Sustainable Arschietecture
SEPTEMBER 2019
EDISI 17
BROADEN YOUR KNOWLEDGE OF ARCHITECTURE
What is sustainable archietecture?
Understand the material and character?
How to implement sustainable arcietecture?
Use of materials for continuous archietecture detail
WWW.ARCHIETECTUREITATS.CO.ID Lisa Tria Rahmawati/04.2021.1.03501
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Cahya Brilian Firdaus 04.2021.1.03510
Sapta Mardena 04.2021.1.03513
Alfian Rajasa B. P. 04.2021.1.03467
David Pradana 04.2021.1.03491
Ardian Sanjaya 04.2021.1.03493
Damaskus Marimo W. T. 04.2021.1.03484 Lisa Tria R/04.2021.1.03501
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Nur Hidayahtul K 04.2021.1.03506
M. Alfian Rizaldi 04.2021.1.03511
Atika Putri K D 04.2021.1.03498
Adam Rijaaluddin A. 04.2021.1.03476
Fajar Hadi S 04.2021.1.03474
Lintang Azaria K 04.2021.1.03515 Lisa Tria R/04.2021.1.03501
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Mustahallul Muzanny 04.2021.1.03505
M Dzakiy Rakha S 04.2021.1.03496
Lisa Tria R 04.2021.1.03501
Lisa Tria R/04.2021.1.03501
Table of Contens Foreword Sustainable arc What is sustainable ars Environmental awareness and its causes Material awareness and material Understand the material and character Use of materials for continuous arc detail How to develop a design method towards sustainable arc? How to implement sustainable arc? The importance of understanding the parameters of sustainable work through case studies Who Am I | Bringing Yourself Surfing in the Sustainable Architecture Movement Sustainable energy use My plan 15 years later Puzzle Poetry Promotion of the department of architecture
Lisa Tria Rahmawati/04.2021.1.03501
"It just goes to show you that no matter how full your life may seem, there's always room for a couple of cups of coffee with a friend." “
This paper is a study of the discourse of sustainable architecture. Sustainable Architecture becomes very important to be discussed considering the increasing environmental degradation that occurs as a result of humans. Efforts to minimize environmental impact are realized by many architects, which are formulated as a shared awareness that becomes a global agreement. Sustainable architecture is discussed here from five points of awareness, namely first: awareness of oneself, second: awareness of the surrounding environment, third: awareness of materials, fourth: awareness of design strategies, and closed at the fifth starting point, namely: reflection. Each of these starting points is translated into 14 sustainable architecture strategies and will be discussed one by one
UNDERSTANDING SUSTAINABLE ARCHITECTURE Sustainable architecture or sustainable architecture is architecture that helps reduce the negative impact of buildings on the environment. This has to be done efficiently using materials and energy and ecosystems on a larger scale. The term sustainable is also known as green architecture. Sustainable architecture is an integrated part of sustainable development, which is an important concern today.
THE IMPORTANCE OF SUSTAINABLE DESIGN Sustainable design can improve the quality of life by eliminating the need for non-renewable energy. When a design solution includes sustainable energy to enhance the functionality of that design, the work is done for free. It is a way of understanding and relating to locations, environmental conditions and places.
SUSTAINABLE BUILDING MATERIALS Building materials such as straw, bamboo, recycled plastic, wood, ferrock, blown-in fiberglass, sustainably harvested wool, trass, concrete, sheep's wool, panels made of paper chips, clay, hemp linen, seagrass, coconut, fiber plate wood, calcium sandstone, locally available stone are some of the sustainable building materials.
SUSTAINABLE ARCHITECTURE DESIGN PRINCIPLES Today, non-renewable resources such as fossil fuels are increasingly expensive and scarce, leading to less overall clean energy production. So, it is very important to start designing buildings and communities that function well without these resources
Environmental Awareness and Its Causes for Sustainable Architecture
The human way of life is closely related to the environment and has the potential to greatly affect/change the earth's ecosystem. By understanding the socio-economic-environmental issues of the past and their relation to what is happening in the present, we can study cause-and-effect relationships in constructing sustainable architecture. Sustainability is not only about individual buildings but also causal relationships with the environment, social and economic conditions.
Starting point of consciousness
Human beings have witnessed various climate and environmental changes that have been saddened by various things. According to Alison Knight, there are three waves of consciousness that lead us to the era of sustainability, namely
• 1960-1967 the emergence of the book Silent Spring about the dangers of pesticide poisons.
• 1987 on "Our Common Future" and the Brundtland Report, the pinnacle of research on the sustainability and long-term identification of life on Earth
• 1980-1990 Regarding consumerism awareness with the gas leak in Bhopal and the tragedy in Chernobyl, the term eco-design appears here.
Sustainable development has 3 main principles that must be balanced, namely economic, social and environmental. In architectural design and urban planning, there have been several developments in the movement that began to apply these three principles, even from the early days of the formation of modern urban planning from the tradition of building Baroque in the 1600s.
The technological developments driven by the industrial revolution and the war revolution sponsored the development of increasingly sophisticated designs. Next, let's explore the journey towards sustainable development thinking & practice which is divided into 3 chapters of the period: 1851-1920; 1920-1945; and 1945-1960. The era of sustainability itself has become popular since 1960, when many buildings began to be disconnected from the environmental context and caused social problems. The environmentalism movement also emerged, one of which was influenced by the book Silent Spring (Rachel Carson, 1962), which showed drastic changes in ecosystem chains due to synthetic pesticides. In architecture & planning, the book Design with Nature (McHarg, 1969) then offers the concept of integrating design and planning with the character of an ecosystem and landscape.
Industrial Revolution and Gothic Revival
This period was marked by a Romantic revolution and an interest in medieval literature. In addition, writers such as John Ruskin in the book Seven Lamps of Architecture (1849) and Stones of Venice (1853) highly uphold the quality of craftsmanship of Gothic buildings, causing the emergence of an architectural style called Gothic Revival (1750-1900).
Baroque Cities & the Beautiful City Movement
The boundaries between art, architecture and landscape are fading. The Baroque movement spread from Italy to other countries in Europe and Latin America, creating a new state arrangement based on geometric principles and centered on the monarchy. Urban planning that is affected by this is called City Beautiful. The movement began to take shape in the United States, from the Municipal Arts movement and the World's Columbian Exposition in Chicago in 1893 and flourished in the 1900s.
Valley Section
This cut imag e by Patrick Geddes in 1909 became a turning point for design thinking/human intervention in nature. Geddes shows that there is a diversity of environments that is correlated with differences in human way of life. The point is that the human ecosystem is part of the ecosystem in which they live. This dismantles the dichotomy between civilization and nature.
Empirical Modern
There are 2 thoughts: (1) urban concepts such as the formation of open spaces and the experience of public spaces (Jane Jacobs, Christopher Alexander, etc.); (2) the theory of forming a new city with the Garden City movement, overcoming the problem of industrial cities through decentralization. An example of a Garden City design concept is Broadacre City by Frank Lloyd Wright (1958), a sustainable urban area with low population density horizontal development, easy access to any service/commodity within a 150 mile radius by road/air.
Modern Rational / International Style
Having a perspective that pays attention to futuristic social systems in geometric ideal forms. Figures with these thoughts then came together and formed CIAM
(1944), giving birth to new cities at the end of the 20th century. One of them is The Radiant City by Le Corbusier, a vertical development surrounded by green spaces, housing should be according to family size, not economic position. The movement's projects include mass city renovations and rapid construction of social housing.
Postmodernism
The disconnection of buildings from the environmental context creates social problems. Jane Jacobs criticized in the book The Death and Life of Great American Cities (1961). The environmentalism movement began to emerge, one of which was influenced by the book Silent Spring (1962) written by Rachel Carson, showing drastic changes in ecosystem chains due to synthetic pesticides. In architecture & planning, Ian L. McHarg through his book Design with Nature (1969), offers the concept of integrating design and planning with the character of an ecosystem and landscape. The sustainable development movement then developed with the emergence of: (1) New Urbanism, initiated by Andres Duany, against the expansion of suburbs and urban disinvestment, which later gave birth to the sustainable architecture & sustainable urbanism movement; (2) Landscape Urbanism where the city is seen as a landscape and all interventions must consider development aspects including un-building,
removal, and erasure. For example the restoration of Cheonggyecheon, South Korea; Central Park, Manhattan; and Water Square, Netherland.
New Urbanism
Emerged in 1993, supporting cities designed with human social life in mind; reject the system that sharpens racial & income inequality, urban sprawl, environmental damage & its ecosystem; and maintain the integration of social culture with the built environment. Mixed-use patterns, pedestrian-friendly cities, transit-oriented development, affordable housing, and public areas are increasingly popular. This gave birth to the movement for sustainable architecture and sustainable urbanism. Andres Duany is an American architect, urban planner and founder of the Congress for New Urbanism. Together with his partners founded Duany Plater-Zyberk & Company (DPZ). They oppose suburban expansion and urban disinvestment. Some of his famous projects are Seaside, Florida and Kentlands, Maryland.
Landscape Urbanism
Influenced by the state of post-industrialized cities in the 1990s, which had a significant impact on the created landscape, which has a distinctive pattern of production and consumption with sprawl. This pattern creates a national scale industrial and agricultural ecology using artificial landscape images. Landscape Urbanism sees the city as a landscape, and the interventions carried out also consider aspects that are not only building but also un-building, removal, and erasure. Some examples of landscape urbanism practices are (1) Cheonggyecheon, South Korea, restoration of a sewer that has become an ecological park in the city of Seoul; (2) Central Park, Manhattan which focuses on green open areas and water conservation in the city center; and (3) Water square, Netherland which makes a water retention strategy in urban locations.
By examining the past and relating it to the present, we can understand what impact our architecture has had and is likely to have on the sustainability of the present and future environment. After peeling the past and relating it to the present, have we thought about the world outside of architecture? Let's reflect together. . . What impact has our architecture had and will have on environmental sustainability today and in the future?
Material and Material Awareness The discourse on materials starts from the "working detail" mindset discussed by Michael Cadwell regarding the intricacies of the connection of interpretive details but actually builds a poetic sensibility towards the creation of space experiences capable of stimulating human sensitivity. Juhani Palasma also states that architecture articulates the human experience by increasing the sensibility of the senses. Meanwhile, Kenneth Frampton articulates tectonic terminology by explaining how designers developed various experiments to find a more optimal, aesthetic, construction system with transformative building technology.
And how is the articulation of the next design? Kenneth Frampton brings tectonic terminology from its roots and explains how craftsmen developed it throughout various experiments to find an optimal construction system, to solve the travel challenges of the designer role in their built environment, and to encourage more diverse cross-disciplinary work. Mangunwijaya provides discourses related to the function of details, their relation to climate, culture, and the function of buildings. Then, thirty-two years later, the discourse on material awareness was again discussed with Indonesia's participation in the Venice Biennale Architettura 2014 with the theme "Tapangan: Material Awareness" where the curators, namely Avianti Armand, Achmad D Tardiyana, Setiadi Sopandi, David Hutama and Robin Hartanto tried to draw a span of 100 years of architecture in Indonesia with a common thread in the form of building materials. This discourse underscores the constructive interrelationships between architects, artisans, and the materials they use. Adam Rijaaluddin Al Hanif - 04.2021.1.03476
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Home The Materiality of Architecture Volume 6/2021 - Issue 2 Policy Open Access Type Book Review The Materiality of Architecture Stamatina Kousidi doi https://www.doi.org/10.15274/tpj.2021.06.02.14(link is external) Section THEORY
The Materiality of Architecture
By Antoine Picon
Minneapolis and London: University of Minnesota Press, 2020
5 ½ in. x 8 ½ in.
36 b&w photos
192 pages
$108.00 cloth
ISBN: 978-1-5179-0945-5
$27.00 paperback (January 2021)
ISBN: 978-1-5179-0948-2
Offering a fascinating breadth of textual sources, Antoine Picon organizes his recent book The Materiality of Architecture into five main chapters which underline the evolution of the notion of materiality, in both its social and dynamic aspects, which is on a par with the evolution of architecture. To elucidate this shared development, Picon borrows from the historian François Hartog’s exploration of “regimes of historicity” and brings up the notion of “regimes of materiality” to examine shifts in architectural practice and reasoning concerning the discipline’s capacity to render matter expressive. The book, as the author underlines, is not about the material dimension of architecture but about the virtual connection between matter and humanity through the lens of materiality. It engages therefore with an issue that extends far beyond the realm of matter and materials, emphasizing the relational dimension of architecture.
The first chapter, “From Making to Expression,” revolves around the manifold ways in which the material and the expressive aspects of architecture are bridged, discussing the main principles deployed to organize matter: proportions and structure. Adopting a broad chronological span, this chapter focuses on the ways in which architectural proportions oscillate between technical expression and human perception, illuminating the cultural contexts in which the discussion surrounding proportions and affect took place. In the debate, proportions result as mediators between the “macrocosm and the microcosm,” between the “rules of the universe and those that leave their imprint on bodies and minds.” 1 The analogy between the proportions of the human body and those of the architectural parts – which has permeated architectural works from Vitruvius to Le Corbusier – is a testament to how “the process of ordering matter through proportion is constantly driven by a desire to express – a desire that is linked to the view that architecture can directly address the spectator, just as one person can call out to another.” 2
The principle of structure, or “tectonics,” – the second key theme of this chapter – similarly deploys the notion of “address.” This chapter traces a novel way of interpreting buildings in the Enlightenment era, through an emphasis on their mechanical properties, as Carlo Lodoli’s teachings and Giovanni Poleni’s perceptive analysis of the dome of Saint Peter’s Basilica in Rome testify. Several structural systems are being deployed here to advance the argument that the appreciation of the structural dimension of architecture
needs to be understood on the basis of the performative dimension of structure and the impressions this may generate. From the poet Heinrich von Kleist, who “saw the vault as a legitimate analogy for the Kantian critique,” to Eugène Viollet-le-Duc, who regarded architecture as “a system of rationales” and “a set of spatial devices and constructional techniques,” 3 this chapter discusses in detail the drive to connect architectural constructions with human reasoning. Analogous to the pursuit for harmony in the definition of proportions, the attention on the structural dimension of architecture, highly influenced by the entangled relation between architecture and the body, likewise produces impressions and stimulates affects; Heinrich Wölfflin’s theory on empathy appears embodied in buildings such as Eduardo Torroja’s Zarzuela Hippodrome and Frank Lloyd Wright’s Fallingwater which, in turn, articulate modernist visions of the body. Picon’s approach to architecture’s expressive potential, however, derives from a radically different perspective to the “timeless corporeality” introduced by phenomenology, as it recognizes the mutable perception and experience of the human body in architectural theories and images through history. The contemporary demand for a revised structural reasoning with regards to architecture needs to be understood, the author emphasizes, in association with the advances in digital technologies and the neurosciences, further reflected in the growing interest in the cyborg and the post-human.
Insofar as built structures cannot be separated from the prevalent visions of the human body in the era of their erection, architecture’s search for expression cannot be reduced merely to its rational aspects. The intrinsic quality of a material may also be attributed to its will for expression, preceding the application of “tools like proportions” and “notions such as structures.” 4 Materiality – as this chapter claims – articulates our simultaneous distance and proximity to architecture; buildings such as Paul Rudolph’s Yale School of Architecture and Wang Shu’s New Academy of Art in Hangzhou by means of their tactile and symbolicallycharged surfaces, respectively, allude to the ways in which the perception of buildings is not limited to material expression alone.
The chapter “Architecture and Language. An Incomplete Encounter” highlights the antagonism between the opaqueness of matter and its wish for expression in the context of architectural experience. Focusing on the relation between architecture and writing, Picon traces an ongoing distance between the material productions of architecture and the writing constructs that seek to define what exceeds architecture’s materialisation. He offers a lucid discussion of the “distancing and absence” that arise as an essential part of the discipline. “The process of putting matter into order that architecture initiates is not reducible to what a rigorous system of syntax and vocabulary entails,” 5 and Étienne-Louis Boullée’s proposal for a French national library is deployed here as a good example of this statement.
The relationship between architecture and language, in consequence, emerges as highly ambiguous. By juxtaposing Frank Gehry’s “gesticulation far removed from sobriety” and Mies’ “less is more” dictum, the study hints at the fragile balance between insufficient and overabundant expression.6 The term “gesticulation” may be understood, in this context, through the analogy between the contemporary gestures of architecture and the Enlightenment’s “language of action” notion which associated the latter with the eloquent movements of the body, as a precursor of speech. On the other hand, the “temptation to write is just as dangerous and flawed when it leads to a reliance on stereotypical vocabulary, motifs, and compositions;” 7 the neoclassical architecture outputs, largely uninfluenced by the specificities of the context, are telling of this inadequacy.
The discussion of ornament resurfaces again in this part of the book as it is integral to the issue of expression having articulated, over time, different meanings of language. The excessive use of ornament in Giambattista Piranesi’s Parere sull’architettura (1765) and the radical absence of any form of ornament in Le Corbusier’s Dom-Ino may seem unbridgeable at first, but their juxtaposition serves here as a vehicle to argue that architectural ornament should remain incomplete: It “must initiate the progression that leads to language without ever completing that progression.” 8 This part therefore leads to the suggestion that architecture “searches out expressive potency all the while avoiding an excess of effects and symbols that might compromise its vitally material essence.” 9
In approaching contemporary architecture, certain claims – such as Jesse Reiser and Nanako Umemoto’s theory of the “asignifying signs” and Farshid Moussavi and Michael Kubo’s “antisymbolic stance” – support that language remains absent from architectural agendas. Conditioned by the proliferation of digital tools, architecture’s current pursuit of the production of complex forms alludes to the late eighteenth-century ambition to deploy means of expression that anticipates language, Picon argues. Conversely, the contemporary proliferation of texts and symbols testifies to the fact that neither language nor meaning have become extinct. The “tension between the opaque stability of matter and the revelatory light of language” 10 – this chapter concludes – is ever more tangible. Next to this contradiction, today’s material turn is also characterized by ambiguity, as it “seems unable to escape the question of language and its extension to the nonhuman realm.” 11 It is possible then to extract that “the specificity of the architectural discipline could very well reside in the intensity of architecture’s longing for expression as well as in its refusal to let its productions truly speak.” 12
The subsequente chapter, “Animation and Materiality,” offers a detailed discussion of materiality’s role in the architectural discipline as a catalyst for a more global apprehension of the relation between language and the pursuit of expression. Picon’s thesis centers around the fact that “while the architectural animation
of matter has typically found expression in ornament and décor […] such animation has altogether more ambitious aims: to establish a world that is simultaneously related to and distinct from both the dwelling place of the gods and the natural kingdom.” 13 The necessity is therefore underlined for matter to be animated whilst claiming further that such a process ought to “remain incomplete,” oscillating between expression and making. Accordingly, the “art nouveau” of Antoni Gaudí, Hector Guimard and Victor Horta does not “even come close to monopolizing the animation that is architecture’s target” as it exceeds the “structures, surfaces, skeletons taken from the plant and animal kingdoms.” 14
The relationship between humanity and matter as expressed through forms is key, for Picon, in understanding contemporary architecture, as “the animation of matter” is not exclusive to the phenomena of “identification and projection,” associated with the “psychological basis for the notion of empathy.” 15 This chapter identifies four main aspects as determining for the formation of distinct regimes of materiality: the “use of materials,” the “systems of proportions,” the “techniques of assemblage,” “structural intuitions and practices.” Besides technological and scientific knowledge these embody information about how “materials are experienced and understood in relation to cultural and social values;” 16 the theory of “ephemeralization” coined by Buckminster Fuller, for instance, further to inducing “doing more with less material,” it further entailed “a profound redefinition of the relation of humanity to the resources of the planet and the lifestyle derived from it.” 17
Although materiality remains fundamentally connected to quotidian utilitarian materials, the ways in which architecture deploys and orders matter have changed significantly in the past decades. If the proliferated use of iron at the turn of the nineteenth century revealed a significant shift in the way people immersed themselves “into a world of objects whose precise contours modified their perception of the surrounding environment,” 18 in the face of today’s environmental concerns, atmospheric phenomena such as humidity and temperature are “taking on a more tangible character than they did previously.” 19
The main underlying theme of the relation between materiality and animation, however, appears to be the architectural fascination for the machine: an element which significantly impacts our experience of materiality. If the rise of “temperature and humidity [as] the new dimensions that design could factor in” through the “diffusion of the thermostat” and “cold storage” are a testament to how “modernism was influenced by many other instruments, machines, and technologies,” 20 as Michael Osman’s study has demonstrated, then today the “connected objects and the Internet of Things” are similarly revealing of a historical shift regarding humanity’s relation to the physical world.21
One of materiality’s inherent traits – Picon emphasizes – is its mediatory state between humans and the material world, the sensory realm and language, as it “contributes to the emergence of subjectivity as simultaneously opposed to and close to matter.” 22 Materiality therefore operates at a larger scale than architecture, “once it is understood as engaged in the simultaneous […] coproduction of the radical nonhumanity of matter out of which things are made and a subjectivity that is conscious of what both unites it with and distinguishes it from what is exterior to it.” 23
Of all the tensions associated with materiality discussed here the constant conflict in the human, ill-fated attempt to take a distance from the material world and the realization that “the escape from such ties is imperative if we are to perpetuate the prospect of a specifically human destiny,” emerges as the most telling of architecture’s blurring of “the boundary between making and expression.” 24 To the aforementioned factors influencing the relation between animation and materiality, the notion of ornament is added: closely linked to the arrangement of matter, it is appreciated as the materials’ symbolic expression and, “supposed to function at a collective level,” primarily allows for “humans to inhabit buildings and cities.” 25
Taking a historiographical stance, the fourth chapter, “Architectural History and Regimes of Materiality,” reveals the core of the book: Materiality is deployed as an alternative lens in order to reconstruct the history of architecture, for it allows to surpass the dichotomy between the intellectual/artistic and the social/technical dimensions of the discipline.
The Renaissance, an era deeply influenced by antiquity, marked the passage to order and significantly transformed the rapport between man and the material world, through the rise of new techniques, centered on the processes of measuring, mapping, and surveying, and the emergence of a “new rational thought that was spreading through the arts and sciences,” promoting design as a “conceptual production rather than as the mastery of a series of skills.” 26 The remarkable shift in approaching the material world, registered during this period, can neither be separated from “anthropomorphism,” which regarded “the ideal human body as the measure of everything,” nor from the separation between “monocular gaze” and “the physical world,” which saw the “enshrinement of the human gaze in the perspectives mechanism.” 27
While the Renaissance introduced new understandings of humanity’s relation to physical reality, the Enlightenment was founded on a technological optimism, marking yet another milestone in the relation between materiality and architecture, reflected in the rise of new, malleable, resistant materials and in the progressive separation between ornament and structure. Notably, constructions of this period, such as JeanRodolphe Perronet’s bridges and Jacques-Germain Soufflot’s Church of Sainte-Geneviève, received critical acclaim, enforced by the notion of solidity rooted in the Vitruvian proportions.
Picon – borrowing from Pierre-Jean-George Cabanis’ observation that “everything in nature is in constant motion: all bodies are in continuous flux” 28 – discusses the attention placed on the process of circulation. Combined with the calculation method, circulation offered a novel apprehension of firmitas and was related to the concept of structure. The notions of “structural truth” or “truth to materials” subsequently reflected the belief that to each material corresponds a certain type of structure that uses its mechanical properties most efficiently and were telling of a regime of materiality “based on the contradictory intuitions that matter is both closer and more inscrutable to humans than what has been posited and experienced before” giving rise to the question as to whether structural truth was related to “an ethical value or was it more akin to a natural principle, or perhaps both.” 29
Ornamentation, discussed previously as “one of the primary means at architecture’s disposal to animate matter,” 30 resurfaces in this chapter: It emerges as closely linked with the shifting regimes of materiality, reflecting also a changing approach towards language. In this regard, modernist architecture holds a central role in this chapter’s historical account, for it appears profoundly characterized by a changing approach towards materials, ascribed to new technological advancements, and towards ornamentation, largely replaced by structure as an alternative means of animating matter. As the seemingly pliable concrete shells of Torroja and Robert Maillart affirm, matter was, on the one hand, perceived as “a resource that could be mobilized at will,” 31 and the “truth to materials” notion, conversely, “implied the existence of principles or even rules that bounded the imagination of designers” 32 such as “physical laws,” “social statistics” and “the experiential apprehension” of architecture’s basic principles.33 Marked by contrasts and contradictions regarding its approach toward nature, man, and the past, the ambiguous character of modernist architecture appeared haunted by the question “is it really possible to renounce ornament and thereby find liberation from linguistic temptation?” 34
In the fifth chapter, “Architecture and Materiality in the Digital Era,” Picon sheds a light on contemporary architecture and the recent shifts within the realm of design practices after the proliferation of digital technologies.
In discussing the complexity of the impact of digital media on the ways of conceiving, practicing and theorizing architecture, the chapter incorporates a broad range of references from the “relations between natural processes and algorithms” as the embodiment of “material computation” by Achim Menges and Jenny Sabin to the new approaches to the materialization and structural reasoning of architecture by Matthias Kohler and Fabio Gramazio, to the explorations into “parametricism” and into the aligning of “design techniques” with “social, political, and economic aspirations” by Patrik Schumacher. In so doing, he sets the point of departure for this study on digital tools. He borrows from Sheila Jasanoff’s remark on “the ‘coproduction’ of society on the one hand and information and communications technologies on the other,” 35 so as to explore processes and phenomena inherent in the current cultural context that defines the sensory as a primary concern. The distance from the rise of the figure of the cyborg in the 1950s, driven by
visions of an intimacy between the technological and the human, to Gregory Bateson’s suggestion that “the contemporary individual should be understood as an ecology,” 36 in his insights about cybernetics, hence emerges as small, testifying to the long history of the present regime of materiality.
In the framework of the discipline, Picon rightly claims the importance of situating such a “shift in attitude toward the physical world” within the context of the “multisensory world” in which contemporary design practices operate, given that “digital technologies reflect the joint transformation of the perception of the physical world and the interpretation of what constitutes the human,” 37 hence admitting a significant influence on the multiple modes of understanding materiality. The reflection on the relation between architecture and expression takes a different turn, centered on the question: “Instead of seeking to animate matter in a perfectly artificial way, how might designers facilitate its spontaneous expressive capacity and thereby channel this potential in such a way as to align it with formal intentions?” 38
The crisis of the long-established approaches towards the principle of structure is evidence of the various evolving attitudes towards materiality. Given the recent advances in material technologies and in the nanotechnologies, the focus is increasingly on the “development of materials whose properties are defined in advance instead of toward the design of structures that fulfil functions that can be integrated into the very substance of matter.” 39 The rise of design tools in architecture, for instance, cannot be separated from the rapid increase of concerns regarding environmental sustainability, as both phenomena inform architecture’s inquiry into new material substances. Despite their different approaches to architecture’s environmental dimension, Picon compares the research of Iñaki Ábalos and of Philippe Rahm, which prioritizes a “shift from mechanics to thermodynamics” and atmospheric phenomena over structure, to point to the possibility of a novel comprehension of tectonics, in the light of the growing concerns of energy efficiency.
Architectural form is identified in this section as the aspect which has been most strongly affected by the rise of digital tools: Attention accordingly shifts from the architectural structure to the skin, from issues of form to aspects of performance, thereby influencing a reconsideration of the ornament. The building exterior becomes “complex and thick” due to the processes it assumes and the interfaces it integrates. In a context that envisages a rising crisis of the tectonics, a new apprehension of architectural form is proposed “as a catalyzer of situations rather than as an occurrence or event.” 40
The pursuits of this chapter inevitably revisit the relationship of matter to both ornament and language, as the study reveals valuable connections among certain historical turns through the lens of materiality. The crisis of symbolism in contemporary design practices does not differ greatly to modernism’s rejection of
ornament: they both articulate the utopian theory that architecture may be expressive without alluding to linguistic connotations. According to Picon, such a crisis may confront two “dangerous obstacles” from which the discipline needs to distance itself in the future: “naïve gesticulation” and “the desire for uncompromising objectivity.” 41 For him, architecture needs to maintain, or perhaps reinvent, its agency in the light of the growing social challenges, as “the intractable materiality of architecture does not preclude its deeply human essence.” 42
The concluding chapter, “Situations and Décors. Toward a Politics of Architectural Materiality,” offers an indepth discussion of how, from the viewpoint of materiality, the relation between architecture and politics may be redefined. In this chapter Picon provides the most valuable contribution to the study of the materiality of architecture from a historical and theoretical standpoint, by focusing on the notions of situation and décor, in order to discuss architecture’s agency as a means of production which is essentially both material and symbolic.
Picon puts forward the claim that the “true political agency of architecture” lies in what it can achieve as a discipline on a collective level; in its potential to enable specific built and spatial arrangements charged with symbolical and political meaning. He therefore discusses two key notions: “theatricality and the staging of human presence in the world” and “invisibility versus visibility.” (Fig. 1)
Figure 1. Façade detail of Aqua Tower in Lakeshore East development, Chicago, Illinois, designed by Jeanne Gang (Studio Gang Architects), 2007-2010.
Regarding the first, Karl Friedrich Schinkel’s definition of architecture as an “ennobler of human relationships” 43 is deployed – backed up by an illustration of the second-floor entrance of the 1828 Altes Museum in Berlin – so as to elucidate architecture’s capacity to “generate situations that constitute incentives to orient action in certain directions.” 44 Regarding the second, two contemporary design references – Rahul Mehrotra’s office tower in Hyderabad, Southern India and Jeanne Gang’s Aqua tower in Chicago, Illinois – bring into play architecture’s ability “to create [on the other] immersive environments that reinforce the feeling that human action can be meaningful.” 45
Both notions introduced by Picon lead to the definition of the agency of architecture as “the creation of situations that can either reinforce or disrupt the usual dividing lines in society,” 46 marking a transition from what architecture is composed of (material dimension) to what architecture may influence
(performative/affective dimension). Hence the “regimes of materiality” conceptual tool becomes strongly connected also with Jean Rancière’s concept of “aesthetic regime,” as both concepts “involve vision as a social construct.” 47
For Picon, décor is the culmination of materiality’s expression and needs to be regarded as a dynamic process which suggests that “the most profound signification of ornamented architecture, its true symbolic power, was never fully disclosed.” 48 The affinity between the sensory and the symbolic dimensions is brought up here in order to illuminate the relations between architecture and politics; materiality therefore needs to be understood as a mediator to foster the articulation of these two dimensions. It becomes clear, in conclusion, that the study’s intention – to recount “a history of architecture from the perspective of the changing regimes of materiality” – may also be interpreted, as Picon reveals, as “a history of the successive interpretations of the political fostered by the architectural discipline.” 49
Demonstrating a breadth of scholarship that weaves together meaning from different historical eras and cultural environments, the book makes a significant contribution to a broader corpus of recent works that focus on the lens of materiality from a historical perspective. Drawing upon his previous researches on the topic, Picon illustrates in a striking manner how we are constantly defined, conditioned, and shaped by architecture’s material constructions, while at the same time the discipline as such “acts as a constant reminder of the limits of language and of the power of things.” 50 The novelty of Antoine Picon’s study lies in its remarkable ability to interweave knowledge from the architectural theory and history, and from a wide range of further epistemological fields, among them philosophy, science and technological studies, performance art, and neuroscience, so as to illuminate how the notion of architectural materiality has evolved, enabling us to establish our relation to the physical world as well as to others.
Notes 1 Antoine Picon, The Materiality of Architecture (Minneapolis MN, USA and London: University of Minnesota Press, 2020), 25.
2 Ibid.
3 Ibid., 29.
4 Ibid., 36.
5 Ibid., 43.
6 Ibid.
7 Ibid., 45.
8 Ibid., 48.
9 Ibid., 50.
10 Ibid.
11 Ibid., 51.
12 Ibid.
13 Ibid., 57.
14
Ibid.
15 Ibid., 60.
16 Ibid., 66.
17 Ibid.
18 Ibid., 63.
19 Ibid., 60.
20 Ibid., 69.
21 Ibid., 71.
22 Ibid., 72.
23 Ibid., 75.
24 Ibid., 76.
25 Ibid., 77.
26 Ibid., 82.
27 Ibid., 83.
28 Pierre-Jean-George Cabanis, as cited in Picon, The Materiality of Architecture, 89.
29 Picon, The Materiality of Architecture, 91.
30 Ibid., 99.
31 Ibid., 95.
32 Ibid.
33 Ibid., 102.
34 Ibid.
35 Sheila Jasanoff, as cited in Picon, The Materiality of Architecture, 112.
36 Gregory Bateson, as cited in Picon, The Materiality of Architecture, 115.
37 Picon, The Materiality of Architecture, 114.
38 Ibid., 117.
39 Ibid., 122.
40 Ibid., 132.
41 Ibid., 133.
42 Ibid.
43 Ibid., 147.
44 Ibid., 143.
45
Ibid.
46 Ibid., 148.
47 Ibid.
48 Ibid., 150.
49 Ibid., 154.
50 Ibid., 20.
Credits Figure 1: photo by ® Jonathan Rieke, online image, March 18, 2011. Flickr (CC BY-NV 2.0) https://flic.kr/p/9yMbiH(link is external), accessed 6 Jan 2022.
Stamatina Kousidi is an Associate Professor of Architectural Design at the Department of Architecture and Urban Studies at the Politecnico di Milano, and a member of the group of researchers at the Politecnico doctoral program in architecture, urban and interior design. She has held postdoctoral fellowships at the Politecnico di Milano, the ETH Zurich, and the Humboldt Universität in Berlin. Her research is at the interface of theories and projects of the modern and contemporary eras with an emphasis on the environmental aspects of the architectural organism. She is a registered architect in Greece.
E-mail: stamatina.kousidi@polimi.it(link sends e-mail)
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562 Print Publication Date February, 2022 Electronic Publication Date Tuesday, February 1, 2022 Login JOURNAL Current Issue Volumes & Issues Past Themed Calls ABOUT Aims & Scope Instructions for Authors Journal Information Policy on Ethics & Publication Malpractice Indexing & Abstracting Publisher Information Editorial Office TPJ Best Paper Award ACCESS & SUBSCRIBE Access Policy Instructions for Readers Subscription Prices Subscribe online ISSN 2611-7487 | E-ISSN 2531-7644 (link is external)
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VOLUME 6/2021 - Issue 2
BOARD
Iñaki Abalos Professor in Residence, Department of Architecture, GSD, Harvard University, Cambridge MA, USA
Stig Andersson Founding Partner SLA Architects, Professor of Aesthetic Design, University of Copenhagen, Copenhagen, Denmark
Yung Ho Chang Professor of Architecture, College of Architecture and Urban Planning, Tongji University, Shanghai, China
Winka Dubbeldam Founder of Archi-Tectonics, Miller Professor and Chair of Architecture at Stuart Weitzman School of Design
Brian Ford Professor Emeritus, Department of Architecture & Built Environment, University of Nottingham, Nottingham, UK
Hsinming Fung Professor and Director of International Programs , SCI-Arc, Los Angeles CA, USA
Carlo Gasparrini Professor of Urbanism, Dipartimento di Architettura, Universita' degli Studi di Napoli Federico II, Naples, Italy
Francisco Liernur Professor of History of Architecture, Escuela de Arquitectura y Estudios Urbanos, Universidad Torcuato di Tella, Buenos Aires, Argentina
Rahul Mehrotra Professor of Urban Design and Planning, GSD, Harvard University, Cambridge MA, USA
Antoine Picon Professor of the History of Architecture and Technology, GSD, Harvard University, Cambridge MA, USA
Mónica Ponce de León Dean, School of Architecture, Princeton University, Princeton NJ, USA
Jane Rendell Professor, The Bartlett School of Architecture, University College London, London, UK
Peter Rich Professor of Architecture, Witwatersrand University, Johannesburg, South Africa
Robert Somol Director, School of Architecture, University of Illinois at Chicago, Chicago IL, USA
Michael Speaks
Dean, School of Architecture, Syracuse University, Syracuse NY, USA
Martha Thorne Dean, IE School of Architecture and Design, Madrid, Spain + Executive Director, The Pritzker Architecture Prize
C David Tseng Dean, College of Humanities and Social Sciences, National Chiao-Tung University, Taipei, Taiwan
Wouter Vantisphout Professor of Design & Politics, Faculty of Architecture, TU-Delft, Delft, The Netherlands
Sarah Whiting Dean, Graduate School of Design, Harvard University, Cambridge MA, USA
Li Xiangning Deputy Dean, College of Architecture and Urban Planning, Tongji University, Shanghai, China
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THE PLAN Journal (TPJ) intends to disseminate and promote innovative, thought-provoking and relevant research, studies and criticism in architecture and urbanism. The criteria for selecting contributions will be innovation, clarity of purpose and method, and potential transformational impact on disciplinary fields or the broader socio-cultural context. The ultimate purpose of the TPJ is to enrich the dialog between research and professional fields, in order to encourage both applicable new knowledge and intellectually driven modes of practice.
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Sustainable use of materials for architectural details
In the carbon footprint of each type of material there are emissions resulting from the process of forming the material and the construction process. The large carbon footprint results from the material processing stages, including transportation, to disposal or final recycling. This results in large annual global carbon emissions. Each year, embodied carbon is responsible for 11% of global GHG (greenhouse gas) emissions and 28% of global building sector emissions. Emissions resulting from the carbon footprint will be left in a building. We can reduce the carbon footprint through planning material selection and engineering architectural details. •
What is the relationship between carbon footprint + architecture In the carbon footprint of each type of material there are emissions resulting from the process of forming the material and the construction process. based on the carbon footprint resulting from the processing stage of raw materials to manufacturing, including transportation to disposal or active recycling of life. This results in large annual global carbon emissions.
However, we can reduce our carbon footprint through material selection planning and architectural detail engineering. Emissions resulting from a carbon footprint are left in a material, an architectural detail, and ultimately a building, once the building is built, those emissions are irrevocable. 1. The first type is the carbon footprint generated through the formation of the material. This type is projected to have a stable value from 2020-2050. 2. The second type that is getting higher from year to year is the carbon emission generated by calculating the process of a material being transported, constructed, and reused/stored. This is where the selection of local materials and engineering of architectural details that are easy to construct is useful to reduce the carbon footprint in a building. This is called a continuous awareness of materials and architectural detail.
Sustainable awareness of architectural materials and details Sustainable detail: A space experience generated by environmental awareness
Within the architectural scope, details are carefully thought out by considering the selection of local materials (transport as close as possible to the location), easy-tounderstand language, easy to maintain, durable. So that the quality of these details we can call sustainable details Within the architectural scope, details are carefully thought out by considering the selection of local materials (transport as close as possible to the location), easy-tounderstand language, easy to maintain, durable. So that the quality of these details we can call sustainable details.
Cadwell explores continuous details to the process of appreciating space through dialogue between details based on locality. The sustainable details in this architect's work have limitations on weather, experience, so they are able to be sustainable and against time.
Querini stampalia
ergonomics, elements of doors, windows, walls, floors, ceilings, hinges, to ornaments.
Jacob house
The first project was the Querini Stampalia renovation project by Scarpa which was based on the selection of local materials and the architect's appreciation of local craftsmanship. Carlo Scarpa plays creatively with tectonic grammar and the transition between indoor and outdoor spaces (the garden), such as the use of transparent glass.
Optimizing sustainable architectural details using wood panel materials in this house is a contextual idea with the environment such as the topography of the city of Wisconsin which is dominated by wood forests, this area has the highest temperature reaching 45 degrees Celsius and the lowest reaching -48 degrees Celsius. Wood was chosen because it is able to balance the room temperature with its adaptive properties with addd thermal insulation.
The continuous play of details is seen in the meeting elements of iron, wood, stone, and concrete which are adjusted to the visibility,
Farnsworth house Farnsworth House – Mies Van Der Rohe, Plano, Illinois 1945 – 1951. Farnsworth House was built at the dawn of the steel industry. Through this work, Mies Van der Rohe tries to reveal the continuous detail in the tectonic expression of steel material by providing a sensibility about how the structure can stand up to support the load. Expressed through thin columns that can support steel, which are suspended and create a large floor area to create the impression of floating
Yale center for british art The ongoing detail in this restoration project tries to maximize the space experience through a combination of various materials namely concrete, metal, wood, stone, and glass. The combination of details played between stainless steel metal and glass with concrete is expressed the loudest so that it looks like a perfect cladding box. Concrete as strength, metal as gasad role in reducing light, while glass plays a role in entering light.
those architectural details have binding functional parameters. Then, to what extent can the architect design a detail to become a continuous detail? The ongoing detail in this restoration project tries to maximize the space experience through a combination of various materials namely concrete, metal, wood, stone, and glass. The combination of details played between stainless steel metal and glass with concrete is expressed the loudest so that it looks like a perfect cladding box. Concrete as strength, metal as gasad role in reducing light, while glass plays a role in entering light.
those architectural details have binding functional parameters. Then, to what extent can the architect design a detail to become a continuous detail?
how to develop a design method towards sustainable architecture •
In order to devise a design method, it is necessary to understand how buildings are constructed and designed. The design process also has so many considerations that need to be answered, from what? who? what for? For who? how? why? and in the end is there any other better option? This is Mula Design Theories and Methods (DTM). In the mid-20th century, this study was discussed by Rittel and Webber who separated two types of problems, namely Tame and Wicked Problems. Tame problem is a problem whose solution can be solved with certainty. Wicked problem is a planning crisis whose solution is uncertain where the process is complicated because the interested parties have their own views. Therefore Rittel and Webber point out the importance of assembling a design methodology. Architects can synthesize Tame and Wicked
how to develop a design method towards sustainable architecture •
Building physics, in this case, is a synthesis between detailed functions, their relation to climate, culture, and building functions into sustainable designs. The factors include natural influences on buildings such as rain and humidity to wind, thermal comfort, namely the influence of buildings on users through sensory sensibility such as light intensity to temperature in the room, and the relevance of details to the fulfillment of user functions to the significance of their impact on the environment, both economic, social. as well as ecological
how to develop a design method towards sustainable architecture •
Social relations in sustainable architecture concern the significance of the impact of an architect's design ideas on human sustainability. In this case, it is closely related to locality, one of which is manifested in the use of local materials carried out by the surrounding community and has an impact on the local economy but does not rule out the impact of buildings on the environment such as carbon footprints and so on.
HOW TO IMPLEMENT A SUSTAINABLE ARCHITECTURE It was discussed by Jana Revedin and Marie-Hélène that architects can become agents of community empowerment through the selection of local materials, collaboration with local artisans/artisans, and participatory development. After understanding how to structure design methods towards sustainable architecture, we need to know how architects implement sustainable architectural design methods. Basically, in architectural practice, every architect is faced with 3 conditions due to architectural design, namely the economic side, the social side, and the environmental side. These three sides are closely related to the awareness of the architect to understand the context of the "site" where the architect can choose local materials (local natural resources) as an effort to reduce carbon footprint and help the economy of the surrounding community. In the global ecosystem, the relationship between architects and sustainable architecture is seen in the 11th Sustainable Development Goals point, namely Sustainable Cities and Communities towards 2030. This item aims to make cities &settlements inclusive, safe, resilient, and sustainable. SDG 11 has 7 targets, namely: (1) Affordable housing; (2) affordable &sustainable transportation system; (3) inclusive &sustainable urbanization; (4) protecting the world's cultural &natural heritage; (5) reduce the adverse effects of natural disasters; (6) reduce the city's environmental impact; and (7) provide access to safe and inclusive green &public spaces.
The works of architects are expected to be able to bridge between the need for practical solutions in the field in the real ecological crisis, and the sustainability of the good side for the socio-economic community. Basically, in architectural practice, every architect is faced with 3 conditions due to architectural design, namely the economic side, the social side, and the environmental side. These three sides are closely related to the awareness of the architect to understand the context of the site where the architect can choose local materials (local natural resources) as an effort to reduce carbon footprint and help the economy of the surrounding community; and build expertise in building local human resources that require tradition and community empowerment of the technical side of the building that is easy to maintain, easy to construct, and efficient in terms of building budget.
Fajar Hadi Suprayitno / 04.2021.1.03474
EXAMPLES OF IMPLEMENTING SUSTAINABLE ARCHITECTURE Fajar Hadi Suprayitno / 04.2021.1.03474
BRICK APPLICATION In The Kantana Institute, there is an 8 m thick brick wall supported by steel structures inside. The wall requires 600,000 bricks taken from local producers, creating a tactile human scale. The spaces inside are connected to hallways flanked by brick walls inspired by religious buildings. The cavity inside the wall provides thermal insulation in which interspersed openings that do not block the human view. This composition provides an experience of space to understand the collaboration of the parties involved in shaping the integration of spaces – sustainable economic, social, and environmental spaces.
APPLICATION OF PLASTIC AND WOOD The Wine Ayutthaya has an exploration of plastic and wood materials. The building utilizes a plywood structure reinforced by steel, adapting the local traditional wooden house. The works of architects are expected to be able to bridge between the need for practical solutions in the field in the real ecological crisis, and the sustainability of the good side for the socio-economic community. It was discussed by Jana Revedin and MarieHélène that architects can become agents of community empowerment through the selection of local materials, collaboration with local artisans/artisans, and participatory development is the basis for creating sustainable designs from detail towards sustainable economic, social, and environmental spaces
Fajar Hadi Suprayitno / 04.2021.1.03474
The Nissan Skyline GT-R cars are illegal in the United States because it doesn’t meet the requirements of the 1988 Imported Vehicle Safety Compliance Act. However, in 1998, the NHTSA granted immunity for import vehicles over 25 years of age. So, technically you can still own the GTR R34 in the USA.
UNDERSTANDING THE PARAMETERS OF CONTINUOUS WORK THROUGH CASE STUDIES To enrich design considerations from the Economic, Social, and Environmental side, an architect needs a broad insight into how many known study cases. To enrich design considerations from the Economic,Social,andEnvironmental si
de, an architect needs a broad insight into how many known study cases. To know how high/deep the quality of an architectural work is, it takes a multi-disciplinary understanding that challenges how far an architect is in devoting his sweat to create a comprehensive architectural work. This work is not just about mass, plan, and space. But a lifetime of practical work experience.
To know how high/deep the quality of an architectural work is, it takes a multidisciplinary understanding that challenges how far an architect goes in pouring his sweat into creating a comprehensive work. This work is not just about mass, plan, and space. However, a lifetime practical work experience through 3 stages of case analysis study: 1. Building Mass: the study of basic forms as a foundation of figure, form, philosophical value, to the relationship of causation with the angle of the sun, circulation around the building, or as simple as following the history of architectural formation in a city (continental approach). 2. Spatial Plan: programming studies, data sets on the definition of a space, how to use it, how many users it has, as well as the need for integration with building 3. Space experience: relates to the intuition accumulated in the composition of 3D forms (supported by materiality, forming the experience of space.
A.
Building Time?
When an architect starts designing, he needs to imagine a figure of shape, realized or unconscious. This is called the mass of the building. The study of the mass of buildings is the study of basic forms that are the basis of figures, forms, philosophical values, to the relationship of causality with the angle of the sun, circulation around buildings, or as simple as following the history of architectural formation in a city (continental approach).
B.
Floor Plan
The basic needs in designing are translated into adatabase called programming. Programming is a collection of data on things such as: the definition of a space, how to use space, how many people use space, the need for integration with building utility systems including things such as ergonomics, room width, door width, opening width, how the connectedness of the upper and lower floors are related, or simply how the layout of the furniture is located.
C.
Space Experience
Architects connect taste into reason, often referred to as intuition. In the realm of an architect's intuition, the results of this intuition accumulate in the composition of 3dimensional shapes. While the experience of space is an 'atmosphere' formed from 3dimensional shapes and materiality that shows the sensitivity of an architect. The materiality is generated by the atmosphere formed from the quality of axitectonics (continuous detail) so that in the experience of space what plays a role is time as a comprehensive 4-dimensional composition.
Who Am I? | Bringing Yourself Surfing in the Sustainable Architecture Movement
"Who am I?" is a question inherent in every architect in the world. To answer it, one only needs to be self sufficient and know and understand that every individual is born unique. The question "who am I?" will provide a solid foundation for the formulation of an optimal sustainable architecture strategy Understanding one's strengths and weaknesses, likes and dislikes, ways that work and what doesn't, as well as how to respond to things will help explain how you feel logically. By understanding ourselves, we indirectly also learn to understand other people and how each individual has their own characteristics and ways, besides that architects will become more confident and skilled. Knowing yourself takes time and travel. It can be likened to how everyone shapes other people, and other people shape “who I am”. In general, humans have various personality elements within themselves that need to be understood, accepted, and embraced in order to be able to take a step forward with more certainty. Humans still have a passion to be better and contribute to society in the context of the study of creativity, this can be manifested in various ways, starting from learning to imitate and chasing quantity, to starting to think about goals and quality, until finally reaching the "playing" phase. and explore ideas. The study of "who am I?" contained in how we can recognize our personality. There are elements called archetypes. Carl Jung divided archetypes into persona (mask), shadow (fear), anima (feminine), and animus (masculine), and many other archetypes in the human personality. A soul will experience wholeness (self), and feel sufficient when there is integration or acceptance of all archetypes, including things in their subconscious, as well as acceptance of the past and dreams of increasing self potential.
Atika Putri Kumala Dewi (04.2021.1.03498)
SUSTAINABLE ENERGY USE Sustainable energy is the sustainable supply of energy that meets the needs of the present without compromising the ability of future generations to meet their needs. TechnologiesTechnologies that support sustainable energy include renewable energy sources, such as hydroelectric power, solar energy, wind energy, waves, geothermal energy, artificial and tidal power, as well as technologies designed to improve energy efficiency. From a society’s point of view, energy is not energy itself. Energy systems are designed to match demand for services such as cooking, lighting, a comfortable indoor climate, transportation, information, and consumer goods. An energy system consists of the energy supply sector and end-use technology to provide energy services or services. The energy supply sector is involved in complex processes for extracting energy resources (such as coal, and oil), in order to convert them into more needed and suitable forms of energy.
THE BUILDING SHOULD HAVE PRINCIPLES LIKE THIS •Manage natural resources properly so that they can be used in the future. •Utilize natural resources as best as possible so that there is no waste and does not damage the environment. •The development carried out must be able to increase renewable natural resources. •Maintaining the quality of human life in the present and in the future.
David Pradana – 04.2021.1.03491
MY PLAN 15 YEARS LATER Written by : Cahya Brilian Firdaus / 04.2021.1.03510
In the next 15 years, I want Indonesia in the future to become one of the green countries that are environmentally friendly and become one of the largest green architecture in the world. I don't want us to make Indonesia a shortage of clean air due to illegal logging. I will not remain silent and contribute to making Indonesia an environmentally friendly country, a green country, and one of the largest green architectures in the world.
SUSTAINABLE ARCHITECTURAL PUZZLE
ACROSS 4. REUSE 5. THE ENVIRONMENT 6. RENEWABLE RESOURCES
DOWN 1. QUALITY THE GOAL IN BUILDING 2. RESOURCE CONSUMPTION 3. A HEALTHY ENVIROMENT
My Acrostic Poem
D are to be different, R eady for anything Every day must be happy A lone to pray, Mission will soon be achieved
Lisa Tria Rahmawati/04.2021.1.03501
WHY ARCHITECTURE ITATS ?
The more development there are, the more experts are needed, including architecture graduates. Massive and sustainable development must also be supported by individuals and groups who have an attitude of professionalism and high integrity! Therefore, there is an architecture department on the ITATS campus which is supported by human resources in the form of teaching lecturers and adequate facilities to create the best graduates. Not only that, graduates are also expected to have the competence and ability to apply knowledge in architectural engineering and keep up with the times.
COME AND JOIN US!!! Sapta Mardena – 04.2021.1.03513
CAMPUS FACILITES :
Main Building
Gallery
Sapta Mardena – 04.2021.1.03513
Computer Lab
Lecture’s Room
Library
Sapta Mardena – 04.2021.1.03513