LUKE HOUSE
Budi Pradono Architects
LEAD ARCHITECT
Budi Pradono
LANDSCAPE CONSULTANTS
Anton
MANUFACTURERS
Duravit, Allure, Axor, Bossini, Brizo, Justime, Progetto, Tece
DEVELOPMENT STAGE
Arief Mubaraq, Sigit Ashar, Reini Mailisa, Fransisca Yongsie, Abdul Budi Alamsyah
LIGHTING DESIGN
Ssa Lighting
STUDIO SUPPORT
Rendy Fitrananda Hermawan, Sidharta Suteja, Guntur Damanik
STRUCTURAL ENGINEERING
Pt. Toyo Cahya Konstruksi
INTERIOR DESIGNER ASSISTANT
Lariska Kurniawan
MAIN CONTRACTOR
David Teophilus
MEP CONTRACTOR
Cv. Adi Jaya Utama
PROJECT MANGER
Todd Parmley
PROJECT MANAGER CONTRACTOR
Made Wira
KITCHEN SPECIALIST
Valcucine Surabaya
YEAR
2021
LOCATION
Kecamatan Kuta Selatan, Indonesia
CATEGORY
Houses
LUKE HOUSE IN ULUWATU, BALI
This residence is situated in a breathtaking area near the Uluwatu cliffs in Bali. This land provides a view of the vast ocean, where we can observe the sunset every evening.
With relatively rectangular land adjacent to several new villas. Architects must be capable of meeting the necessities of this family. The family is comprised of a couple from two different countries who value Balinese culture and nature.
I felt the need to maximize the existence of a very specific site location on the south side of Bali, where the violent waves from the Indian Ocean crashing against the cliff edge were very exotic and combined with the calm horizon where the hot sun abruptly descended and set into the sea.
gradually, it became black. The soil in the region of Uluwatu consists primarily of rock and coral, making it simple to attach structures to the rock, but obtaining clean water is extremely difficult.
INTRODUCING THE BALINESE ETHOS
I visited the site multiple times to confirm the building's orientation. Near that location, a beach club is attached to the brink of a cliff, accommodating the violent waves of the ocean while this land is several meters higher.
I conducted a composition study of the masses in which I attempted to apply the concept of Dewata Nawasanga or nine heavens, namely the main universe or the nine gods of wind direction so that the land was divided into nine parts and rotated based on the best orientation and the area in the middle was left empty; the swimming pool was then used as the datum.
The complete composition of this mass composition was organized. On the northeast side is a modest place of worship. I want the mass of this building to be composed of multiple mass boxes so that it appears more modern without the use of Balinese ornamentation, but on one side of the west side, the wall will be torn apart to let in a great deal of light.
There is a space between the first and second storeys so that air can continue to flow into the basement. We construct a 3 cubic meter water reservoir to assure the availability of water.
On the other hand, despite the building's flat mass, we have prepared multiple locations to absorb rainfall, store it, and process it for use.
RESPOND TO POST-PANDEMIC LIVING CONDITIONS
On the east side, all rooms should receive the morning sun, which contains vitamin D, and all windows can be opened so that we do not need to rely on the air conditioner constantly.
The lavatory is designed to be large enough to make us feel as if we are a part of nature, allowing us to appreciate the natural scenery, but potted plants are an integral part of this design. Each corridor will receive adequate sunlight and airflow.
PROGRAMMING AND ARCHITECTURAL DESIGN
The building's layout and massing attempt to interpret the concept of Bali by applying the division of the land into nine primary sections, i.e., by applying the concepts of Tri Angga and Tri Mandala. So the yard or landscape employs the Tri Mandala, specifically the main madhyama as a place for ceremonies and healing, and the second madhyama mandala as the main residence of its inhabitants, which includes a kitchen, dining area, and guest bedroom.
Between the main madhyama and the madya, there is a vacant space or void that we interpret as a space for socializing between families, so it serves as a barbeque area.
The final concept is madhyama kanista, which was traditionally stable but is interpreted in this concept as a landscape that supports the whole and is positioned programmatically as a space for hobbies and recreation.
While the tri angga concept is a virtual three-dimensional division vertically, namely the main angga or roof, the madhyama angga is a building consisting of pillars and walls, and the kanista angga is the foundation and water storage area, most of the foundation is supported by pillars so that almost all the buildings facing the back are raised off the ground.
The study of building mass is conducted with blocks of mass that are piled and arranged to form a composition of interrelated and mutually supporting building masses.
Using the mass of the swimming pool as a reference point, the two building masses above it follow the direction/orientation of the pool, except for the mass of the building on the second floor, which crosses to create space for a quieter area/meditation area.
In the northern portion, which is the healing area, there is a small temple for prayer as well as an area for fitness or yoga. The mass of the building in front contains the service area, kitchen, and parking area.
The courtyard, which is used for barbecuing, is in the middle, followed by the living and dining areas and the guest chamber. On the highest level, there is a penthouse, which is comprised of three chambers with corridors that maximize sunlight.
Between the first and second floors, there is a mezzanine floor with an entertainment area for viewing movies and a bar, which is supported by an outdoor area with views of the sea or the sunset.
THE BUILDING'S COMPOSITION AND ITS MASS COMPOSITION
.Using the programming-arrangement strategy and controlling the building's mass results in a composition with a distorted courtyard in the center that can be used for barbecuing.
Whereas the structures stacked above it on the north were composed of rows of rooms connected by wide corridors. This corridor is also an attractive space with constant access to natural light
The swimming facility extends westward into the ocean. It also serves as an organizer, orchestrating the composition of the entire building mass. The building bulk for the security and fitness warehouses is separated to the north, even though all architectural elements are closely related. Exterior and interior elements are comprised of porous stone, while concrete and teak wood are used for the primary doors.
MATERIALITY AS A SUSTAINING FACTOR
Due to Uluwatu, Bali's extreme climate, most of the territory is dry rock. So that the entire structure of the building is comprised of concrete/concrete material, some portions of the rooftop are coated with pumice to absorb rainwater and deflect the sun's heat.
Most of the building exteriors are clad in natural stone that is abundant in Bali and simple to acquire. Some cladding elements employ ironwood to maintain a resort-like appearance.
The landscape uses the wild concept to accommodate the surrounding natural conditions so that it appears more natural, while other tropical plants are strategically placed throughout the building, such as in corridors and bathrooms, as accents but also as a sign and encouragement to get closer to nature. (Budi Pradono).
