Postmodernsim 7 by Tom Tyler

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“MY PERSONAL OPINION HOLDS THAT ANYTHING CHARACTERIZED AS POST-MODERN, WHETHER BY ITS AUTHOR OR ITS ADVOCATES, IS BENEATH CRITICAL CONSIDERATION, NO MATTER HOW IMMEDIATELY POPULAR OR ACCEPTABLE IT MIGHT BE”. RICHARD KOSTELANETZ, AUTHOR OF ‘A DICTIONARY OF THE AVANTGARDES’,

e r tc u

e t i h c r

t s o Pa r c h i t e c t u r e modernist

Postmodernist

architecture

derives from the modernist movement. In late 20th century, some architects began to turn away from modern functionalism due to it being viewed as boring or unpleasant. Their response to Modernism involved combining new ideas with traditional forms, taking previous aspects of buildings and merging them together to create new designs. Postmodernist buildings consist of different shapes and details that are used in distinctive and unique ways, with some incorporating symbols to make a statement or create a response to the viewer making them surprised or even amused. The Sony Tower (formerly the AT&T Building)

Michael Graves, an American architect, is a notable figure in the development of postmodern architecture, designing The Portland Building, which became the first significant postmodern monument. He opposed the notion of modernism in the 1980s by incorporating historical characteristics, specifically sculpture, into his architectural designs. The Portland building was identified as postmodern, through its use of colour as symbolism; with the lower floors in green to represent the earth and the top floor in blue to represent the sky. Even though critics deemed it an eye sore,

its design was the first to successfully incorporate artistic influences and sculpture on a large scale. The building itself is organised in a typical threepartition style of base, body and head. Graves describes the building as â&#x20AC;&#x153;a symbolic gesture, an attempt to re-establish a language of architecture and values that are not a part of modernist homogeneity.â&#x20AC;? (1) The creation of the Portland paved the way for postmodernism in architecture and inspired the architect and eventual leader of the movement, Rob Venturi.

The Portland Building

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â&#x20AC;&#x153;Less is a bore" boreâ&#x20AC;? "Less

RobertVenturi Robert Venturi was one of the most famous postmodern architects who fought the case for Postmodernism and one of the most influential theorists who tried to steer architecture away from the modernist movement. His book ‘Complexity and Contradiction in Architecture’ was where the term “less is a bore” was composed from, originally taken from Mies van der Rohe‘s famous quote “less is more”. Venturi’s described his style and taste by stating: “I like the elements which are hybrid rather than “pure,” compromising rather than “clean,” distorted rather than

Duck Duck Duck Duck Duck Duck Duck Duck Duck Duck Duck Duck Duck Duck

‘Duck’

Duck Duck Duck Duck Duck Duck Duck

Venturi used similar techniques of distorting function and scale in

his

designs

‘The

Duck

and

Decorated

shed’.

The

‘Duck’,

inspired by a duck shaped structure in Las Vegas, is the symbol of

structure, with a purpose modernism; they can’t portray anything except what they are inside. The

‘Decorated

Shed’

symbolizes

the

that is identified by a

sign. To make it straightforward and easily recognisable from the outside, there

sign

that

directly

states

its

function,

i.e.

eatery.

The Dancing House’ is a very peculiar postmodernist building in Prague, designed in 1992, by Croatian-Czech architect Vlado Milunić and Canadian architect Frank O’Gehry, and completed in 1996. The building was originally named Fred and Ginger as it was designed to mimic the famous dance duo Fred Astaire and Ginger Rogers dancing together, but soon became known as the dancing house. The Dancing House is an example of deconstructionist architecture, by its strange and unusual shape; it was created using 99 concrete panels of different shapes and dimensions to give its weird and wacky look. The Dancing House today is now home of the city’s well known restaurant and bar; Céleste, open to the public with modern offices below. It firstly caused quite a stir amongst the city due to its very modern surroundings but is now accepted and has now become one of the city’s well known tourist attraction.

High-tech architecture

is a movement that began to develop in the 1970s. While it is not entirely postmodern, it bridges the gap between modernist and postmodernist architecture. Furthermore, it is difficult to categories high-tech architecture as it falls into both styles of movements.

The Pompidou Centre is a cultural and leisure centre in Paris, and is home to the largest museum of modern art in Europe. Designed by Italian architect, Renzo Piano and British architect, Richard Rogers, the building is a sign of early high-tech architecture. Incorporating post modernist characteristics, the exposed infrastructure was created to maximise the interior space, resulting in an â&#x20AC;&#x2DC;inside outâ&#x20AC;&#x2122; theme. This is clearly shown in the brightly coloured pipework, with the staircase and escalators structured on the outside of the building. These metallic structures contrast the modernism style throughout the interior of the building; the free plan space inside matches the modern art which is displayed throughout the gallery. Furthermore, the pipes outside are colour coded in order to match what they contained. The Pompidou was significant to the development of postmodernism and high-tech architecture, as it was one of the first buildings to incorporate the high-tech characteristics, and was designed on creative impulse.

The Pompidou Centre

A noticeable high-tech architect in present times would be Sir Norman Foster. Chairman and key architect of Foster + Partners, he is responsible for the creation of one of Londonâ&#x20AC;&#x2122;s most known high-tech buildings, 30 St Mary Axe, more commonly known as The Gherkin.

The Gherkin

Known for its distinct cone-like shape, it is easy to see how the building is deemed post-modernist. Its shape contrasts the surrounding modernist buildings of London and was designed with a purpose; the cone shape was deliberate in order to reduce wind turbulence. London is home to several postmodernist examples of architecture such as Embankment Place (Charing Cross Station,

The Vauxhall Building

1990), The Vauxhall Building (MI6 building, 1994), and more recently, The Shard (2012). However, it is difficult to label London entirely as Postmodern, but with the development of more green, sustainable architecture with a function, it is easy to see that the Postmodern architecture in London is advancing. The Shard

“straightforward,”

…inconsistent

and

equivocal

rather

than

direct

and

clear.”