Trafacon Office Building

by Lee Bee Luen

PROJECT DATA
Project Name
Trafacon Office Building
Location
Jl. Durian No. 11, Jagakarsa, Jakarta, Indonesia
Status
Construction
Expected Completion
December 2009
Site Area
1,883 m2
Gross Floor Area
1,451 m2
Number of Rooms
33
Building Height
10 metres
Client/Owner
PT. Bumi Trafacon Indonesia
Architecture Firm
12akitek
Principal Architects
M. Hikmat Subarkah; Ginanjar Ramdhani
Project Architect
M. Hikmat Subarkah
Project Team
Ginanjar Ramdhani; Anggie Radik Priyanto; Irwan
Model
Anggie Radik Priyanto
Rendering
M. Hikmat Subarkah
Main Contractor
PT. Bumi Trafacon Indonesia
Mechanical & Electrical Engineer
PT. Bumi Trafacon Indonesia
Civil & Structural Engineers
Mohamad Samsi; Iqbal
Images/Photos
M. Hikmat Subarkah; Adi Putra



A building should not only respond to contemporary notions of aesthetics or its functional requirements, but also to its locality such as culture, society and climate. In the context of Jakarta, where the city is prone to frequent flooding, architects need to take this problem into consideration during the design process so that there is appropriate and responsible dialogue between the structures and the environment.



The Trafacon Office Building incorporates measures to combat the complex flooding problem in Jakarta, and aims to demonstrate that contemporary architecture can still be applied without sacrificing the basic principles of tropical architecture. Situated on the city’s green area site in Jagakarsa, south of Jakarta, the building is the headquarters of Trafacon, a construction company. It houses the main office, advertising office, photography studio and supporting facilities.



The main concept is to create a seamless blend between the building and its surroundings. A paper-folding technique was used to come up with the spaces, resulting in a dynamic and unconventional form. The building surfaces are covered with green roofs. Apart from the host of advantages that green roofs offer, it is also a strategy to replace the green area of the site used by the building. Basic principles of overhangs, light and airwell are adopted and
traditional sustainable features such as water-management systems as well as cross ventilation techniques are integrated into its contemporary architecture to achieve good environmental performance.



ENERGY
The same functions are grouped together to increase efficiency. Through careful zoning arrangements, human activity is minimised, thus decreasing
heat emissions. Apart from the working zone, all the other zones rely on natural ventilation. Although air-conditioners are used in the working zone, the system is designed to perform at the optimal level, thus avoiding any unnecessary energy wastage. The large glass wall also helps to reduce the need for artificial lighting.



WATER
Conventional and high-tech methods are used to harvest water. A large green roof is used for collecting and filtering rainwater, which is then channelled into a ground tank for toilet flushing and plant-watering purposes. The filtration system is modified from the ones used by traditional Indonesian houses. Apart from a filtering chamber containing small and big aggregates and coconut fibre, existing soil and grass are used as additional filter layers. Coupled with the use of local water equipment technology, which eliminates contamination by iron, manganese, organic, and ammonium compounds, undissolved compounds, turbidity and odour, the collected rainwater can also be turned into potable water.

MATERIALS
Low-energy materials such as concrete, glass and anodised aluminum frames are used; materials with chemicals such as paint emulsion are avoided, minimising negative impact to the environment.



HUMAN HEALTH AND COMFORT
The transparent glass wall is oriented along the north-south axis to avoid direct sunlight. This minimises solar radiation and heat gain, lowering the temperature in the rooms. A large roof cantilever is erected for shading purposes, and the multi-level green roofs serve as cooling layers. The courtyard consists of a water fountain and trees which help to counter the surrounding temperature and humidity. All these factors contribute to creating a more comfortable working environment. By designing a large multi-layered landscape feature that could also be used as a social space, an alternative outdoor interaction venue is made available besides the common indoor room, pantry, etc. The green interaction space provides a calming and uplifting environment, contributing to the psychological well-being of the users which in turn could also have positive effects on their health and working performance.

© Copyright 2009 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Pod meeting

A constellation of small ‘pods’ redefines the concept of the traditional business and leisure hub.
by Lee Bee Luen

PROJECT DATA
Project Name
FPod
Location
Jl. Jenderal Sudirman, Pintu Satu Senayan,Jakarta, Indonesia
Expected Completion
November 2008
Client/Owner
Plaza Lifestyle Prima (subsidiary of Plaza Indonesia Realty)
Architecture/Interior Firm
DCM – PT Duta Cermat Mandiri
Principal Designers
Budiman Hendropurnomo; Dicky Hendrasto
Interior designers (Pods)
Pod 1 by Zenin Adrian
Pod 2 by Indah Fajarto
Pod 3 by Krish Suharnoko
Pod 4 by Ridwan Kamil
Pods 5 and 6 by Yori Antar
Pod 7 by Willis Kusuma
Pod 8 by Avianti Armand
Pod 9 by Dicky Hendrasto
Pod 10 by Leonard Theosabrata
Pod 11 by Alvin Tjirtowirjo
Contractor
PT Harjaguna
Capacity
11 pods with 3 sizes:
Small (12.6 m2) capacity of 6–8 people
Medium (18.9 m2) capacity of 10–14 people
Big (31.4 m2) capacity of 20–24 people



Unlike the regular mall or entertainment centre, the new fX Lifestyle X’nter was conceived to combine both business and leisure. This trendy mall, strategically located at the heart of the CBD in Jakarta, seeks to appeal to young working professionals aged 25 to 45. To cater to meetings, the owner’s initial brief was simply to design a food court that comprises some private rooms equipped with projectors and Internet connection. However, the designers came up with the idea of having multifunctional private spaces to suit the lifestyle needs of young urban executives. They termed this unique concept of an edgy meeting hub the fPod.

The fPod features 11 meeting rooms or ‘pods’, of which Pods 5 and 6 are conjoined. Aside from being a novel concept, another special thing about these pods is that each one is designed by a well-known local interior designer. The freedom to design the pods resulted in dynamic and creative spaces, which married aesthetics and function. As Ridwan Kamil, principal of Urbane Indonesia points out, the fPod was “transformed into an art and design gallery which people can use functionally. The coordination between the main architect and 10 designers has created a small forum within this project.”



The meeting hub is located at the centre of the second floor or F2 level. Resembling cocoons, the structure of the pods is composed of steel frames and clear glass cladding. The cocoon-like structure and colourful graphic stickers create some privacy for its users, but the glass walls also allow a degree of transparency which panders to the ‘wanting to be seen’ exhibitionist tendency of the young. The pods come in round, oval or ‘kite’ shapes, and sport three different sizes—small, medium and large—with different capacities. Services and facilities include Internet access, fax and printing machines, projectors and other multimedia tools. Apart from business meetings, the pods can also be used to host leisure activities such as games or karaoke sessions, movie screenings, exhibitions, private gatherings or parties.



NO TWO PODS ARE THE SAME
The style of each pod could not be more different. Pod 11 by Alvin Tjirtowirjo—one of the young and upcoming local designers—sports a futuristic and avant garde look. With the aim of making the round-shaped pod as attractive and distinctive as possible, the designer with a fetish for organic shapes designed the furniture in fluid white lines. The shell of the furniture was created using solid surface and fiberglass. For the upholstery, synthetic leather was used due to its durability and ease of maintenance.

Pods 5 and 6 by Yori Antar of PT Han Awal & Partners Architect evoke a feeling of being in a spaceship with its ‘fluid’ interior and sleek design. Solid surface was used to achieve a clean, glossy look and the bright red colour of the table accents the space. Envisioned as a flexible space to accommodate various activities, a modular table was used. “The design has to be adaptive with the function,” Antar emphasises. “Instead of creating a ‘fixed’ space, we decided to create a modular table that can be arranged into many formations. The table
module can be placed in various ways, generating an extensive range of spatial, seating and orientation options,” he explains. The table also solves the problem of space unity created by the narrow section where the two oval-shaped pods join.



Another pod that is hard to miss is Pod 4 with its unusual beehive-like skin. Designed by Ridwan Kamil, the hexagonal patterns form a white skin which defines the space for the interiors. The sophisticated design aims to respond to the hip and vibrant surroundings at fX, and the additional layer also aids in filtering views from and into the interiors. The furniture inside accommodates the same layout and theme, with the chairs and tables designed in hexagonal-like shapes; functional hexagon modules are also used as a rounded wall shelf for the users of
the pod. The main material used was plywood because of its flexibility to be carved asymmetrically with the help of computer navigation and manual carving on site. White glossy paint was used as a final finish, to add a touch of class.

The design of the pods also influences the functionality of the spaces. For example, for more formal meetings, Pod 2 would be a suitable choice since it follows a more traditional layout. Designed by Indah Fajarto of Angnga Studio, the pod consists of an oval-shaped table with surrounding armchairs, akin to a boardroom. The furniture has been ergonomically designed to ensure the comfort of users in long meetings. In addition, an extra layer of skin made of artificial rattan covers the lower half of the pod, which not only makes it more aesthetically appealing from the inside and out, but also increases the privacy of the users inside. Another unique element in the pod is the stylish multilayered ceiling which helps to improve the acoustics in the room.




On the other hand, Pod 7 was designed to be a space for hosting more informal activities such as social gatherings. “In this pod, we explore the lesehan concept as a traditional meeting space and redefine its idea in the current context,” explains principal designer Willis Kusuma. Lesehan is a Javanese term which means sitting on the floor a la Japanese style. With such a concept in mind, it is unsurprising that the pod does not have proper chairs and, instead, only has a wide cushioned space with a table in the centre, allowing plenty of room for the users to roam freely. The materials used are mainly wood with paint finishing and a combination of solid surface with artificial leather.

© Copyright 2009 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Bottle House

PROJECT DATA
Project Name
Bottle House
Location
Bandung, Indonesia
Completion
September 2007
Site Area
373 m2
Gross Floor Area
320 m2
Number of Rooms
5 rooms
Building Height
10 metres
Client/Owner
Ridwan Kamil
Architecture Firm
Urbane Indonesia
Principal Architect
Ridwan Kamil
Main Contractor
Azkar
Mechanical & Electrical Engineer
Dany Setiawan
Civil & Structural Engineer
Dany Setiawan
Images/Photos
Urbane Indonesia, Yosi Wyoso, Sjahrial Iqbal



It is obvious at first glance why the residence of Ridwan Kamil—the principal of architecture firm Urbane Indonesia—is called the ‘Bottle House’. Sixty percent of the total surface area is covered by recycled bottles.

Located in northern Bandung, Indonesia, the split-level courtyard house occupies a site area of 373 square metres. The residence is divided into three zones: Zone 1 features the guest pavilion; Zone 2 comprises the living and the children’s bedrooms; and Zone 3 includes the garage, kitchen, dining room and library area. With a gross floor area of 320 square metres, the house has an open layout with minimal wall partitions to promote spatial flow in the interior. The aim of the entire design was to reprise a resort atmosphere, which was achieved by recreating a tropical landscape and utilising the building setback for a water feature and swimming pool.




RECYCLED BOTTLES
Collected from a six-month period from the dumping ground, 30,000 recycled bottles were used innovatively in different parts of the house. They were used to form part of the exterior skin of the perimeter wall surrounding the house. Inside the residence, the guest pavilion wall is also made entirely of recycled bottles. The ‘bottle wall’ enables natural breeze to penetrate, allowing fresh air to circulate in the living room.

Every private area such as the bedrooms gets full daylighting because of the full glass exposure. However, this also means getting ‘bad sun’ in terms of heat gain from the west. To reduce the impact, the bottles were also used to form the exterior skin for the walls of the children’s bedrooms, dining room and library area, which was done by alternating panels of bottles and glass in a chessboard pattern with a 60-centimetre gap in between. The glass panels can be pushed open to allow for ventilation.



Not only do the recycled bottles function as passive green elements, they also serve aesthetic purposes. The ‘bottle walls’ create an eye-catching façade, and in the interior, they also become pieces of artwork. The early morning and evening rays that filter in through the bottles also create interesting patterns and shades in the interior spaces, creating a special ambience. The warm colour of the recycled bottles also matches the timber flooring, further enhancing the ‘resort’ feel.

GREEN SPACES
Green spaces have been specifically allocated in the residence. Ridwan’s home is peppered with at least five small areas that are dedicated to growing plants and flowers. Part of the 13-metre long perimeter wall bordering the swimming pool is made up of stacks of gardening pots containing flowers and vegetation. The bale—a rectangular-shaped small pavilion by the swimming pool—has a green roof. There are also plans to turn the flat concrete roof above the guest area into a green roof.



ENERGY & LIGHTING
No air-conditioning is used in the house as natural ventilation concepts have been applied throughout the house. Sliding and folding doors as well as windows are designed to be fully opened when needed, and, together with the presence of three courtyards (a main courtyard and two small courtyards), fresh air is allowed to circulate, ensuring well-ventilated spaces. The water feature and the swimming pool situated at the periphery of the house also provide relief to the courtyard area, bringing cool air into the interior space. The courtyards also allow ample natural lighting into the house, minimising the need for artificial lighting during the day. – Erwin Maulana/Lee Bee Luen

© Copyright 2008 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Primary School Building in Nanggroe Aceh Darussalam

PROJECT DATA
Project Name
Primary School Building in NAD, Indonesia
Location
Bireun, Bener Meriah, Aceh Selatan and Aceh Singkil District, Nanggroe Aceh Darussalam, Indonesia
Status
Construction
Expected Completion
December 2007
Site Area
Approx 1,000 – 5,000 m2 at 66 locations
Gross Floor Area
Approx 1,000 – 2,000 m2 on average per location
Number of Rooms
9 rooms per location
Building Height
1 storey
Client
UNICEF will be handing the project over to the Ministry of National Education Government of Indonesia
Architecture Firm
PT BITA ENARCON ENGINEERING, Bandung, Indonesia
Project Director
Bambang Panudju
Principal Architect
Sugeng Triyadi, Herry Mulyajaya,
Architect In-charge
Masedizal, Ariani Mutiara Wulan, Boyke M. Akbar
Plumbing & Electrical Engineer
Andrisa Pramadityani, Iyus Darusiam
Civil & Structural Engineer
Bambang Karto, Dedy Chandra
Images/Photos
Pitus Kartiman A, M. Mulya Hareza, Endang Ruchiyat.



On 26 December 2004, a major earthquake and resultant tsunami caused widespread devastation in the northern and western coastal areas of Nanggroe Aceh Darussalam (NAD). The disaster left over 230,000 people dead/missing to date, and over 500,000 displaced. A subsequent earthquake on 28 March 2005 also resulted in severe devastation in the island of Nias of North Sumatra Province. According to a report by the Ministry of National Education (MONE) in April 2005, the tragedy left 40,900 children/students dead/missing, 2,500 teachers dead/missing and 2,135 destroyed/heavily damaged schools, across the board from kindergarten to university. Among those, 1,521 (71 percent) were primary schools.

Restoring the learning spaces for children in emergencies is one of UNICEF’s core commitments. With the “build back better” slogan in post-tsunami Aceh, on 2 April 2005, UNICEF signed a Memorandum of Understanding with MONE to reconstruct up to 300 primary schools and rehabilitate up to 200 primary schools with a budget of US$90 million in three years. In February 2006, safety concerns led UNICEF to decide not to rehabilitate damaged schools, but reconstruct them instead.

Targeted for 66 remote locations in NAD, this post-tsunami school rebuilding project follows UNICEF’s concept of a Child-Friendly School (CFS). A CFS is sustainable and environmentally friendly; accepted by the local community in terms of cost effectiveness, flexibility and ease of maintenance; and provides students with:
• A safe and healthy natural environment that ensures accessibility for disabled children
• A good and comfortable learning environment that has sufficient natural light, sufficient air circulation and maintains a comfortable temperature relative to the environment
• Classrooms and playgrounds that can accommodate child-centered education
• A permanent construction that can withstand natural hazards and has a lifespan of over 30 years.



In terms of architectural concepts, such guidelines mean that classrooms are designed to allow sufficient natural cross ventilation and daylight; classroom arrangements are made flexible to support student-centred teaching and learning methods; school premises are able to accommodate local community activities; and a child-friendly scale is considered in the design of classrooms, corridors, toilets, washbasin and tap height and other applicable aspects. Site development and site plan optimise the use of existing contours with minimal cut and fill activities. Existing trees are also preserved whenever possible.

To build earthquake-resistant and safer schools, the architects took into account some recommended guiding principles that govern seismic resistant design and construction in structural aspects. These include building smaller rooms and shorter structures, and having small openings in the walls such as windows that are as centrally located as are functionally feasible.

To streamline design and construction, repetitive modules were developed which comprise all the needed combinations of classrooms, libraries, teachers’ rooms and toilet blocks. These cookie-cutter modules were applied at each Phase 1 site to respond to the site’s characteristics.The size, orientation and contours of each site were significant determinants in the sitting of the building modules on each site. This efficient modular system will allow subsequent phases to be prepared (and constructed) more rapidly and efficiently.

A rule of thumb for school construction is high capital investment cost and low maintenance cost. By scrupulously selecting building systems and building materials that are characterised by their durability, albeit at a slightly higher cost, the recommended structures can be expected to serve the village populations well for many years, without the need to replace finishes or repair structures in the next 25 to 30 years, although prudent maintenance is always required.



Sturdy building materials such as steel was selected for durable superstructures, robust foundations, footings and floor slabs, roof sheeting and so on. Some of the building materials such as corrugated iron sheets, ceramic tiles, concrete blocks, sand, gravel and rabble stones were locally obtained, which helps to reduce construction costs and more importantly, get the local community actively involved in the construction of the schools.

The overriding feature of the school is its practicality. The simple structure provides maximum light and ventilation (especially by the use of clerestories). The straightforward steel shed roof has a sizeable cavity that is usefully stuffed with glass wool to reduce heat gain at lowland school sites. With the school buildings’ structural systems and finishes pragmatically looked after, the design team proposed the use of bright colour palettes, which were carefully selected for their attractiveness to young children. While school committees were engaged to help choose final colours, the project architects ensured that childfriendly colour schemes were selected.–Erwin Maulana/Candice Lim

© Copyright 2007 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Pandawa House

PROJECT DATA
Project Name
Pandawa House
Location
Jalan Pandawa, Bandung, West Java, Indonesia
Completion
March 2007
Site Area
234 m2
Gross Floor Area
260 m2
Building Height
2 storeys; 9.3 m
Architecture Firm
GENESIS architecture+interior
Principal Architect
Yu Sing
Project Architect
Benyamin Narkan
Structure
GENESIS architecture+interior
Mechanical & Electrical Engineer
GENESIS architecture+interior
Civil & Structural Engineer
BENCHMARK Engineering Consultant
Images/Photos
Yu Sing and Benyamin Narkan




Originally, the client—a couple with two young children—hired GENESIS architecture+interior to add a new bedroom in the garden area of their newly purchased house.

However, the architects convinced the client to renovate the entire twostorey structure instead, expanding the second floor to improve lighting, ventilation and ambience throughout the house. In addition, the owners could also feel that they had a new home, one that was compatible with their needs and character.

The main design concept lies in the revamping of the façade.

The new façade consists of three main boxes that dialogue with each other. The first box is the existing two-storey house; its façade is renovated using a horizontal wooden lattice screen that was previously used as the scaffolding during construction. The second box, which is finished in limestone, is situated parallel with the trapezoid-shaped site, with its slanted side in front. The third box, which is finished with black waterproofing, is stacked on the second box, then rotated three-dimensionally to connect with the first box and the second box. The massive, slanted black box appears to be hovering above the entrance, creating a dramatic statement, and the different expressions and superimposed boxes make for a palpable façade.




The overall layout is designed to flow with the split-level system and blend with a garden courtyard located in the middle of the house. The living room is situated at the back, facing the inner courtyard. The area above the living room is designed to be a secret garden, with greenery and a water feature, plus the added amenities of a bar and jacuzzi. The bar’s roof is finished using specially arranged split bamboos.

Although the house is located in Bandung -a tropical city with temperatures ranging between 19 and 27 degrees Celsius, high humidity and abundant sunshine- of the rooms, except for the master bedroom, have air-conditioning. Rooms that face the inner courtyard have either glass walls or doors; all the glass doors can be opened to allow fresh air and natural lighting to enter the rooms. As the residence is situated in an urban area with high mobility, the house has a high fence to ensure security.



Budget was a factor in this project. By keeping the existing structure and only altering the façade, the architects saved approximately 20 percent of total material and construction costs. To further overcome budget limitations, relatively inexpensive materials were used, without compromising the quality of the rooms or façade.



For example, for the lattice screen on the existing façade, the architects used ‘dolken’ wood that was previously used as scaffolding during construction. Bamboo, often used as an alternative material in semi-permanent houses, was employed for the canopy and in the bar area. Local ‘kihiang’ wood was chosen for the window and door frames. In fact, 80 percent of all materials were locally sourced. –Erwin Maulana/Candice Lim

© Copyright 2007 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Praja House

PROJECT DATA
Project Name
Praja House
Location
Kebayoran Lama, Jakarta Selatan, Indonesia
Status
Construction
Expected Completion Date
April 2008
Site Area
Approx 500 m2
Gross Floor Area
Approx 350 m2
Building Height
10.40 m; 2 storeys + mezzanine
Principal Architect
Aditya W Fitrianto
Main Contractor
Desmi P Syarif
Civil & Structural Engineer
Panji Puspoyono
Images
Eric Law



Although the client wanted a contemporary, clean and simple design for their house, they also wanted something that would be unusual for Jakarta. The brief to the architect included having a guestroom at the ground floor and a lap pool.

The open kitchen, living, and dining areas are arranged in a single row so that the ground level layout has a compact and continuous space, allowing a view of the pool at the back of the house. The upper floor plan is simple and reflects the mass of the house. The service area is located on the mezzanine level above the garage.

The façade is a mass block composition, a modern statement that makes the house stand out, while the use of neutral colours gives the structure a sense of consistency with the surroundings. The small angled roof at the top breaks the potentially monotonous block look, while the white façade and clear glass windows reinforce the light and sleek feel.




The large glass windows let daylight into almost all rooms. The thin mass block facilitates cross-ventilation, and the house has a well for water catchment and grey water recycling for washing cars and watering plants.

The architect persuaded the client to use simple and environmentally friendly materials such as aluminium frames and ceramic and homogeneous tiles. The house uses bricks and concrete structure for walls and floors; and steel and aluminium frames for the roof, which are easy to use and low maintenance. –Erwin Maulana/Candice Lim

© Copyright 2007 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Sentosa Private Villas and Spa

PROJECT DATA
Project Name
Sentosa Private Villas and Spa
Location
Peti Tenget, Kuta, Bali, Indonesia
Expected Completion
September 2007
Site Area
13,000 m2
Gross Floor Area
10,500 m2
Number of Rooms
114
Storeys
One floor (villas), two floors (central facilities building)
Client/Owner
PT. Carlton Crest Bali
Architecture Firm
E.S.A International
Principal Architect
Putu Edy Semara B.Arch & Martin H.G.
Interior design
Stuart Membrey, Rob Sample
Main Contractor
PT. Tunas Jaya Sanur
Mechanical & Electrical Engineer
PT. Tunas Jaya Sanur
Civil & Structural Engineer
PT. Adi Design
Images/Photos
Eugene Tan



Respect nature and the local culture—this was the guideline the architects followed when they worked on the Sentosa Private Villas and Spa in Bali.

The client’s brief was to design a resort with over 30 villa units and full central facilities—such as reception, gym, spa, restaurant, pool and bar—that exudes the charm of “Balinese living” in the tropics. The development was also to take into account Bali’s dry, humid climate and reflect the area’s rich culture as well as the simple, straightforward design of its indigenous dwellings.



Following that, the architects created a master plan inspired by a traditional Balinese village—villas built with natural local materials and intimately arranged with narrow alleys. Each villa unit is designed to be a self-contained oasis, with a typical Balinese compound that contains several pavilions serving different functions, a large swimming pool as well as a pool deck. Such an arrangement allows natural air and light to flow through the courtyard area; large sliding doors of the rooms that open up to the common space also enable the interior to enjoy better ventilation and daylight. The architects also ensured that the plan maximises the use of the land’s contour so as to minimise the need for landfill and disruption to the local topography. The main colour palette of the architecture follows the dominating colour tones of the natural elements in Bali: shades of grey, pale white and dark brown.

In line with maintaining an environmentally friendly approach, the architects created an energy-saving feature for the central facilities building: a massive ‘breeze block’ measuring 6 metres tall and 100 metres long. This special cladding allows natural light and ventilation into the building, thereby reducing energy costs.




Another objective that the client wanted to achieve for the resort was to turn the central facilities centre into a key destination that would attract other visitors from the fast-developing Peti Tenget region. However, one of the challenges the architects faced was the lack of natural beauty at the resort’s site compared to the rest of its neighbours nearer the coast; with little ‘given’ beauty, architects had to rely on man-made beauty to transform the resort into a tropical haven that would help draw in the crowd.




Through the use of organic materials, thatched roofs, intimate spatial design that imitates a traditional Balinese village, open compounds with plenty of space to allow free flow of air and light, landscaping and a natural colour scheme, the Sentosa Private Villas and Spa will become a sanctuary that reflects the look and feel of authentic Balinese dwellings. –Erwin Maulana/Candice Lim

© Copyright 2007 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Grand Kemang Hotel

PROJECT DATA
Project Name
Grand Kemang Hotel
Location
Kemang Raya 2A, Jakarta, Indonesia
Status
70 per cent of total area completed
Expected Completion
End of 2007
Site Area
12,820 m2
Gross Floor Area
30,384 m2
Number of Rooms
200
Storeys
5
Client/Owner
PT. Kemang Jaya Raya
Architecture Firm
Joseph Hengky Associates in collaboration with PT. Pasifik Design Strategy
Principal Architect
Joseph Hengky
Main Contractor
PT. Cakrawala
Mechanical & Electrical Engineer
PT. Jaya Teknik
Civil & Structural Engineer
PT. Cakrawala
Images/Photos
Joseph Hengky



When the time came for the five-storey Grand Kemang Hotel to undergo a revamp, the directive for the architectural team from Joseph Hengky Associates and PT. Pasifik Design Strategy was to give the building a clear and distinctive overhaul, not just a superficial makeover.

Following that, the architects came up with innovative design elements that not only added a new dimension to the hotel’s façade but also enhanced its current functions and increased the interaction between the building and the people. Additionally, the transformation also gave the hotel a more modern appearance, more in keeping with the urban district of Kemang.



One of the added features is a new terrace attached to the side of the hotel, which creates additional space for greater air flow around the structure, more greenery and al fresco seating for patrons of the new café. The green terrace was also an attempt to help reduce the overall building temperature. The architects had wanted to create more green areas around the hotel to combat the effect of heat on the structure but whatever available space was already utilised for parking.

Relocated to the right-hand side of the building and marked by a bold and black façade, the main entrance and lobby for regular hotel guests now occupy a more prominent position, which allows for greater accessibility and interactivity. A separate side entrance, tucked away from the main lobby,was designed to allow service apartment guests a more direct access to their apartments. Besides convenience, this new feature also allows hotel staff to give longer staying guests more personalised services.



Other design elements that helped make the Grand Kemang Hotel stand out include the huge curve that appears from the top of the side wing (used to hide the function rooms) and the illuminated glass box sticking out at the centre of the building (which is actually the end of the guest room corridor).

The architects had a tight budget, which was a major constraint that affected their original installation plan and choice of materials. So the alternative solution was to use more affordable materials to renovate major parts of the building and the pricier ones to add accents to certain areas. The use of materials was also affected by the age of the structure; most parts of the existing hotel were built over 30 years ago. Thus, more attention was given to the load capacity of the building, which resulted in the use of a combination of dry wall system (gypsum board with hollow metal frame) for installing internal parts and lightweight concrete blocks for external parts. –Erwin Maulana/Candice Lim



© Copyright 2007 FuturArc. All rights reserved. Reproduction in whole or in part without permission is prohibited.

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Kuningan Central Station

PROJECT DATA
Project Name
Kuningan Central Station
Location
Jakarta, Indonesia
Status
Design Development
Expected Completion
2008 (Green Line);
2010 (Blue Line)
Gross Floor Area
2,700 m2 (includes stairs, bridge, concourse and platform)
Client/Owner
PT. Jakarta Monorail
Architecture Firm
Baskoro Tedjo in association with Hepta Design and PDW
Principal Architect
Baskoro Tedjo
Main Contractor
PT. Adhi Karya
Mechanical & Electrical Engineer
PT. Adhi Karya
Civil & Structural Engineer
PT. Adhi Karya
Images/Photos
Hepta Design



Jakarta’s two-line Monorail system is part of a multi-pronged effort to alleviate congestion in Indonesia’s capital city. The planned Monorail consists of two lines: the green line will circle the business and trading district; the blue line will cross that same area of the city. Once operational, the system is expected to carry some 120,000 passengers on a daily basis.

The design for the green line’s Kuningan Central Station is driven by two main factors: first, it will take on a significant visual role in the city’s streetscape; and secondly, as an open structure, it has to consider Jakarta’s tropical climate. As one of the larger stations in the two-line monorail system, it will also act as a prototype for other stations along the line.

The monorail at Kuningan Central Station is elevated above Rasuna Street in the business district, with the station occupying the space above a median strip separating traffic lanes. At 16 metres high and 60 metres long, the station must compete visually with the area’s large buildings. With that in mind, the designers sought to reduce the size of the building mass, making it as transparent and light as possible.



As the stations are really more shelters than enclosed buildings, the designers also wanted to make sure that the station itself, the waiting areas and the access bridges were all open and incorporated into the street to not change the character of street life.

They sought inspiration for the structure from a tree, with the design filtering out sunlight and creating shade at street level. A layered roof functions as the top of the tree, cooling down the hot air as it flows through the building. (To reduce costs, other stations will have a different roof structure.)

The station’s structure is made of light concrete and steel to occupy as little space as possible while also being earthquake proof.

Construction of the Monorail is slated to start in the first quarter of 2007. The green line is expected to be operational in 2008; the blue line in 2010. –Erwin Maulana/Christen Jamar

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