history pra modern pengars

1. +
THEORY AND HISTORY
Introduction to
Architecture

2. +
What is “theory”?
What is “history”?1.

3. what is the difference?
Theory
istoria (grk) :learning with asking
chronological/causal questions
aristoteles : systematic analysis
about some natural
phenomenon
1: the analysis of a set of facts in their
relation to one another
2 : abstract thought
3 : the general or abstract principles
of a body of fact, a science, or an art
Source: Meriam Webster Dictionary Online
History

4. +
What is “the aim” of
learning history and theory ?
2.

5. +
what has happened
what is happening
what should happen
SCIENTIFICALLY
KNOWING
Man learn about his(her)-self for the
better process of being and to be..

6. +
Studying architectural history relates to
our need to understand the present. … for
it is only by studying the past that we can
hope to understand how we have arrived
at today.

7. +
as an Closed Text
as an Open Text ?
or
History always taking sides, depend on
the writers / theoritician
History is always freehave to be re-
interprete
How to look at history ???

8. +
Milestone of
Architectural History

9. +
ModernA
rchitect..as a
Milestone
After
Modern
Before
Modern
cut off from history
back to history
depend
on history
cut off from
history

11. 500 AD 1000 AD 1500 AD 2000 AD
Belanda (1800-1942)
Sriwijaya (abad ke-7 – ke-13)
Mataram (1500-1700)
Majapahit (1293-1500)
Portugis (1512-1800)
VOC (1600 -1800)
Jepang (1942-1945)
Tarumanegara (358-669)
Small Tribal Groups (10.000 BC- 200 AD)
Tradingslink India – China (200-600)
Independence (1945-…)

12. +
ARCHITECTURE
Autobiography of the
human race

13. + Pre Historic
architecture

15. 2500 B.C.
1500 B.C.

16. +
Pyramids
PERMANENCE and IMMORTALITY

17. + 800 AD

20. +

21. Parthenon, Greece, Post & Lintel

22. Function as temple for the Gods, Sculptural Form, Rectangular

23. Vitruvius
Architecture is…
 Utilitas
 Firmitas
 Venustas
Vitruvius :
TEN BOOKS on ARCHITECTURE

24. Pantheon, Rome, Arc, Vault, Dome.

25. +
Pantheon
Greek Philosophy

26. Gladiator, Rome

33. + 1140-1500

39. + 500 AD 1000 AD 1500 AD 2000 AD
Belanda (1800-1942)
Sriwijaya (abad ke-7 – ke-13)
Mataram (1500-1700)
Majapahit (1293-1500)
Portugis (1512-1800)
VOC (1600 -1800)
Jepang (1942-1945)
Tarumanegara (358-669)
Small Tribal Groups (10.000BC- 200 AD)
Tradingslink India – China (200-600)
Independence (1945-…)
500 AD 1000 AD 1500 AD 2000 AD

42. + Leon Battista Alberti
1443 De re aedificatoria
(English: On the Art of
Building)
a concise version of
sociology of architecture
and tells architect how
buildings should be built,
not how they were built.
De Re Aedificatoria remained the classic
treatise on architecture from the 16th
until the 18th century.

46. Pazzi Chapel

50. Golden Section
Leonardo da Vinci

51. Brunelleschi, Santa Maria Del Fiore, Florence
RENAISSANCE (1420-1600)

59. Louis XIV

60. Jean Nicolas Louis Durand

63. Ecole des Beaux-Arts
1. Ecole des Beaux Arts (1666) is the final period of Before Modern
era, as well as the beginning of Modern era.
2. Ecole des Beaux Arts is the first school that elevated architecture
into an atonomous discipline
3. Ecole des Beaux Arts is the oldest architectural school who spread
the school’s pedagogical system and arch. style to places around the
globe

64. +
Condition for
Modern
[philosophy]
Cogito Ergo Sum

65. +
created 1816 as a
merger of :
academie de peinture et de sculpture [1648]
academie de musique [1699]
academie d’architecture [1671]

66. +
back to main
Under supervision of The Great
Jean-Pierre Colbert, France
reached prosperity so did
education.
At 1840, he established de
sociale centrale des architect:
organization that make
architecture similar to
profession, law and medicine. So
E de BA elevatred architecture
into autonomous discipline.
The early stage of E des BA

67. Claude Nicolas Ledoux

72. +
atelier
Ecole de Beaux-Arts

73. +
Learning from precedent

76. +
principles
God is in the detail
Architecture need sculpture
Eclecticism
Hierarchy of space
symmetric
Henry Labrouste

77. details
sculpture
eclectic
hierachcyofspaces
symmetri

78. Rational
Effective Efficient
Standard
Mass Production

79. Viollet Le Duc

86. Arc de Triomphe (1806-1836) . Napoleon I has the ambition to make his capital the most beautiful city in the world.
The architect :Jean-Francois-Therese Chalgrin, Jean-Arnaud Raymond, Louis-Robert Goust, Jean-Nicolas Huyot, Guillaume-Abel
Blouet. The design was a Neoclassical version of ancient Roman architecture.

87. The Influence
Baron van Haussmann
interpenetrating paths to the city
of Paris
back to main

90. +
Ecole de Beaux -
Arts
All of these young architects carried into
practice the Ecole’s method of both a
‘preesquisse’ to find an appropriate
parti, and the esquisse, which expressed
the essence of the organization. Along
with skills in design theory and
rendering, these factors affected
architects’ process for many years to
come.
Drawing techniques such as eliminating
background conveyed a specific
message, free of unnecessary details.
Ledoux’s fantasy architecture consisted
of simple geometry and primarily
displayed function.
The sketch by Henri
Labrouste, who was trained
at the Ecole, reveals early
sketch diagram techniques
to find compositional
direction.

91. +
Adolf Loos :
ornament and crime
•Exemplifies the contrasts and contradictions
of the years leading toward modernism and
the international style.
•Respected traditional architecture but
experimented with sleek volumes.
•Actually better known for his writing.
•Beginning the sketch with ruled lines may
have reflected his interest to study simple
geometries, but he may have also seen the
definitive lines as a base for subsequent
evaluation practiced in verbal criticism and
irony, he may have purposefully put forth a
visual hypothesis, expecting it to be altered
through critical dialogue.

92. +
The Amsterdam school
The architects of the Amsterdam School rejected classicism, concentrating instead on relationships
between ‘functionalism and beauty’ (Bock, Johannisse and Stissi, 1997, p. 9). Beginning in the early 1900s,
this movement stemmed from the common belief system of architects such as H. P. Berlage, J. M. van der
May, M.de Klerk, and Piet Kramer. Fueled by political policy governing city expansion and mandates for
workers’ housing, these architects searched for sculptural forms that could be economically efficient and,
thus, respond to social needs (Bock, Johannisse and Stissi, 1997; Casciato, 1996). Concerned with materials
and construction methods, the architects of the Amsterdam School used sketches and drawings to envision
building systems and massing.
de Klerk, Michel(1884–1923)Sketch of
design for a water tower with service
buildings in reinforced concrete, Pencil on
tracing paper

93. +
De Stijl
De Stijl architects also built with masonry and explored
massive geometric forms made from concrete.
In contrast to the Amsterdam School, however, they
eliminated decoration and most color, and
assembled rectangular forms (de Wit, 1983).
Naturally, their drawings and sketches had a minimal,
abstract expression.
Rietveld, Gerrit Thomas(1888–1964)Rough draft variation
of zigzag child’s chair, Crayon, ink on paper. Originally a
furniture builder, GerritRietveld was partially responsible
for the architectural ideals of the De Stijl movement of the
early 1920s. His Schröder House epitomized many of the
movement’s beliefs, including simplicity of form, verticals
and horizontals that intersect and penetrate each other,
primary colors, asymmetrical balance, and elements
separated by space (Brown, 1958).

94. +
Le Corbusier
Considering the briefness of the sketch, it is clear that Le Corbusier
depended upon additional written messages to later recall his design
intention.The sketchbooks were for him a discussion about design and
also represented memory devices.
Plate #322, Sketchbook
18, Volume 2, sketch of
Notre-Dame-du-Haut,
Ronchamp,
February1951, Ink on
sketchbook paper

95. Five Points of Architecture:
Pilotis
Free Façade
Open Floor Plan
Un-disturbed Views
Roof Garden

97. +

98. +
Modern Architecture

99. +
Bauhaus
Gropius was transforming the former art school Staatliches
Bauhaus in Weimar. Based on the theory of the ‘artist as
exalted craftsman,’ the Bauhaus attempted to unify the
building and a whole, integrating its various elements
(Conrads,1970). Gropius advocated bringing together
sculpture, painting, and crafts into the design of the built
environment.
The masters of the Bauhaus were concerned with teaching
craftsmanship in a workshop setting; besides craft,
science, and theory, the school also provided instruction
in drawing, painting, life drawing, composition, technical
and perspective drawing, and ornament and industrial
design (Conrads, 1970).
These studios taught the techniques of sketching from
memory and imagination (Conrads, 1970). They also
employed axonometric drawings. These two-dimensional
projections showed three sides of the object or building
equally, and were comprised of parallel lines which could
be constructed with straight edges. They suggested the
preciseness of the machine and reveled in the abstraction
(Naylor,1968)

100. +
Walter Gropius
Obviously concerned about the material thickness of walls, he also differentiated the floor surfaces by
shading certain areas and crosshatching others. These visual indicators help to emphasize that the
house was to be built using local materials, fieldstone, and wood. The careful control of proportion and
the consideration for spatial relationships indicate that Gropius used this sketch for concentrated and
deliberate thinking.

101. +Gropius’ reputation for efficiency would support a theory that he was concerned with the
economical delivery of food and the distances of travel through the space.

103. +

104. +
Mies van de Rohe
At the Bauhaus, Mies encouraged his students to develop their
projects with vast numbers of sketches before committing to
final drawings (Cohen, 1996). Mies’ sketches show mostly plans
accompanied by interior perspectives and elaborate
construction details that show connections (Drexler, 1986). An
unusual technique Mies employed was that of collage. They
may be considered sketches since they present a basic outline,
pertain to conceptual thinking and provide little pictorial
orientation. Pieces of cut paper were pasted in juxtaposition so
as to make a semblance of a parti. He used bright yellow paper
drawn over with a grid, resembling fenestration or an abstract
pattern. In the center has been placed a very dark rectangle
surrounded with light gray, tan, and white pieces. This collaged
sketch is really about precise and imprecise. This collage from
1909, early in his career as an architect, reveals Mies’ penchant
for the De Stijl-like juxtaposition of horizontals and verticals

105. +
‘less is more’
The forms reflect Mies’ bold and simple
rectangles which act as planes slicing through
space. In contrast, the composition of pieces is
simultaneously imprecise.

107. Karl Marx

109. Three Mucisians, 1912

110. Walter Gropius, “March of the DEAD”

112. Schroder House: Gerrit Rietveld

113. +
VITRUVIAN MAN
Leonardo Da Vinci

118. +Congres Internationaux dí Architecture
Moderne
(Deklarasi CIAM, 1928)
1. Gagasan arsitektur modern menyertakan hub. fenomena arsitektur& sistem ekonomi umum.
2. Gagasan efisiensi ekonomi tidaklah berarti produksi yang menghasilkan keuntungan komersial maksimum, tapi produksi yang menuntut upaya kerja
minimum.
3. Kebutuhan akan efisiensi ekonomi max. adalah hasil dari keadaan ekonomi umum yg termiskin.
4. Metoda produksi yang paling efisien adalah yang timbul dari rasionalisasi dan standardisasi, yang berakibat langsung pada metoda kerja dalam arsitektur
modern (konsepsi) dan industri gedung (realisasi).
5. Rasionalisasi dan standardisasi bereaksi dalam cara berlapis:
 tuntutan konsep arsitektur yg menyederhanakan metoda kerja di situs dan di pabrik.
 bagi perusahaan bangunan, hal ini berarti mengurangi angkatan kerja terampil, menambah buruh yang kurang terampil di bawah arahan teknisi yang
sangat terampil.
 harapan akan konsumer yang memesan rumah di mana ia tinggal; suatu penyesuaian kembali pada kondisi kehidupan sosial yang baru.

119. From artistic point of view, the new method
of building has to be accepted.
Standardization of the building elements
will result in new housing units and sections
of cities having a uniform character. There
is no danger in monotony, for if the basic
requirement is fulfilled that only the
building units are standardized, the
structures built thereof will vary.
Their “beauty” will be
assured by properly used
material and clear, simple
construction.
It will largely depend on the creative ability
of the architect to what extent the
arrangement of the “giant building blocks”
will form well-designed space in these
structures.
… There is enough scope for individual and
national characteristics to express
themselves and yet everything bears the
mark of our time.
Walter Gropius.
From the language of modern architecture: Bruno Zevi

120. … creative freedom was the climate which permeated
everything and was imparted to all masters and students.
Intimate contact with the present, service to mankind and
society, in a word, humanism is what gave bauhaus its vital
impetus.

122. 1933
to be continued