本文由 SHAU 授权mooool发表，欢迎转发，禁止以mooool编辑版本转载。
Thanks SHAU for authorizing the publication of the project on mooool, Text description provided by SHAU.
SHAU：Alun-alun Kejaksan, a 1.2-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 adjacent to a palace, a governmental center, a mosque, or a market. 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 of the adjacent formerly barren land especially during important Islamic holidays where they need to extend the area of prayer to the outside due to high attendance. Secondly, the municipality and citizens are in dire need for a public space to recreate and gather in the city center, while maintaining the business of existing street vendors and therefore accommodating them into a hawker center. Thirdly, a historical monument in form of an obelisk which is cut off by a road turn needed to be reintegrated.
This happens via a sunken memorial plaza, with steps for seating opening a view towards the monument. The information texts on the wall are written and executed by the elders and historians as a token of their participation. Lastly the approval of the late Sultan had to be sought even though he had no official governmental role, as he was well respected and held a high position within society. All these demands were gathered and discussed for the final design in a series of multi-stakeholder meetings attended by all relevant parties.
Having designed previously public space projects in Indonesia organized by municipalities and executed via a public tendering process, SHAU knows about the importance of resilient materialization and design choices. With that in mind and all the earlier mentioned stakeholder’s requirements a negotiation process of function and spatial allocations was initiated resulting in a central main square next to the At-Taqwa Mosque which can be used for spiritual and also national ceremonies and event gatherings. All the other functions such as bus stop, shelter, memorial plaza, hawker center, playground and microlibrary are loosely grouped around at the perimeter. It was also the aim to maximize green surfaces to improve microclimate, rainwater management in form of a stepping planter landscape structuring all functions, circulation and in-between spaces.
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 as a gathering place.
▼五柱门 Five-pillar gate
Educational and play functions are accommodated in forms of a microlibrary and playground. 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塔门gapura、candi bentar或者在前苏丹宫殿Keraton Kasepuhan可以看到的由生砖制成的基座。这些传统元素被重新诠释为植物地形、构筑物和微型图书馆，每一个元素都采用了相同的材料、设计语言和构建逻辑。砖作为Alun-alun Kejaksan集会广场的主要材料，不仅是因为参考了该地区的历史遗迹，而且它的确十分实用。项目雇用了当地劳动力以刺激当地经济。当地材料和设计语言的使用可以给市民带来归属感，即使是以当代的设计方式进行诠释。
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. 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.
▼设计过程 Design process
设计团队： Florian Heinzelmann, Daliana Suryawinata with Rizki M. Supratman, Ignatius Aditya Kusuma, Ryan Azhar, Aprilea S. Ariadi, Ben Barukh Kurniawan, Miftah Adisunu N. Alui, Imam Supratiko, Rio Nuryadi Santosa
承包商：Phase 1: PT Inti Cipta Sejati, Phase 2: PT. Dinamis Sarana Utama
客户：Province of Jawa Barat/West Java
Name: Alun-alun Kejaksan square
Area: ± 12.000 m²
Construction Cost: 2.750.000 US$
Architects: SHAU Indonesia
Team SHAU: Florian Heinzelmann, Daliana Suryawinata with Rizki M. Supratman, Ignatius Aditya Kusuma, Ryan Azhar, Aprilea S. Ariadi, Ben Barukh Kurniawan, Miftah Adisunu N. Alui, Imam Supratiko, Rio Nuryadi Santosa
Contractor: Phase 1: PT Inti Cipta Sejati, Phase 2: PT. Dinamis Sarana Utama
Client: Province of Jawa Barat/West Java
Photographer: Kemala Montesa
Editor: Jiangyan Shou
更多 Read more about: SHAU