Professional Documents
Culture Documents
POLITEKNIK
UNGKU OMAR
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BRIDGING SENI BINA
POLITEKNIK
UNGKU OMAR
BRIDGING SENI BINA
POLITEKNIK
UNGKU OMAR
PENGENALAN
Frank Lloyd Wright dilahirkan pada 8 jun 1867, Richland
Center di Wisconsin USA. Beliau meninggal dunia di Phoenix,
Arizona pada tahun 1959. Bapanya William Cary Wright (ketua
mubaligh) dan ibunya Anna Lloyd Jones (guru sekolah) telah
memberi inspirasi secara langsung dalam bidang Arkitek.
Melanjutkan pelajaran di Universiti tempatan dalam bidang
kejuruteraan.
Pada 1888, Frank Lloyd Wright bekerja di sebuah firma yang berjaya Dankmar
Adler dan Sullivan sebagai pelukis pelan. Beliau bekerja bersama Sullivan untuk
enam tahun pertama sebagai pelukis pelan. Setelah itu, ditawarkan menjadi pembantu
arkitek dalam tahun 1890 dan pada tahun 1893, beliau meninggalkan Sullivan dan
menggunakan pengalaman sebagai seorang arkitek.
INTRODUCTION
Frank Lloyd Wright was born on 8 June 1867 at Richland Center in Wisconsin, USA. He died
in Phoenix, Arizona in 1959. His Father William Cary Wright (Minister Baptist) and his Mother
Anna Lloyd Jones give inspired him greatly in his career as an Architect. He left to Chicago to
attend classes in the local University’s engineering department.
In 1888, Frank Lloyd Wright joined a more successful firm of Dankmar Adler and Sullivan as
a draftsman. He worked with Sullivan for nearly six years. He was promoted to the architect’s
chief assistant in year 1890 and 1893, he left Sullivan and set up his own practice as an
architect.
BRIDGING SENI BINA
POLITEKNIK
UNGKU OMAR
Frank Lloyd Wright telah mereka lebih daripada 300 jenis bangunan
dengan pengaruh dan idea senibina moden. Beliau membina tema organik
senibina dengan Interior dan Exterior rekaan yang harmoni dengan unsur
alam semula jadi. Terdapat enam era yang berbeza dengan takrif gaya
penyatuan dalam bidang senibinanya:
- Awal tahun dengan Sullivan in Chicago
- Prairie Styles
- Pengaruh Jepun
- Great Works pada 1930’an
- The Broadcare City
- Ornamentation Design
Frank Lloyd Wright was had designed more than 300 buildings and his ideas influenced modern
archetects. He developed a theme of Organic Architecture, in which the interior and exterior
designed in harmony with nature. There were six eras defining different yet an integration of
styles in his career as an architect:
- Early years with Sullivan in Chicago
- Prairie Styles
- Japanese influence
- Great Works of 1930’s
- The Broadcare City
- Ornamentation Design
BRIDGING SENI BINA
POLITEKNIK
UNGKU OMAR
‘Organic architecture’ adalah falsafah bagi arkitek dimana memperkenalkan harmoni antara
kehidupan manusia dan dunia semulajadi melalui pendekatan rekaan bersifat simpati dan berjaya
menyatukan dengan tapak bangunan, kemasan, disekelilingnya dijadikan bahagian untuk bersatu,
dan kandungannya saling berkaitan. Senarai peraturan bagi cadangan rekaan menggunakan
‘Organic architecture’:
- inspirasi daripada semulajadi dan bersesuaian, kesihatan,menjimatkan dan berbeza.
- tidak terikat, sepertimana organisma, daripada sebiji benih.
- “meneruskan kewujudan” dan “lakukan berulang-ulang kali”
- mengikut aliran dan menjadi mudah lentur dan sesuai
- memerlukan keperluan sosial, fizikal, dan dalaman
- “tapak tidak dimuatkan” dan lebih unik
- raikan semangat muda, bermain dan kejutan.
- luahkan nada daripada muzik dan kuasa daripada tarian.
Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world
through design approaches so sympathetic and well integrated with its site that buildings, furnishings, surroundings become part of
a unified, and interrelated composition. Proposed a list of rules towards the design of an organic architecture:
- be inspired by nature and be sustainable, healthy, conserving, and diverse.
- unfold, like an organism, from the seed within.
- "continuous present" and "begin again and again".
- follow the flows and be flexible and adaptable.
- satisfy social, physical, and spiritual needs.
- "grow out of the site" and be unique.
- celebrate the spirit of youth, play and surprise.
- express the rhythm of music and the power of dance."
FALLING WATER
Frank Lloyd Wright telah memilih
pelbagai lokasi untuk kediaman bagi tapak
yang luas, tetapi beliau memilih untuk
menepatkannya terus ke air terjun dan
mencipta lebih dekat, juga kebisingan
bunyi dengan derasan air dan tapak yang
curam. Keadaan mendatar pada batu
masonry dengan keberanian cantilevers
pada warna
Kuning air pada konkrit
dengan mencampurkan
batu asli diluar taman dan
persekitaran berhutan.
"Taliesin West is the winter home and workshop of Mr. Wright and his students, and was built
almost entirely by the students themselves. Walls are concrete, but of a special kind: native
boulders, red, yellow and gray, were laid in rough wooden forms and cement poured over.
Above these colorful, variously tapered walls are the great redwood trusses which support
canvas-covered roof flaps. Glass is unnecessary, as the canvas admits a softly diffused light."
IMPERIAL HOTEL
“Tetapi dengan sekalanya, dan ianya bermain dengan
elemen yang tidak disangka, Imperial Hotel merupakan
jepun sepenuhnya. Beliau telah menampak tarikan
sejumlah orang Jepun mengenai bagaimana ia dibina
keseluruhannya di dalam Imperial Hotel sekecil itu…
dimana terdapat beberapa teres dan laman kecil, laluan
yang sangat terbatas secara tiba-tiba pembukaan yang
besar antara 2 ke 3 tingkat ruang, dan ianya mempunyai banyak perbezaan aras,
kedua-dua bahagian dalam bilik dan luar bangunan, termasuk hubungan jambatan
antara dua panjangnya, selari dengan sayap pada ruang tetamu. Akhirnya, beliau
mencapai sesuatu tanpa rugutan didalam rekaanya. Pada masa kini, penyelarasan
kesemua pandangan bilik kecil mengenai ilmu senibina telah berjaya dalam
melakukan kesemua ruang tamu berbeza antara satu sama lain.
"But in its scale, and in its play with surprise elements, the Imperial Hotel is completely
Japanese. Wright was apparently so struck by the smallest of Japanese things that he made
everything in the Imperial Hotel tiny...There were little terraces and little courts, infinitely
narrow passages suddenly opening into large two- or three-storey spaces;...And there were
many different levels, both inside the rooms and outside the buildings, including connecting
bridges between the two long, parallel wings of guest-rooms. Finally, Wright achieved
something almost unheard of in hotel design: in this most standardized of all fields of cubicle
architecture he succeeded in making almost every guest-room different from every other."
JOHNSON WAX
“kedua-dua Bangunan Pentadbiran dan disebelahnya
Menara Peyelidikan…adalah menggunakan batu-bata
dan gelas. Di ruang pejabat utama disambungkan dengan
bahagian tiang untuk menahan enam kali berat beban
yang ditanggung. Oleh itu beliau membuktikan atas
arahan bagi mendapatkan permit. Kaca bukanlah tingkap
ataupun pintu, tetapi dalam sistem tiub, dan beberapa
lapisan yang berbeza saiz digunakan bagi mengakui
bahawa sinaran bukannya pemandangan….beliau mereka
kesemua perabot tulen untuk bangunan ini, termasuk:
kerusi berkaki setiausaha, dimana semua setiap satu
mengikut gaya. Menara ini secara keseluruhanya
diperincikan dan tidak dibenarkan menonjol secara
mendatar pada ruang kerja.
"Both the Administration Building (also called the Johnson Wax Building) and the later
Research Tower...are of brick and glass. The main office work space is articulated by form
columns capable of supporting six times the weight imposed upon them, a fact Wright had to
demonstrate in order to obtain a building permit. The glass is not in panes, but in tubing, and
several layers of different sizes are used to admit light but no view....Wright designed all the
original furniture for the building, including the three-legged secretary chairs, which tip over
if one does not sit with correct posture. The tower is totally enclosed and does not allow for
horizontal expansion of work space."
MARIN CIVIC CENTER
Marin County Government Center, dimana orang awam
berhenti dikebanyakkan bahagian dan penyelesaian yang wajar
dalam struktur yang mencabar diantara bukit-bukit dan tapak
lembah yang luas. Oleh itu, bangunan Marin County telah
disesuaikan dengan tumpuan orang ramai, bagi seseorang dimana
beberapa bangunan untuk masa dan hari, minggu selepas minggu,
beberapa tahun, memberi inspirasi dalam sesuatu tempat yang
diterima dalam rekaan kediaman mengambil alih alam daripada
bangunan dimana ianya bekerja. Rekaannya pada pusat tidak
sahaja diterima bahkan penting pada aspek kegunaan. Bukan
sahaja mudah disebabkan keperluan dan kesenangan untuk
bergerak, tetapi menciptakan keadaan yang harmoni setiap masa,
indah, dan memberi ilham.
"In the Marin County Government Center, however, the public is stationary for the most part and the logical solution was to stretch
the structure out among the hills and sweeping valleys of the site. Thus the Marin County buildings are dedicated to a working public,
to the individuals who will be in the buildings several hours a day, week after week, over the years. The inspiration that one receives
from living in a beautifully designed home here takes place in the realm of the building in which one works. The design of the Center
not only considers the fundamental practical aspects, nor simply the necessities and conveniences of those working in it, but makes
their conditions at all times harmonious, beautiful, and inspiring."
Pfeiffer Chapel
Bangunan pertama yang dibina di dalam kampus. Tempat
yang cantik dengan kecerunannya sedikit naik dalam suasana
taman tropika, bangunan yang sesuai bagi semangat meditasi.
Tiada pemandangan yang besar di luar, kecuali anjung pada
tingkat dua. Dinding batu konkrit dilubangkan bagi tujuan rekaan
abstrak dimana kaca yang berwarna digunakan dan pelbagai sudut
dan bentuk kedudukan pada keseluruhannya. Menjangkakan
kedudukan sokongan dan bebanan dapat dilihat, kelembutan
sinaran yand dibias dimana lut cahaya matahari ditukarkan dan
semua keutamaan diteruskan ke arah langit, dengan tujuan rujuk
setiap kali perubahan sinaran dan bayang-bayang.
"Wright had two major difficulties of a philosophical sort in designing a skyscraper: first, as a believer in an architecture close to
nature, he had a hard time justifying, upright, seemingly anti-nature building; and, second, his obsession with the twin concepts of
continuity and plasticity. a preoccupation that had led him to the sea-shell and the cocoon as ideal structural prototypes—made it
difficult to approach the design of a tall, multicultural building...He solved this dilemma in a characteristic fashion, by going to the
one source in nature which did suggest a way of building a tall structure:
DISEDIAKAN OLEH:
SEKIAN
TERIMA KASIH