Portfolio

024 – Istakagrha

(EN)

Nestled in Taman Meruya Ilir, an increasingly dense area in West Jakarta, Istakagrha emerges as a response to urban congestion. The name, meaning “Brick House,” was given directly by its owners. True to its moniker, this compact and dense dwelling exudes a simple yet distinctive charm, weaving harmony between the orange hues of the lightweight brick arrangement, touches of black, and the texture of raw concrete. The 180-square-meter residence occupies a limited plot of 150 square meters, with site dimensions of 10 x 15 meters. They envisioned a tranquil retreat akin to a Balinese villa, transcending the mere fulfillment of daily living functions.

An exceptionally tight budget forced us to rack our brains during the construction phase. In response, we implemented radical efficiency tactics. The existing one-story building on the site was demolished; however, we retained and repurposed portions of the original boundary walls to reduce the cost of constructing new ones. The building mass was then pushed entirely against the western edge, optimizing the plot so the front of the house could open fully to the morning sun in the east. We also opted against hauling excavated soil off-site, instead utilizing it to raise the ground floor elevation and further minimize expenses. The site’s inherent landscape, including a mature frangipani tree, was preserved intact to honor the occupants’ memories.

The architecture of Istakagrha separates the interior and exterior realms through a boundary wall landscape made of lightweight bricks at the front, adopting the sun-shading tactics of the Akanaka project and the ecological frankness of a Bare Minimalist design. This brick arrangement is assembled into a dense porous pattern, providing a sense of privacy and security while still allowing the glow of the 9 a.m. sun and natural air circulation to permeate through. Entering the interior, the ground floor rejects massive wall partitions, allowing the living room, dining room, and kitchen to meld seamlessly in accordance with the occupants’ domestic habits. This compact layout leaves only one enclosed space: a guest bedroom that doubles as a workspace. The utilization of sheltered niches is also maximized, providing a domestic helper’s quarters on the lower level, as well as a resting spot for the pet dog beneath the floating staircase structure, which still receives ample natural daylight.

Thermal management plays a crucial role in responding to the tropical climate. The western facade, vulnerable to the scorching sun, is clad in a brick arrangement tasked with thermal insulation. Directly above the western staircase, an open ventilation shaft cuts through the house towards the upper floor, pairing with two wind turbines in the rear area to expel hot air utilizing the stack effect. Passing a simple foyer and a lightwell adorned with artwork, this floating staircase connects the lower level with the bedrooms, which are linked by a single connecting corridor, complete with a shared bathroom and shower area. The flexibility of the concrete structure supporting the building is maximized to introduce a third floor in the form of a functional attic, an additional private space to store the owners’ book and comic collections. Alongside concrete, relied upon for its cost efficiency, engineered wood is also applied due to its light weight, combined with a robust metal framework to support the front protective facade.

The tectonic honesty of Istakagrha is celebrated through the manual assembly of three types of bricks, harmonized with black accents and rough concrete textures. First, lightweight bricks, or hebel, measuring 200 x 600 x 100 mm, weave the front protective facade, chosen for their precision and ease of shaping. Second, orange bricks, commonly found in local construction, are applied to provide an earthy touch. Third, ceramic bricks measuring 50 x 150 x 10 mm are meticulously installed to clad the staircase wall, resisting heat transfer while simultaneously enlivening the interior texture.

The design process of Istakagrha leaves room for profound reflection on the essence of architectural elements. We had questioned the necessity of building the front brick wall, which consumed a considerable budget. Were it built today, that wall might have been replaced by a row of trees. However, that choice presents a new clash with reality, considering the working owners’ busy schedules leave them with little time to tend to plants. Moreover, the owners had already wholeheartedly embraced the “Brick House” moniker and thoroughly enjoyed its construction process. Ultimately, architecture must be mindful of its boundaries and respect the clients’ ownership of the design and build process, including their affection for naming this dwelling the Brick House. This work proves that good design is measured not only by the final physical form of the building, but by the process of bridging design compromises, budget constraints, and the domestic habits of its inhabitants.

(IDN)

Terletak di Taman Meruya Ilir, kawasan Jakarta Barat yang kian padat, Istakagrha hadir merespons himpitan perkotaan. Nama yang bermakna “Rumah Bata” ini merupakan pemberian langsung dari pemiliknya. Sesuai julukan tersebut, wujud hunian ringkas dan padat ini menampilkan pesona sederhana namun khas, merajut harmoni antara sapuan warna oranye pada susunan bata ringan, sentuhan warna hitam, serta tekstur beton kasar. Hunian berluasan 180 meter persegi ini menempati lahan terbatas seluas 150 meter persegi, dengan proporsi tapak 10 x 15 meter. Mereka mendambakan hunian yang tenang seperti vila di Bali, melebihi sekadar pemenuhan fungsi bermukim harian.

Benturan anggaran yang amat ketat memaksa kami memutar otak pada fase konstruksi. Menyikapi hal ini, kami menerapkan siasat efisiensi radikal. Bangunan lama satu lantai yang berdiri di lahan tersebut dihancurkan, namun kami tetap mempertahankan dan memanfaatkan sebagian dinding batas eksisting demi menekan biaya pembuatan dinding baru. Massa bangunan kemudian ditekan habis merapat ke sisi barat, menguasai lahan agar wajah rumah dapat terbuka penuh menghadap matahari timur. Kami juga memutuskan untuk tidak membuang sisa tanah galian ke luar lokasi, melainkan memanfaatkannya untuk meninggikan elevasi lantai dasar guna menghemat pengeluaran. Lanskap bawaan lahan, termasuk pohon kamboja yang sudah lama tumbuh, turut dipertahankan utuh guna menghargai memori penghuni.

Arsitektur Istakagrha memisahkan ruang dalam dan luar melalui lanskap dinding pembatas dari material bata ringan pada area depan, mengadopsi taktik pemutus terik matahari dari proyek Akanaka dan kelugasan ekologis rancangan Bare Minimalist. Susunan bata ini dirakit membentuk pola ruang kosong yang padat, yang memberikan rasa privasi dan keamanan, namun tetap membiarkan pendaran sinar mentari pada pukul 9 pagi dan sirkulasi udara menerobos masuk. Memasuki ruang dalam, lantai dasar menolak batasan dinding masif, membiarkan ruang tamu, ruang makan, dan dapur melebur utuh menuruti kebiasaan domestik penghuni. Tata letak padat ini menyisakan satu ruang tertutup, yakni kamar tamu yang merangkap fungsi ruang kerja. Pemanfaatan celah bernaung juga dimaksimalkan, seperti ketersediaan area ART pada bagian bawah, serta tempat istirahat anjing peliharaan di bawah struktur tangga melayang yang tetap mendapat asupan cahaya natural.

Pengelolaan termal memegang peran krusial merespons iklim tropis. Sisi barat yang rentan terhadap sengatan terik dilapis susunan bata guna memikul tugas insulasi termal. Tepat di atas tangga area barat tersebut, lorong ventilator terbuka membelah rumah menuju lantai atas, berpadu dengan kehadiran dua turbin angin pada area belakang guna membuang udara panas berbekal efek daya apung udara. Melewati foyer sederhana dan sumur cahaya dihiasi karya seni, tangga melayang ini menghubungkan area bawah dengan kamar tidur yang diikat oleh satu koridor penghubung, lengkap dengan kamar mandi bersama dan area pancuran. Keluwesan struktur beton yang menopang bangunan ini dimaksimalkan untuk menghadirkan lantai ketiga berwujud loteng fungsional, ruang privat tambahan tempat menyimpan koleksi buku dan komik pemilik. Selain beton yang diandalkan demi efisiensi biaya, material kayu olahan turut diaplikasikan berkat bobotnya yang ringan, dipadukan kerangka logam tangguh untuk menopang fasad pelindung depan.

Kejujuran tektonik Istakagrha dirayakan melalui perakitan manual tiga jenis bata yang dipadukan bersama warna hitam dan tekstur beton kasar. Pertama, bata ringan alias hebel berukuran 200 x 600 x 100 mm merajut fasad pelindung depan berkat kepresisian dan kemudahannya dibentuk. Kedua, bata oranye yang jamak dijumpai pada konstruksi lokal, diaplikasikan memberi sentuhan membumi. Ketiga, bata keramik berukuran lima puluh kali seratus 50 x 150 x 10 mm dipasang amat teliti melapisi dinding tangga, menahan rambatan panas sekaligus menghidupkan tekstur interior.

Proses perancangan Istakagrha menyisakan ruang refleksi mendalam mengenai esensi elemen arsitektur. Kami sempat mempertanyakan keharusan membangun dinding bata depan yang menelan biaya cukup besar. Andai dikerjakan hari ini, dinding tersebut mungkin bisa digantikan oleh deretan pepohonan. Namun, pilihan itu memunculkan benturan realitas baru mengingat kesibukan pemilik yang bekerja membuatnya tidak memiliki banyak waktu untuk merawat tanaman. Terlebih lagi, pemilik sudah telanjur menjiwai nama rumah bata dan sangat menikmati proses pembangunannya. Pada akhirnya, arsitektur harus mawas pada porsinya dan menghargai kepemilikan klien atas proses rancang bangun, termasuk kecintaan mereka menamai hunian ini Rumah Bata. Karya ini membuktikan bahwa rancangan yang baik tidak hanya diukur dari wujud akhir bangunan, melainkan dari proses menjembatani kompromi desain, keterbatasan biaya, dan kebiasaan domestik penghuninya.