Hasta La Ideas

News: American firm Skidmore, Owings & Merrill (SOM) has revealed designs for a skyscraper in Jakarta that will be over 500 metres high and will harvest wind energy through an opening at its peak.

With a proposed height of approximately 530 metres, the Pertamina Energy Tower will be twice as high as Wisma 46, currently the tallest building in Indonesia, and will feature an integrated “wind funnel” that generates energy from prevailing air currents.

SOM designed the building as a headquarters for state-owned oil and gas corporation Pertamina and it will be constructed as part of a proposed campus that also includes a mosque, a performing arts and exhibition centre, sports facilities and an energy plant.

The exterior of the tower will be glazed and will gently taper towards the top to frame the opening of the wind funnel. This curved facade will feature solar shades to allow natural light to enter, without the problems of solar heat gain.

“Pertamina Energy Tower’s iconic presence will stand as a model of sustainability and efficiency, as well as collaborative workplace design,” said SOM director Scott Duncan.

“The headquarters’ performance-driven design supports and reflects the ambition of Pertamina’s mission and forges an innovative model of green development in Jakarta.”

The building is scheduled for completion in 2020 in Jakarta’s Rasuna Epicentrum neighbourhood and will accommodate up to 20,000 Pertamina employees.

It is the latest in a string of skyscrapers proposed recently for the Indonesian capital, including a 400-metre structure designed by MVRDV to look like a pile of buildings.

More information from SOM is included below:

Pertamina reveals plans for SOM-designed tower in Jakarta

Plans were unveiled on Monday for Pertamina Energy Tower, a highly sustainable corporate headquarters in Jakarta, designed by Skidmore, Owings & Merrill LLP (SOM), the renowned architecture, engineering, interiors and planning firm. Created for the state-owned energy company, Pertamina, the large-scale project will feature a performing arts and exhibition pavilion, a mosque, and a central energy plant in addition to the office tower. Rising more than 500 metres above Jakarta, the tower will be a new landmark on the capitol’s skyline.

The architectural expression of Pertamina Energy Tower reinforces the sustainable strategies at the core of its design. Gently tapering towards a rounded top, the tower opens up at the crown, revealing a ‘wind funnel’ that will take advantage of the prevailing winds and increased wind speeds at the upper floors to generate energy. Precisely calibrated for Jakarta’s proximity to the equator, the tower’s curved facade will mitigate solar heat gain throughout the year. Exterior sun shades will dramatically improve the workplace environment and save energy by reducing the need for artificial lighting in the office interiors.

The 99-story tower will accommodate 20,000 employees and will be the centrepiece of the Pertamina campus in Jakarta’s Rasuna Epicentrum neighbourhood. Conceived as a city within a city, the campus design endeavours to create a new model for a corporate headquarters – one that is more like a bustling city – with vibrant public spaces and communal meeting areas, such as a 2,000-seat auditorium for lectures and performances and a public mosque. A central energy plant will serve as the energy production hub for the campus, a literal and figurative “heart” from which energy and services will be distributed. A covered walkway known as the “Energy Ribbon” will knit together the constellation of campus programs and span across land bridges and gardens to create an array of accessible public spaces. The project is slated for completion in 2020.

The post SOM unveils Indonesian skyscraper
that will harness wind power appeared first on Dezeen.

This project by architecture collective Rumah Asuh involved the repair and reconstruction of the last remaining traditional thatched residences on Flores Island, Indonesia.

Built using traditional Manggarai techniques, the conical houses originally comprised a group of ten, but six had collapsed and two others had suffered significant decay.

Led by architect Yori Antar, the Rumah Asuh team embarked on a project to repair these two buildings and then to replace the others. They organised sponsors to fund the construction, then enlisted members of the local community to help plan and build each structure.

“When I go to school what we learn is about modern structures, the concrete, the steel; but we never learn about this kind of building,” said Antar, explaining his decision to get involved in the project. “There’s a lot of things we can learn from these kind of buildings, like how we adapt with the [regional] climate.”

Each of the houses features a lightweight bamboo framework tied together with rope. The exterior is clad with a layer of rattan, made from locally sourced worok wood, and is designed to be renewed every few years using materials from the forest.

The architects also encouraged involvement from university students, who will continue to maintain the structure of the houses each year.

The Mbaru Niang preservation is one of 20 projects on the shortlist for the Aga Khan Award 2013. Other projects on the shortlist for the $1 million prize include an Islamic cemetery in Austria and a reconstructed refugee camp in Lebanon. See more from the Aga Khan Award shortlist.

See more architecture in Indonesia, including a house containing pools of water and trees.

Here’s a short project description from the Aga Khan Award organisers:

Conical houses of ‘worok’ wood and bamboo in tied-together rattan construction with thatched roofs are the archetypal buildings of this remote island village.

A group of young Indonesian architects in the habit of touring a part of Indonesia each year arrived to find four of the last surviving examples of these houses, two of which were in need of renovation. Symbols of unity in the family and the community, the houses represent a living culture; the villagers are guardians of this culture but the necessary building skills, having traditionally been handed down, from generation to generation, had faded from memory.

The architects initiated and facilitated a community-led revival of traditional techniques enabling all the original houses to be rebuilt. In this a role was opened up to include university students who both participated in and documented this architectural preservation and cultural conservation project and continue to do so annually.

Location: Wae Rebo Village, Flores Island, Indonesia (South-East Asia)
Architect: Rumah Asuh/Yori Antar, Tangerang, Indonesia
Client: Wae Rebo Community
Completed: 2011
Design: 2008
Site size: 6,500 sqm

The post Preservation of the Mbaru Niang
by Rumah Asuh appeared first on Dezeen.

Coup de coeur pour le talent du jeune photographe Lukas Kozmus originaire de Berlin. Il a réalisé plusieurs longs voyages en Inde, au Népal ou encore en Indonésie. Ce dernier en a profité pour réaliser des séries et des clichés magnifiques à découvrir dans la suite de l’article et dans la galerie.

Slideshow: Indonesian architects Aboday have won a competition to significantly extend their country’s National Museum in Jakarta.

A glazed atrium will separate the original museum from the new building, which will be more than twice as tall.

A waffle-gridded canopy on stilts will shelter this entrance lobby and provide a location for informal exhibitions alongside book and gift shops.

A bronze elephant that is currently positioned at the museum’s entrance will also be relocated into this atrium, marking a central position where corridors converge.

Other projects by Aboday on Dezeen include a house with a spiralling concrete slide – see them all here.

Here’s a lengthier project description from the architects:

Museum Nasional Indonesia
(Open National Competition, 1st Prize Winner)

As a national pride, Museum Nasional Indonesia, located in Jakarta, on the west side of the city’s infamous Monumen Nasional (National Monument with its 24 karat gold coated flame on the top) has been suffering from identity crisis for more than a decade. Occupying an 1862 colonial building from the era of Dutch Governor General JCM Radhermacher; it has an iconic Bronze Elephant in its front yard; a gift from Siamese King Chulalongkorn during his visit in 1871 thus its nickname of Museum Gajah (Elephant Museum).

Despite its long journey as an oldest research institution dedicated to Indonesian history, the museum has only been visited by 200.000 visitor during the year of 2010. This is happened in a city whereby one nearby shopping mall welcoming 30,000 visitor a day; and a research about shopping habits shows that people in this city religiously paying a visit to their favorite mall once in 6.5 day! It doesn’t help that the museum has 145,000 artifact and artwork, the largest of its kind in South East Asia; and that its collection span from the Prehistoric Indonesia to the Independence era of 1945.

A new MasterPlan was produce in 1996 as a result of a closed competition; an attempt to revamp the museum by extending its facilities with commercial supporting areas; even thought it was halted halfway due to the global economic crisis that hit Indonesia badly. This MasterPlan with typical approach of ‘archeological-conservation: copying an existing building to achieve a ‘new harmony’ , resulting on the construction of Building B on the Northern part of the original museum creating a confusing dual identity that put the whole complex in dismay rather than the intended harmony. Some attempt to steal its precious collection also force the museum to develop a massive security fencing eliminating the museum role as a supposedly public facility, to become a building with full surveillance element. The museum complex loose its relevance to the life of cosmopolitan Jakarta.

The new scheme to develop the museum complex try to bring back this massive institution to its original role as public facility. It addresses the question of urban context by inserting a new corridor between the existing museum building (A) and building (B) that will maintain an openness to the pedestrian and city park on the Eastern part of the complex. Called Museum Corridor, this East-West axiality of future urban stream further organized and help visitor to navigate their journey within the museum complex. Shaded by a giant urban canopy, the architect introduce new activities along the corridor in a hope to attract wider audience to the otherwise staid institution. Arrange between the row of slender steel rumboid shape colonnade is a series of social and commercial nodes such as bookshop, museum store, orientation/exhibition hall and choices of F&B areas that will surely attract people in this food heaven city.

Made entirely of steel structure and shading of waffle pattern aluminum fin, the glass covered corridor is a magnified version of open terraces surrounding the perimeter of existing building; an attempt to respect and reflect the old without imitating it as guided by Charter of Venice. In this very space that the architect expect people will start diving into the experiential ambience of contemporary social and museum aesthetic. Without even buying ticket, the first time museum visitors will still be able to enjoy the collection in this passage as display starts as early as in the open garden next to the F & B sitting area. This is part of the idea to widen the exhibition area in the museum complex, as absolutism has been indefinitely ended from the issue of museum display presentation.

Perpendicular to this passage corridor, there is a wide alley on the upper level stitching the existing museum building (A), new building (B) and proposed building (C) . Called Museum Alley, it is connected by the curvilinear gentle ramp; circulating the urban stream from the passage below to the key-points at the North-South end of this alley. It also serves as the main handicap access from the secondary drop of on the Northern side of the complex. Vertically co-join by a series of elevator and ramps, the alley bring people further up to areas of temporary exhibition in Building (B) or Display Storage, Offices and 1000 seater auditorium in Building (C). The highest level of this new building block will be occupied by a museum theme restaurant that will claim the magnificent view of Monumen Nasional as it main attraction.

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Many of museum collections are now scattered around the existing building, some of them are displayed in the courtyard or open verandah with no proper protection, endangering its lifespan by exposing it to weather. Also the lack of display areas within the building resulting in a very cramp museum interior, where visitor and collections sometimes knocking elbow by elbow. With the new pragmatic program of additional 10.000 sqm exhibition space, this situation will be improved as more collections can now be displayed in proper sequence or story.

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Positioning these exhibition spaces in layers of levels enable museum goers to create their own choreography during the visit; as display will likely be categorized base on theme rather than chronological year. Aside from the exhibition space, new additional storage area of 5500 sqm in the upper level will be designed as such, that it will actively visible to the visitors. A storage passage of floor to ceiling glass wall for museum goers will be inserted within the storage space, allowing the visitor to have a view of what happened inside; an attempt to reduce the possibility of any wrongdoing to those priceless collection when its shielded from the public view.

To establish the criss cross of new Museum Corridor and Museum Alley as the key-point within the building, the bronze elephant will be relocated, positioned on a 2 storey pedestal right on the crossing path of these 2 main thoroughfares. People from both axial of East-West and North-South will be able to see this iconic sculpture as the museum’s mainvisual connector. Generating objections during the competition presentation as many museum insider are worried that the relocation will cause museum a lost of identity, the architect rather convinced that relocating an old icon to new position will strengthen the meaning and put the symbol into a more relevant context of time and space.

Architect: Aboday

Competition Team
Partner in Charge: Ary Indra
Team: Rafael David, Johansen Yap, Ferdy Apriady, Radhi Maulanza, Vani Wijaya, Agie Aditama, Budi Yono, Dugi Maheswardhitra

Artist Impression: Rizal Bayu
Client: Museum Nasional Indonesia

The first floor bedroom of this house in Java is disguised as a truck driving through the wall.

The SUV-shaped room projects onto the roof of an outdoor storage area in front of the two-storey house by Indonesian architect Gayuh Budi Utomo.

The residence is painted in bright stripes of contrasting colours, inside and out.

A toilet and shower are housed inside a clear glass container on the first floor.

Two other Indonesian houses have also been featured on Dezeen recently, one of which is filled with pools of water and trees – see all our stories about projects in Indonesia here.

Photography is by Sonny Sandjaya.

Here are a few words from Gayuh Budi Utomo:

A house Juanda Surabaya region has a design approach that the analogies with the existence of a Rumah.ia owner believes that the presence of a house must be in accordance with what he imagined.

Design process becomes very interesting because there are several alternatives as a facade that want different formations with the environment sekitarnya.setelah through some thoughts on the house facade finally selected a concept to describe the military actualisation as symbol taken the analogy of a military car with the colour green colour typical of the military.

To the home of a military officer is not formal then the interior was designed with the colours of non-formal rigour that is expected does not happen in this occupancy.

Architects: Gayuh Budi Utomo

Location: Juanda Harapan Permai Blok AE 6, East Java, Indonesia

Client: Ahmad Burhan Wijaya

Constructor: Karya Muda CV

Interior design: Gayuh Budi Utomo

Project area: 135 m2

Project year: 2010 – 2011

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See also:

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