Guha Bambu is a new building on the east side of The Guild, a residential project of the Realrich Architecture Workshop that was built earlier in Tangerang, Indonesia. Standing on a 7.5 x 26 m site, Guha Bambu has 3 new floors and 2 basement floors. During the construction process, Guha Bambu developed a structural technique from the Alfa Omega experimental school project which resulted in the technique of separating the steel frame structure as the roof and the bamboo structure holding the 3-storey slab under the roof of the steel structure.
In Indonesia, bamboo construction was common even before the bubonic plague caused by rats. This is because the varied tubular cross-sectional conditions and the high level of difficulty in the process of completing the details actually make the bamboo construction have gaps that keep out rats. Although bamboo construction has been used for a long time until now there has been no standardization in the supply and technology of bamboo preservation. This makes bamboo have two opposing sides, namely the quality of exploration and uncertainty.
Realrich Architecture Workshop tackled these two sides of the bamboo by providing lintels for transitional spaces and covering the gaps with split bamboo and gluing it with construction glue. In addition, bamboo also gives a surprising effect thanks to its ease in the process of forming an arch which is also efficient. This gives bamboo new possibilities in terms of form processing as well as function.
Like other constructions, bamboo construction also always has a purpose. According to Robert Curedall, the purpose of each element is how the element itself must have a focus on users, collaborate, develop Research + Development (tested and evaluated), have an iteration process, have surprises, have a choice of methods and tools that can solve problems that can be anticipated. repeated failure. Interestingly, the process of opening up new possibilities as a first step becomes a motive for exploring.
Guha Bambu teaches about integrative design exploration using natural fiber composite materials with industrial materials to create sustainable designs throughout the design to the construction process.
Guha Bambu has a bond with the architect's childhood who always hides when he sees Barong performances in his childhood area, Bali. Even so, the figure of the Barong, which resembles a tiger, a symbol of the king and kindness, was actually used as an inspiration in the front design. Then in the interior it is designed with vertical bamboo repetitions that support the roof structure while giving the impression of a bamboo forest twisting and turning.
For the landscape at Guha Bambu, wild plants were chosen which are easy to care for, such as weeds, frangipani trees, and grass. The purpose of creating a garden that is simple and without pretensions is to provide a "microclimate" that contributes to lowering temperatures and giving beauty to the surrounding environment. This simple garden now has rainwater infiltration, reservoirs, and is planted with several medicinal plants and other vines that function as both a barrier and support for a shady microclimate. Plant seeds produced from this garden are then distributed to local residents so they can be useful.
Guha Bambu experienced 2 color changes, the first was a golden color which is the natural color of mature bamboo veins. The second color is gray which was inspired by the architectural pilgrimage of the Arief Budiman House by architect Priest Mangunwijaya. In this architectural work, bamboo gauze is coated with white oil paint and has managed to maintain the quality of the bamboo itself since 1987. From there, the gray color emerged as an option to coat the sides of the bamboo which are exposed to direct sun and rain.
Priest Mangunwijaya is an architect who works by creating harmony between craftsmen, clients, and himself. This harmony then creates a complex tectonic combination such as Ananda Sukarlan's "Rapsodia Nusantara" musical language, which is not simple, mutually reinforcing, and symphonic material.
Some of these things are then combined in a tectonic grammar (tectogram), material assembly language of various shapes and forms which provide a functional, artistic, and surprising side in architectural details that are integrated with MEP and structure. A concept of "integrative approach" between a series of poetic architectural details.
