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Vision for Bener 2025
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Vision for Bener 2025. Final Project (4th year) of Paramitta Sekartaji (06 512 144). Supervised by Dr.-Ing. Ilya Maharika, IAI. Year 2012.

Paramitta Sekartaji’s design thesis (06 512 144) entitled “Vision for Bener 2025” shows us the role of architecture as a generator of urban community development through creating a “creative space”. The space, in Sekartaji’s vision, is not only creative in design but also, and perhaps more important in this thesis, plays as creative ground for people to nurture creative industry. For her, urban development through creative industry is meant to promote “energetic creative activities of artists, creators and ordinary citizens” by way of creative and innovative architecture. Her three creative levels of intervention attempts to demonstrate that roles. A small scale design of structure – named HitpPod – makes possible for urban community to generate development by assembling, adjusting and replicating freely. Architecture here becomes fluid, lego-like form production and adaptive to people’s definition of function. In her view, larger scale development can also be done by duplicating the structure into other places where creative space and industry can also be generated.

In UII’s architectural education culture, the way of Sekartaji develop her design thesis is still rare. She convinced us that combining design and research is possible. Based on in depth observation in place and people of Bener Yogyakarta and then careful yet rigorous architectural design thinking she gave a strong conceptual design scheme that answers both architectural questions and community development problems. Indeed, in my view, this is a kind of architecture that we should pursue in education level as well as a kind of architect we should produce for current and future spatial development, especially in Indonesian context. Architects could not work as form and structure generator only as the role is getting taken over by computers. We have to think beyond form and structure but providing schemes and venues for opportunities to grow and to come.

However, Sekartaji’s work leaves also some space for criticism. Her HipPod, despite open for indigenous creativity of people, in some cases it is “too beautiful” – thanks to beautiful rendering. The choice of materials, the way and technique of opening, the variety of building envelop, are all indeed open to people decision since the design is participative. Yet, giving the “right direction” to more climatic adaptable solutions will be more suitable.

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