arsitektur.

net

2010 vol. 4 no. 1

A Box That Provokes: Eksplorasi Sekuens Ruang

Berdasarkan Gagasan Arsitektur Tadao Ando
Susanto Ginanjar Putro

his direct experiences, not taught intellectualism

dan tidak terikat dengan konvensi yang ada.

his powerful inner vision, ignores whatever movements,
schools or styles that might be current, creating buildings with
form and composition related to the kind of life that will be lived
there.
places of habitation not
as abstract design in a landscape

The value of (this building) as architecture does not necessary

come from some stylistic method or abstract concept aimed atit
comes instead from a fundamental way of thinking about building
a house for an inhabitant. Andos approach is to connect the art of
building to the art of living.

chohatsu suru hako

provokes

a box that

I care not for interesting forms but for the spatiality of forms.
Through the medium of simple geometrical forms, I seek to
introduce a diversity of intentions and emotions and to take into
account intangible factors

using a
geometric simplicity which reveals a subtlety and richness in spatial articulation.

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a use of
limited material, which have their texture exposed, and a ambiguous articulation
of the function of space

metode enclosed space

is the creation of a place for oneself, an individual zone, within society

Sense of sanctuary
exposed
At times walls manifest a power that borders on the violent. They
domains. Walls are the most basic elements of architecture, but
they can also be the most enriching.

yang melingkupi immobile enclosed space

khidmat, sehingga ketika sedikit saja elemen alami dimasukkan ke dalamnya,
sensasi yang dihadirkan menjadi amat dramatis dan puitis. Eksperimen dalam
chohatsu suru hako
I do not believe architecture should speak too much, it should
remain silent and let nature in the guise of sunlight and wind
speakThey activate space, make us aware of the season, and

Such things as light and wind only have meaning when they are
introduced inside a house in a form cut off from the outside world.
The isolated fragments of light and air suggest the entire natural
world. The forms I have created have altered and acquired meaning
through elementary nature (light and air) that give indications of
the passage of time and the changing of the seasons, and through
connections with human life. Although many possibilities for
different kinds of development are inherent in space, I prefer to
manifest these possibilities in simple ways

ruangnya yang sederhana, his focus upon nature as the essential counterform
to his architecture
makin menjelas.

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when they agree with my aesthetic image, walls become

abstract, are negated, and approach the ultimate limit of space.
Their actuality is lost, and only the space they enclose gives a
sense of really existing. Under these conditions, volumes and
composition.
reductivist
the effect is not to deprive us of sensory richness. Far from it. All of
his restraints seem aimed at focusing our attention on the relationships of his
ample volumes, the play of light on his walls, and the processional sequences he
develops.
simplest way imaginable, without
clever superimpositions or intermixing, as a collage of pure geometric signs. All
excess is spurned, and frugality is exercised in making the composition

Bongkar Kotak (yang mem-) Provokasi: Church of the Light

wooden chapel dan ministers house

sacred dan
profan antara gereja dengan lingkungan sekitarnya.

Site Plan

View

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freestanding concrete walls

entrance. Dinding
menciptakan enclosed space yang khidmat. Interiornya sendiri telanjang, tanpa

One of the features of the interior is the profound emptiness.

void space and absolute quietness amounts to a sense of serenity.
For Ando the idea of emptiness means something different. It
is meant to transfer someone into the realm of the spiritual. The
emptiness is meant to invade the occupant so there is room for

untuk memprovokasi penggunanya dengan permainan cahaya yang memukau,

dengan sengaja digelapkan.

Luminosity is obliged to perform a symbolic function. In those
made use of for contingent purposes; a giant cross of lights is
incised into the wall behind the altar to articulate an otherwise
hermetic space.
Sense of place

di sisi timur. Keremangan yang disengaja dihadirkan dalam ruang yang hampir
tertutup sepenuhnya diperkuat oleh penggunaan material lantai kayu dan kursi
gereja yang gelap.

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Situs McGill University mendeskripsikan sekuens pengalaman ruang yang akan

The experience starts with the worshipper making his way past
the existing ministers house, to the back of the concrete church.
The intersecting walls create an entry forecourt, forcing the visitor
to take an S-turn to enter. Inside, the space is dominated by the
glowing cross at the end of the nave. The bare concrete walls have
no decorations that would mitigate the experience. The starkness
creates an isolated, ascetic feeling inside the church. The interior
is perhaps claustrophobic, with views to the outside only available
through the 20 cm gap in the concrete wall that is the cross. The
dominance of the cross is paramount in the church, requiring the
pastor to preach from one side, which took some convincing on
Andos part.

Here I prepared a box with thick enclosing walls of concrete a

construction of darkness. I then cut a slot in one wall, allowing
the penetration of light under conditions of severe constraint.
At that moment, a shaft of light sharply fractures the darkness.
is revealed, as they simultaneously bounced back and forth
Space is born. Yet, with each increment of change in the angle of
lights penetration, the beings of things, and their relationship, are
recreated. Space, in other words, never begins to mature, but it is
continually made new. In this place of ceaseless birth, people will
thus be able to evoke the resonant implications of life.

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amat khidmat sekaligus memukau pada saat yang sama, yet the simplicity of the
church is its beauty
an effort to architecturalize or abstracted in the above sense the
natural element of light. Space is nearly completely surrounded by
substantial concrete walls. Inside is true darkness. In that darkness
has been architecturalized and rendered abstract by opening in
the wall imparts tension to the space and makes it sacred.
Bongkar (Lagi) Kotak (yang mem-) Provokasi: (Azuma) Row House

In its simple
but rich spatial composition, in its expression of enclosure, and in the way light
gives character to daily-life spaces, this house encapsulates an image of my
architecture.

arah jalan

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buffering the other

spaces from the outside world, while providing all with access to light and air.

living room
Lantai atas adalah kamar tidur di sisi yang paralel dengan jalan, dan studyroom

oleh Darlene Levy,

return the contact with light, air, rain, and other natural elements
to the Japanese life-style. In addition to providing light and serving
as the focal point of family life, this small court is a spatial entity
that attempts to compensate for the reduced physical space.

privat, secluded
kesan ini. Its unassuming and slightly austere concrete form belies a carefully
composed interior, emphasizing functionality and privacy.
entrance

by way of an inset stoop

penolakan yang dingin namun sekaligus mengundang masuk.

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It stands on a tight urban plothas a long, thin and absolutely

symmetrical layout on plan(Ando) arranges blocks at the front
and rear ends of the site and connects them bybridgecrossing
a central space which is left open as a courtyardthe faade is
ruthlessly minimal: a taut wall in concrete, which ignores the urban
scene of the street and concentrates on its own perfectionGrey
and leaden in color and bereft of any other relieving gestures,
with a tiny black hole for an entrance, this faade turns towards
to the point of anti-domesticityquite deliberately suppressing
all possible awareness that there is anything outside at all. The
simple, uniform concrete is its logical corollary and leitmotif

courtyard, potongan perspektif

usaha untuk menciptakan a microcosm centered on that courtyard
a simple composition with diverse spaces and dramatized by
light
ruang tertutup yang mencari kedekatan dengan elemen alami dari rumah ini,
The courtyard in Azuma house occupies one third of the site and
links the inside with the outside. It is a device for appropriating
but a true nature that is capable of confronting the individual. Of
course (it) tends make to life more severe(but) were enriched.
The courtyard is an important place where seasonal changes can
be directly perceived through the senses. The expression of nature
changes constantly. Sunlight, wind, and rain affect the senses and
give variety to life. Architecture in this way becomes medium by
which man comes into contact with nature.

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one enters the house and feel secure, but then one notices
beyond that space an open courtyard. To enclose an outdoor
space inside a building is contrary to common sense. To have
an outdoor space where one would expect the indoors is to
reserve space and to make space discontinuoushowever, the
discontinuity allows nature into the house.
a truly minimalist

The building remains a simple box, but nature and human

movement alter the architecture in complex ways. To harbor
spaces of great complexity in compositions that are geometrical
and simple is to provide the unexpected and to stimulate a persons
consciousnessI want to enrich architecture by introducing
complexity into that simple box.
(Coba) Susun Kotak (yang mem-) Provokasi

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chohatsu suru hako

microcosm
Enclosed space yang memisahkan diri dengan
menutup dirinya sendiri dari dunia luar. Penutupan ini tentu saja dilakukan dengan
alasan untuk menyiapkan suatu kehadiran elemen luar. Hal yang ingin dilakukan
menghadirkan provokasi tertentu di dalamnya.

elemen yang menonjolkan kesan sepi dan tertutup namun sekaligus paling

utama provokasi ruang yang dimau. Dengan makna dinding masif seperti yang

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mungkin, tidak hanya satu namun dua lorong, saling tegak lurus dimana yang
sederhana yang terdiri dari dua lorong sempit dan panjang yang saling tegak

di sisi lorong kedua. Untuk mencapainya masih ada lorong pendek yang

tegak lurus dengan lorong kedua di salah satu sisinya.

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ruang di ujung luar sana memang menjadi tujuan. Dalam silau karena cahaya

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