abstraksi geometri +

teori & sejarah desain arsitektur 1 teknologi/ material baru +

‘moralitas’ baru
= ruang arsitektur baru
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setiadi sopandi modernism

early 20th century

hendrik petrus berlage

1856-1934, netherlands

“before all else the wall must be shown naked in all its sleek beauty and anything fixed
on it must be shunned as an embarrassment”

“the art of the master builder lies in this, in the creation of space, not the sketching
of facades. a spatial envelope is established by means of walls, whereby a space is
manifested according to complexity of the walling”

amsterdam stock exchange, 1896-1903

1
 adolf loos
1908
ornament and crime
the evolution of culture marches with the elimination of ornament from
useful objects
amsterdam stock exchange, 1896-1903 amsterdam stock exchange, 1896-1903 passion for smooth and precious surfaces

francois hennebique, 1870s

eglise saint-jean de monmartre, paris,

1894-1904
anatole de baudot
(a student of viollet-le-duc & henri
labrouste)

2
 eglise saint-jean de monmartre, paris, 1894-1904

eglise saint-jean de monmartre, paris, 1894- eglise saint-jean de monmartre, paris,

1904 1894-1904

auguste perret
reinforced concrete/ ferroconcrete
= skeleton structure + partition walls
= free plan
= thin efficient structure
= new building aesthethics

25 bis Rue Franklin, 1903

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25 bis Rue Franklin, completed in 1903 Notre Dame du Raincy, 1922

eduardo torroja, madrid hippodrome, 1935

eduardo torroja, algreciras, 1930

4
eduardo torroja, madrid hippodrome, 1935 st. john’s church, le havre 1949-1956
eduardo torroja, madrid hippodrome, 1935
auguste perret

german achievements
…-1933
werkbund
machine aesthetic
neue sachlichkeit
new objectivity in german, holland, switzerland
bauhaus
expressionism
functionalism
constructivism in ussr
futurism in italy

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seni modern ala jerman =

abstraksi geometri, sederhana +

dapat diproduksi massal +
fungsional & efisien, bagaikan mesin

+ tanggungjawab sosial
bruno taut,
glass pavilion,
= indah werkbund
peter behrens 1868-1940, AEG turbine factory, 1910 exhibition, 1914

Manifesto

The ultimate aim of all creative activity is a building! The

decoration of buildings was once the noblest function of fine
arts, and fine arts were indispensable to great architecture.
Today they exist in complacent isolation, and can only be
rescued by the conscious co-operation and collaboration of all
craftsmen. Architects, painters, and sculptors must once again come
to know and comprehend the composite character of a building, both
as an entity and in terms of its various parts.
Then their work will be filled with that true architectonic spirit
which, as "salon art", it has lost.
The old art schools were unable to produce this unity; and how,
indeed, should they have done so, since art cannot be taught?
Schools must return to the workshop. The world of the pattern
designer and applied artist, consisting only of drawing and painting
must become once again a world in which things are built. If the albers, scheper, muche, moholy-nagy, bayer, schmidt, gropius, breuer, kandinsky, klee, feininger, stolzl, schlemmer
young person who rejoices in creative activity now begins his career
as in the older days by learning a craft, then the unproductive
"artist" will no longer be condemned to inadequate artistry, for his
skills will be preserved for the crafts in which he can achieve great
things.
Architects, painters, sculptors, we must all return to crafts! For
there is no such thing as "professional art". There is no essential
difference between the artist and the craftsman. The artist is an
exalted craftsman. By the grace of Heaven and in rare moments of
inspiration which transcend the will, art may unconsciously blossom
from the labour of his hand, but a base in handicrafts is essential to
every artist. It is there that the original source of creativity lies.
Let us therefore create a new guild of craftsmen without the
class-distinctions that raise an arrogant barrier between craftsmen
and artists! Let us desire, conceive, and create the new building of
the future together. It will combine architecture, sculpture, and
painting in a single form, and will one day rise towards the
heavens from the hands of a million workers as the crystalline
symbol of a new and coming faith.

WALTER GROPIUS

6
 walter gropius,
bauhaus, dessau
walter gropius, bauhaus 1919-1933, dessau

walter gropius,
bauhaus
curriculum 1922

7
bentuk = fungsi + abstraksi

ludwig mies van der rohe

1886-1969

ruang = fungsi gerak + abstraksi less is more

god is in the detail

triadic ballet, 1927, oskar schlemmer

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 Peter Behrens
Victor Bourgeois
Le Corbusier (Charles Edouard Jeanneret-Gris) and Pierre Jeanneret
Richard Döcker
Josef Frank
Walter Gropius
Ludwig Hilberseimer
Ludwig Mies van der Rohe
Hans Poelzig
Adolf Rading
Hans Scharoun
Adolf Gustav Schneck
Mart Stam
Bruno Taut
Max Taut
lange house, germany 1927-1930 weissenhof estate, stuttgart, 1927 Jacobus Johannes Pieter Oud

apartment block, weissenhofsiedlung, 1925-1927

mercedes-benz advertising 1928
world’s fair exhibition, german pavilion, barcelona 1928-1929

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 de stijl
1917, netherland

theo van doesburg

bart van der leck
gerrit rietveld

brick country
house project
1924

piet mondrian, theo van doesburg

composition with yellow, theo van doesburg
arithmetic composition,
blue, and red, 1939-42 1930 counter composition v,
1924

10
theo van doesburg

theo van doesburg

11
 gerrit rietveld
schroder house, 1924

gerrit rietveld
red and blue chair, 1917

gerrit rietveld gerrit rietveld

gerrit rietveld, schroder house, 1924
schroder house, 1924 schroder house, 1924

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