begini nanti jadinya Jatim Park 2

Jawa Timur Park 2 atau Jatim Park 2 merupakan sebuah kompleks theme park baru di Kota Batu, Jawa Timur yang dibangun secara bertahap dari tahun 2009 sampai 2010 dengan luas area sekitar 16 hektar. Jatim Park 2 ini mengedepankan konsep nature (alam), ada 3 sajian utama di dalamnya, yaitu: Museum Satwa, Hotel de Pohon dan Secret Zoo. Dari arah depan, kita dihadapkan pada 3 tampilan arsitektur yang saling gak nyambung (uncorrelated) satu sama lain. Di paling kiri, Museum Satwa tampil dengan langgam klasik Yunani. Di tengah, Hotel dengan metafora berbentuk pohon raksasa (gigantic tree). Kemudian di sisi kanan, Secret Zoo yang tampil secara kontemporer dengan permainan geometris yang disusun ala cut diamond (potongan intan).

Meskipun erat dengan alam, konsepnya memang ingin memecah harmoni dan merayakannya dengan tiga massa bangunan sensasional. Bagaimanapun juga, sebuah theme park harus tampil dengan penuh kejutan (shocking) dan bahkan juga “kegilaan”. Untuk itu, bentuk yang sensasional menjadi jalan keluar. Dalam sebuah theme park, yang sensasional justru memberi efek shocking yang lebih berhasil dibanding yang selaras (harmoni).

Selain itu, tiga tampilan yang gak nyambung tadi sekaligus sebagai cara untuk menunjukkan zoning massa yang paling gampang dipahami oleh pengunjung. Dengan mudah orang akan tahu, mana Museum Satwa, Hotel de Pohon dan Secret Zoo, karena masing-masing memiliki tampilan yang berbeda. Sebuah metode automatic segregation yang cepat terekam dalam memori. (teks: Anas Hidayat, dpavilion think tank)

Principal Architect:

Edwin Nafarin

Tim Desain:

Kamawardhana Heksa Putra

Margaretha Lukmanto

Kartika Ciputera

Muhammad Arifin

Iman Adimasputro

Carol Dewitasari

Irawati

Herry Pujidarminto

Rahmad Nuryanto

Susanto

Agus Setiawan Pauran

Meyliza Kotama

Arif Effendi

Michelle Wijaya Kusuma

Museum Satwa di Jatim Park 2, Kota Batu - Jawa Timur 2010

Kota Batu semakin mengukuhkan keberadaannya sebagai Kota Wisata yang tersohor di Indonesia. Makin hari wahana wisata yang ada di kota ini makin bertambah dan makin lengkap. Setelah ada Jatim Park, dan akhir tahun 2008 muncul BNS (Batu Night Spectacular), sekarang di awal 2010 muncul objek wisata baru Jatim Park 2 yang dimulai dengan pembukaan Museum Satwa.

Museum merupakan institusi permanen yang melayani kebutuhan publik dan bersifat terbuka, dengan melakukan kegiatan koleksi, konservasi, riset dan komunikasi terhadap bidang ilmu tertentu. Selain itu, museum juga memamerkan benda nyata kepada masyarakat untuk keperluan studi, pendidikan dan kesenangan (hiburan). Di sini, Museum Satwa menampilkan segala hal yang berhubungan dengan seluk-beluk dunia satwa.

Tampak luar museum ini mengingatkan kita pada bangunan Yunani Kuno, seperti Parthenon di Athena. Ini sebuah upaya parodik dengan meminjam image klasik Barat sebagai sebuah “ke-masalalu-an”. Bisa banyak tafsir atas hal ini, bisa sebagai jejak bahwa asal museum memang dari Barat, bisa juga sebagai sindiran bahwa kita belum bisa melepaskan diri dari bayang-bayang arsitektur Barat.

Sajian dalam Museum Satwa ini sangat beragam, di dalamnya ada sekitar 84 diorama satwa dari berbagai penjuru dunia, dari dalam negeri maupun luar negeri. Diorama ini memberi gambaran yang seakan-akan nyata tentang kehidupan satwa di habitatnya di alam liar dengan menggunakan hewan awetan murni.

Diorama Satwa

Juga ada insektarium yang berisi 5000 jenis serangga yang didapatkan dari berbagai tempat seperti Peru, Papua Nugini, Kolumbia, Malaysia dan bahkan dari Pulau Madagaskar di pantai timur Afrika, tak ketinggalan juga dari hutan Indonesia. Pengunjung juga bisa menikmati fish diorama berupa diorama kehidupan bawah air. Baik kehidupan di air tawar seperti sungai, danau maupun rawa, juga di air laut di beberapa kedalaman yang berbeda-beda. Di sini pengunjung seperti dibawa di kedalaman air dan melihat langsung ikan di habitatnya.

Fish Diorama

Tak ketinggalan, terdapat diorama pemandangan alam dari berbagai tempat yang berbeda di berbagai belahan benua. Seperti diorama pemandangan alam yang berbatu, bersalju, hutan yang sedang terbakar dan lain-lain. Sajian lain yang cukup menarik adalah koleksi fosil, fosil yang dipamerkan di sini adalah fosil tiruan dari bahan fiberglass. Fosil-fosil ini akan memberi pengetahuan kepada pengunjung bagaimana bentuk fosil itu dan bagaimana para ahli satwa purbakala merekonstruksi gambaran satwa yang hidup di masa jutaan tahun yang lalu.

Koleksi Fosil

Museum Satwa juga dilengkapi fasilitas Teater, menyajikan film-film tentang satwa dan kehidupannya di alam liar, ditambah dengan simulasi anatomi satwa agar pengunjung bisa mengetahui seluk-beluk satwa dengan lebih baik. Jika masih kurang puas dengan penjelasan tentang satwa, para guide yang profesional siap memandu wisatawan untuk menerangkan dan memberi informasi yang dibutuhkan oleh pengunjung.

Sajian Anatomi 3 Dimensional

Museum Satwa ini dirancang oleh dpavilion architects dari Surabaya. Dari hasil wawancara dengan principal dpavilion, Edwin Nafarin, Museum Satwa ini merupakan tahap awal dari pengembangan Jatim Park 2, nantinya di bagian tengah akan ada pula Hotel dan Resto berbentuk pohon besar. Sedangkan di sisi paling kanan ada Secret Zoo, kebun binatang dengan konsep kontemporer. Kita tunggu saja kejutan-kejutan berikutnya di Kota Batu.

(Anas Hidayat)

Edwin Nafarin - dpavilion principal

As an architect practicing in Indonesia, a developing Asian country with world’s largest muslim population, I surely have a design ideology that differs from those of other architects in other countries. I always try to observe and understand the surrounding condition, then create something with possesses a “soul” which is harmonious with local life.

Indonesia, as a developing country with a “less” stable economy, still leave many of its citizens in poverty. This is the basis for my architectural idealism. I want the poors to be able to have facilities and entertainement, just like the affluent ones. This is termed as “kere bisa hore” (the poors can say yeah); the poors have the rights to be happy.

Yet I am not 100% altruist. I support the idea that architecture is a commodity. In a situation where economy is regarded as the basis for everything, commodification is unavoidable. However, I believe architecture should be a commodity with high-quality, instead of a low-quality one.

I am also fascinated with Nusantara (the archipelago between Asia and Australia) which possesses myriad of phenomenal architectures. I try to adopt the forms or the values  of Nusantara architectures in order to create contemporary architectural forms.

Our design results at dpavilion architects are combination of idealistic works and commercial works. It is a matter of cross-subsidy, so to speak. An architectural bureau needs sufficient budget to operate, and I am aware that not all projects can be carried out with high idealism. But I guarantee that we shall not produce architecture with low-quality or no-quality.

Several of our works in dpavilion architects which have made me proud to be an architect of “kere bisa hore”, are, among others: Contertainer in Batu, Wisata Bahari Lamongan in Lamongan, Jawa Timur Park in Batu, Playground de Rumah in Malang, and Batu Night Spectacular in Batu.

is architecture identical with poetry?

maybe yes, maybe no

up to you…

but, in the beginning was the smoke

a...and...p

By Mohammad Nanda Widyarta

Jawa Timur Park in Batu, East Java, Indonesia

Kitschy, details are not well done. Aesthetically speaking, Jawa Timur Park is not a good work. It sucks. Mies and his followers would curse on it, for it completely denies the god in the details. Even the architect of the park himself admitted to me that the walking paths for visitors were too narrow.

But, that was aesthetically speaking. That is to say, “aesthetics” in a rather academics manner. We  know that aesthetics itself is not a homogenous topic of discussion. We know how, almost a hundred years ago, the Dadaists tried to disturb the already accepted notion of aesthetics. Bataille even talked about l’informe (the formless).

Enough aesthetics, and let us leave it to the experts. How about perceiving it architecturally?

Again, the park shows some flaws. The poor detailing was mentioned already. Nevertheless, architecture is not merely about detail. It is about space, it is about how to construct space. Perhaps it is more and foremost about constructing events in the created space. When we perceive the park through this angle, then the park is not a failure.

I sat at Ken Dedes (or was it Ken Arok?) food court, a part of the Jawa Timur Park where one can sit, have drinks and look at the water park and all. At that moment, I noticed how the event(s) unfurled. There were many people there, of different social classes. They were having fun. The classes differences among them blurred in that space called Jawa Timur Park. I realized that I was witnessing an interesting event in that space. Architecture can affect people, some say. Here at the park, the affect of architecture was initiated not by some theoretical architect talks. It was initiated by simple act of putting some fun into the space. That is why the park is not an architectural failure; for it has managed to create the desired spatial event.

Translated by Mohammad Nanda Widyarta

Prologue

Contertainer, designed by dpavilion architects of Surabaya – Indonesia, is an amalgam of two words: container and entertainer. From its outer look, at a glance one can see an architectural form made of several brightly painted containers—red, yellow, blue and light green—in attractive position and composition, thus forming a contertainer.

Principal architects of dpavilion, Edwin Nafarin, once muttered: “I want to create architecture that would please many”. Contertainer is one of his works that manifests his architectural creed.

Contertainer Is situated in Batu, East Jawa, Indonesia. Batu is a relatively new town which still retains a strong agricultural nuance. Perhaps it is a town with a village-like atmosphere. Contertainer is a public facility, consisting of a polyclinic and a library, where ordinary people can come and use the facilities for free. The appearance of the contertainer in town can be perceived through various angles, for the appearance of an architectural work would be followed by many effects which it produces.

Social Contertainer

Along with the development of Indonesian towns and cities, aside from the rise of wealth, there is also a widening gap between the haves and the have nots. The have nots get more and more marginalized, their access to educational and health care services becomes more obscure, due to the increase of related fees. Such is an effect of global economy system, which mechanism is akin to the law of the jungle. This contertainer is a social attempt toentertain lower class people through free library access and health care service, so they would be able to have a better living quality amidst the fast-moving world.

The word entertain tends to be associated with the bliss of big cities: discotheques, pubs, movie theatres, theme parks, game zones, etc.; those “artificial” amusements. But here, at a country town called Batu, the term entertain is a bit “corrupted”; it is a real amusement for the lower class people, the ordinary people. They need proper health care service and access to quality readings in order to make them more confident as total, existing human beings.

On the other hand, in 1960s, Rendra, an Indonesian literary figure, reminded us that “in our country, the cities grow as the distributors of foreign products”. This contertainer seems to embodies his criticism. Foreign products which inundated Indonesia are freighted in tens of thousand containers. Aside from entertaining lower class people, contertainer provides an allusion: “don’t keep our cities the distributors of foreign products. Stop it. Let’s use the containers as architectural pieces!”.

Architectural Contertainer

One question to reveal: why dpavilion architects, as a designer of polyclinic and public library, started its idea from container? Perhaps there are several factors. First, a logical one: container is a firm structure with human-scaled spatial aspect (in spite of its real purpose as container of goods), so it is rather practical, quick and cheap to be transformed into architectural work (a 2,4m x12m used container costs only 8 million rps, there are 8 containers). Second, a morphological factor: container has a unique characteristic, a hollow block with standardized sizes, with potentialities to be designed with extreme and provocative manner. Third, symbolical factor: these containers, now utilized as a polyclinic and library, had travelled around the globe. Hence, a container is a true adventurer.

The containers utilized as a polyclinic and library are used container, a true adventurer, is undoubtedly representing  the library. Books, “the windows to the world”, are placed inside such container; an appropriate collaboration, is it not? May it stimulate the children reading at the library, fulfilling their curiousities to explore terra incognita.

Also, a container has dynamic nature, it moves and shifts, yet it also transformed into static, unshifting architectural being. To force a container to remain still, is seemingly against its dynamic nature. Yet the designers celebrate its dynamic form through a twisted, non-linear composition. This is enhanced with supporting columns placed uncongruently, making the contertainer enjoys its dynamism.

The contertainer is also a parody, the dichotomy of architecture as a place for activities (which considers human scale) and as expression (expressing emotion and  the will of artist), the contertainer exhibits containers of goods as containing human beings. We may ponder upon this: how important is human being for architecture? How un-important is human being for architecture?

Cultural Contertainer

In Batu, the cultures of cosmopolitant and the agricultural meet, as mention before, a town with a village-like atmosphere. A bit ambiguous: it is called a town, yet it has village atmosphere; it may be called a village, but is called a town already. The township of Batu is indeed in the process of growth, so the clash between the cosmopolitant and the agricultural tends to take place. Some citizens still work on the fields for a living, yet some others see the field as properties or industrials investment for the future.

The contertainer is an architectural manifestation of such cultural clash. Contertainer is made of containers as a cultural reflection of the open, free, straight forward cosmopolitant which is then planted agriculturally on a site for a long term. Besides, the contertainer proves that a container does not have one single purpose; it has myriad of purposes. Containers may become buildings, encouraging people to perceive buildings creatively from various points of view. They may learn to inquire their local genius in doing architecture.

Commodified Contertainer

Recalling existing debates on architecture’s position in relation to market, we may not take aside the issue of commodification of architecture. There are those who believe that architecture is precisely a commodity to buy and sell; some others refute it, and say instead that architecture is a unique and contextual ouvre. Academics and professionals commonly perceive commodified architecture as something marginal; architecture has to be a pure, uncommodifed beaux art.

This contertainer challenges: “architecture as a commodity, why not?”. The point is to make architecture a fine quality commodity, not the low, mundane one, not event a kitsch. In the present time, commodification is an unavoidable, contertainer blatantly uses containers as symbol of commodity, implicitly saying: “It’s a commodity yet is an architecture!.

Epilogue

Contertainer by dpavilion architects is open to be perceived and interpreted from different points of view. An elusive architectural work, it is getting away from one gaze to another. It simultaneously tells that architectural work is multi-interpretative, everybody may interpret it from her/his point.

Is the contertainer, as an architectural piece, justified? Forget container, entertainer, culture, economy and the likes. Just see and experience it. Consider that we only have our eyes as the only elements of our bodies; the eyes will always have the opportunity to reveal the hidden. Architecture which alludes. Apart from the issue of right-or-wrong, good-bad or beautiful-ugly, contertainer is still attractive and provocative. Wanna buy?

Data about Contertainer

Location: Jl. Sultan Agung- Kota Batu – East Java – Indonesia

Site Area: 700 m²

Client: Mr. Ronny Sendjojo

Architect: PT Di Pavilion Kami Berkarya – dpavilion architects

Project Team: Edwin Nafarin (Principal), Kamawardhana Heksa Putera, Kartika Ciputera

Structural Engineer: Junaedi Masil & Associate, Surjo

Photographer: Ganny Gozaly

mau maju, tapi tidak boleh maju

mau bertahan, tapi tidak boleh bertahan

mau berubah, tapi tidak boleh berubah

mau gila, tapi tidak boleh gila

mau ngawur, tapi tidak boleh ngawur

mau menentang, tapi tidak boleh menentang

kompromi sebagai keterpaksaan

Posted in architecture firm ]]> http://dpavilionarchitects.wordpress.com/2009/05/21/arsitektur-adalah-kegelisahan/feed/ 0 dpavilionarchitects