there’s something about geometry + architecture

June 2, 2010

Axis in Geometry

Filed under: classical aesthetics — datunpaksi @ 14:23

Axis

Oxford Dictionary of Architecture James Stevens Curl

Straight line laid down as a guide on either side of which elements of the plan are symmetrically or systematically disposed. In a sphere it would run through the centre.

http://www.thefreedictionary.com/axis

An imaginary line to which elements of a work of art, such as a picture, are referred for measurement or symmetry.

A straight line about which a body or geometric object rotates or may be conceived to rotate.

Mathematics

a. An unlimited line, half-line, or line segment serving to orient a space or a geometric object, especially a line about which the object is symmetric.

b. A reference line from which distances or angles are measured in a coordinate system.

Axes that Reach / Path that Wander

Donlyn Lyndon dan  Charles W. Moore

An axis is a relationship across space. not simply a path. At best it is a thing of the mind, not just  of the feet.

    Axes reach across space to draw together the important points in a place. They are mental constructs that help us to position ourselves and make alliance with things, buildings or space. Paths are where your feet actually trod, so that what happens along the way becomes the important thing. In some of the most interesting places, axes and paths interweave, with the axis allowing the mind to do connecting, and the path allowing the feet to wander, explore, make choices, and put things in sequence.

Axis. Sikap simetri adalah sebuah kondisi yang sempurna. Hal ini terwacanakan disebut solemnitas ( M.A.W. Brouwer, 1984) yaitu sikap yang secara fisik ditangkap sebagai posisi simetris. Solemnitas mengungkapkan adanya sikap yang tidak kritis, sikap menyerahkan diri tanpa perlawanan (pasrah), dan tanpa pikiran belakang. Sebuah sikap tubuh yang dikondisikan dalam keadaan yang erat berhubungan dengan Ke-Ilahi-an. Hubungan antara ruang geometris, sumbu orientasi, dan titik pusat orientasi merupakan satu kesatuan sistem pandangan dunia yang bersifat universal. Manusia mendiami alam yang dipersepsikan sebagai berbentuk geometri. Konsep ini sudah lama dipahami oleh manusia dengan pertimbangan manusia hidup dan bergerak tidak terlepas dari alam. Dengan memahami orientasi dan posisi di mana kita berada, kita meminjam istilah Romo Mangun telah melalui sebuah proses pengkiblatan diri.

 

Dalam geometri kita mempelajari axis atau metode sumbu sebagai suatu petunjuk yang akan membagi bidang dua sisi sama simetris atau mendekati. Kondisi dalam arsitektur ternyata dalam pandangan Charles W Moore dan Donlyn Lyndon memiliki makna yang sangat berbeda, karena mereka melihat dari sudut pandang yang berbeda pula.

Dalam bukunya Chambers for a Memory Palace yang menjadi sangat penting adalah sebuah perjalanan menuju sebuah titik utama yang dijadikan sebagai pusat. Perjalanan yang terjadi karena adanya pembagian dari sumbu atau axis tersebut, melahirkan path atau sebuah petunjuk akan kemana kita melangkah. Perjalanan melalui path inilah yang disebut Charles W Moore dan Donlyn Lyndon sebagai sebuah proses pengembaraan dan sebuah pilihan-pilihan karena pada hakekatnya path tadi adalah pengarah kita akan kemana kita menuju dan apakah yang akan kita temui selama dalam perjalanan.

Dicontohkan pengalaman perjalanan menuju sebuah makam indah Mumtaz Mahal yang berada di Istana Taj Mahal, Agra, India memiliki banyak pilihan-pilihan yang harus diputuskan, karena path yang dia ciptakan akan membawa kita pada perjalanan yang berbeda, pada saat kita memilih jalur kanan dan kiri, meskipun pada akhirnya semuanya tidak menimbulkan perbedaan, yang pada akhirnya akan sangat berbeda apabila kemudian dibanding dengan yang terjadi di Cranbrook Academy of Art, Bloomfield Hills, Michigan.

The symmetrical four-square approach garden with axial reflecting pools is one side, the river flows crosswise on the other. A red sand stone domed mosque across the platform to the east is balanced by a mirror image structure sheltering empty space at the opposite end on the west, each centeres on the tomb’s cross axis. With the resources and authority available to a cultured sixteenth century despot, nothing was to be left undetermined.

                                                                         Mumtaz Mahal, Taj Mahal Palace, Agra 

At Cranbrook, however, that choice does make a difference. The axis creates abroad artful passage that mediates between the elegantly contrived neatness of the domestically scaled residences and studios of the academy on the left and a small valley that moves off diagonally behind trees to the right, the latter an only slightly tamed version of the unruly rolling landscape that preceded the Academy’s presence here.

Cranbrook Academy of Art, Bloomfield Hills, Michigan.

Sumber:

Donlyn Lyndon & Charles W Moore, Chambers for a Memory Palace, The MIT Press, Cambridge, Massachusetts

London, England 1999

http://ejournal.unud.ac.id/abstrak/artikel-dewi-4.pdf

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