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    Postmodernism: Contemporary Architecture

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    Rashid Ahmad
    Postmodernism emerged in the 1970s as a rejection of modern architecture's minimalism and lack of ornamentation. It incorporated historical references and symbolism into buildings through eclectic styles, unusual shapes, and colorful ornamentation. Key characteristics included double coding, irony, contextualism, and a return of decoration. Influential early works included the Portland Building, Sony Tower, and Piazza d'Italia, which borrowed elements from past styles to make bold architectural statements.

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    Postmodernism: Contemporary Architecture

    Uploaded by

    Rashid Ahmad
    44 views4 pages
    Postmodernism emerged in the 1970s as a rejection of modern architecture's minimalism and lack of ornamentation. It incorporated historical references and symbolism into buildings through eclectic styles, unusual shapes, and colorful ornamentation. Key characteristics included double coding, irony, contextualism, and a return of decoration. Influential early works included the Portland Building, Sony Tower, and Piazza d'Italia, which borrowed elements from past styles to make bold architectural statements.

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    Postmodernism emerged in the 1970s as a rejection of modern architecture's minimalism and lack of ornamentation. It incorporated historical references and symbolism into buildings through eclectic styles, unusual shapes, and colorful ornamentation. Key characteristics included double coding, irony, contextualism, and a return of decoration. Influential early works included the Portland Building, Sony Tower, and Piazza d'Italia, which borrowed elements from past styles to make bold architectural statements.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    44 views4 pages

    Postmodernism: Contemporary Architecture

    Uploaded by

    Rashid Ahmad
    Postmodernism emerged in the 1970s as a rejection of modern architecture's minimalism and lack of ornamentation. It incorporated historical references and symbolism into buildings through eclectic styles, unusual shapes, and colorful ornamentation. Key characteristics included double coding, irony, contextualism, and a return of decoration. Influential early works included the Portland Building, Sony Tower, and Piazza d'Italia, which borrowed elements from past styles to make bold architectural statements.

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    © All Rights Reserved
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    of 4

    Notes on CONTEMPORARY ARCHITECTURE c o m p l i e d b y D I P P A N D E Y

    POSTMODERNISM
    INTRODUCTION

    The term ‘postmodernism’ has been cited from 1950s but became a movement from 1970s.
    It continues to have influence on present day architecture. The style is characterised as the
    return of ‘wit, ornament and reference’ to architecture.

    Functional and formal spaces and shapes of modern style are replaced by diverse styles:
    styles collide, form is adopted for its own sake, and new ways of viewing familiar style and
    space abound.

    Postmodernism rediscovered the expressive and symbolic value of architecture that evolved
    through centuries of building that were abandoned by modern style.

    Influential early large scale examples of Postmodernism include Portland Building,


    Portland, Orgeon, Michael Graves and Sony Building (formerly AT & T Building), New York
    City, Philips Johnson. These buildings borrows elements and symbols from the past
    and reintroduces color and symbolism to architecture.

    Neo-eclectic

    Postmodern style returned references and ornaments to the façade and replaced the
    aggressively unornamented modern style.

    The style often made use of non-orthogonal angles and unusual surfaces, e.g. State Galley
    of Stuttgart, James Stirling, Piazza de Italia, Charles Moor, Scottish Parliament Building

    Modernists criticized postmodern architecture as vulgar, associated with populist ethics


    and sharing the elements of shopping malls, cluttered with ‘gue-gaws’.

    For postmodernists, modern architecture appeared soulless and bland, overly simplistic
    and abstract.

    Modernism – minimal and true use of material; rejection of ornaments

    - Postmodernism – rejection of strict rules set by previous modernist; seeks


    expression and meaning in the use of building technique, form and stylistic
    references

    - traditional gable roof in place of flat roofs of modern architecture (House is a


    machine to live in) – solves climatic requirements; structural solution for larges span
    using shorter structural members

    Robert Venturi – Complexity and Contradiction in Architecture, Learning from Las Vegas
    Michael Graves
    Charles Moore
    Philip Johnson
    James Stirling

    Portland Building
    Messetrum, Frankfurt, Helmut Jahn1991
    Sony Tower
    Wells Fargo Center, Minneapollis, Cesar Pelli, 1988
    1000 De La Gauchetiere, Montreal, Canada,
    Cemay And Associates; Dinmalopoulas Associates 1992
    Neue Staatgalerie, James Stirling, Michael Wilford 1984
    T H A P A T H A L I C A M P U S | DEPARTMENT OF ARCHITECTURE 1
    Notes on CONTEMPORARY ARCHITECTURE c o m p l i e d b y D I P P A N D E Y

    Rmit Building, Melbourne Edmund & Corrigan, 1993


    The Mccormick Tribune Campus Center, Chicago IIt Campus, Rem Koolhaas, 2003
    Auditorio De Tenerife, Santa Cruz De Tenerife, Santiago Calatrava, 2003
    Bank Of America Center, Houston, John Burgee & Philip Johnson, 1991
    Koolhoff Tower – Potsdamer Platz, Berlin
    Hans Koolhoff, 1999
    One Detroit Center, Detroit, John Burgee & Philips Johnson 1993
    The Harold Washington Library, Chicago, Illinois
    Hammond, Beeby & Bask, 1991
    Vanna Venturi House, Robert Venturi

    ROOTS
    • After the failure of modern architecture in 1970s, Postmodernism developed in US,
    and then in Europe, then throughout the world
    • Quoting extensively from past architectural styles, often many at once
    • Strives to produce buildings that are sensitive to the context on to which they are
    built
    • Buildings failed to meet the human need for comfort for both the body and the eye :
    modernism did not account for the desire for beauty
    • Monotonous apartment blocks – degenerated into slums
    • …reintroduction of color, ornament, decoration and human scales – forms no longer
    defined solely by functional requirement and minimal appearances

    CHARACTERISTICS
    • Expression in diverse ways : use of sculptural forms, ornaments,
    anthropomorphism, materials that perform trompe l’oeil ---- Physical Characteristics
    • Conceptual characteristics of meanings – pluralism, double coding, flying
    buttresses, high ceilings, irony and paradox and contextualism
    • playfully extravagant forms and the humor of the meanings the buildings convey
    • Double coding, e.g. Sony Tower : tall skyscraper + element of classical antiquity
    • Irony, e.g. Piazza de Italia : Moore quotes elements of Italian Renaissance and
    Roman antiquity – twists – pillars covered in steel
    • return of ornament, e.g. Venice Beach House, F. Ghery, 1986: Portland Building
    • need of human from the building e.g. Carlo Scarpa’s Brion Cemetry
    • Sensitive to the building’s context

    V A N N A V E N T U R I H O U S E , Robert Venturi, 1962


    Located in Chestnut Hill, Philadelphia, Pennsylvania this icon of postmodernism is
    constructed in light wood frame for Vanna Venturi, mother of Robert Venturi. It is based on
    a symbolic conception rather than upon one that is purely spatially abstract. It is centered
    on the idea of the chimney and the hearth form which the space is pulled. The space is
    distended from that hearth as the mass of the chimney rises up to split the house. The
    chimney rises through the gable, the living room is half vaulted. The whole house is rising
    and split through the middle.

    Plans and elevations are built on a rigid axial, even Palladian symmetry, which becomes
    monumental in the street façade but looser at the extremities and rear of the house, in
    keeping with the domestic program.

    Historical referencing can be seen abundantly. The monumental façade refers to


    Michelangelo’s Porta Pia in Rome and the back wall of the Nymphaeum at Palladio and

    T H A P A T H A L I C A M P U S | DEPARTMENT OF ARCHITECTURE 2
    Notes on CONTEMPORARY ARCHITECTURE c o m p l i e d b y D I P P A N D E Y

    Alessandro Vittoria’s Villa Barbaro ar Maser. The broken pediment recalls the ‘duality’ of
    the façade of Luigi Moretti’s apartment house on the Via Parioli in Rome.

    S O N Y T O W E R , Philip Johnson, 1984


    The Sony Tower, formerly the AT & T Building, is a 647 feet (147m) tall, 37 storey high-rise
    skyscraper. The building legitimized the postmodern architecture movement on the world
    stage. AT & T represented a critical watershed: it was the first major built structure that
    revived the use of historic styles – an approach to design prevalent throughout history but
    strongly abandoned and derided by the profession during the supremacy of the
    International style.

    The postmodern characters of Sony Tower:

    • The large spectacular central arched entrance way measuring about 7 stories in
    height i.e. reintroduction of arch
    • The columned arch
    • The architectural decoration of the base
    • The ornamented Chippendale top developed from ancient Greek architecture
    • The Carolingian lobby with its gilded cross vault and Romanesque capitals

    ‘You can’t learn architecture any more than you can learn a sense of music or of painting.
    You shouldn’t talk about art, you should do it.’ -Philip Johnson

    P O R T L A N D B U I D L I N G , Michael Graves 1982


    Characteristic example of post modernism, Portland Building is elevated on a pedestal and
    mixes classical, Egyptian, and assorted other motifs in a whimsical building-block
    paraphase of Art-Deco, which shared an equal disregard for historical propriety. The
    buiding is relieved of the monotony imposed by the tyrrany of the cube that afflicts so much
    modern architecture. although the lavish sculptural decoration was never added, the
    exterior has a surprising warmth that continues inside.

    N E U E S T A A T G A L E R I E , James Stirling, Michael Wilford 1984


    warm, natural elements of travertine and sandstone to contrast the industrial pieces
    of green steel framing system and the bright pink and blue steel handrails. central
    circular atrium. This outdoor, enclosed space houses the sculpture garden. It is
    circumvented by a public footpath that leads pedestrians through the lot, turning the
    architecture into an "architectural landscape." This feature allows the public to
    reach the higher elevation behind the museum from the lower front of the building's
    main face.

    P I A Z Z A D E I T A L I A , Charles Moore

    CONCLUSION

    Failure of modern architecture – 1970s – US to Europe then throughout the world


    Quoting extensively from past architectural styles, often many at once
    Strives to produce buildings that are sensitive to the context on to which they are built
    Buildings failed to meet the human need for comfort for both the body and the eye :
    modernism did not account for the desire for beauty
    Monotonous apartment blocks – degenerated into slums
    reintroduction of color, ornament, decoration and human scales – forms no longer
    defined solely by functional requirement and minimal appearances

    T H A P A T H A L I C A M P U S | DEPARTMENT OF ARCHITECTURE 3
    Notes on CONTEMPORARY ARCHITECTURE c o m p l i e d b y D I P P A N D E Y

    T H A P A T H A L I C A M P U S | DEPARTMENT OF ARCHITECTURE 4

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