GATEWALL: Deconstructivism of Mind

Desain sebuah bentuk tak sebatas desain, proses adalah inti dari tujuan. Topografi pada kontur tanah di sedot oleh atap bumi(langit), menunjukan sesuatu yang sebenarnya nampak namun hendak diperbincangkan. 
 

Bermula dari imajinasi + sketsa jemari + sketsa software + menuangkan ke maket + memikirkan kelanjutan........

 

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Sumber: facebook Chard C Walli, Yoka, 25 Februari 2012 (metafora + otodidak + kenyataan)
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dikirim ke blog: Abepura, 9 Juli 2016; Chard Colgate Walli Kalembulu®

 Video: Peter Eisenman - Casa Guardiola

Arsitektur Dekonstruksi ala Peter Eisenman

Peter Eisenman is an architect and educator. he was born in 1932 in newark, new jersey, usa. he received a bachelor of architecture degree from cornell university in 1955, a master of architecture degree from columbia university, m.a. and ph.d. degrees from the university of cambridge, and an honorary doctor of fine arts degree from the university of illinois, chicago. in 1967, eisenman founded new york's institute for architecture and urban studies. eisenman has authored several books, including 'house X' (rizzoli), 'fin díou t hous' (the architectural association), 'moving arrows, eros and other errors (the architectural association), and 'house of cards' (oxford university press), co-author with jacques derrida of 'chora l works' (monacelli press). he has published numerous essays and articles on his architectural theories in international magazines and journals. he was founding director of the institute and editor of 'oppositions', and has made perhaps more than any other architect practicing today, a career out of devising and employing a dialect of oppositions in architecture. with references to rhetorical strategies, societal alienation, and existing architectural forms, eisenman's theoretical work derives much from friedrich nietzsche, noam chomsky, and jacques derrida. peter eisenman was the leader of a loosely knit group of new york architects, called 'the new york five' (with john hejduk, michael graves, charles gwathmey, and richard meier) who made an effort to introduce a theory and artistry of architecture as rigorous as that of the european avant-garde. he has held teaching positions at cambridge, princeton, harvard, yale, and ohio state universities. he is currently the irwin s. chanin distinguished professor of architecture at the cooper union in new york city and a visiting professor at princeton university. in 1980, after many years of teaching, writing and producing respected theoretical work, he established his professional practice in new york, eisenman architects, to focus exclusively on building. assisted by associate principals richard rosson and tracy aronoff, eisenman has designed a wide range of projects, including large-scale housing and urban design schemes, innovative facilities for educational institutions, and a series of inventive private houses. eisenman's wexner center for the visual arts and fine arts library at ohio state university, completed in 1989, received a 1993 national honor award from the american institute of architects. his social housing at checkpoint charlie in berlin was honored by the german government, which featured the project on a postage stamp commemorating the 750th anniversary of the city of berlin. at present, eisenman is designing a museum for the staten island institute of arts and sciences at the st. george ferry terminal in new york city; a mixed-use complex in mesa, arizona, including a football stadium for the arizona cardinals, a convention center, and two hotels; the holocaust memorial and interpretative center in berlin. it is a project of enormous complexity in terms of its content, its mission, its design details and the politics that accompany it. after all, it is germany's official acknowledgement of guilt. his work has been the subject of two monographs: 'eisenman architects' (images press) and 'peter eisenman' (electa). peter eisenman (chard's favourite architect) © designboom wexner center for the arts ohio state university, 1983-1989 ------------------------------------------------------------ we met peter eisenman in milan on april 8, 2002 ------------------------------ what is the best moment of the day? I think when I wake up. I get up very early and I have a lot of energy and I get a chance to read quietly and be by myself and think and so to me its the best time. what kind of music do you listen to at the moment? I listen to various things. here in the hotel we're listening to early records of caruso, we were talking today about listening to wagner, I go to the opera - so we see rossini,bellini, mozart, but my favorite is wagner, the ring and all of the others. what books do you have on your bedside table? I have a variety of books on my bedside table. I read fiction at the moment. I read mystery writers. at princeton I'm reading jacque derrida. I read many diffferent kinds of things. where do you get news from? I get news from the internet (cnn, the new york times). I also get news from the daily news and gossip from my friends. do you notice how women dress? do you have any preferences? I notice women (laughs). I went shopping with my wife today, we went to ferragamo, gucci and armani. I suppose I notice... I don't go to parties where people are dressed up, I go to parties where people are dressed like people. we don't walk around in designer clothes, so I suppose I would say that I don't look at women for the way they're dressed. what kind of clothes do you avoid wearing? anything fashionable. do you have any pets? we have 2 cats. we have 2 children and the pets belong to them. my children have always had cats. I tolerate the pets. where do you work on your designs and projects? I have a studio, my office is like an atelier, and I have a desk in there. I don't have my own office, I sit in the middle of my studio - we have 20 or 30 people - and I am able to listen to what's going on. I have no private telephone... it's where I do all my work, my drawing, my thinking, I work with my people, make models, I say I want this, let us do this, I look at their computers, I think things and I write things, I'm with my workers all the time. who would you like to design something for? I suppose would like to build a skyscraper. we have a project in Berlin for a 200 meter tall skyscraper. we're working on a stadium in the united states and this is something I would like to build because I'm interested in soccer, I go to many matches, ...but I'd like to build a tall building. when you were a child what did you want to be? did you always want to become an architect ? no never. I didn't know what an architect was, I didn't know there was such a thing as an architect till I went to college. I never wanted to be anything because I didn't think anything, know anything. I was a nerd. I was nothing, nulla, niente. do you discuss your work with architects and designers? yes, all the time, like leon krier today we had lunch, or raphael moneo, philip johnson. I talk to young architects, I'm always talking with people. jeff kipnis, mark whitley, robert stern... many many people I talk to and exchange ideas with. describe your style like a good friend of yours would describe it. one can never know at the same time what is the condition of society, its so-called 'zeitgeist', and how architecture should respond to it. one has always had to go outside of architecture. I have had to do so in order to address the question of 'what should I do?' and I would argue that philosophy is one of the most readily available. let's put it this way, in any time architecture has 2 roles. it either reflects society, or in a sense is a precursor - not revolutionary, not radical, in between reflection and radicality - that is something I would call a precursor. thinking about something that might disturb something in the present. I think that my work is more like disturbance, rather than change, a radical change. its certainly not reflection. I would say disturbance, precursor, premonition. [ see the quicktime clip, 564 kb ] which of your projects has given you the most satisfaction? the project that will be most interesting for most people of my work. even though its very different from most of my projects is the holocaust memorial in berlin. this is a controversial subject and a controversial project, and I think that when it will be built, it will be... I don't know what it will be like, but its going to be very interesting to have it built. of the projects I've built,I think probably the wexner center is one which gives me a lot of good feeling and still remains a very didactic work. but I think in one's lifetime, maybe one can do 2 or 3 canonical projects that are precursors of something else. I think the wexner project was one, and I think that the holocaust project could be another. and of course anything that is successful in terms of being a precursor. is there any architect or designer from past you appreciate a lot? oh, I appreciate many architects. from the past, I love palladio, I'm doing a book on him, and piranesi, I like le corbusier, terragni, my book on terragni is finally coming out. I have many architects. and those still active? are there any particular ones you appreciate? I really respect leon krier, although I disagree with him a lot, we are very good friends, also moneo... any advice for the young? unless you are really committed to being an architect in the true sense of the word, its a terrible business and I wouldn't recommend it for anybody, unless you need to do it for some personal reason, I would say go into business, go into law, medicine, but don't be an architect. [ see the quicktime clip, 464 kb ] what are you afraid of regarding the future? death. I'm scared to death, not to be forever. I don't worry about money, work, anything else, but I can't come to terms with the idea of going to sleep one night and not waking up. It's the only thing I worry about, and I have to not think about it, because I would go crazy. being dead is an awful thought. that's the only thing, everything else is fantastic. life is unbelieveable, even things that go wrong, I don't worry about anything because I know that I'll get to my coffin, I'll be able to get in, they'll put a lid on it, and I know I'll get there and every morning I get up and I say I have my whole life in front of me and it's true, and that gives me great joy and great hope and happiness. that's what sustains me. staten island institute of arts and sciences, new york, 1997 - work in progress. emory university center for the arts, atlanta, georgia, 1991 berlin's holocaust memorial by richard serra and peter eisenman the memorial consists of 2700 concrete stelae on a large site in the very center of berlin, right near the ministries and parliament (reichstag). if all goes on schedule it will be dedicated in january 2004 berlin's holocaust memorial berlin's holocaust memorial 'a void' instalation, courtyard palazzo reale piazza duomo, milan, 2002 cardinal stadium, features a retractable roof, retractable side and the field moves in and out of the structure. arkansas razorbacks football stadium expansion fayetteville,arizona, under construction cardinal stadium, this view shows the retractable field. arkansas razorbacks football stadium expansion fayetteville,arizona, under construction

Proses Arsitektur ‘Chard’ (Pro + Ars + Cha)

Jangan terperangah dengan bentuk sebab bentuk tak selamanya menentukan isi. Tampilan belum selalu membenarkan kepuasan. Apa yang keluar dari otak adalah sesuatu yang tak pernah sama dari detik ke detik. Jangan pernah menganggap kejahatan berpikir sebagai kebusukan total dari jati diri; kejahatan dalam berpikir haruslah di padukan kedalam emosi positif agar menghasilkan beberapa hal yang sulit di tebak keasliannya.

Berbicara tentang arsitektur adalah berbicara tentang proses, bukan hasil dari pencapaian. Arsitektur bukanlah ilmu tentang kepastian kenikmatan namun ilmu yang terus bergerak ke depan bahkan semakin mengenyangkan imajinasi. Arsitektur tidak hanya berbicara tentang bangunan, namun semua segi harus di telusuri demi menemukan jenis-jenis baru bahkan analogi-analogi yang terukur dan tentu dapat di pertanggung jawabkan. 

Bila aku berbicara tentang kebudayaan maka, bagaimana aku dapat menguraikan dan berkarakter kebudayaan? Aku harus mempelajari adat, bahasa, cara hidup, alam, disamping itu keaslian suku, keunikan bersosial harus menjadi referensi yang baku. Sebab dengan hal-hal tersebut maka, tak ada kerugian dari para penikmat hasil karya (masyarakat). Manusia akan senang bila merasa senang, tak ada yang sebaliknya. Manusia akan merasa puas apabila semua tuntutannya di kabulkan, arsitek harus memuaskan semua masyarakat dengan penjelasan yang beranalogi kemanusiaan dalam merancang sebuah karya. Makna analogi bukanlah salah satu pemutarbalikan fakta demi pengakuan masyarakat, tetapi pendekatan tanpa merugikan semua hal dari masyarakat, artinya arsitek rugi demi “keabadian karya” dan masyarakat untung demi ”terwujudnya sarana” bagi tujuan-tujuan tertentu. 

Aku takut memprotes hal-hal yang belum aku pahami sebab itu sama halnya dengan aku tak percaya sesuatu meski aku mau mengetahuinya oleh karena aku belum pernah mengalaminya (melihat, mendengar, mengecap, mencium, dan merasakannya). Aku harus melanjutkan semua hal meski aku belum melewati sesuai jalur atau alur, aku harus melompat meski aku belum menjejakkan tapakku di pijakan pertama, sebab ini teori tentang dunia. Semua hal dapat kita lompati tanpa melewati aturan, sebab kita dapat menciptakan aturan sendiri bagi tujuan lompatan kita. Namun kalau sudah terhambat atau pun merasa tak sanggup lagi berarti anda akan merasa bahwa ada yang lebih besar dari anda, maksudnya adalah anda harus menyadari bahwa ada Pencipta atau Tuhan yang punya segalanya.

Jacques Derrida (bapak dekonstruksi)

Nama:	Jacques Derrida
Lahir:	15 Juli 1930, El Biar, Aljazair
Meninggal:	8 Oktober 2004 (umur 74), Paris, Perancis
Aliran/tradisi:	Dekonstruksi, Filsafat Kontinental, Fenomenologi
Minat utama:	Filsafat bahasa • Teori Literal • Etika • Ontologi
Gagasan penting:	Dekonstruksi • Différance • Phallogosentrisme • Metaphysics of presence
Dipengaruhi:	Plato • Søren Kierkegaard • Alexandre Kojève • Maurice Blanchot • Antonin Artaud • Martin Heidegger • Roland Barthes • Louis Althusser • Georges Bataille • Edmund Husserl • Emmanuel Lévinas • Friedrich Nietzsche • Ferdinand de Saussure • Sigmund Freud • Karl Marx • Claude Lévi-Strauss • James Joyce • Stéphane Mallarmé • J.L. Austin
Memengaruhi:	Paul de Man • Bernard Stiegler • Jean-Luc Nancy • Philippe Lacoue-Labarthe • Ernesto Laclau • Judith Butler • Louis Althusser • Peter Eisenman • Edward Said • Homi K. Bhabha • Gayatri Chakravorty Spivak • John Caputo • Simon Critchley • Mario Kopic • Peter Sloterdijk • Avital Ronell • Catherine Malabou • Slavoj Žižek

Jacques Derrida (lahir di El Biar, Aljazair, 15 Juli 1930 - meninggal di Paris, Prancis, 8 Oktober 2004 pada umur 74 tahun) adalah seorang filsuf Perancis yang dianggap sebagai pengusung tema dekonstruksi di dalam filsafat postmodern.^[1] Pemikirannya juga disampaikan melalui filsafat bahasa. Christopher Norris dalam tulisannya yang berjudul Derrida (1987) berasumsi bahwa filosofi Derrida utamanya tentang Tulisan.^[1]

Daftar isi 1 Riwayat Hidup 2 Pemikiran 2.1 Dekonstruksi 2.2 Différance 2.3 Pshyche 2.4 Khora 3 Karya-karya penting 4 Lihat pula 5 Referensi

Riwayat Hidup

Jacques Derrida lahir di Aljazair pada tangggal 15 Juli 1930.^[1] Pada tahun 1949 ia berpindah ke Perancis, di mana ia tinggal sampai akhir hayatnya.^[1] Ia mengajar di École Normale Supérieure di Paris.^[1] Orang tuanya yang bernama Aimé Derrida dan Georgette Sultana Esther Safar, menikah pada tahun 1923 dan pindah ke St.Agustinus di Aljazair pada tahun 1925.^[1] Pada tahun yang sama Rene Derrida (anak Aimé dan Georgette) lahir dan empat tahun kemudian Paul Derrida (adik Rene) lahir.^[1] Namun tiga bulan kemudian Paul meninggal.^[1] Pada tahun 1930 Jackie Derrida lahir.^[1] Di kemudian hari ia menyebut dirinya "Jacques".^[1] Sepanjang hidupnya ia curiga bahwa ia hanya menjadi pengganti atau pelengkap ketiadaan Paul, kakaknya.^[1] Derrida adalah seorang keturunan Yahudi.^[1] Ia pernah mendapat gelar doctor honoris causa di Universitas Cambridge.^[1] Pada tanggal 9 Oktober 2004, ia meninggal dunia di usia 74 tahun karena penyakit kanker.^[1]

Pemikiran

Derrida sangat dipengaruhi oleh filsuf Edmund Husserl dan ahli bahasa Ferdinand de Saussure.^[1] Buku pertama Derrida adalah menerjemahkan karya Husserl yang berjudul The Origin of Geometry.^[1] Di dalam bukunya yang berjudul Of Grammatology, Derrida menyampaikan pandangannya terhadap pemikiran Saussure mengenai definisi bahasa.^[1] Ia mengatakan bahwa Saussure memberikan esensi manusia kepada bahasa.^[1] Logosentrisme dan fonosentrisme adalah paham yang berusaha dikritik Derrida.^[1] Menurutnya kelemahan logosentrisme adalah menghapus dimensi material bahasa, dan kelemahan fonosentrisme adalah menomorduakan tulisan karena memprioritaskan ucapan.^[1]

Dekonstruksi

Derrida menjelaskan dekonstruksi dengan kalimat negasi.^[2] Menurutnya dekonstruksi bukan suatu analisis dan bukan kritik, bukan suatu metode, bukan aksi maupun operasi.^[2] Singkatnya, dekonstruksi bukanlah suatu alat penyelesaian dari “suatu subjek individual atau kolektif yang berinisiatif dan menerapkannya pada suatu objek, teks, atau tema tertentu”. ^[2] Dekonstruksi adalah suatu peristiwa yang tidak menunggu pertimbangan, kesadaran, atau organisasi dari suatu subjek, atau bahkan modernitas.^[2] Derrida mengadaptasi kata dekonstruksi dari kata destruksi dalam pemikiran Heidegger.^[3] Kata dekonstruksi bukan secara langsung terkait dengan kata destruksi melainkan terkait kata analisis yang secara etimologis berarti "untuk menunda"-sinonim dengan kata men-dekonstruksi.^[3] Terdapat tiga poin penting dalam dekonstruksi Derrida, yaitu: pertama, dekonstruksi, seperti halnya perubahan terjadi terus-menerus, dan ini terjadi dengan cara yang berbeda untuk mempertahankan kehidupan; kedua, dekonstruksi terjadi dari dalam sistem-sistem yang hidup, termasuk bahasa dan teks; ketiga, dekonstruksi bukan suatu kata, alat, atau teknik yang digunakan dalam suatu kerja setelah fakta dan tanpa suatu subyek interpretasi.^[2]

Différance

Derrida menunjukkan kelemahan dari ucapan untuk mengungungkapkan makna dengan menggunakan kata différance.^[2] Differance berasal dari kata difference yang mencakup tiga pengertian, yaitu:^[4]

1. to differ-- untuk membedakan, atau tidak sama sifat dasarnya;
2. differe (Latin)-- untuk menyebarkan, mengedarkan;
3. to defer-- untuk menunda.

Dalam pengucapannya tidak terdengar perbedaan tetapi perbedaan pemakaian huruf ‘a’ untuk mengganti huruf ‘e’ hanya terlihat dalam tulisan.^[4] Ini dilakukan Derrida untuk menunjukkan peleburan makna dari tiga pengertian dalam kata difference yang tidak dapat dilakukan oleh logosentrisme dan fonosentrisme.^[4] Melalui tulisan terjadi otonomisasi teks.^[4] Dekonstruksi adalah suatu peristiwa yang tidak menunggu pertimbangan, kesadaran, atau organisasi dari suatu subjek, atau bahkan modernitas.^[2] Menurut Derrida bahasa bersumber pada teks atau “Tulisan”.^[5] Tulisan adalah bahasa yang maksimal karena tulisan tidak hanya terdapat dalam pikiran manusia, tetapi konkret di atas halaman.^[5] Tulisan memenuhi dirinya sendiri karena Tulisan terlepas dari penulisnya begitu ia berada di ruang halaman.^[5] Ketika dibaca, Tulisan langsung terbuka untuk dipahami oleh pembacanya.^[5]

Pshyche

Pada tahun 1987 Derrida mengeluarkan kumpulan esainya dalam teks yang berjudul Pshyche.^[1] Dasar dari risalat ini adalah untuk menyatakan seberapa besar kemungkinan untuk membicarakan (yang Lain).^[1] Menurut Derrida, sikap yang tepat terhadap (yang Lain) adalah menunggu, menginginkan, dan bersiap bagi masa depan, yaitu dari mana (yang lain) itu berasal.^[1] (Yang Lain) tidak berasal dari masa kini.^[1] Untuk menjelaskan mengenai sikap menunggu dan bersiap, Derrida kembali mengutip dari tulisan sebelumnya yang berjudul structure dan Sign and Play.^[1] (Yang Lain) itu datang sebagai bencana, tidak peduli baik atau buruk, kedatangannya akan terlalu asing untuk dihasilkan oleh realita.^[1]

Khora

Khora adalah salah satu tulisan Derrida yang ditulis untuk memperingati Jean-Pierre Vernant, sejarawan strukturalis dari Yunani.^[1] Khora adalah suatu kata yang muncul dalam tulisan yang berjudul Timaeus, salah satu bagian dari tulisan trilogi Plato yang berjudul The Republic.^[1] Kata ini dikaitkan dengan bagian yang membahas kosmologi dan asal dari alam semesta.^[1] Makna khora menurut Plato adalah tempat yang kosong yang tidak dapat berisi, namun memiliki kecenderungan untuk memiliki isi.^[1]

Karya-karya penting

Karya-karya penting Jacques Derrida :

• La voix et le phenomène (1967)
• L'écriture et la différance (1967)
• De la grammatologie (1967)
• Marges de la philosophie (1972)
• Glas (1974)
• Éperons: les styles de Nietzsche (1978)
• De l'esprit: Heidegger et la question (1987)
• Spectres de Marx (1993)
• Force de loi (1994)
• Voyous (2003)

Referensi

1. ^ ^{a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad} (Inggris) Jason Powell. 2006. Jacques Derrida: A Biography. London: Continuum. 50, 11, 149, 158.
2. ^ ^{a b c d e f g} (Inggris)Dawne McCance. 2009. Derrida on Religion: Thinker of Difference. London: Equinox Publshing. Hlm 22
3. ^ ^{a b} (Inggris)Jacques Derrida. 2000. Dissemination. London: The Athlone Press. Hlm xiv
4. ^ ^{a b c d} (Inggris)Vincent B. Leitch. 1983. Deconstructive Criticism: an Advance Introduction. New York: Columbia University Press. Hlm. 41
5. ^ ^{a b c d} (Indonesia) Benny H. Hoed. 'Derrida VS Strukturalisme De Saussure' dalam Majalah BASIS No.11- 12, November-Desember 2007. 27.

 sumber: http://id.wikipedia.org/wiki/Jacques_Derrida