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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:00,000 I am Anthony Burke, and this is Culture By Design. 2 00:00:00,000 --> 00:00:00,000 Join me as we meet contemporary designers from across the region, 3 00:00:00,000 --> 00:00:00,000 embracing deep traditions, local cultures, and the incredible landscapes of Asia 4 00:00:00,000 --> 00:00:00,000 to open our minds and create positive change for a better tomorrow. 5 00:00:00,000 --> 00:00:00,000 Speaker 2 (02:34): 6 00:00:00,000 --> 00:00:00,000 Design is like music. It's a whole orchestra, the paths, the lines, the dashes. 7 00:00:00,000 --> 00:00:00,000 Speaker 3 (02:42): 8 00:00:00,000 --> 00:00:00,000 It's a whole symphony. It has to feel good. 9 00:00:00,000 --> 00:00:00,000 We want to create a world that we wish to live in. 10 00:00:00,000 --> 00:00:00,000 We want to create what we most imagine is the best future. 11 00:00:00,000 --> 00:00:00,000 Speaker 4 (02:54): 12 00:00:00,000 --> 00:00:00,000 Good design is really more about a holistic process 13 00:00:00,000 --> 00:00:00,000 that really measures the people and the planet impact 14 00:00:00,000 --> 00:00:00,000 and arrive at something that you can truly enjoy beyond just a physical product. 15 00:00:00,000 --> 00:00:00,000 Speaker 1 (03:09): 16 00:00:00,000 --> 00:00:00,000 Design 17 00:00:00,000 --> 00:00:00,000 Speaker 5 (03:10): 18 00:00:00,000 --> 00:00:00,000 Is an embodiment of all the arts. 19 00:00:00,000 --> 00:00:00,000 See, design is a process. Design is not the end product. 20 00:00:00,000 --> 00:00:00,000 It is about that sense of life and that deeply interconnected conversation that nature has with itself. 21 00:00:00,000 --> 00:00:00,000 We weren't just making objects, but we were also making solutions for spaces. 22 00:00:00,000 --> 00:00:00,000 This is what I wish for myself in my life. This is what I wish for the world around me. 23 00:00:00,000 --> 00:00:00,000 Speaker 6 (03:36): 24 00:00:00,000 --> 00:00:00,000 It's hard for the artists, but it's also good for the people. 25 00:00:00,000 --> 00:00:00,000 Life without artists, just no words. 26 00:00:00,000 --> 00:00:00,000 Speaker 1 (03:46): 27 00:00:00,000 --> 00:00:00,000 From the bustling streets of Mumbai to the serene villages of Bali, 28 00:00:00,000 --> 00:00:00,000 we'll discover the unique stories that influence design 29 00:00:00,000 --> 00:00:00,000 in every corner of this vibrant part of the world. 30 00:00:00,000 --> 00:00:00,000 Designed more like a small vertical village than a house 31 00:00:00,000 --> 00:00:00,000 by stacking workshops and living spaces and gardens and even a floor for the animals. 32 00:00:00,000 --> 00:00:00,000 Real architecture workshop have created an ambitious idea of 33 00:00:00,000 --> 00:00:00,000 what home in the 21st century might look like, 34 00:00:00,000 --> 00:00:00,000 and they've crammed all of that onto a very modest suburban block 35 00:00:00,000 --> 00:00:00,000 and with a deep commitment to community as well as 36 00:00:00,000 --> 00:00:00,000 the best in passive design principles. 37 00:00:00,000 --> 00:00:00,000 There's a lot going on in this place. So let's see. 38 00:00:00,000 --> 00:00:00,000 I came here today thinking I was going to come and visit your house, 39 00:00:00,000 --> 00:00:00,000 and I've walked into something that I don't even know how to describe. 40 00:00:00,000 --> 00:00:00,000 What is this place? 41 00:00:00,000 --> 00:00:00,000 Speaker 2 (05:06): 42 00:00:00,000 --> 00:00:00,000 This is combination of things alive around us, 43 00:00:00,000 --> 00:00:00,000 things that we love as a family, as a place for learning. We call it in Indonesia, 44 00:00:00,000 --> 00:00:00,000 it's like a Han is like her heritage. It's a place like kind of our own temple. 45 00:00:00,000 --> 00:00:00,000 I think it's, we live it in the daily life. 46 00:00:00,000 --> 00:00:00,000 Speaker 1 (05:28): 47 00:00:00,000 --> 00:00:00,000 It depends what room I walk into, but at one moment 48 00:00:00,000 --> 00:00:00,000 it's a library, then it's a classroom, 49 00:00:00,000 --> 00:00:00,000 then it's a home, then it's an Avery, then it's an animal farm. 50 00:00:00,000 --> 00:00:00,000 Speaker 2 (05:39): 51 00:00:00,000 --> 00:00:00,000 Yes, we started as a place for work 52 00:00:00,000 --> 00:00:00,000 because we need to survive as a family, as a friends, 53 00:00:00,000 --> 00:00:00,000 and we come together to work together in the studio of architecture, 54 00:00:00,000 --> 00:00:00,000 and that's how we start as define it as the place for office and studio life and studio culture. 55 00:00:00,000 --> 00:00:00,000 And then bring it after we to have an archive 56 00:00:00,000 --> 00:00:00,000 and share it to people and do a discussion together and dialogue. 57 00:00:00,000 --> 00:00:00,000 And if we think about it, or it could be a library, the next one. 58 00:00:00,000 --> 00:00:00,000 Okay, we need to place for live. And it's become a house and home. 59 00:00:00,000 --> 00:00:00,000 I think that architect should not tell a story by himself or herself. 60 00:00:00,000 --> 00:00:00,000 They should comprehend the story by others. 61 00:00:00,000 --> 00:00:00,000 And again, then we can form a story, not only one singular story, 62 00:00:00,000 --> 00:00:00,000 but many multiple stories, thousands of stories. 63 00:00:00,000 --> 00:00:00,000 I think architecture is a mission, not only just a business. 64 00:00:00,000 --> 00:00:00,000 Speaker 1 (06:37): 65 00:00:00,000 --> 00:00:00,000 When I stand on the street corner and I look at your building, 66 00:00:00,000 --> 00:00:00,000 I see a very organic and informal kind of expression. 67 00:00:00,000 --> 00:00:00,000 But when I go into your building, I see details and care and design everywhere. 68 00:00:00,000 --> 00:00:00,000 So that informality seems to have no scale at the street or a loose scale at the street, 69 00:00:00,000 --> 00:00:00,000 but a real precision and thoughtfulness at the level of the human touch on the building. 70 00:00:00,000 --> 00:00:00,000 This seems like Ka Scarpa meets Indonesia. 71 00:00:00,000 --> 00:00:00,000 It meets your mind at the human interaction with the architecture. Yes. 72 00:00:00,000 --> 00:00:00,000 Speaker 2 (07:08): 73 00:00:00,000 --> 00:00:00,000 I met with the Carlos Carpa in 2014, and I adore his attention. 74 00:00:00,000 --> 00:00:00,000 I adore his life and his relationship with the craftsman and the workmanship with the workshop and the magical things about that. 75 00:00:00,000 --> 00:00:00,000 But I tell my father about it and he said, 76 00:00:00,000 --> 00:00:00,000 you have it in front of your studio while you go to the famous center to see Scarborough. 77 00:00:00,000 --> 00:00:00,000 And suddenly I just realized, okay, I need to start to listen to the craftsman 78 00:00:00,000 --> 00:00:00,000 and start to organize the vocabulary of the details. 79 00:00:00,000 --> 00:00:00,000 So by doing that, I think I do agree that from the outside, maybe my sense of skills, 80 00:00:00,000 --> 00:00:00,000 I need time to open up myself. 81 00:00:00,000 --> 00:00:00,000 That's why it's so understated and it's so simple. 82 00:00:00,000 --> 00:00:00,000 But by doing inside, you go to the entrance, you see a lot of things coming, 83 00:00:00,000 --> 00:00:00,000 and it's just to start to shake hands. 84 00:00:00,000 --> 00:00:00,000 And I think in our set, we just need to be honest with our process that we need to fight. 85 00:00:00,000 --> 00:00:00,000 But it's still along the way from the outset. 86 00:00:00,000 --> 00:00:00,000 We don't need to impress everybody. 87 00:00:00,000 --> 00:00:00,000 We just need to place some space that is safe for many people, including my teams and my family. 88 00:00:00,000 --> 00:00:00,000 So that's why we are intensively inwards and we are trying to know 89 00:00:00,000 --> 00:00:00,000 that how if we healthy inside and forming the more healthy relation with the outside, 90 00:00:00,000 --> 00:00:00,000 I think that's a work in progress. Yeah. 91 00:00:00,000 --> 00:00:00,000 Speaker 1 (08:35): 92 00:00:00,000 --> 00:00:00,000 With that in mind, how important is it that architecture is beautiful? 93 00:00:00,000 --> 00:00:00,000 Speaker 2 (08:41): 94 00:00:00,000 --> 00:00:00,000 It's so ultimate. It needs to be not all also beautiful, but is needs to be meaningful. 95 00:00:00,000 --> 00:00:00,000 You can trust the roots and build the basic. 96 00:00:00,000 --> 00:00:00,000 So how is important in our conversation like this? 97 00:00:00,000 --> 00:00:00,000 Until the formation, we can tell the stories. 98 00:00:00,000 --> 00:00:00,000 I think by doing that, I think that's the most important thing, 99 00:00:00,000 --> 00:00:00,000 the thing that I can recall in the memory. 100 00:00:00,000 --> 00:00:00,000 Speaker 7 (09:05): 101 00:00:00,000 --> 00:00:00,000 Yeah. 102 00:00:00,000 --> 00:00:00,000 Speaker 1 (09:11): 103 00:00:00,000 --> 00:00:00,000 So why was it important for you to approach practice in this way? 104 00:00:00,000 --> 00:00:00,000 Speaker 2 (09:15): 105 00:00:00,000 --> 00:00:00,000 When I try to define it architecture, I can find my, 106 00:00:00,000 --> 00:00:00,000 because my father once said that you need to go back to the basic meaning 107 00:00:00,000 --> 00:00:00,000 I have to started from the way that architecture is so detached with the reality 108 00:00:00,000 --> 00:00:00,000 and the fight for me to go back to the reality is just to open up some of the barrier. 109 00:00:00,000 --> 00:00:00,000 So by opening that barrier, I think people kind of see that, okay, 110 00:00:00,000 --> 00:00:00,000 this is starting to have something magical going on and try to not have a client as the client, 111 00:00:00,000 --> 00:00:00,000 but client as a part of the things that, okay, treat them as a family and we can grow together. 112 00:00:00,000 --> 00:00:00,000 So by having that, I think we have a very healthy studio culture and relation with the client. Now what 113 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:06): 114 00:00:00,000 --> 00:00:00,000 Is this? This is this 115 00:00:00,000 --> 00:00:00,000 Speaker 2 (10:07): 116 00:00:00,000 --> 00:00:00,000 Testimonials. 117 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:08): 118 00:00:00,000 --> 00:00:00,000 Can I take one off and look? 119 00:00:00,000 --> 00:00:00,000 Speaker 2 (10:09): 120 00:00:00,000 --> 00:00:00,000 Yes, sure. And we've got this person Ned, and feels like my own home. 121 00:00:00,000 --> 00:00:00,000 So good to spend 30 minutes from onto a book. 122 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:19): 123 00:00:00,000 --> 00:00:00,000 That's like the highest praise ever, isn't it? That's right. 124 00:00:00,000 --> 00:00:00,000 It feels like my own home. Yeah, it's a little bird's nest up here. 125 00:00:00,000 --> 00:00:00,000 Speaker 2 (10:30): 126 00:00:00,000 --> 00:00:00,000 Yes, we have. 127 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:31): 128 00:00:00,000 --> 00:00:00,000 You seem to squeeze so much in to such a little footprint. 129 00:00:00,000 --> 00:00:00,000 Is that something that happens from the beginning of the design 130 00:00:00,000 --> 00:00:00,000 or as you sort of learn to live with the space that you add more or 131 00:00:00,000 --> 00:00:00,000 Speaker 2 (10:42): 132 00:00:00,000 --> 00:00:00,000 Yes, it's starting to train our mind. Of course, the big canvas, 133 00:00:00,000 --> 00:00:00,000 you can always make it powerful and iconic, right? 134 00:00:00,000 --> 00:00:00,000 But if you just surf very small, can you do that? 135 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:51): 136 00:00:00,000 --> 00:00:00,000 Yeah. 137 00:00:00,000 --> 00:00:00,000 Speaker 2 (10:52): 138 00:00:00,000 --> 00:00:00,000 It's something you're training in every day and day. 139 00:00:00,000 --> 00:00:00,000 Speaker 1 (10:55): 140 00:00:00,000 --> 00:00:00,000 Yeah, 141 00:00:00,000 --> 00:00:00,000 Speaker 7 (10:55): 142 00:00:00,000 --> 00:00:00,000 Indeed. Yeah. 143 00:00:00,000 --> 00:00:00,000 Speaker 1 (11:02): 144 00:00:00,000 --> 00:00:00,000 You really are living this philosophy, this commitment to the idea of what architecture can be. 145 00:00:00,000 --> 00:00:00,000 Speaker 2 (11:10): 146 00:00:00,000 --> 00:00:00,000 I learned from my many teachers in central Java that what inside your mind is very important, 147 00:00:00,000 --> 00:00:00,000 but do you know where do you want to go to? So that's kind of things makes me wonder about 148 00:00:00,000 --> 00:00:00,000 if I limit myself, how can I limit the others if I limit the others? 149 00:00:00,000 --> 00:00:00,000 And how about we can define the ecosystem? That's kind of critical question. 150 00:00:00,000 --> 00:00:00,000 It's happening every day. I believe that architecture can touch people heart by doing that. 151 00:00:00,000 --> 00:00:00,000 I think we need to focus in our own ecosystem. 152 00:00:00,000 --> 00:00:00,000 Speaker 1 (11:43): 153 00:00:00,000 --> 00:00:00,000 Oh whoa, this is unexpected. What a dramatic space. 154 00:00:00,000 --> 00:00:00,000 And right in the center of all of this energy, it's like the still center. 155 00:00:00,000 --> 00:00:00,000 Speaker 2 (11:53): 156 00:00:00,000 --> 00:00:00,000 Yes. And still small, so I have to face it daily. 157 00:00:00,000 --> 00:00:00,000 So you speak about therapeutical design space. 158 00:00:00,000 --> 00:00:00,000 Speaker 1 (12:00): 159 00:00:00,000 --> 00:00:00,000 Yeah. It puts a smile on your face every day. Yeah, I love that. 160 00:00:00,000 --> 00:00:00,000 The ultimate, I guess expression then of your architecture has a real informality to it. 161 00:00:00,000 --> 00:00:00,000 It seems like it is an organic accumulation of thinking and changing and a perpetual project, 162 00:00:00,000 --> 00:00:00,000 certainly the gua, the nest house that feels like it's had many lives already. 163 00:00:00,000 --> 00:00:00,000 Is that how you see architecture continually in motion? 164 00:00:00,000 --> 00:00:00,000 Speaker 2 (12:34): 165 00:00:00,000 --> 00:00:00,000 Yes. It's driven by many people, memories and emotions. 166 00:00:00,000 --> 00:00:00,000 And if you tell the story, it's never ending. It's like 1000 and more stories, more people inside. 167 00:00:00,000 --> 00:00:00,000 But if we can open our mind and there are some of the details as comes of the little conversation, 168 00:00:00,000 --> 00:00:00,000 it'll make a great building by itself. 169 00:00:00,000 --> 00:00:00,000 Speaker 1 (13:04): 170 00:00:00,000 --> 00:00:00,000 When you think of good design, what does that mean to you? 171 00:00:00,000 --> 00:00:00,000 Speaker 2 (13:09): 172 00:00:00,000 --> 00:00:00,000 The meaning of the good design I think is a battle. It's battle. It's continuous battle. 173 00:00:00,000 --> 00:00:00,000 It's continuous fight. It's continuous frugality. 174 00:00:00,000 --> 00:00:00,000 It's a continuous how to win the people's heart. 175 00:00:00,000 --> 00:00:00,000 That's the meaning of the good architecture. 176 00:00:00,000 --> 00:00:00,000 If you still keep on going on your fighting. 177 00:00:00,000 --> 00:00:00,000 And the last word is, I can face my father when he said that. 178 00:00:00,000 --> 00:00:00,000 Are you still training? How's your training as a human being? 179 00:00:00,000 --> 00:00:00,000 I think until the death coming to me, I think I will say that 180 00:00:00,000 --> 00:00:00,000 I'm still training that something like that is I think will provide good architecture. 181 00:00:00,000 --> 00:00:00,000 Speaker 7 (13:51): 182 00:00:00,000 --> 00:00:00,000 Yeah. 183 00:00:00,000 --> 00:00:00,000 Speaker 1 (14:18): 184 00:00:00,000 --> 00:00:00,000 This is Delhi, India's capital, a thriving metropolis and one of the world's largest mega cities home 185 00:00:00,000 --> 00:00:00,000 to over 30 million people. It holds an important place on the world stage, 186 00:00:00,000 --> 00:00:00,000 famous for its history, its architecture, its food, and its culture. 187 00:00:00,000 --> 00:00:00,000 Unfortunately, because of its air quality, it's also one of the most polluted cities in the world. 188 00:00:00,000 --> 00:00:00,000 Sunday nursery, a 90 acre park in the middle of Delhi has recently been part of an enormous renovation project, 189 00:00:00,000 --> 00:00:00,000 installing 20,000 new trees, restoring historic buildings and bringing new greenery everywhere. 190 00:00:00,000 --> 00:00:00,000 And it's home to a remarkable new tower of technology designed specifically to help Delhi 191 00:00:00,000 --> 00:00:00,000 in its ongoing battle for clean air. 192 00:00:00,000 --> 00:00:00,000 Speaker 5 (15:28): 193 00:00:00,000 --> 00:00:00,000 So for us, it was very important as architects to create a balance between aesthetics and performance. For us, companies called to symbiosis. 194 00:00:00,000 --> 00:00:00,000 So we are looking at symbiosis in everything which we do. 195 00:00:00,000 --> 00:00:00,000 The idea was to really create this performance driven piece of the air purification tower, 196 00:00:00,000 --> 00:00:00,000 which really sits as a part of urban furniture. 197 00:00:00,000 --> 00:00:00,000 It's a multi-directional air purifier that's used the rotation of the cubes. 198 00:00:00,000 --> 00:00:00,000 So the entire thing turns because air also changes direction throughout the room. 199 00:00:00,000 --> 00:00:00,000 Speaker 1 (15:57): 200 00:00:00,000 --> 00:00:00,000 So how efficient is it? How good is it at its job? It can 201 00:00:00,000 --> 00:00:00,000 Speaker 3 (16:02): 202 00:00:00,000 --> 00:00:00,000 Actually cleaner a large volume of air per day, like 700,000 cubic meter air per day, 203 00:00:00,000 --> 00:00:00,000 which is equivalent to 322 hot air balloons. 204 00:00:00,000 --> 00:00:00,000 Or another example is two cricket fields, two meter high. 205 00:00:00,000 --> 00:00:00,000 Speaker 1 (16:16): 206 00:00:00,000 --> 00:00:00,000 The geometries are obviously fluid and aerodynamically oriented. 207 00:00:00,000 --> 00:00:00,000 But the scale of the problem here, I mean just give me a sense of how big is this problem? 208 00:00:00,000 --> 00:00:00,000 Speaker 3 (16:25): 209 00:00:00,000 --> 00:00:00,000 This problem is massive. 210 00:00:00,000 --> 00:00:00,000 Speaker 5 (16:27): 211 00:00:00,000 --> 00:00:00,000 Yeah. So they say 99.5% of urban population is living in pollution levels higher than their recommendation. 212 00:00:00,000 --> 00:00:00,000 So in terms of the problem, it has never been worse. 213 00:00:00,000 --> 00:00:00,000 And the worst part is that air water are two of the most essential components which are required for any human being. 214 00:00:00,000 --> 00:00:00,000 And right now we are compromising one of them, which is air. 215 00:00:00,000 --> 00:00:00,000 Speaker 1 (16:56): 216 00:00:00,000 --> 00:00:00,000 So that's an enormous problem that you're tackling here. How does this actually work? 217 00:00:00,000 --> 00:00:00,000 Speaker 3 (17:00): 218 00:00:00,000 --> 00:00:00,000 So the polluted air, it sucks and it has fans, energy efficient fans, 219 00:00:00,000 --> 00:00:00,000 it cleans the air and it falls out opposite side. 220 00:00:00,000 --> 00:00:00,000 And because veto is turning, veto also comes from the Latin so means to turn, so it turns and cleans the air. 221 00:00:00,000 --> 00:00:00,000 And because of the turning, 222 00:00:00,000 --> 00:00:00,000 we are getting almost 360 degree multi-directional and air purification. 223 00:00:00,000 --> 00:00:00,000 Speaker 5 (17:23): 224 00:00:00,000 --> 00:00:00,000 It's all about wind track and the amount of air we can capture in the winter months, 225 00:00:00,000 --> 00:00:00,000 the wind speed drops to 0.5 meter per second, and in summer it's around one and a half to two meter per second. 226 00:00:00,000 --> 00:00:00,000 So that's why the pollution happens in Delhi. 227 00:00:00,000 --> 00:00:00,000 If there was high wind, the entire pollution will go to neighboring states and not stand daily. It was not something we thought let's, as an AI purifier, 228 00:00:00,000 --> 00:00:00,000 it was never ever intention just that as architects for one project we're looking for something which would do this. 229 00:00:00,000 --> 00:00:00,000 And surprisingly, there was nothing which we found. 230 00:00:00,000 --> 00:00:00,000 Okay, so the innovation is the key to any innovation. 231 00:00:00,000 --> 00:00:00,000 So this is what was in this case, we started looking into aerodynamics. 232 00:00:00,000 --> 00:00:00,000 We tried to understand what is a purifier, first of all, 233 00:00:00,000 --> 00:00:00,000 and how does wind play such an important part? 234 00:00:00,000 --> 00:00:00,000 So after a lot of research, we understood that air is actually the main component which drives the design. 235 00:00:00,000 --> 00:00:00,000 Speaker 1 (18:15): 236 00:00:00,000 --> 00:00:00,000 I mean, I would imagine that the problem with pollution 237 00:00:00,000 --> 00:00:00,000 is out there on the streets in the middle of a busy roundabout or something like that. Why here? 238 00:00:00,000 --> 00:00:00,000 Speaker 3 (18:21): 239 00:00:00,000 --> 00:00:00,000 It's everywhere. It's everywhere because the trees don't clean fine particles. 240 00:00:00,000 --> 00:00:00,000 They're trying to catch the fine particles PM 10 and pm 2.5, it goes in the bloodstream. 241 00:00:00,000 --> 00:00:00,000 So it affects heart, lungs, liver, and the whole body because it enters the bloodstreams, right? 242 00:00:00,000 --> 00:00:00,000 We have a better air because there's more oxygen, but there's still fine particles everywhere in the city. And here we wanted to put it somewhere where there are people on the weekends, it's quite busy there. 243 00:00:00,000 --> 00:00:00,000 Sunday market here, a lot of people come morning talking and Frost Falls. 244 00:00:00,000 --> 00:00:00,000 Speaker 5 (18:56): 245 00:00:00,000 --> 00:00:00,000 It's not a city solution. 246 00:00:00,000 --> 00:00:00,000 It's not a solution where you can put couple of water and the sky is blue and life is amazing again. 247 00:00:00,000 --> 00:00:00,000 But it is a product which is changing one person's life at a time in a certain area. 248 00:00:00,000 --> 00:00:00,000 It's a huge problem. So the solution has to be also huge. 249 00:00:00,000 --> 00:00:00,000 If you want to clean a city, maybe you have to put like 3000 of. 250 00:00:00,000 --> 00:00:00,000 Speaker 1 (19:14): 251 00:00:00,000 --> 00:00:00,000 Tell me about the construction method here. It's modular, is that right? 252 00:00:00,000 --> 00:00:00,000 Speaker 5 (19:18): 253 00:00:00,000 --> 00:00:00,000 See, the idea was of course the structure is quite big. 254 00:00:00,000 --> 00:00:00,000 We have to have a quick plugin play system, which can be quickly assembled on sites whenever required. 255 00:00:00,000 --> 00:00:00,000 So it's a play of geometry coming from this aerodynamic elliptical form. 256 00:00:00,000 --> 00:00:00,000 So we try to make it a modular system, which can be black, that ship easily, 257 00:00:00,000 --> 00:00:00,000 and then you can erect it on site. 258 00:00:00,000 --> 00:00:00,000 Speaker 1 (19:35): 259 00:00:00,000 --> 00:00:00,000 How many of these would you imagine rolling out across the city? If you could, 260 00:00:00,000 --> 00:00:00,000 Speaker 3 (19:39): 261 00:00:00,000 --> 00:00:00,000 We should think of to start at some areas to create some clean hotspots in the city. 262 00:00:00,000 --> 00:00:00,000 This would be the goal with a network of S, not only one whereto, 263 00:00:00,000 --> 00:00:00,000 but a network which can create a clean bubble. 264 00:00:00,000 --> 00:00:00,000 Speaker 1 (19:53): 265 00:00:00,000 --> 00:00:00,000 Here there are people around, they have health on their mind because they're in the park. 266 00:00:00,000 --> 00:00:00,000 So this is sort of signaling and demonstrating a potential solution as much as 267 00:00:00,000 --> 00:00:00,000 it's actually solving what is good design to you. 268 00:00:00,000 --> 00:00:00,000 Speaker 3 (20:12): 269 00:00:00,000 --> 00:00:00,000 So I think good design is a performance term, but yet elegant test to fulfill both. 270 00:00:00,000 --> 00:00:00,000 That's what we believe in studio 271 00:00:00,000 --> 00:00:00,000 Speaker 1 (20:27): 272 00:00:00,000 --> 00:00:00,000 Form and function unite here in this heroic innovation, 273 00:00:00,000 --> 00:00:00,000 making this city more livable, more sustainable, and just better. 274 00:00:00,000 --> 00:00:00,000 I think it's safe to say that when smart technology meets clever design, 275 00:00:00,000 --> 00:00:00,000 the sky really is the limit. So this is all ratan? 276 00:00:00,000 --> 00:00:00,000 Speaker 8 (21:09): 277 00:00:00,000 --> 00:00:00,000 Yeah, yeah. Can you give me a wild guess 278 00:00:00,000 --> 00:00:00,000 how many types of ratan there is in the world? 279 00:00:00,000 --> 00:00:00,000 Speaker 1 (21:16): 280 00:00:00,000 --> 00:00:00,000 I wouldn't know where to start. I'm going to say 281 00:00:00,000 --> 00:00:00,000 Speaker 8 (21:18): 282 00:00:00,000 --> 00:00:00,000 200. So there's about 600 species in the whole world 283 00:00:00,000 --> 00:00:00,000 where about 50 of 'em is being traded commercially. 284 00:00:00,000 --> 00:00:00,000 And about 97 or 98% of it grows naturally in Indonesia. 285 00:00:00,000 --> 00:00:00,000 And so a lot of people, they don't really know 286 00:00:00,000 --> 00:00:00,000 if there's any different kinds of species of ratan or different kinds of views. 287 00:00:00,000 --> 00:00:00,000 And here we want to showcase the different kind of, yeah, look at this types. 288 00:00:00,000 --> 00:00:00,000 This is called au. 289 00:00:00,000 --> 00:00:00,000 So AU is the larger type of ratan, and usually they're made for furniture frames 290 00:00:00,000 --> 00:00:00,000 while the smaller ones, this is called Sega. 291 00:00:00,000 --> 00:00:00,000 They're used as part of the decoration. So the things that they put on top of it 292 00:00:00,000 --> 00:00:00,000 or that one over there is called Titi. It's another different kind of, and 293 00:00:00,000 --> 00:00:00,000 Speaker 1 (22:24): 294 00:00:00,000 --> 00:00:00,000 Thinner, again, 295 00:00:00,000 --> 00:00:00,000 Speaker 8 (22:24): 296 00:00:00,000 --> 00:00:00,000 Thinner and a little bit wider. 297 00:00:00,000 --> 00:00:00,000 So they are used for the outer skins of these benches. 298 00:00:00,000 --> 00:00:00,000 Speaker 1 (22:31): 299 00:00:00,000 --> 00:00:00,000 So 300 00:00:00,000 --> 00:00:00,000 Speaker 8 (22:31): 301 00:00:00,000 --> 00:00:00,000 They all have different kinds, different kinds of sizes. 302 00:00:00,000 --> 00:00:00,000 Sometimes they have different kinds of characteristics. 303 00:00:00,000 --> 00:00:00,000 So some are a little bit more stiffer, some a little bit more flexible. 304 00:00:00,000 --> 00:00:00,000 And there's only so much that we 305 00:00:00,000 --> 00:00:00,000 Speaker 9 (22:45): 306 00:00:00,000 --> 00:00:00,000 Know 307 00:00:00,000 --> 00:00:00,000 Speaker 8 (22:47): 308 00:00:00,000 --> 00:00:00,000 50 out of 600. And so we have a lot of homework 309 00:00:00,000 --> 00:00:00,000 and we always want to challenge other designers and architects. 310 00:00:00,000 --> 00:00:00,000 I mean, why do you use bamboo or why do you use wood? 311 00:00:00,000 --> 00:00:00,000 Why can't you use this type of material? It's indigenous and we have abundance of it. 312 00:00:00,000 --> 00:00:00,000 Actually, I think the only missing piece is to connect between the natural resources 313 00:00:00,000 --> 00:00:00,000 and the talents or the creative ideas. 314 00:00:00,000 --> 00:00:00,000 We work with a very indigenous community based in central Borneo 315 00:00:00,000 --> 00:00:00,000 Speaker 7 (23:23): 316 00:00:00,000 --> 00:00:00,000 Where 317 00:00:00,000 --> 00:00:00,000 Speaker 8 (23:23): 318 00:00:00,000 --> 00:00:00,000 We came up with this collection. 319 00:00:00,000 --> 00:00:00,000 This collection is called in and in means in a diac language 320 00:00:00,000 --> 00:00:00,000 means to weave, to weave, to weave. 321 00:00:00,000 --> 00:00:00,000 And so these people, they have about five or seven villages living next to each other, 322 00:00:00,000 --> 00:00:00,000 and they've been working to make these type of craft, 323 00:00:00,000 --> 00:00:00,000 let's say for centuries. But the most, 324 00:00:00,000 --> 00:00:00,000 let's say enlightening thing that I experienced was when we went there. 325 00:00:00,000 --> 00:00:00,000 These villages are still without electricity nor phone signal like two years ago, 326 00:00:00,000 --> 00:00:00,000 and they have been living very sustainably. 327 00:00:00,000 --> 00:00:00,000 So their main job is basically to farm 328 00:00:00,000 --> 00:00:00,000 and because the soil is much drier than in Java, 329 00:00:00,000 --> 00:00:00,000 so they have to move around every six or seven years to keep the nutrients 330 00:00:00,000 --> 00:00:00,000 Speaker 1 (24:15): 331 00:00:00,000 --> 00:00:00,000 Regenerated. 332 00:00:00,000 --> 00:00:00,000 Speaker 8 (24:16): 333 00:00:00,000 --> 00:00:00,000 So whenever they plant rice, they also plant fruit trees and they also plant ratan. 334 00:00:00,000 --> 00:00:00,000 So every six or seven years, once they made a full circle, 335 00:00:00,000 --> 00:00:00,000 those fruit trees become a secondary forest, of course, 336 00:00:00,000 --> 00:00:00,000 and the ratan is ready to be harvested. 337 00:00:00,000 --> 00:00:00,000 And so craft is a byproduct 338 00:00:00,000 --> 00:00:00,000 because they use those ratan to actually make baskets, mats and everything. 339 00:00:00,000 --> 00:00:00,000 But their main job is basically to farm. 340 00:00:00,000 --> 00:00:00,000 What really draws us to want to work together with them is that 341 00:00:00,000 --> 00:00:00,000 they are a very delicate culture, but at the same time, 342 00:00:00,000 --> 00:00:00,000 they're also a dying craft. So this bench over here is called dahan, 343 00:00:00,000 --> 00:00:00,000 and dahan means a tree branch in Indonesia. 344 00:00:00,000 --> 00:00:00,000 And so the whole point was it was designed to remind people that 345 00:00:00,000 --> 00:00:00,000 a while ago it was once alive, if you give them water and sun, it grows. 346 00:00:00,000 --> 00:00:00,000 This is a different way of making, 347 00:00:00,000 --> 00:00:00,000 because we incorporate the artisan much more into design process. 348 00:00:00,000 --> 00:00:00,000 It's more like a co-creation type of thing. 349 00:00:00,000 --> 00:00:00,000 And by doing so, we don't want to mass produce this, 350 00:00:00,000 --> 00:00:00,000 so we only make this one as a one-off, and that's it. 351 00:00:00,000 --> 00:00:00,000 We'll make several variations and after that then we'll create something else. 352 00:00:00,000 --> 00:00:00,000 Speaker 1 (25:49): 353 00:00:00,000 --> 00:00:00,000 So this is the only one of these that you've made? 354 00:00:00,000 --> 00:00:00,000 Speaker 8 (25:52): 355 00:00:00,000 --> 00:00:00,000 Exactly, yeah. 356 00:00:00,000 --> 00:00:00,000 Speaker 1 (25:53): 357 00:00:00,000 --> 00:00:00,000 Clearly the materials not limiting you, I suppose. 358 00:00:00,000 --> 00:00:00,000 If anything, you are really just receptive to what the material is telling you, 359 00:00:00,000 --> 00:00:00,000 and I can see in the making then this is a prototype I'm assuming over here. 360 00:00:00,000 --> 00:00:00,000 Tell me a little bit about the process of actual making. 361 00:00:00,000 --> 00:00:00,000 Speaker 8 (26:08): 362 00:00:00,000 --> 00:00:00,000 So here we really want to highlight or emphasize the fact 363 00:00:00,000 --> 00:00:00,000 that these benches are made out of a single material. 364 00:00:00,000 --> 00:00:00,000 So in Europe or America, and a lot of western countries now, 365 00:00:00,000 --> 00:00:00,000 they already have a lot of regulations into carbon emissions, et cetera, et cetera. 366 00:00:00,000 --> 00:00:00,000 And by using different kinds of components, 367 00:00:00,000 --> 00:00:00,000 then it usually accumulates the emission through transportation, logistics and everything. 368 00:00:00,000 --> 00:00:00,000 Whilst this bench is 99% is made out of just ratan, 369 00:00:00,000 --> 00:00:00,000 that comes from a specific village and not really far from here, 370 00:00:00,000 --> 00:00:00,000 although I mean it's a big country, but not really importing from a different country. 371 00:00:00,000 --> 00:00:00,000 And the rest is really just minor components. 372 00:00:00,000 --> 00:00:00,000 So I'm just hoping that one day the government puts these carbon emission regulations 373 00:00:00,000 --> 00:00:00,000 or carbon taxes than these pieces should be a better option for people to look for. 374 00:00:00,000 --> 00:00:00,000 Speaker 1 (27:02): 375 00:00:00,000 --> 00:00:00,000 Part of the story of the showroom is all of the material making and the processes, what's going on here? 376 00:00:00,000 --> 00:00:00,000 Speaker 8 (27:08): 377 00:00:00,000 --> 00:00:00,000 So these are just highlights of where we got the materials from the forest, 378 00:00:00,000 --> 00:00:00,000 how people took it, let's say from the deep end of the forest, 379 00:00:00,000 --> 00:00:00,000 how the tools are being used to split them to take the core and to shave them. 380 00:00:00,000 --> 00:00:00,000 And these processes are done very traditionally and very manually as well. 381 00:00:00,000 --> 00:00:00,000 Mostly are done by women and they're very skilled. 382 00:00:00,000 --> 00:00:00,000 If you can imagine. 383 00:00:00,000 --> 00:00:00,000 They hold one end of the raton with their foot, 384 00:00:00,000 --> 00:00:00,000 and the other end is basically to split the raton in half. 385 00:00:00,000 --> 00:00:00,000 I tried that before I failed, measure miserably. 386 00:00:00,000 --> 00:00:00,000 But then these processes continue to shave each strand using this type of tools 387 00:00:00,000 --> 00:00:00,000 to make the width even. 388 00:00:00,000 --> 00:00:00,000 And the waste of it is being used as a loofah to wash your dishes. 389 00:00:00,000 --> 00:00:00,000 Speaker 1 (28:08): 390 00:00:00,000 --> 00:00:00,000 Oh, right, 391 00:00:00,000 --> 00:00:00,000 Speaker 8 (28:08): 392 00:00:00,000 --> 00:00:00,000 Yeah. Nothing's wasted, nothing's wasted. 393 00:00:00,000 --> 00:00:00,000 And even if you throw them away, 394 00:00:00,000 --> 00:00:00,000 it degrades because it's all just natural with no chemical whatsoever. 395 00:00:00,000 --> 00:00:00,000 So these strands are about two millimeters wide. 396 00:00:00,000 --> 00:00:00,000 Some of them are 1.8, and these black ones are also naturally dy. 397 00:00:00,000 --> 00:00:00,000 So the way they do it is they cook the ratan, these ratan strands with leaves that has latex on it, 398 00:00:00,000 --> 00:00:00,000 and after they cook them, they turn into this dark brownish color. 399 00:00:00,000 --> 00:00:00,000 After that, they buried it in the mud for two nights 400 00:00:00,000 --> 00:00:00,000 , and after that it becomes black like this. 401 00:00:00,000 --> 00:00:00,000 And these black colors, if you can see in the pieces that we have, 402 00:00:00,000 --> 00:00:00,000 or even in the floor mats that the grandmothers used to have, 403 00:00:00,000 --> 00:00:00,000 they could last for 50 or 70 years. 404 00:00:00,000 --> 00:00:00,000 And these are just what type of leaves with Raman skins. 405 00:00:00,000 --> 00:00:00,000 So imagine if we dip them in dragon fruit or in mangosteen or in different kinds of fruits, 406 00:00:00,000 --> 00:00:00,000 what kind of colors we can have, and it's all natural, the waste of it. 407 00:00:00,000 --> 00:00:00,000 I mean, you can just throw them away 408 00:00:00,000 --> 00:00:00,000 and they become compost. 409 00:00:00,000 --> 00:00:00,000 Design is a very problem oriented process, 410 00:00:00,000 --> 00:00:00,000 and so if another person doesn't really understand 411 00:00:00,000 --> 00:00:00,000 or even experience the problem, 412 00:00:00,000 --> 00:00:00,000 then it's very difficult to actually teach them to create the solution for it. 413 00:00:00,000 --> 00:00:00,000 They really need to jump into the deep end of the pool 414 00:00:00,000 --> 00:00:00,000 to understand the really nitty gritty problem and challenges, 415 00:00:00,000 --> 00:00:00,000 (29:46): 416 00:00:00,000 --> 00:00:00,000 And hopefully they should have enough breath to actually surface, get some air, and actually do something about it. 417 00:00:00,000 --> 00:00:00,000 Speaker 1 (30:03): 418 00:00:00,000 --> 00:00:00,000 Having met Alvin, the thing that really impresses me 419 00:00:00,000 --> 00:00:00,000 is he's one of those designers that sees design not as an object, 420 00:00:00,000 --> 00:00:00,000 but as an approach to problem solving. 421 00:00:00,000 --> 00:00:00,000 The way he casts his mind into a piece of furniture like this is to see it not as an object 422 00:00:00,000 --> 00:00:00,000 , but as an entire ecology. 423 00:00:00,000 --> 00:00:00,000 And he's prepared to put design to work in any one of the moments of that enormous supply chain 424 00:00:00,000 --> 00:00:00,000 that goes from return to the product. 425 00:00:00,000 --> 00:00:00,000 The thing that's so remarkable about all of that is that 426 00:00:00,000 --> 00:00:00,000 even though that is a vast agenda still, 427 00:00:00,000 --> 00:00:00,000 he seems to be able to produce these beautiful individual pieces. 38057

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