AAR552_LECT6-NEW DIRECTION POST MODERN

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.

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Richard Buckminster "Bucky" Fuller (1895 – 1983)

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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 

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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 

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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  

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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 

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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

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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

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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

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Reaction against monotonous & characterless, boring stereotypes of functionalist boredom of supermarkets.

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S.I.T.E Group deliberately set out to shock & astonish with their store design for BEST supermarket chain

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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.

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Inside – out / flesh rather than skin Truth and honesty- in the structural systems and the forms which formed from them

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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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