DEPARTMENT OF ARCHITECTURE FACULTY OF ARCHITECTURE PLANNING & SURVEYING
NEW DIRECTION POST-MODERN AAR 552 MODERN MOVEMENT AND CONTEMPORARY ARCHITECTURE
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Peter Cook,P-I-C,Medium Pressure Area,1964
The idea of Archigram 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
Superstudio “Continuous Monument: An Architectural Model for Total Urbanization (1969)�
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.
Richard Buckminster "Bucky" Fuller (1895 – 1983)
An American architect, systems theorist, author, designer, inventor, and futurist.
Nakagin Capsule Tower
The main idea of the Metabolists is based on the biological life cycle
Growth Change Decay
NEW DIRECTIONS POST MODERNISM De-Architecture HIGH TECHNOLOGY
POST-MODERNISM
Venturi,Moore,Stirling, Johnson,Bofill & Graves
POST MODERNISM Began in the late 60’s with the work of Venturi and Moore – in opposition to classical Modernism (it’s strict functionalism, it’s ban on the orders of columns and on traditional forms of ornamentation). It brought these banned forms to playful new life.
POST MODERNISM Evolved in the 70’s also as a reaction toward the shortcoming of the International Style.
It was also driven by the critical writings of Brent Brolin, Charles Jencks and Robert Venturi. Brolin –
The Failure of Modern Architecturediscussing the weakness of the International Style, particularly from the social perspective
Jencks –
The Language of Post-Modern Architecture – contributed to the PostModern terminology
Venturi –
‘Complexity & Contradiction in Architecture’ ‘Learning From Las Vegas’ Both books discussed the issues of symbolism/label in architecture which were lack in the International Style
Functionalists to the International Style
Harvard Graduate Center, Massachusettes,1949, Gropius 16
The Failure of Modern Architecture 1. Modern architecture was achieved at a cost of the honesty of materials. 2. It abandoned the very soul of the cities.
3. It lost the touch of personal or local character - context. 4. It ignored history with the belief it had no past, only future.
The aims of Postmodernism is, solving the problems of Modernism
‘communicating meanings with ambiguity, and sensitivity for the building’s context’ ‘LESS IS MORE’ – ‘LESS IS BORE’
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 (deceive the eye). These physical characteristics are combined with conceptual characteristics of meaning that include pluralism, double coding, flying buttresses and high ceilings, irony and paradox, and contextualism.
The issue of context and symbolism The contradiction between public and private angular vs modernist flatness
VENTURI,VENTURI HOUSE,CHESTNUT HILL,PA:1965
The tower was designed with reference to the medieval era to suit the Milan historical setting.
BELGIOJOSO,PERESUTTI & ROGERS (BBPR),VELASCA TOWER,MILAN:1956-7
VENTURI+COPE & LIPPINCOTT,GUILD HOUSE,PA:1960-63
VENTURI & RAUCH,FRANKLIN COURT,PHILADELPHIA:1972-76
ROBERT VENTURI,SERIES OF ECLECTIC CHAMBERS,1977
STIRLING & WILFORD,STAATSGALERIE EXTENSION,STUTTGART:1977
CHARLES MOORE,PIAZZA D’ITALIA,NEW ORLEANS:1975-80
RICARDO BOFILL,PALACIO D’ABRAXAS,PARIS:1978-84
“…now they’re decorating the box!…” The first monument for Post-Modernism
PHILIP JOHNSON,AT&T BUILDING,NEW YORK:1978-84
PHILIP JOHNSON,AT&T BUILDING,NEW YORK:1978-84
MICHAEL GRAVES,PORTLAND BUILDING,OREGON:1979-82
Elements of classical, ancient Egypt, art deco, Pluralism and metaphorical landscape
The use of double coding – an approach that makes symbol, ornaments and building elements are easily understand by the public and not exclusively for architects
GRAVES,HUMANA BUILDING,
LOUISVILLE, KENTUCKY:1982-86
Post-Modernism was born because: ď‚ž
The need to deviate from the International Style (the failure)
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the need to reinterpret the new meaning of architecture; re-evaluate the role of history
International Style Simple Uniform Anonymous Cubic White/limited colors Constructional constrain
Post-Modernism Complex Individualistic Own identity Varies in shapes Colors Reference to history Symbolic Varies in elements, theme and materials Sense of place and time Fun
Revival
Revival architecture is an attempt to preserve ‘architectural status quo’ away from the ‘industrial influence’ Combination of 2 extremes: ‘immitation and innovation’ The essence of revivals was ‘eclecticism’: more with the architect’s personal choices and preferences Revivals for prestigious buildings (e.g. town hall, museum), industrial for mundane buildings (e.g. factories, warehouses)
Revivalist styles also reflected the national characteristics and traditions of different countries. Baroque revivals mainly in central Europe Renaissance (flamboyant styles) in France Gothic and Classical in England
Baroque Revival
Architectural style in the late 19th century that adopted particularly for government, municipal and commercial buildings. Baroque Revival architecture is characterized by imposing classical facades, with much associated decorative sculpture It also makes absolute use of domes and towers, turrets and cupolas. Interiors are spacious and dignified and are also often decorated with sculpture and painting.
Paris Opera House, France Charles Garnier, 1861-75)
lavish intricate ornamental Exotic ‘Seen and to be seen’
Baroque Revival
Prominent front façade with very wide triumphal arch Had multiple functions and circulation systems Front façade for walking public, upper class with coach enter at the right hand side Performers and administrations at the rear side Special side for the emperor
Gothic Revival Gothic
Revival, which was born in England. It was concurrent with Classical Revival or also known as Neoclassical This movement may be considered the architectural manifestation of Romanticism, given the Romantic affinity for Medieval nostalgia and the wild, fanciful nature of the Gothic style
The foremost Gothic Revival monument of Britain is Westminster Palace also known as the Houses of Parliament), by Charles Barry and A W Pugin Symbol of genuine English architecture Moral and aesthetic exemplar
Gothic Revival The Houses of Parliament in London was designed by A W Pugin and Charles Barry. Pugin part in the design consisted of two phases, 1836–1837 and in 1844 and 1852, with the classicist Charles Barry as his nominal superior Pugin provided the external decoration and the interiors, while Barry designed the symmetrical layout of the building, Pugin remarked, "All Grecian, Sir; Tudor details on a classic body".
House of Parliament, London
House of Parliament, London, England
‘picturesque view – along thames river’
Classical Revival
People attempted to establish new nation based on timeless principles of architecture Classicism was chosen because it is associated with civic virtue, noble and republican antiquities. Classical Revivalism or Neoclassicism was born to replace the superfluous and variable of the Baroque
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Ste Genevieve Library, Paris Henri Labrouste 1840
Design consists of a perimeter wall of books Enclosing a rectilinear space supporting and iron framed, barrel vaulted roof
Ste Genevieve Library, Paris Henri Labrouste 1840
Divided into two halves and supported in the centre by iron columns ‘structural classicism’
Altes Museum, Berlin, Karl Friedrich Schinkel, 1823-30
Classical Revival
A classical composition within an island of important civic buildings Its highly raised Ionic colonnade, centred on an internal rotunda Created a total formal unity in contrast to the city Its modular planning influential to young architects ‘romantic classicism’
de-architecture S.I.T.E Sculpture In The Environment To make art & architecture unity Advertising & consumption
‘The [20th] century began with architects being inspired by an emerging age of industry and technology. Everybody wanted to believe a building could somehow function like a combustion engine. As an inspirational force in 1910, one can understand it. But as a continuing inspiration in our post-industrial world, or our new world of information and ecology, it doesn't make any sense’. -- from the film Ecological Design
Reaction against monotonous & characterless, boring stereotypes of functionalist boredom of supermarkets.
S.I.T.E Group deliberately set out to shock & astonish with their store design for BEST supermarket chain
The goal-to attract notice at any price, & to stand out from the competition
James Wines founded SITE, Environmental Design[1] in 1970. Wines has been the designer of more than 150 architecture, environmental-art, interiordesign, public-space and landscape-architecture projects, sponsored by numerous large corporations (e.g., Swatch, MCA Universal, MTV, Nickelodeon, Williwear, Isuzu, Disney)
THE CHARACTERS OF DE-ARCHITECTURE
Element of surprise becomes a Trademark Unexpected changes, disturbing and provocative Dramatic Humor Surprising and confusing Illusion
S.I.T.E Projects Inc.,BEST Supermarket,Houston,TX:1975
S.I.T.E Projects Inc.,BEST Supermarket,Sacramento,CA:1977
S.I.T.E Projects Inc.,BEST Supermarket,Towson,MD:1978
S.I.T.E Projects Inc.,BEST Supermarket,Richmond,VA:1972
S.I.T.E Projects Inc.,BEST Supermarket
CALIFORNIA AEROSPACE MUSEUM,LA:1983-84
Nationale Nederlanden Building,Prague,Czech Republic:1995
HIGH-TECHNOLOGY Piano,Rogers,Foster & Calatrava
If the ‘International Style’ is known as ‘The First Machine Age’, the ‘High-Technology’ Architecture is known as ‘The Second Machine Age’
The Idea of High-Tech To push the limit of the new technologies, especially on the structural systems, to the possible maximum capabilities
High-Tech Character
Highly visible and constructing-the technologies become the showcasethe structures and their character are exposed, The skeleton is as interesting and beautiful
as part of the body as the skin that usually covers it.
Inside – out / flesh rather than skin Truth and honesty- in the structural systems and the forms which formed from them
Material from the non-conventional sources Strong articulation Lightweight structure and floatingadaptabilities of the interior spaces due to the adaptabilities of the skeleton Aesthetic rather than humanistic -colors on specific purposes,apart from aesthetic
Team 4 (Norman & Wendy Foster + Richard & Su Rogers),Reliance Controls Factory, Swindon,Wiltshire,England:1967
Rogers + Piano,Pompidou Center,Paris:1971-77
Rogers + Piano,Pompidou Center,Paris:1971-77
Rogers + Piano,Pompidou Center,Paris:1971-77
Rogers and Piano took their desire to celebrate the art of engineering and industrial design to spectacular extremes. Everything, from the lifts to the sewage pipes, is visible on the outside of the structure.
The rationale was to allow the greatest possible amount of floor space for the interior, so that art lovers could enjoy enough space to appreciate the exhibitions. Today, the building itself is one of Paris’ most popular tourist attractions, but at the time reaction was decidedly mixed. Critics dubbed the inside-out style ‘Bowellism’.
“together with the Eiffel Tower, it reminds that engineering can be as poetic an inspiration for a loveable structure as any historical style�
Rogers + Piano,Pompidou Center,Paris:1971-77
‘high-tech , green , sustainability’ A multi-faceted institution sheltered by a undulating green roof takes a holistic approach to sustainable design
Renzo Piano,
California Academy of Sciences, San Francisco, 2008
The designers conceived the undulating topography that shelters the new building as an elevated swath of Golden Gate Park.
Floor-to-ceiling low-iron glazing provides daylight for the main exhibition area and allows a visual connection to the park.
‘A cable-net skylight and operable rain screen shelter the piazza. The aluminum-clad planetarium (background) is one of two sphereical volumes that flank this central space.’
Light necessary for the survival of the rain forest’s tropical plants is provided through the roof’s porthole-like skylights and electric lights.
A section sketch demonstrates the extent of coordination required among the program, the structure, and the natural ventilation scheme.
Renzo Piano, California Academy of Sciences,
San Francisco, 2008 (http://greensource.construction.com/projects)
Metal truss construction vs metal sheet cladding
Foster,The Sainsbury Centre for Visual Arts at the University of East Anglia,Norwich,England:1978
Foster Assoc. +Ove Arup,Renault sales HQ,Swindon,Wiltshire,England:1981-83
RICHARD ROGERS,INMOS MICROPROCESSOR FACTORY,GWENT,WALES:1982
Foster & Assoc,Hong Kong & Shanghai Bank HQ,HK:1986
Foster & Assoc,Hong Kong & Shanghai Bank HQ,HK:1986
Surrounded by modern buildings
3 blocks connected to one another Main structure – 8 ‘mast’ with 4 tubes strengthened with diagonal bracing Suspended floor within the ‘mast system’
‘central hall’ lighted by glass reflection with computer controll system Open and free ground floor area 139 toilet module and other service facilities at the side of building unlike convential highrise with the service at the core area of the HK 5 billion and symbol prosperity – Feng Shui (spider web)
Foster & Assoc,Hong Kong & Shanghai Bank HQ,HK:1986
Rogers & Piano,Lloyds of London:1978-86
Lloyds of London
The Khan Shatyr Entertainment Center , Astana, Kazakhstan Foster, 2010
The Khan Shatyr Entertainment Center is designed to provide the city with a range of civic, cultural and social amenities all sheltered within a climatic envelope - 'a world within' - the tent is a traditional nomadic building form - Khan Shatyr translates as 'the Tent of the Khan'.
The Khan Shatyr Entertainment Center , Astana, Kazakhstan Foster, 2010
The tubular-steel tripod structure supports a suspended net of steel radial and circumferential cables, which is clad with a three-layer ETFE envelope, formed as 3.5 x 30metre cushions - a very light, economical and thermally efficient solution.
The Khan Shatyr Entertainment Center , Astana, Kazakhstan Foster, 2010
http://www.fosterandpartners.com/proj ects/khan-shatyr-entertainment-centre/
IAN RITCHIE,EAGLE ROCK HOUSE,SUSSEX,ENGLAND:1983
Gunter Behnish & Frei Otto, Olympic Stadium,Munich:1968-72
Gunter Behnish & Frei Otto, Olympic Stadium,Munich:1968-72
CALATRAVA,LYON-SATALOS AIRPORT RAILWAY STATION, LYON, FRANCE, 1989-94
CALATRAVA,LYON-SATALOS AIRPORT RAILWAY STATION, LYON, FRANCE, 1989-94
CALATRAVA,LYON-SATALOS AIRPORT RAILWAY STATION, LYON, FRANCE, 1989-94
Campo Volantin Footbridge,Bilbao(1990-92)-Santiago Calatrava
CALATRAVA,OLYMPIC STADIUM,ATHENS:2004
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