1.

Uraian umum
a. Nama Bangunan, Lokasi bangunan, Tahun
b. Arsitek
c. Fungsi

2. Konsep Desain

3. Uraian Singkat
a. Sejarah Singkat
b. Uraian karakteristik

MID
Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
0.1 MID TIME LINE
Arsitektur Modern Awal Baja

Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
Arsitektur modern Vernacular

Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
Art Noveau

Tahun
1890-1910
Bentuk Khas/ Ciri – Ciri)
Terinspirasi dari bentukan dan stuktur alami, tidak hanya dari bunga dan tumbuhan tapi juga
dari garis – garis melengkung.
Latar Belakang
Istilah Art Noveau berasal dari pameran Maison de l'Art Nouveau oleh Siegfried Bing' di paris
Prancis.
Wilayah Penyebaran
Perancis, Inggris, Austria, Spanyol, Republik Ceko, Jerman, Hungaria, Itali, Norwegia,
Polandia, Slovakia, Rusia, dan Swedia.
Material Baru Modern Awal

Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
Modern Awal Beton

Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
Rationalism Architecture

Tahun
Berkembang di Italia pada tahun 1920 – 1930.
Bentuk Khas/ Ciri – Ciri)
Para arsitek rasinaoalis, mengikuti filosofi dari Rene Descartes yang mengutamakan bentuk
geometri yang proporsional dan ideal. Bentuk bentuk ini meliputi, bola, kubus, dan silinder.

Latar Belakang
Menurut Vitruvius dalam karyanya De Architectura menyebutkan bahwa arsitektur
merupakan ilmu sains yang bias dirasionaliskan. Pemahaman inilah yang digunakan dan
dikembangkan lebih lanjut pada masa renaissance. Perkembangan seni yang terjadi dari
masa ke masa membawa pemahaman tersebut. Hingga pada abad ke dua puluh. Para arsitek
menggunakan pemahaman rasionalisme untuk menyelesaikan masalah di kehidupan nyata.
Gaya inilah yang akan dikenal sebagai gaya rasinaolism.
Wilayah Penyebaran
Italia
Purism Architecture (De Stijl)

Tahun
1917-1931
Bentuk Khas/ Ciri – Ciri)
Desain De Stijl mengantarkan unsur abstraksi murni yang universal dengan cara mengurangi
bentuk dan warna dengan hanya menggunakan warna hitam, putih dan warna – warna
utama.

Latar Belakang
Diikuti oleh kemunculan gaya seni baru yang merupakan Kubism. De Stijl meraih kepopuleran
di Negara Belanda yang mana ketika saat perang dunia pertama statusnya menyandang
sebagai Negara netral
Wilayah Penyebaran
Belanda
Art Deco

Tahun
1920-1930
Bentuk Khas/ Ciri – Ciri)
Gaya art deco mengkombinasikan gaya modern dengan karya dekorasi yang kaya akan
material baru. Art deco sering diasosiasikan dengan kemewahan dan modernitas.

Latar Belakang
Kemunculan perkembangan yang luas dari art deco sendiri bersamaan dengan
meningkatnya status para seniman dekorasi.
Wilayah Penyebaran
Pertama kali muncul di perancis, kemudian menyebar ke Amerika Serikat, Rusia, Amerika
Latin, Afrika dan Asia.
0.2 MID TIME LINE
MID
Tahun

Bentuk Khas/ Ciri – Ciri)

Latar Belakang
Wilayah Penyebaran
1.1 ARSITEKTUR MODERN AWAL
BAJA
Data mengenai Bangunan
Nama Bangunan
Home Insurance Building
Lokasi Bangunan
Chicago, Amerika Serikat
Tahun
1884-1931
Arsitek
William Le Baron Jenney
Fungsi
Kantor

Konsep Desain Bangunan

Home Insurance Building awalnya dibangun untuk memecahkan
suatu paradigm bahwa bangunan dapat mencapai berlantai banyak.
William Le Baron Jenney yang berlatar belakang insinyur membuktikan
kepada khalayak banyak bahwa hal tersebut dapat dilakukan melalui
bangunan ini. Bangunan yang dimasa depan akan dikenal sebagai
bangunan pencakar langit pertama yang dibangun.
Uraian singkat.
Sejarah

The Home Insurance Building was a skyscraper in Chicago, generally noted as the
first tall building to be supported, both inside and outside, by a fireproof metal frame.
[2]

The building opened in 1884, and was demolished 47 years later in 1931.

Karakteristik Denah/ Peruangan

Fasad/ Tampilan bangunan/ Material dan Konstruksi

The Home Insurance Building was a skyscraper in Chicago, generally noted as the
first tall building to be supported, both inside and outside, by a fireproof metal frame.
[2]

The building opened in 1884, and was demolished 47 years later in 1931.

Home Insurance Building

< --Previous Up Next–>

Home Insurance Building

Life Span: 1885-1931
Location: NE Corner of LaSalle and Adams Streets
Architect: William LeBaron Jenney

It was constructed in 1884 in Chicago and was the first tall building to use structural
steel in its frame, but the majority of its structure was composed of cast and wrought
iron. While the Ditherington Flax Mill was an earlier fireproof-metal-framed building,
it was only five stories tall
This magnificent pile was originally nine stories in height, but two additional stories
were added in 1890-91, making it one of the tallest structures, as well as one of the
most graceful, in the city. The grand entrance on LaSalle st. is one of peerless beauty
— a veritable marble hall, and a portal such as no palace in Europe can boast of. The
entire building from the first to the eleventh floor is wainscoted in Italian marble of
the finest vein, and is beautifully matched and polished. Messrs. Ducat & Lyon have
had the management of the magnificent edifice in charge from its inception to the
present time (1891). As you enter the building two flights of marble stairways face
you, both leading to an entresol, on the right of which is the Union National Bank and
on the left the counting house of Armour & Co. The Union National Bank interior is
perhaps the most beautiful in Chicago.

Home Insurance Building

The building weighed only one-third as much as a stone building would have; city
officials were so concerned that they halted construction while they investigated its
safety. The Home Insurance Building is an example of the Chicago School in
architecture. The building led to the future in the skyscrapers. “In 1888, a Minneapolis
architect named Leroy Buffington was granted a patent on the idea of building
skeletal-frame tall buildings. He even proposed the construction of a 28-story
‘stratosphere-scraper’—a notion mocked by the architectural press of the time as
impractical and ludicrous. Nevertheless, Buffington brought the potential of the iron
skeletal frame to the attention of the national architectural and building communities.
Architects and engineers began using the idea, which in primitive form had been
around for decades.”

The Field Building, later known as the La Salle Bank Building and now the Bank of
America Building, built in 1931, now stands on the site. In 1932, owners placed a
plaque in the southwest section of the lobby reading:

This section of the Field Building is erected on the site of the Home Insurance
Building, which structure, designed and built in eighteen hundred and eighty four by
the late William Le Baron Jenney, was the first high building to utilize as the basic
principle of its design the method known as skeleton construction and, being a primal
influence in the acceptance of this principle was the true father of the skyscraper,
1932.

Home Insurance Building

Home Insurance Building
NE Corner of LaSalle and Adams Streets
Robinson Fire Map 1886
Volume 1, Plate 1

Chicago Tribune October 25, 1931

EXPERTS WEIGH EVIDENCE AS TO 1ST SKYSCRAPER
Home Insurance Building Metals in Good Shape.

BY PHILIP HAMPSON.

While architects, engineers, building experts. and material men pick away at its sturdy
old frame, examine every nook and cranny, take notes and collect bits of its body,
what Is possibly one of the most significant buildings in the world is fast disappearing
from the sight of man. This is the famous old Home Insurance building at the
northeast corner of Adams and La Salle streets. which wreckers are now engaged in to
a memory. It is to be replaced by the 42 story Field building.

The host of architects and others who are studying this building as it melts away
under the picks of the wreckers are seeking to determine once and for all its claim to
fame as the first structure of skyscraper construction ever to be erected In the world.
The popular definition of a skyscraper is said to be a building of framework, with the
outer walls hung onto and carried by the framework instead of supporting themselves
as under construction methods carried on down through the ages.

It was the introduction of the skeleton framework type of construction that made
possible the cloud piercing giants of American cities.

A Long Controversy.
For a number of years a controversy has taken place as to whether the Home
Insurance building or the Tacoma building was the first building of skyscraper type.
The Home Insurance building, which was designed by William Le Baron Jenney, was
completed In the fall of 1885, a few years prior to the Tacoma building. When the
latter structure was torn down a few years back, the controversy flared up and has
been going on ever since.
A committee was appointed some time ag6 to make a thorough study of the Home
Insurance building and its findings will not be made known until the last brick has
been carried away. however, some authorities assert that the results to date indicate
that the Home Insurance claims to be the first skyscraper very likely will be
substantiated.

For instance, it has been stated that the masonry of an intermediary story could be
removed without the masonry of the floors above falling out, giving Indication of
skyscraper wall construction. Masonry Is carried on lintel beams which are supported
by mullion columns, which are In turn supported two or three floors by rolled shapes.

Examine Metal Work.

Committees are examining the metal used In the framework. Steel is found in the
upper three stories, which were added some time after the main building was
completed. There is some doubt as to whether the material used in the floors between
the sixth and ninth is steel or wrought iron. Below the sixth floor heavy wrought iron
beams are found. Samples of the various metal materials are in the hands of
laboratories for analysis.

But one thing stands out, and that is the honesty of the American materials and
workmanship that went into this pioneer structure. Henry Penn, Chicago
representative of the American Institute of Steel Construction, asserts that he found no
deterioration in the metal work he has examined. It has been reported that
deterioration was found In metal exposed to the air In the elevator shaft.

A. J. Clonick, president of A. Levine & Co., stated that all the several thousand tons
of metal brought to hits company’s yards is in first class condition as far an he can
find. “So far as the metal work is concerned the Home Insurance building could have
remained standing until doomsday.” Mr. Clonick said.

Some of the beams have embossed on them the name Carnegie, Mr. Clonick said. The
United States Steel corporation has taken one of the beams to Pittsburgh for its
museum there.

In Rosenwald Museum.
A whole window bay taken from between the third and fourth floors is to be installed
In the architectural section of the Rosenwald Museum of Science and Industry. The
architectural section of the museum will demonstrate the art of building from the
dawn of civilization to the present time and the Home Insurance bay, measuring 16xl6
feet, will be installed Jn the department showing the birth and growth of the
skyscraper.

It will likely be some weeks before the various committees studying the construction
make their final reports. The main, which will decide the skyscraper construction
claim, consists of the following:

Ernest R. Graham of Graham, Anderson, Probst & White, architects for the Field
building; W. B. Mundie, who helped design the Home Insurance building, ex officio
member: Thomas E. Tallmadge, architect. chairman; Charles B. Pike, president
Chicago historical society; George Richardson, trustee of the Field estate, which is
erecting the mammoth office building- A. H. Rebori. architect: Mark Levy. president
Chicago Real Estate board: Earl H. Reed Jr.. head ot the architectural department, Art
institute; Trent P. Sanford, representing the Rosenwald ‘Museumn of Sclenwe and
Industry, and Richard E. Schnidt, architect.

Home Insurance Building

1931
1.2 Modern Vernacular
Data mengenai Bangunan
Nama Bangunan
Eishin School
Lokasi Bangunan
Christopher Alexander
Tahun
1985
Arsitek
William Le Baron Jenney
Fungsi
Sekolah

Konsep Desain Bangunan Alexander Centering

by Christopher Alexander

From his early Notes of the Synthesis of Form, to the bestselling A Pattern Language,
to the recent four-volume The Nature of Order, over several decades Christopher
Alexander has pushed intellectual boundaries with integrative approaches to design
theory. We are pleased to present this excerpt, formatted according to the original and
unedited at the author's request, in which Alexander describes a design process from
the 1980s using the terms of his own theoretical framework. — Editor

LAYING OUT A VERY LARGE BUILDING COMPLEX: THE EISHIN CAMPUS

I shall now show how the creation of the site and volume plan for the Eishin Campus
in Japan followed a similar but more complex sequence of structure-preserving
transformations. The process had two components.

First system of centers: defined by the pattern language. The first component was a
pattern language worked out by our team after extensive interviews with teachers and
students, and then approved by the school as a whole in a general assembly meeting.
The pattern language defined, in generic terms, which new centers ought to exist in
the new campus Here are five very important centers defined by our pattern language:

1. ENTRANCE The entrance to the inner precinct begins at the outer boundary. At a
key point in the outer boundary, there is a gate. This leads to an entrance street.

2. YARD Where the entrance street meets the inner boundary, there is a second gate
leading to a public yard.
3. UNIVERSITY CENTER Beyond the public yard and through a third gate is the
essential center of the university

4. HOMEBASE STREET Leading out from the university center, was the high-school
street of classrooms: the homebase street. The homebase street is a wide lively, sunny
street formed by the individual home room buildings where the high school students
have their classes.

5.THE LAKE Opening through gates on another side of the university center is a
lawn. This lawn, especially for the use of college students, is surrounded by the
college buildings and leads directly to the lake. The lake is a peaceful place to rest.

Second system of centers: defined by the land. The second component of the process
was a system of centers that existed in the land as it was before we started. This
system of centers was defined by the site, by the land itself. In 1982, as soon as the
pattern language had been approved by the faculty, we began the site plan. The site
planning work was done mainly on the site.

Each time I went to Japan, I went out to the tea fields in Iruma, and walked and
walked, just waiting, trying to see how the pattern language might best come to life
there. Each time I sat there for hours, trying to understand the structure of the
situation. Sometimes I sat there all day.

The wholeness which existed on the land at the time we started (when the land had
just been bought from the farmers,) included the following five centers: Natural point
of entering, Swamp, Flat spot, South ridge, Walk to the South ridge.

1. NATURAL POINT OF ENTERING One had a natural desire to enter the site on
The southeast corner, and walk towards the northwest.

2. SWAMP AND LOW POINT WHERE GROUND WATER ACCUMULATED The

lake we were going to build had to be at the low point of the site, and we therefore
knew its position from the contours.

3. NATURAL FLAT SPOT There was a natural spot, somewhere near the low point
and the lake, where the main square might be.

4.RIDGE The ridge was the most beautiful center of all. It was the place everyone
went to most often, and loved most, because of the view of the distant hills, and the
coolness of the breeze in summer, and an inspiring freedom one felt there.

5. WALK TO THE SOUTH RIDGE There was also — felt in the land — a natural
walk from this low point towards the ridge, a walk from north to south, slightly uphill,
and slightly curving. This was also inherent in the site, and could be felt by everyone.

Repeated visits to the site by different members of our team, and by the various
teachers of the school, strongly confirmed the reality of these centers. After a few
weeks there was no doubt these were the most salient features of the site.

Thus there are two quite different systems of key centers.

First, there is the system of centers which is defined by the pattern language These
major centers are the building blocks of the new project. In the case of Eishin, they
included, for instance, the entrance gate, the entrance street, the university center, the
high-school homebase street, the main square, the back streets, the judo hall.

Second, there is the system of centers which exists in the land. This system is created
by the land forms, by the roads, by directions of access, by natural low spots, natural
high spots and by existing trees.

It must be emphasized that both systems of centers always exist at the time one starts
a site plan. The first system is generic; it exists in our minds and in the day-to-day
experience of the people who are going to have the new school, The second system
exists in the land, on the particular site where the project is to be built. Each of the
two systems of centers is real.

Together, when fused, they will govern the plan which has to be made. The process of
site planning is the process of, somehow, finding a way to make these two systems of
centers become one — a way in which the system of centers defined by the pattern
language can be placed, So that it enhances, preserves, and extends, the system of
centers which is already in the land. In this specific case, and in general, the crux of
the problem of making the site plan lies in the task of reconciling the two systems of
centers — that means finding a new structure which unfolds from the existing
wholeness, and which then embodies the centers of the pattern language within the
system of centers that exist on the site.

ANOTHER WAY TO PUT THIS IS TO SAY THAT IN ORDER TO PRESERVE

THE STRUCTURE OF THE LAND, THE NEW CENTERS COMING FROM THE
PATTERN LANGUAGE MUST BE ESTABLISHED IN SUCH A WAY THAT
THEY FALL NATURALLY IN PLACES THAT COINCIDE WITH, OR ENHANCE,
THE NATURALLY OCCURRING CENTERS OF THE SITE.

In this particular instance it was very hard to find. There seemed to be no natural way
of arranging the university center and home-base street, as we had them in the pattern
language, in a fashion consistent with these five facts about the site. Indeed, only one
part of the relation between pattern language and site was obvious; the lake,
demanded by the pattern language, would have to be identified with the low point of
the site, that is to say, the swamp. That was uncomplicated and straightforward. In all
the plans we tried, the new lake appeared in the position of the swamp. But in other
respects the mismatch was difficult. In many of the plans shown in these early
diagrams (see for instance diagrams illustrated on page 176), the key centers are in
positions different from the existing centers on the site. These diagrammatic site plans
look internally coherent on paper, but would have violated the centers on the land and
would thus have violated the integrity of the site itself.

 St. Martins
Anew Alexander Centering

continued
Current Contents Even after several months of work, we still
Blog Center did not know how to place the major centers
Download Center of the pattern language in such a way as to
preserve and enhance the existing centers on
New Products
the site. Again and again I visited the site,
Products Guide trying to see how the centers of the language
Classic Home might be made to coincide with the real
Architecture Forum existing centers of the site. We couldn't solve
Architects Directory it.
Topics Library
Complete Archive Finally, in Berkeley , we had a breakthrough.
Web Directory In order to think about the problem while
About ArchWeek away from Japan, we had made a series of
Search topographic models of the site. We had one in
our office in Japan, at a scale of 1:100. We
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had two in Berkeley, one at a scale of 1:200,
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the other at 1:500.
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After one of my visits to Japan, all of us in the
Berkeley office spent several days playing
with the 1:500 model. We had pieces of balsa
wood cut roughly to the size and shape of
typical buildings or building wings. We
played with them on the model, constantly
trying the same variations I have shown in the
diagrams, trying to reconcile the centers of the
pattern language with the five key centers on
the site.

Gradually one element emerged: the fact that

the home base street might be more powerful
as an approach to the university center, than as
an entity approached from it. This was hard to
see, because it implied reversing the main
sequence of centers given by the language.
But when we tried it, it was clear that the
sequence of centers got much better from
doing it. Playing confirmed it strongly. Now
the sequence of centers in the language, which
we had taken as fixed, was suddenly reversed.
Previously we had them arranged in this
order: ENTRANCE STREET —
UNIVERSITY CENTER — HOME BASE
STREET. Now we had this arrangement
instead. ENTRANCE STREET — HOME
BASE STREET— UNIVERSITY CENTER.
This difference of organization seems simple
but it dramatically affected the situation.
A few days later we reached the second
crucial breakthrough. All the time we had
been imagining the university center as square
in shape. It had appeared this way from the
time of our earliest diagrams and we had
continued to imagine it like this. But the
problem was that the main center on the site
"the most beautiful spot" was not square. It
was the ridge along the south edge of the
property. Suddenly we realized that the
university center could actually be this ridge.
The moment this second break in perception
was made, the whole thing fell into place
immediately. Goaded by frustration, and by
the mental energy of the group situation, I
suddenly placed all the bits of balsa wood into
a new configuration. Everything was in its
place. We had the rudiments of an idea.

The model with its precarious bits of balsa

wood just as it was, glued down, was kept for
more than a year. It had subtle relationships,
curves, lines, caused by the speed and
freedom of the moment. They were very hard
to draw, but they inspired us. After a few days,
we were sure that, at least on the model,
everything seemed fine.

Now, of course, I had to go back to the site to

see if the site itself told the same story as the
small model. I had a great deal of
apprehension getting on the plane to fly to
Japan to check it out. Would the site confirm
this vision? Or would we have to start again?

I got to Japan on November 1, 1982. it was

clear at once that, in principle, the new idea of
the site plan we had seen for the first time on
the Berkeley model really did resolve the
problems, and created a system of centers that
was in harmony with the existing centers on
the site.

Later phases filled in details, and provided the

structure of individual buildings, building
locations, connections. But these all took
place within the general framework of the
layout that has been described. As we worked
through these details, paths, streets, lake,
bridge, and buildings — all of them — were
laid out with flags so that we could judge their
rightness or wrongness with our own eyes,
and adjust them until they felt just right. I
mean by this phrase that the layout felt just
right to a person walking about in the land.
To achieve this, we used two hundred flags —
yellow, white, red — on six-foot bamboo
poles to make the thing become real.
Remembering our flags at Eishin, and
speaking about the impact the flags made on
him, Hisae Hosoi, managing director of the
school, told a journalist, many years later in
halting, slowly considered language: "We
could feel ... the actual buildings . . .
standing ... there."

COMPLETION OF DESIGN AND

CONSTRUCTION ON THE EISHIN
CAMPUS

From that point on, the process was

straightforward. The important thing is that all
designs — building positions, siting, and
volumes, and exterior spaces — were decided
by what we had done in the land. The attitude
of mind with which we approached design
and construction, whether on small models, or
bigger models, and the attitude we maintained
throughout planning permission and
preparation for construction, and construction
itself, kept coming back to the central
principle: that the purpose of our work was to
create a set of buildings that formed spaces
which were positive — and which nourished
the land.

What we may claim to have done in that

project is to create a complete system of
positive space, which protects, and respects,
and enhances the land in all its aspects,
elevates it, makes it more alive than it would
have been under most other forms of planning
and design and management, perhaps even
more alive than it was before, when it was
covered by teabushes and small agricultural
parcels.

It must be noted above that the final plan

(right hand drawing) based on placing stakes,
is very different from the schematic plan (left
drawing) which does not have the same
reality.

Christopher Alexander is an emeritus

professor at the University of California,

Berkeley and director of the Center for
Environmental Structure.
wood and masonry

JAPAN, HIGASHINO: THE EISHIN CAMPUS

This page is dedicated to Hisae Hosoi, Mr. Sakaida, Murakoshi-san, Mr. Nodera,
Sumiyoshi-san, Hiro Nakano, Miyoko Tsutsui,and all the other teachers, staff, and
students who gave their work and support to the creation of this campus

PROJECT HISTORY Eishin Gakuen, an innovative private high school, was

originally located in Musashino-shi, outside Tokyo. They decided to build a new
school which was to become a combination high-school and college, on a new site of
9 hectares, once tea bush land, outside Tokyo, in Iruma-shi, Saitama Prefecture.

The architectural commission to build this community, came with the explicit
insistence, by the managing director of the school, Hisae Hosoi, that he wanted the
project to be done under conditions where faculty, staff, and students, were all taking
part in the design process. And by this he meant, not the pablum of token
"participation" and "charettes" that has become common in the last twenty years, but
honest-to-goodness decision making by the people in the school, based on individual
and group understanding.

Proses desain bangunan sekolah ini mengkaitkan berbagai elemen di lingungan

sekolah tersebut siswa, staff dan masyarakat di sini sang arsitek Christopher
Alexander berperan penting dalam mengkaitkan ide ide yang muncul sehingga
muncullah gagasan akhir dari bangunan sekolah ini.

Mr. Murakoshi, the school's vice-principal, went further. He told me that the school,
as a whole, wanted to rebuild their own culture, in such a way as to build deeper
allegience and practice to humane principles -- and he want me to take care, as far as
it was possible, that the physical layout and spiritual cooperation of the members of
the school, would have this effect: the creation of a new culture.
2.1 ART Noveau
1. Uraian umum
a. Nama Bangunan : Villa Majorelle
Lokasi bangunan : Louis-Majorielle, Nancy, France
Tahun : 1901-1902
b. Arsitek : Henri Sauvage
c. Fungsi : Museum

2. Konsep Desain

3. Uraian Singkat
a. Sejarah Singkat
Bangunan milik Louis Majorelle (1859-1926), seorang desainer sekaligus pengrajin furniture .
Ketika tiba waktunya Louis mengambil alih firma pengrajin furniture tersebut,
perusahaannya sedang berkembang secara pesat yang disebabkan oleh kedatangan ribuan
penduduk Perancis dari Alsace dan sebagian Lorraine yang rumahnya menjadi bagian dari
Jerman mengikuti dari tahun 1870 Perang Franco-Prussian

Bangunan ini merupakan bangunan pertama dan contoh paling influensial yang memiliki
gaya arsitektur Art Nouveau di Prancis.

b. Uraian karakteristik
Majorelle membuat studio arsitektnya di lantai teratas bangunan dengan pemandangan
pedesaan.
Fasad Utara
3.1 Material Baru Modern Awal Beton
1. Uraian umum
a. Nama Bangunan, - Rue Franklin Apartments
Lokasi bangunan, - Paris, Perancis
Tahun - 1902 to 1904

b. Arsitek - Auguste Perret

c. Fungsi - Apartemen

2. Konsep Desain
Apartemen Rue Franklin hanya menggunakan konsep fungsionalisme kemudian berkembang
dalam bentuk radikal, sering disebut kubisme. Bangunan dalam aliran fungsinonalisme
radikal ini tidak hanya menekankan bagian depan saja. Semua bagan bangunan termasuk
dinding sisi – sisi kiri kanan muka belakang secara total dan tiga dimensional menyatu
3. Uraian Singkat
a. Sejarah Singkat
Proyek pertama dari Auguste Perret yang merupakan sebuah awal percobaannya dengan
beton bertulang merupakan bangunan apartemen Rue Franklin. Proyek pentingnya yang
pertama ini merupakan bangunan yang dimana betonnya berfungsi sebagai struktur dan
tidak lagi hanya menutupi bangunan.

b. Uraian karakteristik
Apartemen Rue Ranklin hanya sedikit menggunakan unsur dekorasi brerupa relief non
figurative pada dinding. Terlihat dalam banunan ini unsur 0 unsurnya seperti jendela, pintu,
dindning balustrade, tersusun menyatu dalam komposisi bidang 0 bidang.

Denah
3.2 Modern Awal Beton
1. Uraian umum
a. Nama Bangunan - Sagrada Familia
, Lokasi bangunan – Barcelona, Catalonya, Spanyol
, Tahun 1882
b. Arsitek Antoni Gaudí
c. Fungsi: Tempat Ibadah

2. Konsep Desain
Sagrada familia sepertinya memiliki kaitan ke berbagai gaya arsitektural beberapa
diantaranya Gothic Spanyol Akhir, Modernism Catalan, dan Art Nouveau/ Catalan
Noucentism. Meskipun Sagrada Familia jatuh dalam periode Art Nouvu tapi beberapa ahli
menunjukkan bahwa Sagrada Familia memiliki gaya yang berbeda dari pengaplikasiannya
yakni Modern Awal Beton.

3. Uraian Singkat
a. Sejarah Singkat
Sagrada Familia merupakan gereja Katolik yang megah yang terletak di Barcelona didesain
oleh Arsitek Spanyol Antoni Gaudi (1852-1926). Meskipun belum selesai hingga saat ini
status gereja ini masuk dalam daftar World Heritage oleh UNECO dan pada.

b. Uraian karakteristik

Denah
4.1 RATIONALISM ARCHITECTURE
1. Uraian umum
a. Nama Bangunan : Palazzo Gualino
, Lokasi bangunan : Turin, Italia
, Tahun 1928-1930
b. Arsitek: Gino Levi-Montalcini, Giuseppe Pagano
c. Fungsi: Gedung Kantor

2. Konsep Desain
Desain dari bangunan Palazzo Gualino didasarkan atas penyederhanan formal dan perhatian
yang benar benar seksama terhadap kebutuhan teknikal dan fungsional dari bangunan itu
sendiri. Hal yang merupakan sebuah pemahaman mengenai gaya arsitektur rasionalism.
Desainnya melingkupi segala aspek dari bangunan yang hendak digunakan termasuk layout,
dekorasi, furniture dan perlengkapan tetap.

3. Uraian Singkat
a. Sejarah Singkat
Palazzo Gualino merupakan gedung kantor yang terletak di Turin, Italia yang dibangun pada
tahun 1928 sampai tahun 1930 oleh entrepreneur Riccardo Gualino yang didesain arsitek
Gino Levi-Motalcini dan Giuseppe Pagano. Bangunan ini merupakan bangunan pertama yang
mengadaptasi gaya rationalist yang terdokumentasi pada masanya.
b. Uraian karakteristik
Fasad

Denah
Material dan Struktur
Struktur dari bangunan ini teridir atas beton dengan warna kuning ringan dan plester hijau
di bagian fasad. Inovasi lainnya yang tampak merupakan layout internal serta penggunaan
material industrial yang baru dan segala desain furniture di dalamnya.
4.2 Purism Architecture /De Steijl
Architecture
1. Uraian umum
a. Nama Bangunan : Rietveld Schroder House
, Lokasi bangunan : Utrecht, Netherlands
, Tahun 1924
b. Arsitek: Gerrit Rietveld
c. Fungsi: Tempat Tinggal

2. Konsep Desain
Volume kubik bangunan dipecahkan, hampir mendematerialisasikan dan menyusun kembali
hingga menjadi elemen utama seperti garis dan bidang, yang mana transparansinya
mengekspos dirinya sebagai interior, balkon, teras dan kolom yang saling bersinggungan satu
sama lain membentuk keseluruhan dari rumah itu sendiri. Terlihat sangat jelas bahwa
bangunan ini mengadaptasi gaya gaya dari De Steijl.

3. Uraian Singkat
a. Sejarah Singkat
Rietveld Schroder House merupakan satu satunya bangunan yang berhasil merealisasikan
keseluruhan tema banguna yang memakai prinsip – prinsip De Stijl. Bangunan yang terletak
di Utrecht, Belanda ini dibangun pada tahun 1924 oleh arsitek berkebangsaan Belanda yang
dibangun pada tahun 1924 bernama Gerrit Rietveld untuk Nyonya Truus Schrader dan tiga
orang anaknya.
b. Uraian karakteristik
Fasad

Denah
Material dan Struktur
Struktur utama dari bangunan terdiri atas beton bertulang dan profil baja. Dindingnya
tersusun atas bata dan plester, frame kaca, pintu dan lantai yang terbuat dari kayu.
5.1 ART DECO
1. Uraian umum
a. Nama Bangunan
Exposition Internationale des Art’s Decoratifs et Industriels Modernes
Lokasi bangunan,
Los Angeles, California, America Serikat.
Tahun
Konstruksi 1926-1928
Arsitek
Austin Parkinson dan Martin

Fungsi
Gedung Pemerintahan

2. Konsep Desain
Menurut Austin selaku salah satu arsitek dalam perancangan bangunan ini menuliskan
bahwa bangunan ini merupakan bukti “Amerika Modern”. Gedung pemerintahan ini
dirancang tidak merujuk ke era atau gaya yang pernah ada sebelumnya tapi lebih
menggabungkan berbagai macam elemen untuk menghasilkan bentuk hybrid yang unik.
Meskipun dengan kolom dan tangga monumental yang megah yang mengatarkan ke gedung
ini memiliki jiwa desain klasik, bagian menaranya yang disertai dengan bentuk pyramid
merupakan gaya Art Deco.

3. Uraian Singkat

a. Sejarah Singkat
Gedung pemerintahan Kantor Walikota Los Angeles dirancang oleh John Parkinson, John C
Austin, dan Albert C. Martin yang diselesaikan pada tahun 1928. Bangunan ini
menggabungkan elemen art deco dengan atap yang didasarkan atas Maousoleum di
Halicarnassus Yunani Kuno. Bangunan yang merupakan perwujudan dari ambisi dan energy
pada masanya yang saat ini tidak terkekang oleh jaman.

Fasad

b. Uraian karakteristik
Denah
Bangunan ini terdiri atas 32 Lantai
Luas Area Lantai keseluruhan merupakan 75.510 M 2

Material

Bangunan ini merupakan abngunan degnan struktur base-isolated tertinggi di dunia,

bangunan yang telah melewati modifikasi seimsik dari tahun 1998-2001 ini diperikarakan
dapat menahan beban dan tetap berfungsi hingga mencapai beban dari gempa berkekuatan
8.2 SR. Material utamanya sendiri terdiri atas beton.
6.1 Arsitektur Fungsionalism - Kubism
1. Nama Bangunan,

Palace of Assembly.
Lokasi bangunan,
Chandigarh, India.
a. Tahun
1963
b. Arsitek
Le Corbusier
c. Fungsi
Gedung Pemerintahan Legislatif.
2. Konsep Desain
Hal yang menarik dari bangunan ini merupakan penggunaan bentuk sirkuar untuk aulannya
yang terlihat kontras terhadap pengembangan akustik yang baik. Bagian Aula dibuat dalam
bentuk cangang Hiperobola dengan ketebalan 15 Cm konstan terhadap permukaannya yang
menghasilkan berat yang minimum dan harga perawatan yang terjangkau. Bentuk utama dari
keseluruhan bangunan didesain untuk memastikan pencahayaan alami, buatan, ventilasi dan
pengembangan akustik, elektronik dapat dimanfaatkan secara maksimal.

3. Uraian Singkat
a. Sejarah Singkat dan Fasad
Setelah pemisahan dari Punjab di 1947 diikuti oleh kemerdekaan India. Daerah Punjab yang
terpisah membutuhkan sebuah ibukota yang baru yakni Lahore yang sekarang menjadi
bagian dari Pakistan. Oleh karena itu Le Corbusier akhirnya diberikan mandate dari perdana
menteri pertama India Jawahalral Nehru untuk membangun kota baru pertama yang
merupakan Chandigarh sebagai ibu kota dari Pubjab. Bangunan pemerintahan yang dia
tangani pada masa itu menjadi salah satu symbol dari Kubism yang sekarang menjadi bagian
dari situs sejarah UNESCO.

b. Uraian karakteristik
Denah
Material dan Struktur
Penggunaan Pilotis (Piers-Kolom, Pillar, dan panggung yang mana mengangkat bangunan di
atas tanah dan air) yang diguankan untuk mengangkat struktur dari atas tanah. Pilotis
memungkinkan bentuk yang memegahkan ruang sesuai dengan yang diharapkan Corbusier).
7.1 Arsitektur Fungsionalisme –
Kubisme
(Arsitektur Modern Pasca Beton)
1. Uraian umum
a. Nama Bangunan
Carpenter Center for the Visual Arts

Lokasi bangunan,

Cambridge, Massachusetts

Tahun

1963

b. Arsitek
Le Corbusier

c. Fungsi
Gedung Universitas

2. Konsep Desain
Luas lahan yang terhitung kecil merupakan site yang dipilih pada bangunan ini. Desain awal
dari Le Corbusier memperlihatkan ramp yang lebih jauh lagi dapat dipisahkan melalui dua
buah bagian yang terletak di pusat massa. Akan tetapi desain awal tersebut menimbulkan
permasalahan yang mana terpatanya banyak gangguan pada pusat masa. Permasalahan ini
dipecahkan dengan menggunakan efek pinwheel sehingga nantinya pada desain akhirkedua
bagian yang terpisahkan dapat bertemu kembali pada inti vertikal bangunan yang digunakan
sebagai elevator.

After much Bagian luar dari bangunan Carpenter Center memperlihatkan dirinya
dengan sangat berbeda dari berbagai sudut.

3. Uraian Singkat
a. Sejarah Singkat

Carpenter Center for Visual Arts di Universitas Harvard di Cambridge, Massachusetts adalah
satu – satunya bangunan yang didesain langsung oleh Le Corbusier di Amerika Serikat, dan
hanya satu dari duadi benua Amerika; Le Corbusier mendesainnya dengan kolaborasi
bersama archistek Chili Guillermo Jullian de la Fuante di studionya. Persiapan konstruksi
ditangani oleh kantor Josep Lluis Sert, kemudian oleh perwakilan dari Harvard Graduate
School of Design.

Fasad
b. Uraian karakteristik
Denah
Material/ Struktur
8.1 Arsitektur Fungsionalism – Kubism
(Arsitektur Pencakar Langit)
1. Uraian umum

5
a. Nama Bangunan
World Trade Center
b Lokasi bangunan,
Manhattan, New York, Amerika Serikat.
c. Tahun
1970
d. Arsitek
Minoru Yamasaki
e. Fungsi
rental office
2. Konsep Desain
Desain Yamasaki terhadap World Trade Center merupakan salah satu implementasi yang
paling sesuai dengan gaya arsitektur yang telah diterapkan oleh Le Corbusier sebelumnya,
dan merupakan salah satu contoh ungkapan ekspresi dari selera Yamasaki terhadap Gothic
dan Modernism.

3. Uraian Singkat

a. Sejarah Singkat
Merupakan salah satu bangunan sempat menjadi bangunan tertinggi di dunia. Sejak tahun
1972 hingga tahun 1974 sebelum dikalahkan oleh Wilis Tower. World Trade Center sendiri
hanya dapat bertahan hingga pada tahun 11 November 2001 ketika bangunan ini hancur
setelah mengalami serangan aksi terorisme yang mengakibatkan runtuhnya bangunan ini.

Fasad
b. Uraian karakteristik
1Tipikal Denah
Struktur
9.1 Arsitektur Metabolism
(Arsitektur Metabolisme Jepang)
1. Uraian umum
a. Nama Bangunan
Nakagin Capsule Tower

b. Lokasi bangunan
Tokyo, Jepang
c. Tahun
1970-1972
d. Arsitek
Kisho Kurokawa
e. Fungsi
Kanto Sewa,
Penginapan.

2. Konsep Desain
Bangunan dengan
konsep yang unik ini
membawa desain yang
cukup unik
menggunakan desain
kapsul pada bangunan
bertingkat tinggi.
Desain yang dihasilkan
benar – benar berbeda
dari yang selama ini
dikenal di dunia
arsitektur sehingga
muncullah vokabulari
yang baru yang
membuat asal mula
dari metabolism
arsitektur yang
nantinya akan menjadi
cikal bakal arsitektur
organic.
3. Uraian Singkat
a. Sejarah Singkat
Nakagin Capsule Tower merupakan bangunan residensial Mix Used (Fungsi Beragam) dan
menara kantor yang didesain oleh Arsitek Kisho Kurokawa. Diselesaikan pada tahun 1972,
bangunan langka dan unik ini menjadi salah satu contoh yang masih tersisa tentang
Arsitektur Metabolisme Jepang, sebuah gerakan arsitektur yang mengekspresikan keadaan
Jepang seusai perang dunia kedua. Bangunan ini juga merupakan contoh pertama di dunia
yang menggunakan kapsul dalam arsitekturnya yang dibangun secara permanen dan praktis.
b. Uraian karakteristik
Denah
9.2 Arsitektur Organik
1. Uraian umum
a. Nama Bangunan
Falling Water, Rumah Kaufmann
b. Lokasi bangunan
Mill Run, Pennsylvania (Amerika Serikat).
c. Tahun
1936-1939
d.. Arsitek
Frank Lloyd Wright
e. Fungsi
Rumah Tinggal

2. Konsep Desain
Faling watermerupakan karya terbaik dari Frank Lloyd Wright yang menunjukkan
kedinamisan dan intergrasinya yang tepat terhadap lingkungan alam sekitarnya. Rumah ini
sendiri merupakan ekspresi dari selera Frank Lloyd Wright terhadap filosofi arsitektur organic
Jepang yang terlihat dari integrasinya terhadap air terjun yang ada di tapak.

3. Uraian Singkat
a. Sejarah Singkat
Fallingwater merupakan rumah yang didesain oleh arsitek Frank Lloyd Wright pada tahun
1935. Rumah ini dibangun sebagian menutupi air terjn Bear Run di Mill Run bagian dari
Stewart Township, Fayette County, Penssylavania, Amerika Serikat.

Bangunan ini yang menurut majalah Time merupakan karya paling indah dari Frank Lloyd
Wright. Rumah ini juga masuk dalam list sejarah Smithsonian sebagai 28 tempat yang “wajib
dikunjungi sebelum meninggal”pada tahun 1991 anggota dari AIA (American Institute o
Architects) menyebutkan bahwa rumah ini merupakan “karya terbaik arsitektur Amerika
sepanjang masa”.
Fasad
b. Uraian karakteristik
Denah Lantai 1

Denah Lantai 2
Denah Lantai 3

Potongan
Potongan
10.1 Arsitektur Brutalism
1. Uraian umum
a. Nama Bangunan
Torre Velasca
b. Lokasi bangunan
Milan, Italia
c. Tahun
1958
d. Arsitek
BBPR (Gian Luigi Banfi, Lodovico Barniano di Belgiojoso, Enrico Peresutti, dan Ernesto Nathan
Roger

e. Fungsi
Mixed Use Building

2. Konsep Desain
Bentuk bangunannya merupakan interpretai bangunan kastil abad pertengahan yang tipikal
di Italia. Di waktu yang sama bangunan ini juga memenuhi kebutuhan ruang serta aktifitas di
sekitar plaza. Dimana kebanyakan bangunan dibangun di bagian jalan. Torre Velasca
dibangun di tengah pusatnya yang mendukung penggunaan area Plaza secara efektif.

3. Uraian Singkat
a. Sejarah Singkat
Diselesaikan pada tahun 1958 bangunan ini dimunculkan pada tahun yang sama dengan
konferensi CIAM di Otterlo tyang mana menjadi perdebatan diskusi yang intens dan disetujui
oleh mayoritas orang yang hadir sebagai bangunan terburuk yang mempresentasikan Italia.
Bangunan Torre Velasca merupakan bangunan kontroversial, mewakila tendensitas
arsitektur italia pada masanya
b. Uraian karakteristik
Denah

Struktur
11.1 Arsitektur Monumentalism
(Arsitektur Monumentalism)
1. Uraian umum
a. Nama Bangunan
Boston City Hall
b. Lokasi bangunan
Boston, Massachusetts, Amerika Serikat
c. Tahun
1968
b. Arsitek
Kalmann, McKinnel, & Knowles
c. Fungsi
Gedung Pemerintahan

2. Konsep Desain
Desain bangunannya merupakan desain konvensional, yang didasari oleh bentuk geometri
murni yang membentuk bagian diding dan memperkenalkan struktur yang terartikulasi
dengan baik. Melewati bagian plaza luas yang terdiri dari diding bata, bagiian City hall
didesain untuk membuat ruang dan akses bagi semua bagian pemerintahan kota dan tempat
yang terakses mudah oleh warga kota.
3. Uraian Singkat
a. Sejarah Singkat
Boston City Hall merupakan gedung kursi pemerintahan Kota Boston, Massachusetts Amerika
Serikat. Bangunan ini dibangun pada tahun 1968 dan salah satu contoh dari gaya arsitektur
yang kontroversial. Kebanyakan opini modern terhadap bangunan ini cenderung negative
dan sering kali disebut sebagai bangunan terjelek di dunia.

b. Uraian karakteristik
11.2 Arsitektur Monumentalism
(Arsitektur Tekno)
1. Uraian umum

a. Nama Bangunan
Centre Georges Pompidou

b.Lokasi bangunan
Paris, Perancis

c. Tahun
1971-1977

d. Arsitek
Renzo Piano, Richard Rogers dan Gianfranco Franchini.

e. Fungsi
Pusat seni dan Kebudayaan

2. Konsep Desain

Bangunan ini didesain oleh arsitek berkebangsaan Italia Renzo Piano, dan Gianfranco
Franchini, dan berkebangsaan Inggris Richard Rogers yang dibantu ole hove Arup & Partners.
Bangunan Pompidou berhasil merubah sebuah bangunan yang dulunya menjadi monument
menjadi tempat popular dan sosial dan prtukaran kebudayaan di tengah bagian kota.
Proyek ini diberi penghargaan untuk timnya dalam kompetisi desain arsitektural yang
hasilnya diumumnkan pada tahun 1977.
Pada awalnya semua fungsi elemen strukutral pada bangunan merupakan berbasis warna.

3. Uraian Singkat
a. Sejarah Singkat
Centre Georges Pompidou atau yang lebih dikenal dengan sebutan Centre Pompidou, atau
Pompidou Centre merupakan kompleks bangunan di Beau bourg area. Paris di dekat Les
Halles, rue Montorgueil dan Marais. Bangunan ini didesain dengan gaya high tech
architecture oleh tim arsitektur Richard Rogers dan Renzo Piano, dan Gianfranco Franchini.
b. Uraian karakteristik
12.1 Arsitektur Post Modernisme
(Kerangka Perkembangan Post
Modernisme)
1. Uraian umum
a. Nama Bangunan, Lokasi bangunan, Tahun
b. Arsitek
c. Fungsi

2. Konsep Desain

3. Uraian Singkat
a. Sejarah Singkat
b. Uraian karakteristik
12.2 Arsitektur Post Modernism
(Arsitektur Historicism)
1. Uraian umum
a. Nama Bangunan
Getty Center
b Lokasi bangunan
Los Angeles, California
c Tahun
1997
d. Arsitek
Richard Meier & Partners, Architects LLP
e. Fungsi
Museum

2. Konsep Desain
Diselesaikan pada tahun 1996, bangunan yang dibangun Richard Meiers mewujudkan
bangunan Getty Center dengan kesatuan yang harmonis, sekaligus mempertahankan
identitas dari bangunan – bangunannya tersendiri.

3. Uraian Singkat
a. Sejarah Singkat
J. Paul Getyy Museum atau yang lebih dikenal sebagai Getty, merupakan museum seni di Los
Angeles, Californio yang melingkupi dua kampus Getty Center dan Getty Villa.

b. Uraian karakteristik
13.1 Arsitektur Post Modernisme
(Vernakular – Kontemporer)
1. Uraian umum
a. Nama Bangunan, Lokasi bangunan, Tahun
b. Arsitek
c. Fungsi

2. Konsep Desain

3. Uraian Singkat
a. Sejarah Singkat
b. Uraian karakteristik
13.2 Arsitektur Modernism
1. Uraian umum
a. Nama Bangunan
Crown Hall, Instititute Illinouis of Tehcnology
b. Lokasi bangunan
Chicago, IL, United States
c. Tahun
1956
b. Arsitek
Ludwig Mies Van Der Rohe
c. Fungsi
Gedung Universitas/ Serba Guna

2. Konsep Desain

3. Uraian Singkat
a. Sejarah Singkat
b. Uraian karakteristik