+

Contemporary Architecture

History and theory

+

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

+

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)

+

New Statement

+

Robert Venturi (1966)

LESS is

BORE

Both-andeither or

Hybrid formPure form

Riches of meaningClarity of meanings

"Learning from Las Vegas" (1972-1978)

+

With regards to Robert Venturi

+

Michael GraveColourful ICONIC

+

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?