Archives par mot-clé : Architecture

EYE OF THE ARCHITECT: THE MADE WIJAYA PHOTOGRAPHIC ARCHIVE

Soft-launch of ISEAS Library database: Eye of the architect: the Made Wijaya photographic archive, 11/10/2017, ISEAS

Regional social and cultural studies programme seminar

Wednesday, 11 October 2017 – This seminar, in part a soft-launch of ISEAS Library database on Made Wijaya’s (alias Michael White) photographic archive, welcomed its four speakers: Dr Hélène Njoto, Visiting Fellow at ISEAS-Yusof Ishak Institute; Mr Soedarmaji Damais, founder and head of Indonesian Arts Cooperation Body (BKKI); Mr Richard Hassell, co-founder of WOHA, and lastly, Professor Adrian Vickers from the University of Sydney who is concurrently a Visiting Fellow at ISEAS-Yusof Ishak Institute. They were greeted by a diverse audience that comprised of students, landscape architects from public and private agencies, researchers, as well as previous clients and friends of Made Wijaya. Hosting an insightful conversation with participants, the seminar addressed the importance of preserving and engaging with such archives for the study of landscape design and architecture history in Southeast Asia.

Dr Hélène Njoto’s prelude to the seminar was a survey of Made Wijaya’s photographic collection as it is now archived at ISEAS Library. She walked us through the online database of over 40,000 items, highlighting one of Wijaya’s gardens trademarks: the layering of vernacular architectural history. She demonstrated this by showing an “architectural history enigma” Wijaya liked to feature in his work, the Javanese and Balinese single-post and platform tree structures. She effectively showed how this collection not only documents Wijaya’s achievements but assembles an important number of photographs from fieldtrips throughout the world. Wijaya was concerned about sharing his sources of inspiration with future landscape designers, architects, and architecture history students, as his popular books have shown.

As a close and long-time acquaintance of Made Wijaya, Mr Soedarmaji Damais brought a personal note to the seminar as he shared stories about Wijaya’s first arrival in Bali, his assimilation as a Balinese and passion for the island and the way his garden designs were based on the search for connections with Chinese and other gardens.

Mr Richard Hassell then introduced Made Wijaya from a practitioner’s perspective, sharing Wijaya’s architectural and landscape architecture legacies through projects, and his role as a role model and mentor. Mr Hassell saw the archive as a way to engage with Wijaya’s attitudes to landscape history, the basis of his creation and design of gardens; a knowledge imperative for current practitioners.

The final speaker, Professor Adrian Vickers, another close acquaintance of Made Wijaya, affirmed Wijaya’s remarkable visual sensibility. Using photographs from the archive, Professor Vickers illustrated how Wijaya’s eye and curiosity for details in both modern adaptations and pre-modern spaces nurtured his unique visual repertoire and syntax. Professor Vickers closed the session with a tribute to Wijaya’s personal wish to preserve aspects of otherwise lost cultures, emphasising the need to capture and document these vulnerable and impermanent landscapes.

The Made Wijaya database at ISEAS Library is now publicly accessible online at ISEAS Library’s SeaLionPLUS. Upon registering, the archive can be explored by geographic regions or keywords. Made Wijaya’s video collections on ethnography (Balinese dance and rituals) can also be found at the University of Sydney.

Voir : https://www.iseas.edu.sg/medias/event-highlights/item/6360-soft-launch-of-iseas-library-database-eye-of-the-architect-the-made-wijaya-photographic-archive

 

 

Architecture Beyond Europe Journal : Paradoxical Southeast Asia

Architecture Beyond Europe Journal n° 11 (2017)

Dossier : Paradoxical Southeast Asia

Sous la direction de Caroline Herbelin

In Southeast Asia, a space characterized by intense regional and global traffic networks since the sixteenth century, the architectural landscape is often seen as a palimpsest of styles. The hybrid and syncretic nature of Southeast Asian architectural forms is seen as the result of the successive waves of contacts that marked the history of this part of the world called by some the « Asian Mediterranean. » (F. Gipouloux). In this genealogy of architectural types, the colonial moment has been often considered a rupture that introduced radically new forms in vernacular architecture. Following this logic, the late twentieth century and early twenty-first century are considered as moments of further intensification of this architectural acculturation. The adoption of the international style in the megacities of the « Asian tigers, » nerve centers of the global economy, is symbolic of an urban development superficially tuned to the « global » rather than the local.
By equating the evolution of architectural forms in Southeast Asia to a transfer, mainly from West to East, this approach evades the complexity of the formation of the architectural landscape of Southeast Asia. This issue of ABEproposes to focus on the development of « syncretic » architectures of Southeast Asia by precisely tracing the circulation of techniques and architectural forms through a contextual approach. Local, regional, global have not followed each other sequentially – such a model presupposes the existence of a local, « original, » culture. Instead, these three levels of traffic have coexisted in the past. Far from simple sedimentary layers laid down over time, the production of Southeast Asian architecture has been multiscalar, rhizomic and a longue durée phenomenon. For this reason, the concept of « returns » is a particularly useful one for analyzing both « colonial » and « traditional » motifs that appear in contemporary architecture.
When rethinking the local and the global in Southeast Asian architecture, we must move beyond the binary oppositions between the vernacular and the foreign, the colonial and the post-colonial, and the modern and the traditional, while still exploring how actors used such categories dynamically. Only in this way can we explain the coexistence of such seemingly contradictory categories.

Sommaire

Lire la suite sur : https://abe.revues.org/3315

 

 

A télécharger : Architects of Buddhist Leisure

A télécharger : Justin Thomas McDaniel, Architects of Buddhist Leisure : Socially Disengaged Buddhism in Asia’s Museums, Monuments, and Amusement Parks, University of Hawaii Press, 2016

Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: together they form a gathering, not a movement.

Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture.

A télécharger sur : http://oapen.org/search?identifier=626388

Sinitic Trends in Early Islamic Java (15th to 17th century)

Seated feline figures. Truc Phuong commune, Truc Ninh district. c. L 8 x H 15 cm, Nam Dinh museum, Nam Dinh Province. Late Lê dynasty. (Credit: H. Njoto)

Sinitic Trends in Early Islamic Java (15th to 17th century) by Hélène Njoto (Nalanda-Sriwijaya Center)

Note: This article is reproduced from the latest issue of NSC Highlights. For more, please see : https://goo.gl/XoyXfM

Java’s north coast is known to have had cosmopolitan and multi-religious towns where Muslim travellers and traders settled since the early 15th century. While there is scarce evidence of the presence of Muslims and foreigners in the early Islamic period, the accounts of past Muslim ruling figures, revered as holy men (wali), have persisted. These accounts have survived thanks to the fairly good conservation of the mausolea of these holy men, many of which are five to six centuries old. These mausolea, considered sacred (kramat), are visited every year by thousands of pilgrims from Java and other parts of the Malay world.

 These mausolea contain elements of a Sinitic (relating to Chinese culture) trend in early Islamic Java. Historical sources note the presence of ‘Chinese’ among the Muslims present on Java’s north coast in the 15th and 16th centuries. Local Javanese traditions and hagiographies also suggest that some of the most prominent holy men were of Chinese descent. Some are said to have come from Champa, the former Hindu-Buddhist kingdom of present-day coastal Vietnam (Manguin 2001).

 Nevertheless, the ‘sinitic’ origin of some of these holy men on the Javanese coast remains enigmatic since there is little material evidence apart from these mausolea remains. The richly decorated wooden panels that enclose these tombs on four sides, delicately sculpted, some in openwork or painted in red, are indeed vaguely reminiscent of a Sinitic culture. However, most motifs and stylisation, such as the lotus leaves in a pond, represented in a naturalistic way, had in fact already appeared during the Hindu-Buddhist period, possibly as the consequence of earlier Sinitic borrowings.

 However, the motif of the seated feline figure stands out. These feline figures, sculpted in wood or stone, were found in four religious sanctuaries such as in the mausolea of Sunan Drajat and Sunan Sendang Duwur. In these mausolea, they are represented in-the-round, in a seated hieratic position, bearded, with their maw wide open and their tongues pulled out (in Sunan Drajat). They have volutes motifs on the legs and a necklace or winged-like motif spreading from the scapula backwards. These feline figures suggest that these holy men had developed a taste for decorative features found in China and the Indo-Chinese peninsula of the same period.

Lire la suite sur : https://www.facebook.com/notes/nalanda-sriwijaya-centre/sinitic-trends-in-early-islamic-java-15th-to-17th-century-by-hélène-njoto/1368801939864852

Brutalism and Traditional Khmer Design Come Together in Phnom Penh’s Hiroshima House

Brutalism and Traditional Khmer Design Come Together in Phnom Penh’s Hiroshima House by Ben Valentine, 17/03/2017, Hyperallergic

Osamu Ishiyama’s structure exemplifies the surprising adaptability of humans in the face of dehumanizing events.

PHNOM PENH, Cambodia — During the 1994 Asian Games in Hiroshima, atomic bomb survivor Keiko Kunichika was inspired by a Cambodian athlete’s desire for his country to grow as Hiroshima had after the devastation of war. The Association for the Exchange Between Hiroshima Citizens and Cambodians was founded, and volunteers from Japan began building the Hiroshima House in Phnom Penh, brick by brick, from 1995 until its opening in 2007.

[…]

As a monument for peace, a site for children, and a building within one of Phnom Penh’s oldest and most important temple complexes, Wat Ounalom, the building itself is somewhat bizarre. From the outside, it’s an awkward, nearly cube-shaped five-story structure of progressively smaller cement and brick horizontal stripes. The weirdness culminates in a traditional Khmer roof plopped on top of the modern building. Surrounded by traditional Buddhist temple buildings, which are heavily ornate with highly circumscribed meanings, the Hiroshima House sticks out like a sore thumb.

Lire la suite sur : http://hyperallergic.com/364076/brutalism-and-traditional-khmer-design-come-together-in-phnom-penhs-hiroshima-house/