Arsitéktur: Béda antarrépisi

'''Arsitéktur''' ngarupakeun [[seni]] jeung [[élmu]] [[rarancang|ngarancang]] [[wangunan]]. Harti nu leuwih lega bisa ngawengku rarancang wangun lingkungan sagemblengna, tina tingkat makro [[town planning]], [[urban design]], jeung [[landscape architecture]] nepi ka tingkat mikro [[furniture]] jeung [[product design]]. Architecture, equally importantly, also refers to the product of such a design.

The importance of [[theory]] in informing [[practice]] cannot be overemphasised, though many architects shun theory. Vitruvius continues: "Practice and theory are its parents. Practice is the frequent and continued contemplation of the mode of executing any given work, or of the mere operation of the hands, for the conversion of the material in the best and readiest way. Theory is the result of that reasoning which demonstrates and explains that the material wrought has been so converted as to answer the end proposed. Wherefore the mere practical architect is not able to assign sufficient reasons for the forms he adopts; and the theoretic architect also fails, grasping the shadow instead of the substance. He who is theoretic as well as practical, is therefore doubly armed; able not only to prove the propriety of his design, but equally so to carry it into execution".

The difference between architecture and building is a subject matter that has engaged the attention of many. According to [[Nikolaus Pevsner]], [[Europe]]an historian of the early 20th century, "A bicycle shed is a building, [[Lincoln Cathedral]] is a piece of architecture". In current thinking, the division is not too clear. [[Bernard Rudofsky]]'s famous ''[[Architecture Without Architects]]'' consolidated a whole range of structures designed by ordinary people into the realm of architecture. The further back in history one goes, the greater is the consensus on what architecture is or is not, possibly because time is an efficient filter. If like Vitruvius we consider architecture as good building, then does it mean that bad architecture does not exist? To resolve this dilemma, especially with the increasing number of buildings in the world today, architecture can also be defined as what an architect does. This would then place the emphasis on the evolution of architecture and the architect.

Architecture first evolved out of the dynamics between needs (conducive environmental conditions, security, etc.) and means (available [[building material]]s and [[construction technology]]). Prehistoric and primitive architecture constitute this early stage. As humans progressed and knowledge began to be formalised through oral traditions and practices, architecture evolved into a [[craft]]. Here there is first a process of trial and error, and later improvisation or replication of a successful trial. The architect is not the sole important figure; he is merely part of a continuing tradition. What is termed as [[Vernacular architecture]] today falls under this mode and still continues to be produced in many parts of the world.

Meanwhile, the [[Industrial Revolution]] laid open the door for mass consumption and aesthetics started becoming a criterion even for the middle class as ornamented products, once within the province of expensive craftmanship, became cheaper under machine production. Such products lacked the beauty and honesty associated with the expression of the process in the product.

The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that in architecture served as precursors to [[Modern Architecture]]. Notable among these is the [[Deutscher Werkbund]], formed in 1907 to produce better quality machine made objects. The rise of the profession of [[industrial design]] is usually placed here. Following this lead, the [[Bauhaus]] school, founded in [[Germany]] in 1919, consciously rejected [[history]] and looked at architecture as a synthesis of art, craft, and technology.

Another part of the profession, and also some non-architects, responded by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment. The [[Design Methodology Movement]] involving people such as [[Chris Jones(design)|Chris Jones]], [[Christopher Alexander]] started searching for a more inclusive process of design in order to lead to a better product. Extensive studies on areas such as behavioural, environmental, and social sciences were done and started informing the design process.

As many other concerns began to be recognised and complexity of buildings began to increase in terms of aspects such as services, architecture started becoming more multi-disciplinary than ever. Architecture now required a team of professionals in its making, an architect being one among the many, sometimes the leader, sometimes not. This is the state of the profession today. However, individuality is still cherished and sought for in the design of buildings seen as cultural symbols - the museum or fine arts centre has become a showcase for new experiments in style: today [[Deconstructivism]], tomorrow maybe something else.

{{mainutama|Wangunan Sunda}}

[[Gambar:Imah_RusdiImah Rusdi.jpg|thumb|250px|Salah sahiji bentuk wangunan imah tradisional Sunda, di-''scan'' tina buku carita ''[[Rusdi jeung Misnem]]''.]]