1. +
Introduction to
Architecture
THEORY AND HISTORY

3. +
Condition for
Modern
[philosophy]
Cogito Ergo Sum

4. Louis XIV

5. 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

6. +
created 1816 as a
merger of :
academie de peinture et de sculpture [1648]
academie de musique [1699]
academie d’architecture [1671]

7. +
The early stage of E des BA
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.
back to main

8. Claude Nicolas Ledoux

13. +
atelier
Ecole de Beaux-Arts

14. +
Learning from precedent

17. +
principles
God is in the detail
Architecture need sculpture
Eclecticism
Hierarchy of space
symmetric
Henry Labrouste

18. eclectic
hierachcy of spaces
symmetri
details
sculpture

19. +
Industrial Revolution

20. Rational
Effective
Efficient
Standard
Mass Production

22. Viollet Le Duc

29. 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.

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

31. +
School of Architecture

32. +
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.

34. +
Adolf Loos :
ornament and crime
•Exemplifies
the contrasts and contradictions of
the years leading toward modernism and the
international style.
•Respected
traditional
architecture
experimented with sleek volumes.
•Actually
but
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.

35. de Klerk, Michel(1884–1923)Sketch of design
for a water tower with service buildings in
reinforced concrete, Pencil on tracing paper
+
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.

36. 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).
+
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.

37. +
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

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

40. +

41. +
Modern Architecture
International Style

42. +
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)

43. +
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.

44. +
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.

46. +

47. +
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

48. +
‘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.

50. Karl Marx

52. Three Mucisians, 1912

53. Walter Gropius, “March of the DEAD”

55. Schroder House: Gerrit Rietveld

56. +
VITRUVIAN MAN
Leonardo Da Vinci

61. Congres Internationaux dí Architecture Moderne
+
(Deklarasi CIAM, 1928)
1.
Gagasanarsitektur
modern
fenomenaarsitektur&sistemekonomiumum.
2.
Gagasanefisiensiekonomitidaklahberartiproduksi
menghasilkankeuntungankomersialmaksimum,
menuntutupayakerja minimum.
3.
Metodaproduksi
yang
paling
timbuldarirasionalisasidanstandardisasi,
berakibatlangsungpadametodakerjadalamarsitektur
danindustrigedung (realisasi).
tapiproduksi
Kebutuhanakanefisiensiekonomi
adalahhasildarikeadaanekonomiumumygtermiskin.
4.
menyertakan
5.
hub.
yang
yang
max.
efisienadalah
modern
yang
yang
(konsepsi)
Rasionalisasidanstandardisasibereaksidalamcaraberlapis:
 tuntutankonseparsitekturygmenyederhanakanmetodakerjadisitusdandipabrik.
 bagiperusahaanbangunan,
haliniberartimengurangiangkatankerjaterampil,
menambahburuh yang kurangterampildibawaharahanteknisi yang sangatterampil.
 harapanakankonsumer
yang
memesanrumahdimanaiatinggal;
suatupenyesuaiankembalipadakondisikehidupansosial yang baru.

62. 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

63. … 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.

65. 1933
to be continued