arsitektur

contemporary nusantara architecture workshop, brawijaya university paulus mintarga - architecture of craftsman nation human civilization without identity is like a point without coordinate. that point doesn't have a position. human civilization including architecture should have

arsitektur, a distinct local identity as well as universal values within it. who has the right to rebuild architecture identity in indonesia? are all those certified architects only? certainly not.

paulus mintarga is not a certified architect let alone a renowned architect figure. his background is civil engineering education. in other countries, tadao ando or antonio gaudi didn't have an architecture degree either. paulus, a native of solo, is drawing interests when he promoted nusantara craftmanship feature which he formulated as his design characteristic. to him, craftmanship in architecture is not only about building materials, but also about working community in togetherness, mutual communality, and environment consciousness. it's all in nusantara's past. how about contemporary nusantara?

that craftmanship is a pretension of human nature manifestation which always seek the focus or the center of everything. as a proof, man needs face as a human figure focus. from the face, man seeks the eye as its center. the irregular natural materials are always more interesting than the homogenous industrial ones. at first, paulus mintarga learned architecture through his activity as a contractor. he worked together with architects such as idris samad, adi purnomo, and yu sing. after awhile, he started to formulate a notion that architecture must fulfill 8 things:

spirit of place, human scale, structure, function, material, aesthetic, sustainable, environment consciousness, nature, and social community. now paulus researches corresponding building materials before starting his projects. in rumah turi, aside from the concept of recycling greywater, it is quite interesting to observe his verticulture concept. the verticulture form is developed from bamboo wall, which conceptually filters the light and air, positioned as outer or secondary skin. this organic/living secondary skin in turn plays the role as a media to refamiliarize man and nature. although not entirely successful, rumah turi is an effort to apply the concept of eco-architecture

just like almost all of nusantara architecture; architecture in harmony with nature. the intimacy of man back to his identity as homo faber or crafting man which favor details is clearly shown in his work rempah rumah kerja, 2011. it is a hub of designer and artist community, a research workshop, a gallery and an artworks marketing facility all at once. almost all of its construction and finishing consisted from used materials. steelworks of its main construction came from the remaining of a demolished warehouse. some of the interior wall coverings are shards of used tile. and the most peculiar feature is the exterior wall facade

which arranged from the waste of furniture industry with knit and bundle techniques. without a doubt, this is a similar knitting technique found in traditional society in nusantara such as dayak knitted beads. how rich it is nusantara architecture as a source of design ideas. it is time for us to rise up from clutch of euro-americentric architecture design information.

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