Towards Meaningful Indigenous Material Practices Tanahku Indonesia was a week-long, architecture and interior design exhibition showing local earth-based materials to reveal their potential as an integral part of Indonesia's creative economy development. Curated by Yandi Andri Yatmo and Paramita Atmodiwirjo, the exhibition was held in dia.lo.gue Artspace in Central Jakarta, Indonesia from 8 to 12 November 2017. This exhibition attempted to reveal the materiality of earth-based materials across a broad spectrum, which was not limited to the physical presence of the materials, but more as a reflection of knowledge that was grounded on the deep understanding of their context. This multifaceted exhibition showed various earth-based materials gathered from different places within the Indonesian archipelago, as well as the methods and techniques related to the materials, while also revealing their values within architectural and interior design practice in Indonesia. Every exhibition has its agenda, so did Tanahku Indonesia. The title of the exhibition, which means "My Earth Indonesia", was entirely reflected the agenda, in order to show the richness of Indonesia's earth materiality and to illuminate this materiality as a local treasure. Based on thorough research by the Architectural Design Research Group from the Department of Architecture, Universitas Indonesia, and funded by Indonesia Creative Economy Agency, this exhibition put materiality in interior and architectural practice into scrutiny, and at the same time attempted to bring forward an awareness of materiality to a wider audience. It focused on indigenous material
This paper explores inscription as a projection of the spatial dynamics of a setting, beyond a historical or cultural symbol in a context, and highlights that inscription—a written or carved message on a surface—is an element that immaterially demonstrates a more in-depth narrative of an interior. This paper focuses on exploring inscriptions embedded in various production settings in Jakarta and Central Java, collecting individual and observational accounts on the production of such inscriptions and their meanings. The study suggests that inscriptions demonstrate various roles, from providing information, mediating different spaces and performing as tools to assist activities. Inscriptions may traverse the trajectories of different spaces and exist in different layers of time, creating an interior connection across space and time. These layers and trajectories project the dynamics of material and bodily processes, assembling the immaterial interior.
This paper argues the importance of traditional, local bricks-making production as a convergence of craftsman, material, and environments. The relationship between those three aspects brings meanings to the brick, emphasise on the process of making beyond its property as a physical material. This paper focuses on the forming phase of the brick-making scenario, whereby the craftsmen have more control in altering the bricks clay. In particular, we conduct this study in three brick-making workshops in Indonesia, precisely in Songgom, Welahan, and Tanjung Pinang. It is found that the stories of identity, the tools used the production, and context-involved production is preserved within the end product. These findings contribute to the current architecture material discussion to look at the imperfection of traditional-made bricks as something that should be celebrated to preserve the local culture.
Abstract. Narrative, as one of the closest aspect to human experience, is sometimes overlooked because of its subtlety with everyday life. The study of its representation, narratology, discusses the manner of selling space and time as a series of interconnected events instead of independent occurrences. It offers an interesting view in rethinking architecture, in particular, its representations. In architectural education, dialogue between the two fields will change the way the next generation architecture graduates tell their ideas. Current architecture schools should not be looked as factories that produce only future architects. It is proven by the fact that some, if not most, graduates will have jobs other than professional architects. They may work as set designers, filmmakers, artists, or invent their own field. Architecture schools, at their best, are more about how to ensure the students can perform spatial thinking and expressing their ideas through representation. All of these circumstances lead to the importance of multidisciplinary discourse in architecture education. This paper aims to explore the potential of storyboarding practice in Basic Design 2 studio as part of architectural education at University of Indonesia. Adopting a narrative element, storyboard in this studio is used to read urban architectural settings and retell everyday life events; scene by scene, unfold in space and time, through different kinds of creative representations. By doing this exercise, the students 'sense of spatial arrangement is developed by their understanding of position and orientation of objects settings. They also learned about how the time works; both in compressed or expanded ways. Decision-making in choosing the key events within the storyboard plays a role in making engaging visuals. In conclusion, storyboarding exercise to represent urban architectural settings will enhance the students 'sensitivity of space, time, and how their ideas are being told by making a rich, multi-layers of narrative.
This paper explores the implementation of narrative learning in first-year architectural design studios and how it can amplify the making, communicating and reflecting aspects of the study. In particular, this paper examines the estrangement technique, which enables an objective view of a story and its telling. The technique allows the students to detach an existing narrative from its context to be analysed, and then recontextualise it. We focus on the main studio project for the first-semester architecture and interior architecture students in Universitas Indonesia as the context of this study. This paper analyses their process, final outputs, and feedback to see the lesson learned from their perspective. The study suggests that learning narrative framework in architectural design studio supports the students to think systematically. In the end, estrangement technique provides the students with a way to retain some aspects of a narrative while playing with others, producing a fresh view on telling stories through enhancing their ambiguity and interaction between design author and their audience.
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