History and theory part 3
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Transcript of History and theory part 3
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Contemporary Architecture
History and theory
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Present time
NOT futuristic
What is contemporary architecture?
• Is formally defined as the building style of the present day• Quite varied and have a number of different influences• Therefore do not necessarily have similar or easily recognizable features as in classical arch.• A precise definition of "contemporary" architecture, therefore, is not so simple to articulate.
+ The end of modern architecture
Perumahan “ideal” yang paling progresifdari CIAM Kongres International ArsitekturModern danmemenangkanpenghargaandari AIA waktudirancangoleh Minoru
Yamasaki tahun 1951 – the Pruitt-Igoe Housing, St. Louis,
dandihancurkanpadatahun 1972 (Jencks).
Relationship of
Man and Nature
Ideologyand Art
BEFORE
MODERNMODERN
AFTER
MODERN
Man
Rational
Relationship of
Man and Nature
Ideology and Art
Man
Rational
Pluralism
Metaphor
Communication
De-Construction
etc. etc. etc. etc.
Ecole de Beaux
Arts
Re-nais-sance
Bau-haus
CIAM The End
of mo-
dernism
+ [post] MODERNApakahmerupakan“pemutusan”darisegalahubungandengan modern ?
Apakahmerupakan“koreksi”terhadap Modern ?
+ Penggunaanistilah postmodern
untuk menunjukkan “reaksi” yg
timbul pada era modern
pertama kali oleh : Federico De Onis
[1930]
yang mencoba menjelaskan
suatu “siklus” sejarah baru.
Kedua oleh Toynbee [1947]
ketika memberikan istilah post
pada humanist, pada female dll
Ketiga oleh Leslie Fiedler
yang memproklamirkannya pada
eksperimental seni dan ultra
modern arsitektur.
Keempat oleh Ihab Hasan
yang menyebut postmodern
sebagai sebuah bahasa yang
baru.
Kelima oleh Charles Jencks tahun [1977]
sebagai logika cultural
yangmembawa transformasi
dalam kebudayaan pada
umumnya.
Keenam oleh Frederic Jameson
Yang mengistilahkan bahwa
postmodern adalah Implosion
atau peledakan kedalam
Ketujuh oleh Jean Baudrillard
dimanakondisi postmodern
tidakadalaginarasibesar.
Kedelapan oleh Lyotard
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Antara permukaan dan kedalaman
Antarabudayatinggidanbudaya pop
Antarasenidankehidupannyata
Inti isi pemikiran
postmodernHilangnya “Batas”Questioning many things
RenewingModernism
from within
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Aldo Rossi [1966]
Mengkritisikeras
form follow function
Fungsibolehsajabergan
tidalamsuatubentukygt
etap
Dalamarsitektur,
kotaharusdiperlakukans
ebagailocus of
collective identity
Bukansebagaientitasek
onomiataudemografi
Perspective sketches,sketch plans, and detailsketches for the CentroDirezionale, Florence,1977, Blue ballpoint penand black felt tip markeron glossy white paper
+ Louis Kahn [1959]
Arsitekturselayaknyamulaidariruangberubahdari functionally social architecture menjadi „EXPERIENCE‟ architecture
[“silence and light”]yang merupakangabungandariaspekkuantitatifbangunandanaspekkualitatifdariruang
“One should not imitate exactly, but be critical about the conceived image and find significance in it” (Latour, 1991)
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New Statement
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Robert Venturi (1966)
LESS is
BORE
Both-andeither or
Hybrid formPure form
Riches of meaningClarity of meanings
"Learning from Las Vegas" (1972-1978)
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With regards to Robert Venturi
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Michael GraveColourful ICONIC
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Charles Jencks [1977]
Menggantiunivalensibentuk [modern]
denganpluralisasibentuk[doble coding]
ModernismematiketikaPruitIgoedihanc
urkantahun 1972.
EsensiArsitekturbertumpupadalangua
ge
+PostmodernHistory through sketch
Contemporary architects are exploring the design process and conceptualthinking, utilizing new media to manipulate images in new ways.Regardless of the medium used, architects still rely on the image to evokea dialogue. It may be argued that the greatest development in theevolution of sketches has been the emergence of the computer. Sketcheshave been and will continue to be conduits of dialogue.
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Aldo Rossi [1966]
Sketsadalamprosesdesainsebagaibentukdialog antara ‘past and future’
Menurut Paolo Portoghesi, banyaknyasketsadesaindariberbagaisudutpenggambaranadalahbentukandariidetorsioneatautwisting (a means of maintaining contact with memories without abandoning them)
Perspective sketches, sketch plans, and detail sketches for the CentroDirezionale, Florence, 1977, Blue ballpoint pen and black felt tip marker on glossywhite paper
+ Tadao AndoPreliminary design sketch, light slit on the altar, 1987, Church of the Light, Ibaraki, Osaka, Japan, 11.78.5in., Felt pen on Japanese paper (washi)
The minimal forms tell the story of a conceptually strong approach to the light in a small chapel. In writing about the importance of sketches in design process, Ando writes: ‘my sketch[es] usually help me to clear and refine the initial image and to integrate it with architectural space and details.’
+ Mario BottaStudies for the ground floor plan and verifications of the building’s volume and shape, 1996, The Cymbalista Synagogue and Jewish Heritage Centre in Tel Aviv, Israel, 1998, 3150cm, Pencil on white sketching paper
sketches are the memories involving intuitions and alterations behind a definitive design. - Botta
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Santiago CalatravaSketch plan (05), 1999, Tenerife Concert Hall,Santa Cruz de Tenerife, Canary Islands, Spain,3040cm, Watercolor
The building is the result of a specifieddesire for a dynamic, monumentalbuilding that would not only be a place formusic and culture but would create afocal point for the area.
+Frank GehryProcess elevation sketches, October 1991, Guggenheim Museum Bilbao, Spain, 12.39.2in.
+ ZahaHadidPreliminary sketch, 1991, Vitra Fire Station, Weil Am Rheim, Germany, 11.716.5in., Acrylic and ink on tracing paper
This sketch is a beautiful and succinct diagram of Hadid’s thinking. The images, although brief and abstract,present the clear concept of the walls that ‘puncture, tilt, and break.’ It is preliminary, preparatory, and describesan outline of her design process.
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Renzo PianoElevation sketch, 1991, Cultural CenterJean-Marie Tjibaou, Nouméa, NewCaledonia, 8.311.7in., Felt pen on paper
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questionMengapa [post] modernismeberkembangpesatdiAmerika?