Alun-alun Kejaksan 广场 ,印度尼西亚,SHAU Indonesia

Alun-alun Kejaksan广场是一个占地1公顷的集会广场,位于西爪哇的井里汶市,紧邻重要的At-Taqwa清真寺。作为一个前苏丹国,井里汶有着丰富的历史,这也是因为它是一个拥有重要港口的沿海城市,因此各种文化都有影响。Alun-alun本身就是一个独特的印尼城市类型的露天广场。

Alun-alun Kejaksan square, a 1-hectare gathering square is located in the city of Cirebon in West Java next to the important At-Taqwa Mosque. Cirebon, being a former Sultanate has a rich history also due to its location as a coastal town with important harbor and therefore various cultures being influential. Alun-alun in itself is a unique urban Indonesian typology of open-air plaza.

尽管它的位置很突出,但这个地方并没有被充分地利用。虽然该项目是由西爪哇省长委托的,但其他利益相关者也构成了设计概要。首先,At-Taqwa清真寺声称是非正式的所有权,因为需要在重大节日时将祈祷区域扩展到外面。第二,市政府需要一个公共空间,以便在市中心聚集,同时维持现有的街头小贩的生意。第三,一个被道路转弯切断的历史纪念碑需要通过一个下沉式的纪念广场重新整合,其中的信息文本由长者和当地历史学家提供。最后,必须征得已故苏丹的同意,因为他在社会中很受尊重,并拥有很高的地位。

Despite its prominent location, the site had not been used to its full potential. Although the project is commissioned by the Governor of West Java, additional stakeholders also formed the design brief. Firstly, the At-Taqwa mosque claims informal ownership due to the need to extend the area of prayer to the outside during major holidays. Secondly, the municipality is in need for a public space to gather in the city center, while maintaining the business of existing street vendors. Thirdly, a historical monument which is cut off by a road turn needed to be reintegrated via a sunken memorial plaza where the information texts are provided by the elders and local historians. Lastly the approval of the late Sultan had to be sought as he was well respected and held a high position within society.

在Alun-alun的一侧,安装了一个标志性的Gapura,标志着从城市的入口,在另一侧安装了一个五柱门,标志着从At-Taqwa清真寺的入口。这两个对立的大门代表了世俗和精神需求之间的对话,强调了与中间的广场的开放对话。教育和游戏功能以微型图书馆和操场的形式被容纳。

On one side of Alun-alun an iconic Gapura was installed marking the entrance from the city and on the opposite side a five-pillar gate was installed marking the entrance from the At-Taqwa Mosque. Both opposing gates represent a dialogue between worldly and spiritual needs, emphasizing an open dialogue with the square in-between. Educational and play functions are accommodated in forms of a microlibrary and playground.

微型图书馆作为SHAU一系列多项目阅读空间的一部分,被做成了一个阶梯式的平台,可以用作座位,而屋顶是一个俯瞰alun-alun的观景平台,使人们能够获得不同的视角和概述。这个微型图书馆满足了上海大学和城市的扫盲议程,在一个友好的环境中提高阅读兴趣。图书馆和操场也分散了阿伦-阿伦专门用于宗教或国家活动的目的,这些活动每年只发生几次,并为更多的观众和日常使用打开了功能。

The microlibrary as a part of SHAU’s series of multi-programmatic reading spaces is made as a stepped platform which can be used as seating, while the rooftop is a viewing platform overlooking the alun-alun and enable people to obtain a different perspective and overview. The microlibrary fulfills SHAU’s and the city’s literacy agenda to bring up reading interest in a friendly setting. Both library and playground also diffuse the purpose of the alun-alun for exclusively religious or national events which only happen a few times per year and opens up the functionality for a wider audience and everyday usage.

材料和几何形状参考了当地的阶梯式gapura或candi bentar–或分裂的门户–和原砖制成的基座,这在井里汶的Keraton Kasepuhan–苏丹的宫殿可以看到。这些传统元素被重新诠释为花盆地形、庇护所和微型图书馆,每一个元素都源于相同的材料、语言和构造逻辑。

The materiality and geometry refer to local stepped gapura or candi bentar – or a split gateway– and pedestals made of raw bricks which can be seen at Keraton Kasepuhan – Sultan’s palace in Cirebon. These traditional elements are reinterpreted into planter topography, shelter and microlibrary in a transformative way where every element stems from the same material, language, and constructive logic.

通过选择砖作为Alun-alun Kejaksan的主要材料,它不仅参考了井里汶的历史遗迹,而且坚持了实用性,如可用性和刺激当地经济,雇用当地劳动力和一个简单和更宽容的施工过程。材料和形式上的参考对于获得市民的接受和归属感也很重要,因为他们熟悉这种设计语言,尽管它是以现代方式完成的。

By choosing brick as the main material for Alun-alun Kejaksan, it does not only refer to historical places in Cirebon but adheres to practical aspects like availability and stimulating the local economy employing local labor and a simple and more forgiving construction process. The material and formal references are also important to gain acceptance and sense of belonging from the citizens, as they are familiar with the design language even though it is done in a contemporary manner.

Architects: SHAU Indonesia
Area: 12000 m²
Year: 2021
Photographs: Kemala Montesa
Contractor: PT Inti Cipta Sejati, PT Dinamis Sarana Utama
Directors:Florian Heinzelmann, Daliana Suryawinata
Project Lead:Rizki M. Supratman, Ignatius Aditya Kusuma
Design Team:Ryan Azhar, Aprilea S. Ariadi, Ben Barukh Kurniawan, Miftah Adisunu N. Alui, Imam Supratiko, Rio Nuryadi Santosa
Architects:SHAU Indonesia
City:Kecamatan Kejaksan
Country:Indonesia

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