[Draft_Book_FTUI] Sound of Engineering-MAR2021

SOUND OF ENGINEERING SOUND OF ENGINEERING



A book about Design and Engineering of Makara Art and Culture Auditorium Universitas Indonesia Directors: Nandy Setiadi Djaja Putra Yandi Andri Yatmo Hendri D.S Budiono Editor, Design & Layout: Verarisa Anastasia Ujung Publisher: Department of Architecture Faculty of Engineering Universitas Indonesia SOUND OF ENGINEERING

SOUND OF ENGINEERING Directors: Nandy Setiadi Djaja Putra Yandi Andri Yatmo Hendri D.S Budiono Editor, Design & Layout: Verarisa Anastasia Ujung Content & Image Contributor: Ardiyansyah Baskoro Laksitoadi Sponsors: PT. Daksinapati Makara Putra Lemtek UI CEP-CCIT FTUI Publisher: Department of Architecture Faculty of Engineering, Universitas Indonesia Depok 16424, Indonesia c 2021 Department of Architecture Universitas Indonesia www.architecture.ui.ac.id ISBN: 978-623-7882-15-2

“Negeri ini tak butuh gelarmu tak butuh ijazah atau predikat cumlaudemu ... ” “ is nation doesn't need your title doesn’t need your diploma or cumlaude predicate ...” Narrative script of Karyaku Untuk Negeri by Indy Hardono



PREFACE is book has originated through the consideration of two critical elements. e rst is developed through the celebration of theatrical experience as social and dramatic encounter within the event that tested the design and build of one auditorium: Makara Art and Centre Auditorium. e event tested the design and build through multiple scales of experiences during the event of Engineering in Symphony. Secondly, the design and build development of Makara Art and Centre Auditorium in which the theatrical experience can be interpreted into built form, into sound of engineering. v

^ Figure_1 Photograph of Makara Art and Centre Auditorium vi

EDITORIAL NOTES Engineering in Symphony: Social and dramatic encounter is book investigates how space performs as an event and in turn houses events that marks the theatrical movements and experiences. As a social and dramatic encounter, Engineering in Symphony attempts to place people in meaningful and potential spatial relationships with one another. In order to redevelop how space shapes actions and relationships, the theatrical experience and quality re ected on real situations, character, and places. e same set of relationships between choreography and architecture suggests the shape of continuous volumes in which motion, movement and form are speci ed and de ned. In the design and build process of Makarta Art and Culture Auditorium, the interaction between events, condition of the body, architectural space, engineering and technology is being promoted. Choreographing spaces for events to happen within, the architect designs using materials, textures, and forms to create a certain sense and feel to a space to fully apprehend the essence of spatiality. In this book, the essence of spatiality of design and build process are being investigated through three main considerations including the relationships between space and sound, mechanical and electrical, event and performance. vii

^ Figure_2 Photograph of Engineering in Symphony viii

CONTENTS 01 INTRODUCTION 03 SCOPE PART ONE: 06 THEATRICAL CONTEXT 07 (RE)SETTING THE STAGE 19 (RE)COMPOSING THEATRICAL SCENES 26 REFLECTING THE ORIGIN PART TWO: 57 DESIGN AND BUILD 58 SPACE AND SOUND - ACOUSTICS 112 MECHANICAL AND ELECTRICAL - SYSTEM 125 DESIGN AND BUILD MONITORING 130 LIST OF FIGURES & REFERENCES 133 QR CODE ix



INTRODUCTION INTRODUCTION

INTRODUCTION EVENT BACKGROUND About Engineering in Symphony e Faculty of Engineering, Universitas Indonesia (FTUI) was established on July 17th, 1964. Until now the Faculty of Engineering has become one of the largest Faculties in UI that consists of 7 departments and 12 study programs. Since its establishment, FTUI has successfully promoted more than 25,000 bachelor, master and doctoral degree students and is supported by a total teaching resources from 126 doctors and 56 internationally quali ed professors. At the age of 54, FTUI is increasingly showing rapid and proud achievements. e achievements of the teaching sta , students and alumni both at national and international levels continue to show a better level of competence. Right in the middle of 2018, FTUI in collaboration with the UI Faculty of Engineering Alumni Association (ILUNI FTUI) held a series of events at the 54th Anniversary of FTUI which held at the UI Campus, Depok. One of the events is Engineering in Symphony which held on July 20th, 2018. e event aims to give appreciation to all FTUI academics, as well as to strengthen relations with stakeholders and business partners of FTUI, as well as to elaborate the development plans of FTUI for the next four years. On this occasion, FTUI accommodated the elements of art, culture and engineering, through an orchestra performance that became the highlight of the event in the FTUI Anniversary series. e event presented Indonesia's reliable composer and conductor, who is also an FTUI alumni, namely Erwin Gutawa. In addition there were also dozens of exhibitions of photographic works produced by talented lecturers from FTUI that can be seen during the event. Finally, hopefully FTUI can always make a big contribution to the advanced Indonesia that we have been dreaming about. 2

SCOPE > (Re)celebrating eatricality is event promotes the relationship in between theatrical Figure_3 Body of theatricality experience of dining and performing that generates the lived space – in which people (actor and audience) are at the foreground and the building, it’s physical objects and elements, are their backdrop, as Hannah (2008) suggests. In this event, the theatrical experience begins with the social encounter through the participatory performance along the trajectory from the street to the entrance of the auditorium. Red carpet entry, photograph exhibition and booth, and dining experience are perceived as constructed experiences that heightened sensory awareness and engagement between audience not only as spectator but also as performer with the pre-performance space. ese constructed experiences invite the audience to make their own performance within the building threshold, foyer space, and passages that lead towards the performance hall entry. Engineering in Symphony attempts to (re)celebrate theatricality through the audience’s experience, visually, auditory, haptically, to cast the actor and audience both as performers. e relationship between event, space and performance during Engineering in Symphony suggests the form of theatricality that is developed in three parts. e rst, (Re)setting the Stage that de nes the location, character and elements of a staging area where theatrical space, scripts and sets are continually being connoted and (re)connoted by social performance. is part investigates the theatricality that moves from outside in. e second part deals with (Re)composing eatrical Scenes that located speci c scripts and sequences found in designated staging area of the auditorium. Lastly, the third part enhances the art of situation that is Re ecting the Origin by putting the theatrical scenes altogether in order to re ect upon the layered depth of the celebration from inside out. 3

RE[SETTING] THE STAGE RE[COMPOSING] THEATRICAL SCENES REFLECTING THE ORIGIN BODY OF THEATRICALITY 4

PART ONE: theatrical context PART ONE



[RE]SETTING THE STAGE PART ONE | 01

01 (Re)Setting the Stage e theatrical image within the pre-performance experience of Engineering in Symphony embraces the programmatic event such as walking through/ wandering, seeing/ being seen, eating/ dining/ dinner that are enhanced and seen in an new way as performance. roughout these events there is an entity moving and changing the space depending on how the collective behavior made themselves as the part of the performance. ese constructed experiences thus proposes ‘staging area’ that is both socially constituted and situated in the public domain that engaged in a dialogue between the threshold, foyer space and passages. A. Entrance (red carpet oor entry) : walking through/ wandering B. Photo booth and exhibition : seeing and being seen C. Dinner : eating/ dining > Figure_4 (Re)Setting the Stage Structure 8

(Re)Setting the Stage 01 A Entrance (red carpet oor) walking through/ wandering B Photo booth and exhibition seeing and being seen C Dinner eating/ dining Enhancing immediate participatory performance [RE]SETTING THE STAGE 9

01 Entrance Photo booth and exhibition Dinner pre-performance performance space experience experience ^ Figure_5 Diagram of (Re)Setting the Stage that represents the pre-performance experience of Engineering in Symphony 10

(Re)Setting the Stage: moves from outside in ese three constructed experiences are enhancing immediate participatory performance. (Re)setting the Stage in the event of Engineering in Symphony de nes the location, character and elements of a staging area where theatrical space, scripts and sets are continually being connoted and (re)connoted by social performance. is part investigates the theatricality that moves from outside in. 11

A (Re)setting the Stage: Entrance (walking through/ wandering) An experience that begins when arriving by the same access points, all entered the liminal space between outside and inside. e clearly de ned entry pathway frames the action and instructs the spectator where to walk, where to look. e theater-goers slightly make their way on the red carpet oor towards the entrance door, towards more dispersed and intimate spaces. e red carpet oor entry helps registering the direction of gaze and wander, location of surfaces, objects and edges of space. It communicates the depth of space, and one’s position within it. e layers of depth engage the eye and attention allowing everyone to explore, to observe, to engage in the active making of their own experience. > Figure_6 (Re)Setting the Stage: Entrance (walking through/ wandering) experience 12

reodocraernpterty A B the direction of gaze and wander, location of surfaces, objects and edges of space 13

(Re)setting the Stage: Photobooth & Exhibition (seeing/ being seen) “to see and to make oneself be seen, to understand and to make oneself be understood, that is the fated circle of humanity; to be actor and spectator, that is the condition of human life.” (Garnier in Harries, 1990, p.23) B e spatial hierarchy of the public area of the Makara Art and Culture seen through porous archways that surround the volume, identi ed ‘the social hierarchy of the all-too-visible onlookers’ (Weinstein, 2016). is social hierarchy located theater-goers as performers at the focal point of the space, with the greatest concentration of eyes upon the photobooth and photo exhibition as well. e creation and interaction in this pre-performance space is well recognized. e act of viewing, observing, selecting, comparing, and interpreting generate the immediate participatory performance. > Figure_7 (Re)Setting the Stage: Photobooth & Exhibition (seeing/ being seen) 14

B 15

(Re)setting the Stage: Dinner (eating/ dining) One space preserved, the foyer space, o ers the counterpoint of a clearly de ned space permitting the theater-goers to orient themselves within the building and satisfy their senses with food and drink. Mingling and socializing, they attend to see and be seen. is event e theater-goer’s experience of Engineering in Symphony in Makara Art and Culture pre-performance space engaging more than just visual but also in combination with the sense of movement, kinaesthesis, and intestines. e heightened awareness demand the theater-goers become more C attentive, engaged, actively participating in preparing them for the main performance they are about to perceive. > Figure_8 (Re)Setting the Stage: Dinner (eating/ dining) 16

C 17



[RE]COMPOSING THEATRICAL SCENES PART ONE | 02

02 > (Re)Composing eatrical Scenes Figure_9 (Re)Composing eatrical e second part deals with (Re)composing eatrical Scenes Structure Scenes that located speci c scripts and sequences found in designated staging area of the auditorium. is part focuses on (re)composing the speci c programmatic event such as songs and narratives as performance. Songs and narratives contain some di erent levels and edges through which the spirit of performers and audiences can interact and participate in numerous ways with the space. Accommodating the interaction and participation of performers and audiences reveals the hidden potentiality of enliven aspect of the songs and narratives. e Makara Art and Culture Auditorium attracts the theater-goers with a much more formal atmosphere which was designed speci cally for producing and performing an elaborate show to an audience. rough out the performance, the movement or action becomes a language, as a diagram in time, slowing everything down. e captured theatrical scenes and sequences are further articulated by calibrating the shifting actors, songs and narratives. e recomposed theatrical scenes explore a sense of the dramatic impulses. Songs and narratives are blend together and trace the pattern in which people building up layers of information. 20

(Re)Composing 02 eatrical Scenes A Shifting Actors, Songs and Narratives B Calibrating the Sense of Dramatic Impulses slowing everything down, as a diagram in time [RE]COMPOSING THEATRICAL SCENES 21

A Shifting Actors, Songs and Narratives e shifting between actors, songs and narratives generates the theatrical scenes. It e ectively acts as a ‘script’ or informational content. e theatrical scenes were planned, rehearsed and enacted. e scripts: songs and narratives depict the statement that can be descriptive, accompanied by the spatial and gestural elements that contain performative force. 22

Calibrating the Sense of Dramatic Impulses e idea of intermingling between songs and narratives is reinforced by the performance of the musical harmonies in the background. ese are made more complex during the action-in-space of the event. us the sense of dramatic impulses is calibrated as an assemblage of instrumental components gathered into a stage of performance. e B instrumental pieces of the performance provide the living authentic setting and binding the stage with the auditorium. Simultaneously moving between the opening, closing, sounding, expanding, lowering, lifting, and shifting, the theatrical scenes were calibrated. e opening of the theatrical scene: the orchestral interlude captivates the charms of music instrumentality that slowing everything down. e interplay of elements such a piece of music, orchestration, songs, and narratives promotes the sense of dramatic impulses. Watching the performer’s lips, the moving brow and penetrating eye of dramatic practice generate the sense of dramatic impulses. > Figure_10 Photographs of Engineering in Symphony Rehearsal 23

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Figure_11PART ONE^ REFLECTING THE ORIGINSONG 1: OVERTURE SONG 2 26 NARRATIVE 1 SONG 3 SONG 4 SONG 5 NARRATIVE 2

SONG 6 NARRATIVE 3 SONG 7 NARRATIVE 4 27 SONG 8 NARRATIVE 5

SONG 9 SONG 10 NARRATIVE 6 SONG 11 “... Sungguh.. Dunia REKAYASA tak bersekat Sehingga darmamu pun tak berbatas” “...Indeed.. e world of ENGINEERING is shoreless so that your virtue is unlimited” 28 Narrative script of Pengabdian Tak Berbatas by N. Milatia Moemin

Songs and Narratives SONG 1 Overture Koes (Instrumental) Overture: a piece of music played at the beginning of a show. As an opening, this overture is a collection of songs from Indonesia's legendary group, Koes Plus. SONG 2 “Indonesia Jiwaku”/ Indonesia My Soul “Indonesia jiwaku, bersemayam di hatiku”/ \"Indonesia is patriotism is a work of the artist, Guruh Soekarno Putra, the Indonesia, Soekarno. 29

^ Figure_12 Photograph of Engineering in Symphony 30

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^ Figure_13 Photograph of Engineering in Symphony 32

Narator 1: Prof. Bondan T. Sofyan “Karyaku Untuk Negeri” Negeri ini tak butuh gelarmu tak butuh ijazah atau predikat cumlaudemu Negeri yang telah membayar semua rasa banggamu dengan sebuah jaket kuning dan lencana makara hanya berharap KARYAmu Dan ilmu yang kau petik yang tumbuh dengan pupuk rasa keingintahuan dan disiram dengan air ketekunan Karena Ilmu adalah sebuah LAKON yang dimainkan dengan CINTA bukan sekadar dibingkai emas namun untuk dihayati dengan dedikasi dan dirayakan dengan semangat dan optimisme Agar mekar sempurna menjadi karya dan bakti nyata bagi bangsa Narrator 1: Prof. Bondan T. Sofyan \"My Work for the Nation\" doesn’t need your diploma or cumlaude predicate A nation that has already paid for all of your pride with a yellow jacket and makara badge is just hoping for your WORK And the knowledge that you picked which grows with curiosity fertilizer and watered with perseverance Because the knowledge is ACTOR which is played with LOVE not just gold framed but to be lived with dedication and celebrated with enthusiasm and optimism In order for a perfect blossom to be a real work and service 33

SONG 3 “Harmoni Cinta”/ Love Harmony Popularized by Gita Gutawa and taken from an album with the same title \"Harmoni Cinta\" (2009), Melly Goeslaw's creation is an interesting love song, with a lively and majestic orchestra accompaniment. SONG 4 “Kolam Susu”/ Milk Pool \"Milk Pool\" was a song composed by Yok Koeswoyo which was released in 1973 and later became popular. Submitting a view into simple and friendly lyrics is the hallmark of this song. SONG 5 “Harmoni”/ Harmony \"Harmoni\" is a song belonging to the Padi band which was learn from others and create \"harmony\" through peace. 34

Figure_14 Photograph of Engineering in Symphony 35

Narator 2: Yori Antar \"Jiwaku, Kekuatanku\" Negeriku… Negeri para dewa Semayam para prabu Asuhan Bunda kanduang Berselimut swarna Negeriku… Sebuah gurindam indah Diiring alunan saluang dan rampak gendang Berpadu dengan nilai luhur budaya dan TRADISI Berpeluk dengan alam elok nan kaya Bersatu, bergandeng jiwa, raga dan karsa Menyalakan tekad Membangkitkan cita Untuk KEKUATAN dan kedigdayaan Negeriku, Rumahku, Jiwaku Kekuatanku Narrator 2: Yori Antar \"My soul, My strength\" My country ... Nurtured by Bundo kanduang Colored of golden My country ... A beautiful gurindam Accompanied by saluang and rampak gendang Combined with the noble values of culture and TRADITION Embrace with the beautiful, rich nature United, holding soul, body and intention Ignite determination Awaken the mind For STRENGTH and empowerment My country, my house, my soul My power 36

SONG 6 “Swarna Dwipa” orchestras with Sumatran art, from Aceh to South Sumatra, resulting in a symphonic composition native to Indonesia. 37

^ Figure_15 Photograph of Engineering in Symphony 38