Dutchmen: Motion in Architecture"C2that the building can initiate
:"%46)(8;2<+%#+82#82=,46#%(4%",(> bahwa, %6(21"#/$#8924.82#8#%#.%(2 movement by manipulating the ground plane and other surfaces.2
)+?()(8%21&2).8#3"/.%#892%6(29,+"8$23/.8(2.8$2+%6(,2'",@.4('.2
;+$3(16$(7+5(+,(4+<$4$/1("#3+(+..8%()/(16$()//$%("%$"3=(>,(?%"/@(
Namun apakah mengalirnya pergerakan di area luar juga terjadi di Lloyd Wright maintained the continuity of movement in the Guggenheim
area dalam? Jika Frank Lloyd Wright mempertahankan kontinuitas Museum in New York City with a circular ramp, the circulation in the
pergerakan pengunjung melalui ,.)3 berputar di dalam A"99(86(#)2 Patana Gallery is more conventionally accommodated. The stairways
<"'(") di kota New York, maka sirkulasi di dalam B.%.8.2A.//(,& )/(16$(5"#@5"&("%$"()3(16$(+/#&(#)/@(*$15$$/(7++%3'(1683(<)3)1+%3($/1$%(
diakomodasi dengan lebih konvensional. Tangga di area -./0-.& and exit the inner areas through the same stairways. In addition, the
menjadi satu-satunya penghubung antarlantai sehingga alur keluar- architect designed the inner rooms separately, limiting the movement
masuk pengunjung harus melalui tangga yang sama. Selain itu, arsitek of visitors with partitions dominated with glass walls. But at least
merancang ruang-ruang dalam secara terpisah sehingga pergerakan 16$("22#)."1)+/(+,(16$3$(!#"33(5"##3(4"@$3("(,")%#&(78)0(.+//$.1)+/(
pengunjung cukup terbatas karena adanya partisi-partisi yang didominasi between the rooms and makes the rooms seem wider and brighter.
dinding kaca. Namun, setidaknya aplikasi kaca ini membuat hubungan
antarruang menjadi cukup cair dan ruang terasa lebih luas dan terang. Movement is the effect of spatial characteristics of buildings.3
A683(16$(7+5(+,(4+<$4$/1("..+44+0"1$0(5)16("(3)/!#$(4$"/3(
Pergerakan merupakan efek dari karakteristik spasial pada bangunan.3 of circulationas evinced in the Patana Gallerymay be much
Maka pergerakan manusia dikhawatirkan menjadi lebih kompleks more complex. Even so, the architect is able to present an image
ketika diakomodasi hanya dengan sirkulasi tunggal, seperti yang terjadi of a gallery that is as close as possible to the characteristics of the
di B.%.8.2A.//(,&. Meskipun begitu, arsitek mampu menampilkan creative workers that it representsopen and egalitarianby inviting
#).9( galeri yang sedekat mungkin dengan karakter pelaku kreatif passersby to enjoy the creative processes happening inside.
yang diwakilinyaterbuka dan egaliterdengan mengajak pelintas
turut menikmati proses kreatif yang terjadi di dalamnya.

1
UNESCO, and UNDP, comps. D,(.%#?(2E4+8+)&2F(3+,%2GHIJ;2K#$(8#892L+4./2:(?(/+3)(8%2B.%6-.&'M Rep. N.p.: UNESCO, 2013. Web. 4 Dec. 2014.
2
Jormakka, K. 56(27/&#892:"%46)(8;2<+%#+82#82=,46#%(4%",(C2NG2OP3,#89(,2P4#(84(2Q2R"'#8(''2<($#.C2GHHGSC2.44(''($2:(4()1(,2NC2GHINM
3
Macleod, S. F('6.3#892<"'(")2P3.4(;2=,46#%(4%",(C2:('#98C2ET6#1#%#+8'C2UV2O5.&/+,2Q27,.84#'C2GHHWSC2.44(''($2:(4()1(,2NC2GHINM
Second Floor Plan
First Floor Plan
26 archinesia vol.7 > built projects archinesia vol.7 > built projects 27
2 4 6
2 4 5
Kaca sebagai dinding galeri Mezanin tanpa dinding Penggunaan kaca
pada sisi yang menghadap penuh yang berada di membantu penyerapan
-./0-.& membuat lantai dua memberikan sinar matahari ke dalam
pelintas turut menikmati pengalaman berkumpul ruangan sehingga galeri
karya seni dari luar. di '()#*+"%$++, bagi terasa lebih terang dan luas.
pengunjung galeri.
Glass walls on the side Glass improves the
of the gallery opposing The mezzanine on the penetration of sunlight into
the walkway enable 3$.+/0(7++%'(#".@)/!("/&( the interior, making it seem
passersby to enjoy the complete walls, provides brighter and more spacious.
displayed artworks. the experience of gathering
in a semi-outdoor space
3 for gallery visitors.
K./0-.& yang memotong
bangunan merupakan 5
area perlintasan yang Efek gelombang yang
mengakomodasi dinamis pada kulit bangunan
pengunjung galeri maupun dihasilkan dari material sirat
pelintas umum. baja ('%((/2)('6) dengan
$+"1/(*/.&(,($23+-$(,24+.%.
The walkway dissecting
the building is a circulation The dynamic wave effect on
area accommodating gallery the building skin is generated
visitors and passersby. by steel mesh with double-
layered powder coat.

6
28 archinesia vol.7 > built projects archinesia vol.7 > built projects 29
7
7
Jembatan yang berada di
lantai tiga galeri terhubung
ke bangunan Art & Design,
Architecture and Digital Art
di area kampus.

The bridge on the third level


of the gallery is connected
to Art & Design, Architecture
and Digital Art building.

Section

North Elevation

PROFIL ARSITEK
- ARCHITECT'S PROFILE

Studiomake merupakan studio desain


interdisiplin yang dipimpin oleh David
Schafer dan Orapun Sarasalin. Berbasis
di Thailand, tim Studiomake yang terdiri
dari arsitek, desainer dan @.1,#4.%+, ini
banyak mengerjakan proyek arsitektur,
interior dan furnitur yang terinspirasi dari
tradisi dan teknologi. Studiomake memiliki
-+,0'6+3 kayu, metal dan keramik yang
dimanfaatkan untuk bereksperimen dalam
tiap karya.

Studiomake is an interdisciplinary design


studio headed by David Schafer and
Orapun Sarasalin. Based in Thailand, the
Studiomake team consists of architects,
designers and fabricators, and often
works on architectural, interior and
furniture projects inspired by traditions
and technology. Studiomake has their
own wood, metal and ceramic workshops
that they use for experimenting on each of
East Elevation their works.
30 archinesia vol.7 > built projects archinesia vol.7 > built projects 31

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