Pop Art favored figural imagery‌
Andy Warhol Silksreen Painting "Elvis I and II", 1964
Andy Warhol,Marilyn,screenprint,1967
POP ART Pop artists experimented with new commercial processes, like acrylic painting, collage on canvas using materials not normally associated with painting, and silkscreen printing.
The imagery and colour schemes for most Pop-art painting and sculpture was taken from high-profile and easily recognizable consumerist or media sources such as: consumer goods, advertising graphics, magazines, television, film, cartoons and comic books. People and objects were presented in bright, often highlycontrasting colours, while compositions were typically very simple and visually appealing to the general public. http://www.visual-arts-cork.com/history-of-art/pop-art.htm#aims
POP ART Pop art was instrumental in opening up the world of painting and sculpture to ordinary people who, perhaps for the first time in their lives, could instantly recognize and appreciate the exhibit in front of them. They might not like it, but they were far less likely to feel intimidated by an everyday image they could relate to. In this sense, Pop-art made museums and galleries more relevant to the general public. http://www.visual-arts-cork.com/history-of-art/pop-art.htm#aims
Archigram is a group of people in the 60’ to the 70’s who put out a publication called Archigram
It presented fantastic ideas of possible living environments most of which never got realized, but just the diagrams and collages they made are great in themselves.
• Archigram – flow & movement • Archigram 2 – expandibility & change (new focus in architecture)
Architecture as ‘services’ Structure can change and react fast People as ‘software’, NOT ‘hardware’ ‘unhouse’-building’s complex systems should be exposed ‘borrowed images’ – old objects, new metaphor ‘plug-in’/’ad-hocism’- as required by users metamorphosis
Warren Chalk, Archigram 4:1964
Instant City:1969
Michael Webb,Sin Centre,1962
Geodesic skin, tentacle air-ducts, space frame-many of the visual metaphors which Archigram introduced later into architectural parlance.
Ideas and similarities with ‘high-tech?
PIANO & ROGERS,POMPIDOU CENTER,PARIS:1971-77
Projects like Plug-in City envision vast sprawling megastructures, giant skeletal frames that accept prefab removable dwelling units (modeled after NASA space capsules) hoisted into position by giant rooftop cranes.
Peter Cook,Plug-in-City,University Node,1965
In one of the great drawings of modern architecture, Walking City New York, 1964, Ron Herron pushes the idea of mobility to the hilt: forty-story anthropomorphic buildings equipped with telescoping legs literally move across the landscape.
Ron Herron,Walking City,1962
Ron Herron,Walking City,1962
Crompton and Cook, Blow-Out-City,1965 Stage 1
Stage 2
Stage 3
Living Pod
LUNAR LANDING CAPSULE,APOLLO11:1969
Peter Cook,P-I-C,Medium Pressure Area,1964
Ron Herron Instant City -- Santa Monica and San Diego Freeway, Los Angeles 1969.
Peter Cook recent works – ‘friendly alien’
Graz Art Museum, Graz, Austria (2003) Peter Cook and Colin Fournier
Peter Cook recent works - ‘friendly alien’
Graz Art Museum, Graz, Austria (2003) Peter Cook and Colin Fournier
precedents related to ‘blob architecture’
Selfridges Building, Birmingham
Richard Buckminster "Bucky" Fuller (1895 – 1983)
An American architect, systems theorist, author, designer, inventor, and futurist.
Reinventing a project that make him famous: the geodesic dome.
He is credited for popularizing this type of structure.
Fuller was followed by other designers and architects, such as Sir Norman Foster and Steve Baer, willing to explore the possibilities of new geometries in the design of buildings, not based on conventional rectangles.
precedents related to ‘geodesic dome and stylistic structure’
Montreal biosphere, 1967 Buckminster Fuller
precedents related to ‘geodesic dome and stylistic structure’
Dome over Manhattan, New York, 1967 Buckminster Fuller
Dymaxion House was developed to address several perceived shortcomings with existing homebuilding techniques.
‘dynamic, maximum, tension’ Fuller designed several versions of the house at different times, they were all factory manufactured kits, assembled on site, intended to be suitable for any site or environment and to use resources efficiently.
SUPERSTUDIO
Radical architecture of the late 1960s.
Introduction Superstudio was an architecture firm,
founded in 1966 in Florence, Italy by Adolfo Natalini and Cristiano Toraldo di Francia. Superstudio was one of major part of the Radical architecture movement of the late 1960s.
First showed their work in the Superarchitettura
show in 1966.
Superstudio Group
In 1967, Natalini established three categories of future research: “architecture of the monument”; the “architecture of the image”; and “technomorphic architecture”. Soon, Superstudio would be known for its conceptual architecture works, most notably the 1969 Continuous Monument: An Architectural Model for Total Urbanization.
Many of their projects were originally published in the magazine Casabella, and ranged from fiction, to storyboard illustration, to photomontage.
Superstudio
“Continuous Monument: An Architectural Model for Total Urbanization (1969)�
Superstudio "The Continuous Monument: On the Rocky Coast" (1969),
Natalini wrote in 1971, “…if design is merely an inducement to consume, then we must reject design; if architecture is merely the codifying of bourgeois model of ownership and society, then we must reject architecture;
“if architecture and town planning is merely the formalization of present unjust social divisions, then we must reject town planning and its cities…” “until all design activities are aimed towards meeting primary needs. Until then, design must disappear. We can live without architecture…”
ď‚ž Some critics says that Superstudio was influential on architects such as Zaha Hadid, Rem Koolhaas, Bernard Tschumi. ď‚žIn 1978, Superstudio abandoned working as a collective, but its members continued to develop their ideas independently through their writings and in teaching, architecture and other design projects.
Superstudio “Il monumento continuo Monumento continuo nella Palude, 1969�
Superstudio – Twelve ideal cities, 1972 ..\552 videos\superstudio _ - YouTube.mp4
METABOLIST
Japan Modern Architectural Movement
Introduction Started as a reaction toward the development of global architectural movement which was ‘universal’ The search for national identity in architecture. The issues of culture, tradition and regionalism regain the attention of the younger generation of Japanese architects.
Reaction against hurried westernization lead by Kenzo Tange
Tange,Hiroshima Peace Center:1949-55
Accordian-like auditorium over concrete base Metabolist terms for showing different rates of change-in Japanese flavour
Kiyonori Kikutake,Miyakonojo Civic Center, Japan,1965-6
Traditional bracket forms act as a catalyst for totally new urban uses and also act as a semantic distinction between different cycles of change.
ARATA ISOZAKI,CLUSTERS IN THE AIR:1962
Growth
Change Decay
Kisho Kurokawa was born in Aichi Prefecture, Japan in 1934. He studied at the Graduate School of Tokyo University under Kenzo Tange.
Kurokawa rejected orthodox Modernism and a Western obsession with mechanical analogy. In the 1960s he founded a Japanese avantgarde movement known as the Metabolists to combat this Western Modernism and to propagate a philosophy of radical change.
Despite the group's initial success at Expo 70 in Osaka, the group disbanded.
Many of Kurokawa's buildings explore the notion of engawa, the "in between space" where public realm and private space coexist in harmony.
His recent architecture has achieved considerable international acclaim and has secured a series of prestigious commissions. He dislikes traditionalism, but feels that the respective cultures of different countries offer the most appropriate response to contemporary malaise.
Kisho Kurokawa,Takara Beautilion,Expo 70,Osaka:1970
Kisho Kurokawa,Takara Beautilion,Expo 70,Osaka:1970
'When residential area in Tokyo started to shift to the suburbs, this building (the Nakagin Capsule Tower shown left) was intended to be one tactical move to restore housing units to the central part of the city It is to provide those who commute to the centre from the outlying area with studios, an extra bedroom or a place for social activities.'
Kurokawa,Nakagin Capsule Tower,1970
Nakagin Capsule Tower
Interior Unit,Nakagin Capsule Tower
Kurokawa,Another Metabolist Project
Tange, Plan for Tokyo:1960
Fuelled by Japan’s economic
expansion in the 60’s • shortage of land
• escalating land value Tokyo plan became generator which
shared the spirit of Corbu
Different rates of change divide the city up into different levels of circulation and function.
Tange & The Metabolist Team,Tokyo Bay Plan,1960
• Innovative • Linear extension to the city • Civic axis • Extended growth and change would be possible
Tokyo Bay Plan,1960 – THE IDEA OF REGENERATIVE
The building is made up from service pylons with office bridges in between, with empty places left for expansion in the future.
Tange,Yamanashi Press Center, Konju,1967
Kenzo Tange Shizuoka Press and Broadcasting Center Tokyo, 1965-70
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