彼の建築は、インドネシアが世界に問える建築のあり方を提示しえていると思っているが
今日は朝から喉が痛く、体調が悪かったので、あまり動き回ることをせず、明日の会議の準備をしつつ、過去のnoteを見ながら、マングンウィジャヤを再録しつつ、deepLのお世話になりながら、なんとなく英語にしてみた。なんの需要もないけど。。。
滞在中にすべての？現存する作品を見ることと彼の小説の読解を試みてみたい。日本語に訳されている小説もいくつかあるが、難解で手が出ずにいる。
ウィスマ・クエラにみる彼の建築の特徴は以下の10で言い表せると思う。
多様な場所、増殖する空間、中と外のつながり、プリミティブな技術、ブリコラージュ（器用仕事）、手仕事、多用される中古材、回遊動線、シークエンス、ヒューマンスケール
ある意味、これは「あたりまえの建築」のあり方を体現していると言える。丸くなったり、大きくなったり、つながったり、光ったりする建築は、すでに世界中に掃いて捨てるほどある。そんなものを指向せずに、身近なマングンウィジャヤから学ぶべきことは多い。インドネシアが世界に問える建築のあり方をマングンウィジャヤは提示しえていると思う。
Mangunwijaya, who is an architect, novelist, and priest,has been called the father of modern architecture in Indonesia. His nickname is Romo Mangun. He also taught architecture at Gadjah Mada University from 1967 to 1980. Dr. Ika told me that he was involved in Romomangun's project along the Chode River when he was a student.
Wisma Kuera is now used as an office for an NGO, but it was originally Romo Mangun's home and office. I had been shown inside twice or three times before, but this time we were guided by the manager. Let me list some of the key sentences that describe this architecture as I think of them.
Diverse places, proliferating spaces, connections between inside and outside, primitive techniques, bricolage (dexterity), handiwork, extensive use of used materials, circular flow lines, sequencing, human scale, and so on.
The institution is consisted of a meeting room and offices on the east side, and residential functions and a library on the west side. Currently, a space for a café is reserved on the east front side, and the café is open in the evening.
The structure basically can be seen anywhere, and the structure of each space is clear. Although there is no eccentricity in the design, there is playfulness in the design everywhere. The decorations are designed as if they were worked by hand, one by one. Several designs of handiwork can be seen in different places. The building is full of designs by human hands, which fosters a sense of familiarity with the building.
Many of the materials used are second-hand. It is likely that the materials available at the time were used to create the walls, floors, and ceilings. This is exactly what Lévi-Strauss called bricolage (dexterous work).
It seems not to be based on an comprehensive plan that has been drawn up in advance, adjusted for various conditions, and organized. There are corridors and stairs connecting rooms in unexpected places, and rooms in unexpected places. The floors are at various heights, forcing the viewer's eye to move up and down, left and right, as they move through the building. There are several places to go down to the basement, where one can look in as if peering into the building. The staircases are open and people can always see the movement of people.
The spaces other than meeting spaces, offices, and the library are generally small, and a series of human-scale spaces make up the overall structure. Sliding fittings similar to those found in Japanese houses are installed in some parts. This also helps to create a series of small spaces, which is interesting.
A waiting area is set up in a pilotis-like space below the building, where visitors can relax. The earthen floor space continues even after entering the building, allowing visitors to feel the outside. When you go up to the second floor, you can feel the outside as if you were crossing a bridge as you move from one room to another. The exterior space is like the interior of the house, the interior like the exterior space, and the exterior and interior are nested together, allowing one to feel the entire site.
It is truly a unplanned architecture. It is an accumulation of what can be done at any given moment in accordance with the situation. Each small place nurtures a love for the building. I think it shows a different perspective of architecture from modernist architecture.
Kampong Codé is another project that was established through the involvement of Romo Mangun. The architect was not involved in the project from the top as an architect, but was involved in the improvement of the slum along the river together with the residents. The triangular-roofed meeting house inserted in the center of the kampong is a distinctive feature of the project. The simple yet unique shed roof functions as a landmark. It is not difficult to imagine that the meeting space built on the slope once served as a place to discuss the future of this kampong.
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