2. +
What is
contemporary
architecture?
NOT
futuristic
Present time
• 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.
3. +
The end of modern architecture
Perumahan “ideal” yang paling progresifdari CIAM Kongres International Arsitektur
Modern danmemenangkanpenghargaandari AIA waktudirancangoleh Minoru
Yamasaki tahun 1951 – the Pruitt-Igoe Housing, St. Louis,
dandihancurkanpadatahun 1972 (Jencks).
4. BEFORE
MODERN
AFTER
MODERN
MODERN
Relationship of
Man and Nature
Ideology and Art
Relationship of
Man and Nature
Ideologyand Art
Renaissance
Ecole de
Beaux
Arts
Bauhaus
Man
Man
Rational
Rational
CIAM
The End
of modernism
Pluralism
Metaphor
Communication
De-Construction
etc. etc. etc. etc.
6. + Penggunaanistilah postmodern
pertamaolehFrederic:Jameson De Onis
Keenamoleh Leslie Fiedler
Kelima oleholeh olehJencks tahun [1977]
Kedua olehCharles Federico
Kedelapan
Ketujuh kaliIhab Hasan
Keempatoleh Toynbee [1947]
Ketiga oleh Jean Baudrillard
Lyotard
[1930]
Yang mengistilahkanistilah post
sebagai logika cultural
yang memproklamirkannya pada
untukmenyebutpostmodern yg
ketika menunjukkan “reaksi”
memberikan bahwa
dimanakondisi postmodern
yang mencoba menjelaskan
postmodern adalah Implosion
yangmembawa seni dan yang dll
sebagaipada erabahasabaru.
eksperimental sejarahfemale
timbul“siklus” pada ultra
pada humanist,transformasi
tidakadalaginarasibesar.
suatu sebuah modern
atau peledakan kedalam
dalam kebudayaan pada
baru.
modern arsitektur.
umumnya.
7. +
Inti isi pemikiran
postmodern
Hilangnya “Batas”
Questioning many things
Antarasenidankehidupannyata
Antarabudayatinggidanbudaya pop
Antara permukaan dan kedalaman
Renewing from within
Modernism
8. +
Mengkritisikeras
form follow function
Fungsibolehsajabergan
tidalamsuatubentukygt
etap
Aldo Rossi [1966]
Perspective
sketches,
sketch plans, and detail
sketches for the Centro
Direzionale,
Florence,
1977, Blue ballpoint pen
and black felt tip marker
on glossy white paper
Dalamarsitektur,
kotaharusdiperlakukans
ebagailocus of
collective identity
Bukansebagaientitasek
onomiataudemografi
9. + 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)
11. +
LESS
is
BORE
"Learning from Las Vegas"
(1972-1978)
Robert Venturi (1966)
Both-and
either or
Hybrid form
Pure form
Riches of meaning
Clarity of meanings
15. +
Postmodern
History through sketch
Contemporary architects are exploring the design process and conceptual
thinking, utilizing new media to manipulate images in new ways.
Regardless of the medium used, architects still rely on the image to evoke
a dialogue. It may be argued that the greatest development in the
evolution of sketches has been the emergence of the computer. Sketches
have been and will continue to be conduits of dialogue.
16. +
Aldo Rossi [1966]
Sketsadalamprosesdesainsebagaibentuk
dialog antara ‘past and future’
Menurut Paolo Portoghesi,
banyaknyasketsadesaindariberbagaisudutpe
nggambaranadalahbentukandariidetorsionea
tautwisting (a means of maintaining contact
with memories without abandoning them)
Perspective sketches, sketch plans, and detail sketches for the Centro
Direzionale, Florence, 1977, Blue ballpoint pen and black felt tip marker on glossy
white paper
17. +
Tadao Ando
Preliminary 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.’
18. +
Mario Botta
Studies 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
19. +
Santiago Calatrava
Sketch plan (05), 1999, Tenerife Concert Hall,
Santa Cruz de Tenerife, Canary Islands, Spain,
3040cm, Watercolor
The building is the result of a specified
desire for a dynamic, monumental
building that would not only be a place for
music and culture but would create a
focal point for the area.
21. +
ZahaHadid
Preliminary 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 describes
an outline of her design process.
22. +
Renzo Piano
Elevation sketch, 1991, Cultural Center
Jean-Marie Tjibaou, Nouméa, New
Caledonia, 8.311.7in., Felt pen on paper
Contemporary architecture is formally defined as the building style of the present day. Today's styles, however, are quite varied and have a number of different influences. Examples of contemporary architecture 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.It is generally recognized that contemporary architecture is an evolution of modern arch. While these two terms are sometimes used synonymously, this usage is not correct. Modern architecture refers to the building style of the early to mid-20th century. It featured clean lines and an emphasis on function. Those elements that characterized modern architecture, however were also sometimes thought to be cold and impersonal. This belief lead to the creation of the contemporary style as is recognized today.
