Tuesday, July 3, 2018

Colour KTV Bandung
Budi Pradono Architects.

This project is a change and the addition of a project from a bar to a KTV. KTV is Karaoke Tay Vin which is an interactive music entertainment. This entertainment is very populist in Asian countries in Japan, Korea, Taiwan and China as well Indonesia. Singing as an entertainment alternative can be done as an individual activity, they are expressed by imitating music or singing through video, this activity can also be done communally more than one person or can communally between four or more people in one group or community. In addition, this activity can be done for special occasions specifically for birthday events, separations and so forth. In the early days these karaoke rooms were dark squares so the room acoustically could make people treat it that way. The phenomenon that occurs today is this entertainment activity used as a bevy - a place for refreshing and entertaining themselves. As architects we are challenged to redefine the contemporary KTV as a new experience for the digital society,

Basic Concepts

How to present different spatial experiences with different material experiences is also intended to provide a balance of yin and yang concepts as well as feng shui concepts in which every person has a tendency, lack of certain materials, such as wood and metal, so that every space that is made up is dominated by elements of the element, for example a certain space is dominated by elements of stone, other space by water, other space iron or wood. This KTV project wants to maximize the human senses such as the sense of sight, touch or touch, and human hearing.

Urban Concepts

This KTV project is located in the center of Bandung City, which we know now The city is growing very fast, so there is a lot of construction especially the building and of course around this project site. Panoramic facade of buildings along the project area is dominated by facades with heavy materials such as brick or concrete. Different approach we try to apply to the design of this project, lightweight materials try to apply to the "skin" of this building, the use of wood materials processed waste industry door and window craft in Bandung area, thus becoming a differentiator between buildings in the surrounding area. The facade of this project, although geometrically shaped box or rectangular impression displayed by the wood material gives the impression of light and become the eye catcher for the surrounding area.

The form of lay-out of this project room itself is a dichotomy of the building form around the project site that is built which tends to be rigid and orderly, the freeform form we interpreted into the shape of the arches, thus giving the experience of different space, free and flowing.
The front area of the project or terrace area becomes something roomy so that it blends with the pedestrian area that has been designed and built by the Bandung City Government, the removal of the fence between the building and the road outside it makes this project very accessible by pedestrians passing the area, this building becomes a new public space in the area.

Form Concepts

Because this is an old box-shaped building with a rigid structure consisting of concrete columns with a distance of 6 meters and 4 meters. In order to provide an extreme and different effect between the inside and outside, the building between the inside and outside is made different. We introduce a new geometry of a curved shape or soft space in the form of round and circle. These forms into six categories ranging from the smallest small, medium, and suite, among these forms to merge from one form to another. The shape of the lay-out building provides a distinct and unique space experience. In addition, the shape of the arch is acoustically certainly more comfortable than using a rigid box shape. This curved shape also minimizes the corner space that would normally be difficult to process.


Adi House, Pluit Jakarta

Budi Pradono Architects

4 strategies
This project is a challenging project because the architect has to propose solution for house that close to the jakarta’s reservoirs, and every year has been hit by flood. Finally, we use 4 main strategies and the creative solution.

A two-story house part of Pluit Gated Community which is located near the Pluit reservoirs. In 2013, when Jakarta got hit by heavy rain, this full of garbage reservoir was overflowing, which cause all houses in this area was drowned in the 3 meters deep flood. The family owner slept on second floor. When they woke up in the morning, all of their furniture and car has been drowned by water. Finally, They contacted me as their architect and asks for design to redesign his already drowned house. The question is, “What can architect do to answer this challenge, how to propose new house and how they made it has no problem with flood in the future?”
First idea is solution by raising the ground floor around 1.2 meters and the other one is programming consolidation. The third idea is creating steel frame structure like traditional architecture with steel poles, so we can make it by using fabrication system and placing the bedroom on the highest floor. The fourth strategies is creating urban void, which is an atrium in the center of building. This urban void also serves as regulator for lighting and wind in the entire building interior. On one of its side, we made garden with different levels that give the green part for the building.

Programming Strategy
Programming distribution is arranged in such way. On the ground floor, car garage, stairs, warehouse and other services function are created. This is to anticipate, if there is flood, this is the only area that will be affected. On the next floor, it used as family room, dining room and pantry. On the floor above it, there is master bedroom that stretches on the North side, and then next to it there are two kid’s bedroom facing outside. This building mass has corridor toward the atrium, so this area become the family communication area. On the highest floor, fitness room or lobby room is created. Above the atrium, there is glass that can distribute lighting to the whole rooms, so at noon, the room will be brighter. The material under this glass is made of stainless steel, which was made like a box that fall from the space using laser cutting technique.

The main structure use steel to accelerate its engineering path. All bedrooms on second floor covered by perforated metal, even though they use glass. On the master room, we use combination between marble and teak wood, and it is made so it will be transparent toward the master bathroom. Walk in robe/clothes changing room was made elongated and spacious, but still has opening toward atrium.

Natural lighting and ventilation system
The atrium as main void in the central of the building is covered with glass, and this area will distribute the natural lighting to the entire building. On this side, we also placed big fans with 3 meters diameter, because the glass above it will be heated up because of the sun, so the cool air from ground floor will be absorbed above. This is what created the path for natural ventilation path that will accelerate the air movement from bottom side to top area.

Budi Pradono

Green campus - Astra Polytechnic manufacture
by budi pradono architects (BPA)

Studio BPA has won first prize in the competition to design Astra Polytechnic in Cikarang, 2018 and it will be built later this year.

"FOREST" is the main conceptual approach for this building complex in order to reach a contextual association with the location.
Astra Manufacture Polytechnic is located in an industrial area, which is expected to become a forest of knowledge. Therefore, the main purpose of this design is to transform the industrial area into a green area, as well as preserving the needs of experts who will become part of advanced factories in this industrial area. This approach will allow Polman Astra to ensure the sustainability of the area, too.

The green concept is developed explicitly - using well-designed green spaces and city parks around the area. This school will also have seeds of perennials on the rooftops of the buildings.
In order to reduce pollution and the use of fossil-fueled cars as much as possible, the mobility of this area will be accommodated by bicycles. Comfortable bicycle tracks and pedestrian ways will be provided for students to reach classrooms and dormitories.
The building is designed as efficiently as possible with a circulatory system that has functional connectivity. The landscape is made organic.

The whole concept of this forest basically refers to the concept of sustainable urbanism, which consists of six main aspects: (1) sustainable development, (2) compactness, (3) biophilia, (4) the sustainable corridor, (5) high-performance building and (6) high-performance infrastructure.

As an urban analogy, imagine Central Park in New York, where the green area is surrounded by tall buildings with very complex density. Similarly, within an industrial estate, the Polman Astra complex can be imagined as a green central park for the entire region.

This principle can be applied to transform Polman Astra into a green campus, where the flat roofs are designed as a greenscape - integrated with the planting nurseries program to produce more trees for the area.
The intake of this nursery program will be distributed widely to the surrounding industrial estate, so that Polman Astra will have a significant role in the sustainability of the area. In the future, all Astra Polman graduates can be absorbed into the industrial area of Cikarang. Vice versa, all children from industry employees in Cikarang can attend the school to study in Polman Astra. Thus, this cycle will make Polman Astra a highly sustainable campus.

The second aspect of sustainable urbanism is compactness, where buildings are made as compact as possible to reduce the density per
capita from existing sources. Compactness is an integrated system with the general infrastructure in Cikarang.

The third aspect is biophilia, which improves the relationship between humans and nature. Thus, the buildings will have a special relationship with plants, which encapsulates the roof as well as the architectural articulation.

The fourth aspect is the sustainable corridor. The whole 5 ha area is provided with shelters that accommodate pedestrians walking or cycling across, to reduce dependency on cars.

The fifth aspect is high-performance building, which refers to the performance of the building system. For example, efficient energy use, air quality improvements in plants, pollution reduction, and recycled materials.

The sixth aspect is high-performance infrastructure, including the creation of a greener and more comfortable streetscape, as well as rainwater distribution and absorption utility.

Structure system

The structure system primarily uses steel for easy fabrication and rapid development. Only certain parts use concrete structures. The walls use celkon blocks and the newest drywall technology to reduce heat. This technology also has the ability to absorb sound, which can be applied in certain areas that have acoustic control requirements, such as meeting rooms and the multipurpose hall.

Master planning strategy

First, we will put a water element at the center of the site as a symbol of clarity of thought. Water becomes the center of life as well as the center of education. The water element is designed side by side with the auditorium building with the base shape of an oval. Architecturally, these basic forms unite the composition of all Astra Polytechnic buildings.

On the north side, there will be a 9-storey dormitory consisting of two towers that are united by an oval-shaped public area.
Meanwhile, the south side is designed as an education area. The southernmost side is devoted to a workshop and machine garage area that are connected with the surrounding community in Cikarang. The office spaces and rectorate building will be located on the north side of the reflecting pond. Designed as a high-rise tower, this building will become a symbol of leadership.


Basically, the entire area is dominated by pedestrians and cyclists. The organic design of the landscape offers a distinctive presence of this area – emphasizing the site within its surrounding industrial area. The parking area is on the north side, where the entire floor is raised upwards of 2.5 meters and then made into a ground floor area for dormitory complexes as high as 9 floors and the ground floor is all greened so that the car is almost invisible in the region because of its hidden location.


1. Dormitory

1.1 General
Built on industrial-dominated land, this dormitory will highlight the concept of "forest", which interprets the trees that grow solidly in a territory. This concept is a response to the industrial environment that is identical with an arid area. The dormitory is designed as a 9-storey building, integrated with some VIP guest rooms and other facilities, such as a hall, a dining hall, a study room unit, and a laundry.

1.2 Public space as communication device
The dormitory is equipped with several spots of public space that serve as student meeting areas. This area becomes a medium for students to communicate and discuss, resulting in knowledge exchange.

1.3 Green public space
Located between the dormitory towers, the green public space becomes the central park that connects the two buildings functionally. Providing communal sitting areas and several landscaping elements, the park is also ideal for outdoor exhibition activities and community events that can be enjoyed by all users.

1.4 Study rooms
Unlike the general typology of a study room, which tends to be centered, these dormitory study rooms are distributed over several floors – integrated with the dormitory unit. This strategy is applied to achieve a distributed and effective medium for discussion and learning activities. The study rooms are harmoniously arranged within the building configuration, and their presence is highlighted through a well-designed perforated metal façade.

1.5 Green balcony
To emphasize the “FOREST” concept, trees are placed on the balcony so that users can feel the existence of "forest" around them. The green balcony also plays a role in improving environmental quality and maintaining the temperature stability of the building.

1.6 Versatile materials - fast and durable
Dormitory units are arranged on a modular basis using drywall material technology that is easy to install and durable, to increase the speed of building construction. In addition, drywall can be combined with additional features, such as water and fire resistant layers that enhance safety during fire evacuation.

1.7 Hall as connector
The hall is located on the ground floor, connecting the two dormitory towers. It serves not only as a connector between two buildings, but also as a meeting place for the four elements of representatives - teachers, Polman Astra staff and directors, students, and parents - as well as other institutions, such as supporting industry actors.

1.8 Natural lighting
In response to the tropical climate context, where sunlight has the potential to be used optimally, the dormitory building is equipped with continuous skylights from upstairs to the bottom. The use of skylights is also an effort to reduce energy use and enrich the atmosphere in the building.

1.9 Natural air circulation
Natural air circulation in the dormitory is optimized by the open-plan corridor on each floor. Equipped with vegetation, the resulting air circulation can be freed from pollutants. Natural preservation is also manifested in the dining hall area with a ventilation grille on the roof so that cold air from above can enter and reduce the heat of the room.

2. Auditorium

The auditorium building is the center of this Astra Polytechnic manufacture, based on the concept of "FOREST". It presents buildings with many green elements (plants), in contrast to the arid industrial environment. In addition, this concept is an attempt to maintain existing trees around the site. The auditorium is located near the main entrance of Astra Polytechnic - it will be not only the center of this polytechnic but also a monumental building.

2.1 Water
Water is the source of life for living things, including plants. In other words, water is a center. The reflecting pond in front of the auditorium building is the center of this polytechnic as a symbol of clarity of thinking and the education center of Cikarang.
The existence of the reflecting pond in the auditorium is a procession. Users of the auditorium must cross the reflecting pond to enter the auditorium. The reflecting pond offers a spatial experience for users and serves as a buffer - distancing the auditorium from the motorway to reduce noise.

2.2 Ellipse form
The ellipse form is the unifying language of the building on this project. As the center of Astra Polytechnic, the auditorium has an ellipse shape.

2.3 Flexible space
The auditorium can be used for events conducted by Astra Polytechnic itself, or it can be rented as a wedding hall. The
auditorium provides a spacious hall on the ground floor and balcony seats above.

3. Office

3.1 Office facilities
"FOREST" within the industrial area becomes the main concept of the development of the 5 ha area of Astra Polytechnic. The office building is designed to accommodate a wide range of facilities, including a mosque, offices, retail, a central library, and student organization.
The office building and facilities extend the main concept of the area: "forest" with a green architecture building approach, application of zoning configuration according to its function, and interpretation of technological progress in the building.

3.2 Green architecture

Application of this green architecture includes a garden roof and a façade that allows the wind to circulate into the building. This building is also provided with a garden balcony that serves as a communal area for campus administrative employees.

3.3 Zoning
The building area is classified according to the function of activities, ranging from public to private, sorted vertically.

3.4 Modern mosque
The mosque is located in the right wing of the building, designed with modern interpretation. The 5 pillars on the anterior of the mosque become a symbol of the 5 prayer times that must be adhered to by Muslims. On the top side, there is a roof garden where 5 perforations in the glass allow the sunlight to emerge through the 5 voids – giving a religious ambience in the mosque. The light transforming throughout the day offers an aesthetic accent in the building.

3.5 Library
Located adjacent to the mosque, this library has a relationship between scholarship and religiosity. The library is designed to be on the same scale as the mosque and is on the left side of this rectorate building.

3.6 Retail
The retail center is a supporting facility that provides the basic requirements of all academic communities in the form of stationery and books. It includes a canteen or restaurant that is expected to become a magnet in Cikarang.

3.7 Monumental scale
The building is designed on a monumental scale in comparison with the surrounding buildings, indicating the power of its users who are mainly located at the top of the building.

4. Campus

4.1 Organic yet organized
The structured system has a form that stimulates the feeling of being related to living matter. The four faculties - manufacture, automotive, civil and information systems - are educational facilities of a very "technical" discipline. Identical to the procedure, the four faculties are very closely related to efficiency in daily operations. It requires the existence of a system that regulates the relationship between spaces, where each space is very specific to its function for a particular micro task in a macro structure or organization.

However, according to Charles Duhigg in his book "The Power of Habit", it is said that humans can’t advance themselves if they continue to undergo the same procedure. In each procedure, checkpoints are needed to stimulate users - in this case is the students that will have to grow gradually. Therefore, instead of putting together a highly traced, monotonous, and boring faculty program, why not provide a faculty building that is structured efficiently by function as well as wrapped in an unusual arrangement by borrowing natural elements that are naturally beautiful and fun. The building mass is strung over modular cubes and sun-shading fins – arranged to resemble a mountain – a very prominent element of nature, symbolizing a noble educational medium.

4.2 Program
This campus area needs to be organized or consolidated so that its composition becomes compact and efficient. The preparation of the program is classified into three major parts: manufacture, automotive and civil. The arrangement has several parameters: (
1) start with the open parameters and get more enclosed as we reach the top of the building, (2) use a lightweight program, with programs that use heavy equipment on the bottom. While the laboratory area is on the second level and the classrooms are at the top, the automotive department is placed on the south side of the building, intended to make it easier for students to practice in the workshop.
Meanwhile, the information systems faculty is combined with two other new study programs into three groups because it needs a lot of space. The three buildings for these groups are united by a continuous path and surrounded with shady trees that provide temperature comfort. Each room, including a workshop area, has a different view of the park as well as the trees on the perimeter of the site as new checkpoints that provide relaxation stimuli to users.
With the creation of this natural nuance, the souls of the lecturers and students are expected to be purified after their activities in this very "engineering" building.

The experience of different and fun spaces becomes an additional value that supports the continuity of teaching and learning activities of Astra Polytechnic's academic community.
In contrast to the typology of industrial buildings in general, this campus comes with the spirit of re-greening Cikarang, known as an arid factory area. In addition, there are green open parks. The application of vines on the façade reduces the use of air conditioning. The rooftop levels of the buildings are dedicated to tree nursery areas that can later be distributed to be planted by local residents.

Tuesday, February 13, 2018

Open Call Residensi di Portugal 2018



Bagi para Seniman di Indonesia atau seluruh dunia yang berminat untuk mendapatkan pengalaman kreatif di Lisabon, Portugal 
Disciplines: Concept & Theory, Digital, Experimental, Film & Video, Fine art, Installation, Media Arts, Performance, Photography, Research, Sculpture, Visual Arts.
Location: Lisbon, Portugal
Duration: 1-3 months 
Eligibility: Contemporary Artist 
Support: All residencies are self-funded 
Costs: €750.00 - €1000.00
Program Description:
The Residency program at Hangar encourages dialogue, exchange and experimentation. 
The program is non-prescriptive and process-based, allowing visiting artists to develop projects in response to their new environment, or to conduct research benefiting from Lisbon´s resources.
The Residencies Program is firmly established in the Lisbon arts scene, promoting diverse cultures and practices through international and experimental projects.
Hangar develops several International Residency Programs that give non-resident artists in Portugal or Lisbon the opportunity to live and work in Lisbon for a period of one month to three months (longer periods can be arranged.) The program aims to facilitate the international exchange and the exchange of ideas through artistic practice in the areas of visual arts, performance, photography and video.
Through strategic partnerships in the international art world and institutions linked to cultural production and artistic research in various countries, mainly through the Triangle Network, Hangar program aims to strengthen the existing exchange between Portugal, Europe, Africa and South America.
Duration of Residency
Disciplines, work equipment and assistance

HANGAR invites artists who practice the visual arts, with special focus on those who work in filmmaking, photography and performance. The special equipment HANGAR provides includes: D.Y.A. tools, studio space, photo laboratory, library and access to the Internet.


Hangar offers 7 living and work studios for residency in a private format. There are 4 studios with private bathroom and kitchenette facilities and 3 private studios that have a co-working format with shared kitchen and WC facilities.

Studio/ Workspace

The accommodation and studio are located within the same space. Artists also have access to shared studio space, which is to be used in a co-working format.

Expectations towards the Artist

Artists are expected to partake in Artist Talks, Workshops and Open Studio events at Hangar. This is a valuable opportunity for artists to promote and raise awareness about their work, because it gives them the chance to create a dialogue of exchange between themselves and the diverse audiences that attend the events, thus working to raise their artist profile.
Application Information

Potential artists should apply to HANGAR by email, and selection is decided by a jury that determines the most promising candidates.

Please email us at residency@hangar.com.pt with ONE PDF document with the following information:
- A brief description of the work you intend to create during your residency
- Bio/ CV
- Artwork Portfolio
- The dates which you intend to stay at Hangar
Once we receive the application, we will get back to you with our decision.
Artists are subject to approval and to space availability. If accepted, we will assist residents with funding applications if needed.

Monday, February 12, 2018

Bagaimana kelanjutan studio ZHA Tanpa sang Diva Zaha Hadid ?

Talk: Patrik Schumacher on Fierce Debates, Facebook and the Future of Zaha Hadid Architects 
Patrik Schumacher interviewed by Paul Keskeys for Architizer, December 2016

Paul: That's great. I really appreciate that. That's a really [crosstalk 00:16:05] in-depth answer. You kind of answered the following question a little bit, I think. I was just interested in your thoughts and how you differentiate between being a kind of thought leader in the profession, like an independent thought leader but also representing your firm. Obviously they sent out an email afterwards trying to calm people down and do you think ...

Patrik: Well, this email also caused some kind of confusion. It was a mishap to some extent. The email was misunderstood in the press and engendered speculation about a potential rift in the firm, as if the firm wanted to distance itself from me. None of this was the case. There is full solidarity and loyalty here to my leadership. Most of our staff, like indeed the larger part of the WAF audience seem to agree with many of my positions, especially with respect to the super restrictive housing standards that are imposed on developers and architects. However, in conversations with me, staff from all ranks have been expressing that they disagree with my proposals concerning social housing and that that they worry about the image of the firm and that our work prospects in London and beyond might be compromised due to my highly unpopular ideas on social housing. I had a Q&A session here discussing my ideas and the press backlash. We discussed exactly what we are discussing in this interview, i.e. that I have to be mindful of my position and that it’s hard to separate a general thought leadership from being the figurehead of a prominent firm and that for me this is a new reality since Zaha’s passing. 
I have to and want to respect the concerns of my staff about my public discourse and will be more circumspect in the future, out of respect for the interest of the firm and the sentiments of other members of the firm.

Paul: Great, yeah.

Patrik: This does not meant that I’ll altogether give up on my political ideas and their urban development implications. I have been arguing politically in arenas outside of the architectural discipline, i.e. at the ‘Battle of Ideas’ event organized annually in London by the Institute of Ideas, at the European Graduate School, at the Liberland conference, or at the Adam Smith Institute. In the architectural academic discourse I have been less political but I also started here to lecture on a ‘Market-based Urban Order’. If I'm giving a seminar at the European Graduate School, or at the AA or at Harvard’s GSD, where you don't have media snapping up phrases and spinning them, I am arguing my positions and trying to show how these positions link back to that shared humanist compassionate underpinning which always must be the premise of entering such a debate in the first place. In the context of a seminar I am able to articulate that my ideas are not self-serving in any sense, nor elitist in any sense. People who know me know the way I live, communicate, the way I engage, and that I'm not an aloof, elitist person. Far from it.

Paul: Yeah, sure. I feel like the media will do that thing and probably the issue here as well [inaudible 00:19:45]. The context is never complete in any kind of edited article.

Patrik: Of course.

Paul: Actually, that kind of touches on one other question I had about this kind of idea or debating in architecture. You use Facebook more than any other [inaudible 00:20:07] I know I think in the public way which is pretty interesting. How did you begin to use that platform and what kind of benefits do you see from kind of speaking directly to people through Facebook and do you think other architects can utilize it more maybe?

Patrik: Facebook is not the general public in an undifferentiated sense. Although I have sometimes set my posts on public, mostly it’s aimed at my Facebook friends only, which means 4500 friends, many real friends and acquaintances among them, and generally mostly architects. My audience on Facebook is thus different from the audience of the Guardian where my WAF talk was reported and received a lot of very bad comments, or from the indiscriminate audience of the Evening Standard where I got a front page headline. We have to keep that in mind. My Facebook posts are sometimes also stirring controversy, although they are never tying to just generate agitation. They're serious propositions and reflections. Social media like Facebook and Twitter often bring on tough responses, but I have a thick skin, and I'm happy to see pass the invective and don’t mind coming back with answers and counter-comments, if there's at least a hint of an argument. I'll pick up the argument and oftentimes this puts me onto a nice learning curve. To get feedback and to work through some of the objections I encounter on Facebook is very useful for the development of my ideas. Also, if I come back to engage with comments that's usually respected and the initial hostility recedes somewhat in favor of a more constructive exchange.
Oftentimes my posts engender some vile and harsh ad hominem comments. However, as I said, if there's a shred of an argument in there somehow, I might come back constructively. I guess that comes as a surprise to those who spewed the invective. Usually, they shift into discourse mode, when they learn that I am accessible. I find that quite productive and fruitful, to argue across various ideological spectrums, in particular with intelligent and articulate contributors who are also on Facebook, whether it's architectural historians, theoreticians, other architects, or architectural students. I did initiate some quite interesting conversations and debates on Facebook. The extensiveness of commentary and counter-commentary I'm receiving has often been building up to over one hundred comments, much more than you may usually find for instance on Dezeen. That's been encouraging of course. My topics were mostly architectural but I also had some political posts and I touched on planning and gentrification before, but nothing quite as touchy as the privatization of social housing and of public spaces. I never had to feel badly beaten up on Facebook.
Comments in The Guardian were very, very strong and it’s a little bit depressing that this becomes such a vile scene. That's usually not what I'm getting on Facebook. I get the occasional harsh phrase, and as I said, usually I can turn these around. In this case, with the Evening Standard and the Guardian, I just couldn't see myself get into the mud flinging. I came back just with two long statements to clear the air a little bit and to put out my own thinking against what has been reported, but I couldn't get into the trenches. There was no way. I had to pull away from that.

Paul: Yeah, great. Yeah, just bringing it back to architecture [inaudible 00:25:16] politics. Bringing it back to architecture. I just wanted to ask you what's on the drawing board and your current projects and is there any kind of new projects that you're particularly excited about or anything that you're really looking forward to developing in 2017?

Patrik: Yeah, I mentioned the extension of the Berlin National Gallery. We didn't get it. It went to Herzog & DeMeuron by the way. But I am fond of our proposal and I might consider publishing it. We have so many competition wins, commissions and works built or under construction that we haven't actually published any lost competition entries for a long time. So there's a huge pile of projects which nobody has seen which at some point we should perhaps exhibit or publish, all the lost work, all the aborted work. There's a huge invisible part of the iceberg there.
I'm very much looking forward to start Munich concert hall as I mentioned earlier, and we're working on a big mixed use, multi-tower scheme in the center of Frankfurt. That's also a competition we are currently working on. We're always working on multiple competitions. Many buildings are under construction. It's still exciting for me to see how they evolve, like Macau’s City of Dreams, where I’ve recently joined the topping out ceremony, or Beijing Airport, one of the biggest airports in the world, and for us a new adventure.
Since we won Beijing Airport we have also entered a number of further airport competitions. We were in the short list for Mexico City Airport, as well as Chengdu Airport. Airports represent a totally new level of project for us as traditionally more artistically based firm. I'm excited about that. We're also doing a number of large corporate headquarters. This is another new category for us.
I'm very interested in corporate environments. I consider corporate environments to be one of the most interesting domains where the new complexity and dynamism of our civilization challenges architects most directly. I'm conducting a research project in this domain, trying to understand how complex interaction processes are channeled and facilitated by various spatial configurations with a new degree of complexity, inter-awareness and synergetic interdependence. My research project focusses on the agent-based simulation of the interaction- and occupancy processes in a corporate world. I am trying to generalize circulatory crowd modelling into a generalized life-process modelling. We've been pitching for Google a number of times because Google would be a signal client for me and my research agenda. We have won the competition for a very big new work space for Sberbank in Moscow, for mostly creative development and coding work that's going on in many banks. We also designing a major corporate headquarters for a multi-firm Chinese conglomerate. We're investing in new typologies like the mega atrium tower.
This is an exciting new venture for me, a three-dimensional interior urbanism, opening up towers from within. This type delivers a lot of inter-visibility, inter-awareness, and interaction potential within a truly metropolitan interior world.
There are a lot of interesting, fascinating challenges we hope to get involved in and we have our own internal research team which I'm expanding. I am investing more in research than we have ever done before, in a bid to remain cutting edge. We recently opened a show in our gallery which is called “meta-utopia” about exploring new fabrication possibility based on robotics with contributions from our research group as well as from invited outside contributors. We are investing a lot in developing algorithms and design intelligence related to the design integration of various engineering constraints but also in relation to new robotic fabrication technologies.
However, beyond this focus on new engineering and construction technologies I am most keen to enhance our grip on the social functionality of architecture, in particular with respect to complex corporate spaces, via the development of new computationally based methodologies. Overall we are very driven, eager to make our mark.
I would like to see the firm grow, to make a bigger impact, and not least to fuel the research department. I think to progress further we need to invest in research. Each time I had set another intelligent colleague free to focus on research, the result has been very rewarding. Within a few years many researches - for instance our investment into shells and tensile structures - started in the teaching arenas, migrated into small experimental structures, then into small buildings, and are now scaling up to large projects. We're full of energy and enthusiasm about developing the firm forward.

Paul: Wonderful. Yeah, so just to finish off thinking about the A+ award. Are there any particular qualities you look for when you're assessing work and what kind of projects will stand out for you in this year's awards submissions?

Patrik: Well, I expect we're looking for originality, innovation of course, but also excellence and the compelling application of the new ideas. Excellence and originality come together only rarely. Usually ideas have to move across several attempts at implementation by several authors before they reach maturity and excellence. So I think we have to allow for both striking originality and compelling excellency to count as award worthy.
Even at ZHA we must balance the pursuit of originality with the delivery of excellency. We are now very mature and can deliver global best practice. However, we always are also looking for moments of originality, for an innovative aspect in each project.
In each project, even in well-rehearsed project types, we are looking for an element or aspect through which the project can be pointing beyond itself and become a manifesto for things to come. In large projects that can only be a certain aspects, of the project. Small projects – especially in the context of the art world – can indeed become predominantly manifesto projects. That’s why we are still keen to pick up small cultural projects, even if it’s no longer possible for us to avoid running a financial loss on such smaller projects. But such projects can be great R&D vehicles. 

Paul: Yeah. Wonderful.

Patrik: I think awards are an important part of the discursive culture of architecture. Awards are important to pick out the best and brightest of the upcoming generation. Something original with future potential is more than ever the most noteworthy within our discourse and discipline. That's also reflected in the history of architecture. It’s always the original advances that are most remembered and recorded for posterity, but only if they are picked up again and again until they reach the moment of excellence or perfection. Only an avant-garde that ends up delivering a new mainstream will be remembered as an important avant-garde. Again, that’s why awards should honor both originality and excellence.

Paul: Yeah, wonderful. That was all my questions. Is there anything else you would like to add at all?

Patrik: No, I'm happy. I think I said what I wanted to say.

Paul: Thank you so much. I'll be in touch. Thanks, Patrik.

Patrik: Sure. Pleasure.

Learning from Las Vegas wawancara oleh Rem Koolhaas (2)

Wawancara dengan Denise Scott Brown dan Robert Venturi
Belajar Kembali dari Las Vegas (2)
Belajar dari lanskap yang sudah ada adalah cara untuk menjadi revolusioner bagi seorang arsitek. – Learning from Las Vegas, 1972
Wawancara oleh Rem Koolhaas dan Hans Ulrich Obrist

HUO: Hans Ulrich Obrist          RK: Rem Koolhaas

DSB: Denise Scott Brown RV: Robert Venturi

RK: Jika saya ingin menggambar karikatur posisi Anda, saya bisa mengatakan bahwa papan-papan penanda lebih penting daripada substansi fisik bangunan--

RV: Tentu saja, papan-papan penanda lebih relevan/signifikan daripada bangunan.

RK: Bisakah kita katakan: tanda lebih penting daripada massa? Sejak terbitnya Learning from Las Vegas, kota ini menjadi lebih substansial, lebih masif: sekarang lebih terbangun daripada sebelumnya. Apakah menurut Anda pelajaran tentang “papan penanda mengungguli bangunan” masih berlaku?

RV: Ya: papan penanda lebih penting daripada massa. Atau, dengan kata lain, sebagaimana seseorang menulis tentang pendekatan kami baru-baru ini: bangunan, papan penanda, seni—semuanya adalah satu kesatuan. Dan itulah sebabnya kami berpikir bahwa Las Vegas saat ini ironisnya kurang relevan dibandingkan dengan Las Vegas dulu. Las Vegas berangsur-angsur berubah dari sebuah jalur komersial menjadi Disneyland. Dalam “Las Vegas after Its Classic Age,” kami menggambarkan evolusi-evolusi berikut: dari strip menjadi boulevard, persebaran kota menjadi kepadatan kota, lahan parkir menjadi halaman depan yang dihiasi, permukaan aspal polos menjadi taman romantis, gudang yang dihiasi menjadi “bebek,” listrik menjadi elektronik, lampu neon menjadi lampu piksel, elektrografis menjadi skenografis, ikonografi menjadi skenografi, Vaughan Cannon menjadi Walt Disney, budaya populer menjadi gentrifikasi, rasa yang populer menjadi rasa yang enak, perasaan menjadi seorang pengemudi menjadi perasaan sebagai seorang pejalan kaki, strip menjadi mall, mall menjadi pinggiran kota, vulgar menjadi dramatis. Untuk menyederhanakan, yang utama adalah Las Vegas telah beralih dari pola dasar strip dan perseberam menuju ke skenografi Disneyland. Skenarionya tidak selalu buruk—Place des Vosges bersifat skenografis, dan arsitektur, dalam artian, memang melibatkan penataan ruang agar tampak menarik. Bahayanya adalah Las Vegas telah menjadi bioskop yang eksotis dan bukan lagi sebuah tempat dalam artian yang sebenarnya.

RK: Tapi semua karakterisasi dalam daftar di atas relatif dinamis; mengapa Anda mengakhiri daftar tersebut dengan konsep “dramatis” yang terkesan negatif?

RV: Hal tersebut tidak selalu negatif dan, seperti yang saya katakan, banyak arsitektur bagus memiliki elemen skenografi. Tantangannya adalah bagaimana supaya dapat melakukannya dengan baik—autentik—saat ini.

RK: Tapi bagaimana mungkin seseorang yang mengaku populis dapat menyatakan bahwa fenomena populis yang paling sempurna tidak autentik?

DSB: Kita tidak bisa sesederhana itu mengatakan bahwa kita populis; Kami sangat beragam, kami elitis sekaligus populis.

RK: apa Anda sedang menulis sekarang?

RV: Saya selalu menulis. Sebagian besar tulisan saya adalah esai: sejak buku saya terbit, saya telah menulis kira-kira lima belas esai. Banyak sekali manifesto dan hal-hal seperti itu...

RK: Jadi apakah Anda tengah berada pada periode penuh gairah?

RV: Oh, saya tidak akan mengatakan seperti itu! Kami selalu bekerja, sebenarnya kami bekerja tujuh hari dalam seminggu, kecuali pada minggu Natal saat kami bekerja enam setengah hari.

RK: Ada ironi yang menarik dalam kenyataan bahwa Anda menganjurkan penerapan komersialisme Amerika dan energi sementara, saat ini, Amerika adalah negara yang paling buruk dalam penerapannya, karena ada kekhawatiran akan konteks, akan kesopanan, dan akan nostalgia...

RV: Ya, orang Amerika sangat malu karena bersikap komersial!

RK: Sejauh ini, Anda telah mendiskusikan karier Anda dari sudut pandang kontinuitas dan dari sudut pandang perkembangan tema-tema yang ada sejak awal. Apakah ada juga unsur diskontinuitas, perubahan radikal?

RV: Karier saya selalu evolusioner, sebagian besar demikian.

DSB: Kami cukup merasa beruntung jika bisa memiliki sedikit gagasan bagus—bahkan kalaupun hanya satu—di sepanjang karier kami. Kemudian jika kami bisa membangun tema sentral kami, mendiversifikasinya, dan memperkuatnya, melalui pengalaman profesional kami. Namun kira-kira setiap sepuluh tahun sekali telah terjadi perubahan dalam pekerjaan kami karena adanya berbagai proyek yang kami terlibat di dalamnya. Kami menghentikan praktik perencanaan kota pada tahun 1980an karena saya tidak bisa membiarkan perusahaan saya kehilangan uang lagi sebanyak yang hilang pada proyek-proyek perencanaan selama era Nixon dan Reagan. Namun seiring dengan keputusan kami untuk meninggalkan urbanisme, proyek perencanaan kampus membuat kami tidak sadar bahwa kami sedang bekerja sebagai urbanis saat kita menggarap proyek kampus-kampus di beberapa kota kecil. Sejak tahun 1980, kami telah membangun serangkaian bangunan-bangunan dan kompleks-kompleks akademis yang meliputi ruang-ruang kelas hingga tempat tinggal, laboratorium, perpustakaan, dan gedung pusat kampus. Pekerjaan akademis kami mengarahkan kami kepada praktik kelembagaan dan kemasyarakatan perkotaan, terutama museum, dan kepada proyek-proyek pemerintah Jepang dan Prancis. Dan pekerjaan laboratorium kami di tahun 1980an membuat kami beralih ke desain bangunan medis pada tahun 1990an. Jadi ada perubahan dalam subyek-subyek kami, tapi kontinuitas dalam filsafat kami. Proyek-proyek kami membuat kami terus-menerus belajar.

RK: Dan tidak adakah gagasan-gagasan masa lalu yang sekarang Anda tolak?

RV: Tidak, saya kira tidak. Ada dua perubahan filosofis utama. Salah satunya mengenai Complexity and Contradiction in Architecture: Ketika guru saya yang mengagumkan di Princeton, Donald Drew Egbert, membacanya, dia mengatakan bahwa buku itu seharusnya berjudul Complexity and Contradiction in Architectural Form (Kompleksitas dan Kontradiksi dalam Bentuk Arsitektur), karena inti buku tersebut adalah tentang bentuk. Kemudian, Las Vegas pada dasarnya adalah tentang simbolisme, jadi ada pergerakan ini, yaitu dari bentuk ke simbolisme—kita lebih membahas tentang simbolisme sekarang. Hidup papan penanda!

Wednesday, February 7, 2018

Bagaimana kelanjutan studio ZHA Tanpa sang Diva Zaha Hadid ?

Talk: Patrik Schumacher on Fierce Debates, Facebook and the Future of Zaha Hadid Architects 
Patrik Schumacher interviewed by Paul Keskeys for Architizer, December 2016

Paul: I just want to start by asking you how the firm has evolved and developed over the past year. Obviously, after I just wondered whether you could give us an insight into how the studio has continued working from that moment and maybe if you have plans for the future as well.

Patrik: Sure, let me first of all emphasize the continuity of ZHA in terms of all the projects which are ongoing which is about 80. 24 of them are on site, under construction, and many more in late stages of design development, about to tender and soon to go on site. All that's just continuing. Since Zaha’s passing all of our clients stayed with us and trust us to deliver what we had started. We have also been able to secure some new work and we've done a number of new competitions, some positive, some negative. Overall there's an enormous amount of continuity in terms of the spirit and the DNA of the firm, the way we are working, our methodology and values, and of course in terms of my continued authorship and leadership. The continuity I emphasize involves the leadership of the board of directors and indeed the whole organization. We've always been a very collaborative setup with many creatives contributing and that continues in the same spirit and with an enhanced motivation because we want to make sure that we're surviving and continuing Zaha’s legacy.
That we can win new work is very crucial. It's very hard to have a firm just petering out, just completing jobs without refreshing the order book. That's actually economically unviable. So far it seems we are viable. We are indeed in a very good position financially and it terms of our order book and future income. We have actually increased our financial standing and profitability in the last few months. Looking forward into the future, we remain ambitious. We are eager to stay innovative and relevant, to remain worthy of consideration for the most prestigious projects in the major urban centers, all around the world, in all program categories. 
The firm has a full range of types of work, even infrastructure work like airports and train stations, and of course residential projects, mixed use complexes, office buildings, headquarters and so on. We also want to stay relevant with respect to major cultural buildings. We've competed for the Berlin extension of Mies van der Rohe’s National Gallery in Berlin. We are competing now for the new Munich concert hall. That is also very important to us. We don't want to change character. We want to remain innovative, cutting edge, speaking with artistic credibility and cultural credibility and remain a leading voice in the field. That's my mission.

Paul: Wonderful. That's great. Yeah, so just wanted to touch on ... You've been in the spotlight quite a lot recently after your speech in Berlin. I just wondered how you reflect on the sort of both sides of the debate that was created after you gave your presentation there and the question I actually wrote was slightly broader. I wrote what should architects' role in politics be and what are the opportunities and risks involved in that do you think?

Patrik: Well, I think there is a big debate out there which we have been facing in the media for quite a while now, which is the so-called housing crisis, or affordability crisis that exists in London but also in various cities in the US. There's a hot topic out there with various claims, attempted explanations and proposed remedies, so I've entered this debate. I've been thinking about it for quite a while. The occasion, the World Architecture Festival, was thematically focused on housing and I was asked to show some of our residential work. So I started my presentation with our social housing project in Vienna and then went on to show various projects we've done for instance in Milan and Singapore in terms of completed large multi-unit residential schemes, but I was also showing new residential projects under construction in the US, in Miami and Manhattan. 
That’s the way I had started my talk and then I moved on to look at explanations about why we're talking about a housing crisis and I pointed to the underlying historical forces that imply that we witness an era of intense urban concentration, in particular during the last 20 to 30 years and that this process seems to be accelerating in more recent years. We have to agglomerate in urban centers which become innovation hubs for R&D, marketing, finance and the creative industries. This current period is based on the micro-electronic revolution and the new dynamism of continuous innovation that this engendered is very different from the period of the mid-20th century, which was basically a manufacturing society based on the mechanical mass production of a universal, stable consumption standard that was facilitated by spreading the division of labor out into the landscape via suburbanization, delivering similar lives beavering away in parallel, distanced to remain undisturbed. That was Fordism with modernist urbanism. Now we witness a totally different socio-economic dynamic which we might call Postfordist Network Society, where we need to stay in close contact all the time, networking 24/7, to continuously reprogram the computer controlled and increasingly robotic production systems. Everybody feels the need to move to the center where the re-progamming is thought through. Nobody with ambition, perhaps nobody at all, can afford to stay provincial, cut off, and thereby relatively unproductive. We want to densify, we must densify our cities. This is a challenge and raises various contentious issues. Prices are rising fast. There seems to be a bottleneck in the supply of central residences. We need to locate the friction points, the resistances, the bottlenecks. I do not believe that the current pattern of supply restrictions with rising prices can be dealt with by trying to match rising prices with ever increasing subsidies being somehow rationed out to ever more people. This is neither efficient, nor fair. So I am asking how societal arrangements and rules might adapt to this new historical condition, to make the most of the challenges and opportunities afforded by the new network society. In recent years I have more and more come to believe that the increasing scope for market processes, i.e. neo-liberalism, is pointing in the right direction but has been compromised by far too much state intervention so that the inherent self-regulating capacity of markets has not been able to work properly, leading to many problems that I think should be attributed to interventionism rather than to capitalism as such.
Starting from this premise I've been going through a number of proposals about loosening the grip of politics and planners on urban development and finally touched on something - social housing - which maybe I shouldn't have touched because it's very, very touchy and sensitive and emotionally too charged. So I got this incredibly angry backlash, with so much hostility that I am reluctant to further discuss my reasoning here or elsewhere in an open, very public forum for the time being. I just want to mention here that what motivates my thinking is the same set of fundamental values that we all share, and that everybody who is stepping up into the public domain to participate in public reason should be presumed to share, namely a real concern about the common weal, prosperity, and the future prospect of society. My public interventions have indeed be animated by a deeply felt humanistic motivation and I am thinking about the human potential and human flourishing in our era, including everybody’s flourishing, inclusive, not exclusive. My title was “Housing For Everyone”. I just want to make this general point here, once more, without going again into the particular ideas that in my view are coherent with this generally shared ambition. That's where I'm coming from motivationally. But my particular policy ideas need much more careful and circumspect mediation, perhaps via a book, rather than via public debates.
The elaborate steps of mediation require a lot of economic theory, sociology and history which might eventually lead more of us to see the merit of my proposals. If you cut those mediations and their humanist foundation, you end up with something which seems untenable and willfully provocative because it's so different from the usual analyses and recipes. So I stand by what I've been saying but I won't say it again for now. This discourse requires a different, more theoretically minded context and I would have to rely on things not being lifted out of context. Those who know me know that I'm the furthest away from fascism as anybody can be, but I have been painted as a fascist and we had demonstrations outside of our office and I was literally chased down the road by demonstrators screaming “Stop the fascist”.

Paul: Oh, gosh.

Patrik: I took it in good humor and I was indeed enjoying it because I'm fit and long-legged and could pull away from that group who ran out of breath sooner as they were scream abuse at the same time as they were running. I guess I would be less enjoying the reminiscence if they had actually caught on to me to rough me up. I'm rather philosophical about all this. I also have got a lot of positive feedback and good vibes from people who like my ideas or who at least feel I should be able to speak without being vilified and defamed as fascist. This was comforting and helped me to sustain this unexpectedly stormy onslaught.
Of course my main worry in all this was: what does this do to my company ZHA? I was very much concerned about how clients would react to this and that this could taint not only my person but the ZHA brand. It seems that's not the case, judging by most recent engagements with London client, old and new. I think the media frenzy is one thing and what people really think is quite another thing. Anyway, the responses and interactions I had with various clients are thankfully not confirming my worst worries.
I take a philosophical stance, trying to understand and contextualize what happened. For me it's of course a lesson, and I guess the unexpected reaction has to do with my new position as ZHA principal. I've been saying most of the things I said at WAF before, at other occasions. I need to be mindful of my new public profile. I was hoping I could maintain a certain separation between my role as theorist and thinker on the one hand and my role as leading representative of ZHA. In principle this should be possible, in reality perhaps less so. With our professional work in the city with planners we certainly operate competently within a given political framework and we understand the reasoning behind this framework and can represent all stakeholder positions we encounter and meant to safeguard. My attempts to think beyond the given framework in the context of a larger debate should not imply my disqualification as a professional practitioner who delivers a service, an intelligent, competent service, within the very framework that I question theoretically. Current practice must go on while speculation of future practice is theorized. These domains need to be separated, and I think it is necessary that those who are operating within the current system are also involved in thinking about other possible systems. We should be smart enough to understand and appreciate the rationality of the current rules while investigating the potentially yet higher rationality of alternative rule sets.
At WAF I was taking as thinker, from a bird's eye perspective about systemic processes saying: "Hey, what if we think about the problem more radically, from a very different set of premises”. There was of course a provocative, speculative element in my talk, especially with respect to Hyde Park. I didn't expect that my propositions would be taken up so seriously, in so scary ways. I guess I have to learn to be more reflective about which context is going to absorb which level of uncensored frankness without too much upset and without jumping to false conclusions about my intentions and political position too quickly. Again: I am not a fascist! I am speculating from a libertarian perspective, i.e. from a most decisively anti-fascist perspective. Also: I am certainly not “right wing” either. The right-left political compass has become nearly meaningless and is certainly not capturing the pro-capitalist libertarian position. Anyway, to avoid a similar PR disaster I will certainly have to be more circumspect in the future.