Suchergebnisse

Jacques Dumarçay
Building techniques are determined by constraints due to the structure of the materials involved and independent of the architects' will. However, there is no strict borderline between the materials and some ways of assembling wood have been used with stones. On Java, wood has been the most frequently used material for a long time, but as the buildings have not survived, the relevant techniques can only be observed on their representations on the reliefs of the Borobudur (8th c.) and those of East Javanese temples (13th c. onwards). Stones used for erecting the Borobudur were collected in the surrounding rivers. Their cutting was much inspired by that of the stones used in Sri Lanka monuments. A second wave of Hinduization in the 9th c. brought about new building techniques, including that of double- facing walls. Bricks were often used during the Majapahit period. They were of bad quality, so that they had to be ground against each other in order to be closely adjusted. Inscriptions on Candi Sewu and Plaosan give an insight into the life of the worksites, in particular the retakings and the multiplication of small contractors.

Jacques Dumarçay
An article published in the Journal of Volcanology and Geothermal Research in 2000 brought new arguments in support of the theory that the Borobudur temple once was surrounded by a lake - a theory which has long been favoured by archaeologists, notably Nieuwenkamp in 1931. J. Dumarçay brings to the fore archaeological evidence, discovered during the 1950s to 1970s (buildings, tombs, ceramics, stupas, and plants) which show that the presence of a lake seems impossible. However, it had probably been planned, during the first phase of the construction of the Borobudur, to divert the course of a nearby river (the Kali Silang) in order to establish a moat around the monument, traces of which are still found on its northern side.

Jacques Dumarçay
Candi Badut, in the Malang region in East Java, was built in the second half of the 8th c. It was subsequently transformed over a long span of time up to the 1 3th c. as it was adapted to successive changes of rituals. The observation of these transformations shows the role of architecture in the ritual life of temples, but also the liberty of builders towards the religious symbolism of the buildings.

Dans l'évolution de I'architecture, on peut distinguer trois étapes principals: le recours à la mémoire collective, I'intervention de l'intelligence collective qui transforme le modéle et l'adapte é de nouvelles conditions et, enfin, Taction de I'architecte capable d'anticiper une oeuvre nouvelle en partie indépendante de la mémoire.Personne ne peut confondre le nid d'un oiseau avec celui d'une guêpe maçonne; ils sont issus, l'un comme l'autre, de la mémoire collective de ces espéces animales et reproduits à l'infini. Pourtant, quand une guêpe maçonne se heurte à une difficulté, par exemple lorsqu'une des assises du nid doit être sensiblement plus élevée en raison de la topographie du lieu de l'implantation, la guêpe évalue la hauteur nécessaire et apporte une boulette de terre suffisante pour occuper l'espace.

4. Jacques Dumarçay (E.F.E.O., Borobudur) tries to reconstitute three types of frameworks which .are represented on, the Pramba-^ nan temple bas-reliefs. f . . M ^--^.is