Apa Itu GReeN ARcHitecTure??

Green building is the practice of increasing the efficiency of buildings and their use of energy, water, and materials, and reducing building impacts on human health and the environment, through better siting, design, construction, operation, maintenance, and removal — the complete building life cycle.

A similar concept is natural building, which is usually on a smaller scale and tends to focus on the use of natural materials that are available locally.^[1] Other commonly used terms include sustainable design and green architecture; however, while good design is essential to green building, the actual operation, maintenance, and ultimate disposal or deconstruction of the building also have very significant effects on buildings' overall environmental impact.

The related concepts of sustainable development and sustainability are integral to green building. Effective green building can lead to 1) reduced operating costs by increasing productivity and using less energy and water, 2) improved public and occupant health due to improved indoor air quality, and 3) reduced environmental impacts by, for example, lessening storm water runoff and the heat island effect. Practitioners of green building often seek to achieve not only ecological but aesthetic harmony between a structure and its surrounding natural and built environment. The sustainable buildings are also environmentaly friendly in the fact that they are built out of materials that are good for the environment.The appearance and style of sustainable homes and buildings can be nearly indistinguishable from their less sustainable counterparts.

Green buildings are scored by rating systems, such as the Leadership in Energy and Environmental Design (LEED) rating system developed by the U.S. Green Building Council, Green Globes from GBI and other locally developed rating systems.

The environmental impact of buildings

Buildings have a profound effect on the environment, which is why green building practices are so important to reduce and perhaps one day eliminate those impacts.

In the United States alone, buildings account for:

• 39% of total energy use
• 12% of total water consumption
• 68% of total electricity consumption
• 38% of total carbon dioxide emissions^[2]

However, the environmental impact of buildings is often underestimated, while the perceived costs of building green are overestimated. A recent survey by the World Business Council for Sustainable Development finds that green costs are overestimated by 300%, as key players in real estate and construction estimate the additional cost at 17% above conventional construction, more than triple the true average cost difference of about 5%. ^[3]

Green building practices

Green building brings together a vast array of practices and techniques to reduce and ultimately eliminate the impacts of buildings on the environment. On the aesthetic side of green architecture or sustainable design is the philosophy of designing a building that is in harmony with the natural features and resources surrounding the site. There are several key steps in designing sustainable buildings: specify 'green' building materials from local sources, reduce loads, optimize systems, and generate on-site renewable energy.

Building materials typically considered to be 'green' include rapidly renewable plant materials like bamboo and straw, lumber from forests certified to be sustainably managed, stone, recycled metal, and other products that are non-toxic, reusable, renewable, and/or recyclable. Building materials should be extracted and manufactured locally to the building site to minimize the energy embedded in their transportation.

Low-impact building materials are used wherever feasible: for example, insulation may be made from low VOC (volatile organic compound)-emitting materials such as recycled denim, rather than the insulation materials that may contain carcinogenic or toxic materials such as formaldehyde. To discourage insect damage, these alternate insulation materials may be treated with boric acid. Organic or milk-based paints may be used.

Architectural salvage and reclaimed materials are used when appropriate as well. When older buildings are demolished, frequently any good wood is reclaimed, renewed, and sold as flooring. Many other parts are reused as well, such as doors, windows, mantels, and hardware, thus reducing the consumption of new goods. When new materials are employed, green designers look for materials that are rapidly replenished, such as bamboo, which can be harvested for commercial use after only 6 years of growth, or cork oak, in which only the outer bark is removed for use, thus preserving the tree. When possible, building materials may be gleaned from the site itself; for example, if a new structure is being constructed in a wooded area, wood from the trees which were cut to make room for the building would be re-used as part of the building itself.

To minimize the energy loads within and on the structure, it is critical to orient the building to take advantage of cooling breezes and sunlight. Daylighting with ample windows will eliminate the need to turn on electric lights during the day (and provide great views outside too). Passive Solar can warm a building in the winter - but care needs to be taken to provide shade in the summer time to prevent overheating. Prevailing breezes and convection currents can passively cool the building in the summer. Thermal mass stores heat gained during the day and releases it at night minimizing the swings in temperature. Thermal mass can both heat the building in winter and cool it during the summer. Insulation is the final step to optimizing the structure. Well-insulated windows, doors, and walls help reduce energy loss, thereby reducing energy usage. These design features don't cost much money to construct and significantly reduce the energy needed to make the building comfortable.

Optimizing the heating and cooling systems through installing energy efficient machinery, commissioning, and heat recovery is the next step. Compared to optimizing the passive heating and cooling features through design, the gains made by engineering are relatively expensive and can add significantly to the projects cost. However, thoughtful integrated design can reduce costs -- for example, once a building has been designed to be more energy-efficient, it may be possible to downsize heating, ventilation and air-conditioning (HVAC) equipment, leading to substantial savings. To further address energy loss hot water heat recycling is used to reduce energy usage for domestic water heating. Ground source heat pumps are more energy efficient then other forms of heating and cooling until you factor in the energy lost during generation and transmission if the project is on the grid.

Finally, onsite generation of renewable energy through solar power, wind power, hydro power, or biomass can significantly reduce the environmental impact of the building. Power generation is the most expensive feature to add to a building.

Good green architecture also reduces waste, of energy, water and materials. During the construction phase, one goal should be to reduce the amount of material going to landfills. Well-designed buildings also help reduce the amount of waste generated by the occupants as well, by providing onsite solutions such as compost bins to reduce matter going to landfills.

To reduce the impact on wells or water treatment plants, several options exist. "Greywater", wastewater from sources such as dishwashing or washing machines, can be used for subsurface irrigation, or if treated, for non-potable purposes, e.g., to flush toilets and wash cars. Rainwater collectors are used for similar purposes.

Green building often emphasizes taking advantage of renewable resources, e.g., using sunlight through passive solar, active solar, and photovoltaic techniques and using plants and trees through green roofs, rain gardens, and for reduction of rainwater run-off.^[4] Many other techniques, such as using packed gravel for parking lots instead of concrete or asphalt to enhance replenishment of ground water, are used as well.

Jadi Pada Intinya Green Architecture adalah arsitektur yang ramah dan memperhatikan lingkungan. Hal ini bisa terlihat antara lain dengan meminimalisasikan penggunaan lampu disaat siang hari karena penataan bangun dimungkinkan untuk menerima cahaya dari luar secara maksimal. Penggunaan AC juga dapat ditekan karena udara akan dimaksimalkan masuk sehingga tidak dibutuhkan AC untuk mendinginkan ruangan. Tapi yang harus dipahami juga adalah penyediaan taman yang berguna untuk penyerapan air hujan, karena disadari ruang serap di jakarta sudah sangat sedikit, hal ini disadari atau tidak air bersih adalah barang yang akan menjadi sangat mahal, kalau tidak percaya tanya aja yang pake air dari PDAM..... jadi mulai sekarang sadarlah untuk menjadi orang yang ramah dan peduli lingkungan mulai dari hal-hal yang kecil aja.........

Contoh Green Architecture

SoLuSI Untuk LaHaN SeMPit part 2

SoLuSI Untuk LaHaN SeMPit part 1

Bro/Sist ini adalah salah satu jawaban bagi kita-kita yang punya masalah dalam membangun rumah dengan keterbatasan area. dalam artian tanahnya kecil. Sapa tahu ini bisa jadi inspirasi. ini karya dari Ign Susiadi W. Rumah ini pernah masuk majalah ASRI. Untuk info yang lebih lanjut tentang sang empunya karya ini bisa hubungin gue dulu. Gue ga mau ngasih nomer hp sang empunya karya ini di blog ini karena terkadang dunia maya bisa berbahaya. hahahaha. Jadi yang berminat akan gue kasih tahu lebih lengkap. Kasih E-mail loe, ntar gue kabarin tentang infonya. ingat untuk yang berminat ya.

Postmodern architecture

1000 de La Gauchetière, with ornamented and strongly defined top, middle and bottom. Contrast with the modernist Seagram Building and Torre Picasso

Postmodern architecture is an international style whose first examples are generally cited as being from the 1950s, and which continues to influence present-day architecture. Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound.

Classic examples of modern architecture are the Lever House and the Seagram Building in commercial space, and the architecture of Frank Lloyd Wright or the Bauhaus movement in private or communal spaces. Transitional examples of postmodern architecture are the Portland Building in Portland, Oregon and the Sony Building (New York City) (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture. A prime example of inspiration for postmodern architecture lies along the Las Vegas Strip, which was studied by Robert Venturi in his 1977 book Learning from Las Vegas celebrating the strip's ordinary and common architecture.

Postmodern architecture has also been described as "neo-eclectic", where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles. This eclecticism is often combined with the use of non-orthogonal angles and unusual surfaces, most famously in the State Gallery of Stuttgart (New wing of the Staatsgalerie Stuttgart) and the Piazza d'Italia by Charles Willard Moore. The Scottish Parliament buildings in Edinburgh have also been cited as being of postmodern vogue.

Modernist architects regard post-modern buildings as vulgar and cluttered with "gew-gaws". Postmodern architects often regard modern spaces as soulless and bland. The divergence in opinions comes down to a difference in goals: modernism is rooted in minimal and true use of material as well as absence of ornament, while postmodernism is a rejection of strict rules set by the early modernists and seeks exuberance in the use of building techniques, angles, and stylistic references.

Contents [hide] 1 Relationship to previous styles 2 Postmodernism 3 Robert Venturi 4 Aims and Characteristics 5 Influential architects 6 Changes in the teaching of architectural history 7 Notes 8 References 9 External links

Relationship to previous styles

San Antonio Public Library, Texas.

New trends became evident in the last quarter of the 20th century as some architects started to turn away from modern Functionalism which they viewed as boring, and which most of the public considered unwelcoming and even unpleasant. These architects turned towards the past, quoting past aspects of various buildings and melding them together (even sometimes in an inharmonious manner) to create a new means of designing buildings. A vivid example of this new approach was that Postmodernism saw the comeback of pillars and other elements of premodern designs, sometimes adapting classical Greek and Roman examples (but not simply recreating them, as was done in neoclassical architecture). In Modernism, the pillar (as a design feature) was either replaced by other technological means such as cantilevers, or masked completely by curtain wall façades. The revival of the pillar was an aesthetic, rather than a technological, necessity. Modernist high-rise buildings had become in most instances monolithic, rejecting the concept of a stack of varied design elements for a single vocabulary from ground level to the top, in the most extreme cases even using a constant "footprint" (with no tapering or "wedding cake" design), with the building sometimes even suggesting the possibility of a single metallic extrusion directly from the ground, mostly by eliminating visual horizontal elements — this was seen most strictly in the World Trade Center buildings of Minoru Yamasaki.

Ancient ruyi symbol adorning Taipei 101 (Taiwan)

Another return was that of the “wit, ornament and reference” seen in older buildings in terra cotta decorative façades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods. In post-modern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale. Surprisingly, the buildings manage to (most of the time) retain a generally pleasing aesthetic. However, as with any new style, it would take some time to be accepted by the general public.

Contextualism, a trend in thinking in the later parts of 20th Century, influences the ideologies of the postmodern movement in general. Contextualism was centered on the belief that all knowledge is “context-sensitive”. This idea was even taken further to say that knowledge cannot be understood without considering its context. This influenced Postmodern Architecture to be sensitive to context as discussed below.

Postmodernism

Robinson's department store, Fashion Island (William Pereira, 1967), an example of Spanish-inspired postmodernism.

The postmodernist movement began in America around the 1960’s/70’s and then it spread to Europe and the rest of the world, to remain right through to the present. The aims of postmodernism or Late-modernism begin with its reaction to Modernism; it tries to address the limitations of its predecessor. The list of aims is extended to include communicating ideas with the public often in a then humorous or witty way. Often, the communication is done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it also strives to produce buildings that are sensitive to the context within which they are built.

Postmodernism has its origins in the perceived failure of Modern Architecture. Its preoccupation with functionalism and economical building meant that ornaments were done away with and the buildings were cloaked in a stark rational appearance. Postmodernists felt the buildings failed to meet the human need for comfort both for body and for the eye. Modernism did not account for the desire for beauty. The problem worsened when some already monotonous apartment blocks degenerated into slums. Post Modernism sought to cure this by reintroducing ornament and decoration for its own sake. Form was no longer to be defined solely by its functional requirements; it could be anything the architect pleased.

Robert Venturi

Robert Venturi was at the forefront of instantiating this movement. His book, Complexity and Contradiction in Architecture (published in 1966), was instrumental in the postmodernist movement in architecture and was fiercely critical of the dominant Functional Modernism. The move away from Modernism’s functionalism is well illustrated by Venturi’s witty adaptation of Mies van der Rohe’s famous maxim “Less is more”. Venturi instead said “less is a bore”. Along with the rest of the Postmodernists, he sought to bring back ornament because of its necessity. He explains this and his criticism of Modernism in his Complexity and Contradiction in Architecture by saying that:

Architects can bemoan or try to ignore them (referring to the ornamental and decorative elements in buildings) or even try to abolish them, but they will not go away. Or they will not go away for a long time, because architects do not have the power to replace them (nor do they know what to replace them with).

Robert Venturi was possibly the foremost campaigner of the rebellion against Modernist Architecture which became known as Postmodern. His two books Complexity and Contradiction in Architecture (1966) and Learning from Las Vegas (1972) (although not actual manifestos of Post Modern Architecture) do well to express many of the aims embodied in Postmodernism. The latter book he co-authored with Steven Izenour and his wife, Denise Scott Brown.

Complexity and Contradiction in Architecture highlights an aim that ornamental and decorative elements “accommodate existing needs for variety and communication”. Here Venturi stresses the importance of the building communicating a meaning to the public (which necessitates non-functional elements of the building). The Postmodernists in general strive to achieve this communication through their buildings. This communication is not intended to a direct narrating of the meaning. Venturi goes on to explain that it is rather intended to be a communication that could be interpreted in many ways. Each interpretation is more or less true for its moment because work of such quality will have many dimensions and layers of meaning. This pluralism of meaning is intended to mirror the similar nature of contemporary society. The pluralism in meaning was also echoed in the postmodern architects striving for variety in their buildings. Venturi reminisces in one of his essays, A View from the Campidoglio, to that effect when he says that:

When [he] was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity.

Postmodernism with its diversity possesses sensitivity to the building’s context and history, and the client’s requirements. The Postmodernist architects considered the general requirements of the urban buildings and their surroundings during the building’s design. For example, in Frank Gehry's Venice Beach House, the neighboring houses have a similar bright flat color. This vernacular sensitivity is evident in some Postmodern buildings.

Aims and Characteristics

The aims of post-modernism, including solving the problems of Modernism, communicating meanings with ambiguity, and sensitivity for the building’s context, are surprisingly unified for a period of buildings designed by architects who largely never collaborated with each other. The aims do, however, leave room for various implementations as can be illustrated by the diverse buildings created during the movement.

The characteristics of Postmodernism allow its aim to be expressed in diverse ways. These characteristics include the use of sculptural forms, ornaments, anthropomorphism and materials which perform trompe l’oeil. These physical characteristics are combined with conceptual characteristics of meaning. These characteristics of meaning include pluralism, double coding, irony and paradox, and contextualism.

Detail of Abteiberg Museum

The sculptural forms, not necessarily organic, were created with much ardor. These can be seen in Hans Hollein’s Abteiberg Museum (1972-1982). The building is made up of several building units, all very different. Each building’s forms are nothing like the conforming rigid ones of Modernism. These forms are sculptural and are somewhat playful. These forms are not reduced to an absolute minimum; they are built and shaped for their own sake. The building units all fit together in a very organic way, which enhances the effect of the forms.

Portland Public Service Building

After many years of neglect, ornament returned. Frank Gehry’s Venice Beach house, built in 1986, is littered with small ornamental details that would have been considered excessive and needless in Modernism. The Venice Beach House has an assembly of circular logs which exist mostly for decoration. The logs on top do have a minor purpose of holding up the window covers. However, the mere fact that they could have been replaced with a practically invisible nail, makes their exaggerated existence largely ornamental. The ornament in Michael Graves' Portland Public Service Building (1980) is even more prominent. The two obtruding triangular forms are largely ornamental. They exist for aesthetic or their own purpose.

Postmodernism, with its sensitivity to the building’s context, did not exclude the needs of humans from the building. Carlo Scarpa’s Brion-Vega Cemetery (1970-72) exemplifies this. The human requirements of a cemetery is that it posses a solemn nature, yet it must not cause the visitor to become depressed. Scarpa’s cemetery achieves the solemn mood with the dull gray colors of the walls and neatly defined forms, but the bright green grass prevents this from being too overwhelming.

Postmodern buildings sometimes perform the age old trompe l'oeil, creating the illusion of forms or depths where none actually exist, as has been done by painters since the renaissance. The Portland Public Service Building (1980) has pillars represented on the side of the building that to some extent appear to be real, yet they are not.

The Hood Museum of Art (1981-1983) has a typical symmetrical façade which was at the time prevalent throughout Postmodern Buildings.

Robert Venturi’s Vanna Venturi House (1962-64) illustrates the Postmodernist aim of communicating a meaning and the characteristic of symbolism. The façade is, according to Venturi, a symbolic picture of a house, looking back to the 18th century. This is partly achieved through the use of symmetry and the arch over the entrance.

Piazza d'Italia by Charles Willard Moore, New Orleans.

Perhaps the best example of irony in Postmodern buildings is Charles Willard Moore’s Piazza d’Italia (1978). Moore quotes (architecturally) elements of Italian renaissance and Roman Antiquity. However, he does so with a twist. The irony comes when it is noted that the pillars are covered with steel. It is also paradoxical in the way he quotes Italian antiquity far away from the original in New Orleans.

Double coding meant the buildings convey many meanings simultaneously. The AT&T Building does this very well. The building is a tall skyscraper which brings with it connotations of very modern technology. Yet, the top contradicts this. The top section conveys elements of the antiquity. This double coding is a prevalent trait of Postmodernism.

The characteristics of Postmodernism were rather unified given their diverse appearances. The most notable among their characteristics is their playfully extravagant forms and the humour of the meanings the buildings conveyed.

Influential architects

Aluminum-clad top of San Francisco's Transamerica Pyramid

Some of the most well-known and influential architects in the postmodern style are:

• John Burgee
• Michael Graves is perhaps the most well-known figure in the postmodern movement.
• Jon Jerde
• Philip Johnson
• Ricardo Legorreta
• Ricardo Bofill
• Charles Willard Moore
• William Pereira
• Cesar Pelli
• Antoine Predock
• Robert A.M. Stern
• James Stirling
• Robert Venturi
• Peter Eisenman
• Thomas Gordon Smith

Changes in the teaching of architectural history

The rise of interest in history that came as a consequence of the general Postmodernist turn had a profound impact on architectural education. History courses became increasingly regularized and insisted upon. With the demand for professors knowledgeable in the history of architecture, several Ph.D. programs in schools of architecture arose in order to differentiate themselves from art history Ph.D. programs, where architectural historians had previously trained. In the US, MIT and Cornell were the first, created in the mid 1970s, followed by Columbia, Berkeley, and Princeton. Among the founders of new architectural history programs were Bruno Zevi at the Institute for the History of Architecture in Venice, Stanford Anderson and Henry Millon at MIT, Alexander Tzonis at the Architectural Association, Anthony Vidler at Princeton, Manfredo Tafuri at the University of Venice, Kenneth Frampton at Columbia University, and Werner Oechslin and Kurt Forster at ETH.^[1]

The creation of these programs was paralleled by the hiring, in the 1970s, of professionally trained historians by schools of architecture: Margaret Crawford (with a Ph.D. from U.C.L.A) at SCI-Arch; Elisabeth Grossman (Ph.D., Brown University) at Rhode Island School of Design; Christian Otto^[2] (Ph.D., Columbia University) at Cornell University; Richard Chafee (Ph.D., Courtauld Institute) at Roger Williams University; and Howard Burns (M.A. Kings College) at Harvard, to name just a few examples. A second generation of scholars then emerged that began to extend these efforts in the direction of what is now called “theory”: K. Michael Hays (Ph.D., MIT) at Harvard, Mark Wigley (Ph.D., Auckland University) at Princeton (now at Columbia University), and Beatriz Colomina (Ph.D., School of Architecture, Barcelona) at Princeton; Mark Jarzombek (Ph.D. MIT) at Cornell (now at MIT), Jennifer Bloomer (Ph.D., Georgia Tech) at Iowa State and Catherine Ingraham (Ph.D., Johns Hopkins) now at Pratt Institute.

Notes

1. ^ Mark Jarzombek, “The Disciplinary Dislocations of Architectural History,” Journal of the Society of Architectural Historians 58/3 (September 1999), p. 489. See also other articles in that issue by Eve Blau, Stanford Anderson, Alina Payne, Daniel Bluestone, Jeon-Louis Cohen and others.
2. ^ Cornell University Dept. of Architecture website[1]

References

• Postmodern Architecture: Restoring Context Princeton University Lecture
• Postmodern Architecture and Urbanism University of California - Berkeley Lecture
• Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. Robert Venturi, Cambridge, MA: MIT Press, 1977 ISBN 0-262-22015-6
• History of Post-Modern Architecture. Heinrich Klotz, Cambridge, MA: MIT Press, 1998. ISBN 0-262-11123-3