Mod 4 Postmodernism 2
Mod 4 Postmodernism 2
Mod 4 Postmodernism 2
To
“Less is more”
To
“Less is bore”
Post
Modernism
Theory of design
Submitted by
Govind
Junaid
Mohammed sajid badar
Praphulla
Sruthy krishna
S3 barch (2016-21) IES college of
architecture, Thrissur
POST MODERNISM IN ARCHITECTURE
INTRODUCTION
Postmodern architecture style and comfort addresses the needs of the present
generation. The idea of postmodernism first emerged in the early 1950’s which
featured a wide range of ideals and practices that are not normally perceived
“acceptable” based on traditional philosophies. It has influenced every area of
discipline, including Arts and Architecture. Several architectural designs
adapted the ‘international’ design in the said decade. However, postmodern
architecture was not made a movement until the 70’s.
ORIGIN
Postmodern architecture emerged in the 1960s as a reaction against the
perceived shortcomings of modern architecture, particularly its rigid doctrines,
its uniformity, its lack of ornament, and its habit of ignoring the history and
culture of the cities where it appeared. The architect and architectural historian
Robert Venturi led the attack in 1966 in his book, Complexity and
Contradiction in Architecture. Venturi summarized the kind of architecture he
wanted to see replace modernism,He also contradicted the saying of “less is
more as “ “less is bore” of Mies van der Rohe’s statement .
CHARACTERISTICS
The Team Disney Buildings, as a great example for postmodern architecture are
just few of the buildings built nowadays (Bird’s Nest in Beijing and LaSalle
SIA Art College also belong to the same category). Along with the designs,
sustainability issues are likewise addressed in postmodernist designs. The
quality and origin of the materials are assured to be sustainable.
IN SHORT
IRONY
DOUBLE CODING
Double coding meant the buildings convey many meanings
simultaneously.The Sony Building in New York does this very well. The
building is a tall skyscraper which brings with it connotations of very
modern technology. Yet, the top contradicts this.The top section conveys
elements of classical antiquity. This double coding is a prevalent trait of
Postmodernism
Vanna Venturi House by Robert Venturi (1964)
Fire Station Number 4 in Columbus, Indiana (1968)
Trabant Center at the University of Delaware in Newark, DE (1996)
Episcopal Academy Chapel
Frist Campus Center at Princeton University (2000)
Robert Venturi (born 1925) was both a prominent theorist of
postmodernism and an architect whose buildings illustrated his ideas.
After studying at the American Academy in Rome, he worked in the
offices of the modernists Eero Saarinen Louis Kahn until 1958, and then
became a professor of architecture at Yale University. One of his first
buildings was the Guild House in Philadelphia, built between 1960 and
1963, and a house for his mother in Chestnut Hill, in Philadelphia. These
two houses became symbols of the postmodern movement. He went on to
design, in the 1960s and 1970s, a series of buildings which took into
account both historic precedents, and the ideas and forms existing in the
real life of the cities around them.
Michael Graves
Portland Building by Michael Graves (1982)
Humana Building in Louisville, Kentucky, (1982)
Team Disney building in Burbank, California, (1986)
Richard Meier, was considered one of the New York Five, a group of
advocates of pure modern architecture, but in 1982 he turned toward
postmodernism with the Portland Building, one of the first major
structures in the style. The building has since been added to the National
Register of Historic The Denver Public Library by Michael Graves
(1995)
Michael Graves (1934–2015) designed two of the most prominent
buildings in the postmodern style, the Portland Building and the Denver
Public Library. He later followed up his landmark buildings by designing
large, low-cost retail stores for chains such as Target and J.C. Penney in
the United States, which had a major influence on the design of retail
stores in city centers and shopping malls. In his early career, he, along
with the Peter Eisenman, Charles Gwathmey, John Hejduk and Places.
Philip Johnson
550 Madison Avenue, (Formerly AT&T Building) by Philip Johnson
(1982)
Bank of America Center in Houston, Texas by Philip Johnson (1983)
PPG Place, Pittsburgh, Pennsylvania by Philip Johnson (1979–84)
500 Boylston Street building in Boston, Massachusetts, by Philip Johnson
(1989)
400 West Market in Louisville, Kentucky by Philip Johnson (1993)
Glass house Pavilion for the Glass House in New Canaan, Connecticut
(1995)
Philip Johnson (1906–2005) began his career as a pure modernist. In
1935 he co-authored the famous catalog of the Museum of Modern Art
exposition on the International Style, and studied with Walter Gropius
and Marcel Breuer at Harvard. His Glass House in New Canaan,
Connecticut (1949), inspired b a similar house by Ludwig Mies van der
Rohe became an icon of the modernist movement. He worked with Mies
on another iconic modernist project, the Seagrams Building in New York
City. However, in the 1950s he began to include certain playful and
mannerist forms into his buildings, such as the Synagogue of Port Chester
(1954–56), with a vaulted plaster ceiling and narrow colored windows,
and the Art Gallery of the University of Nebraska (1963). However, his
major buildings in the 1970, such as IDS Center in Minneapolis (1973)
and Pennzoil Place in Houston (1970–76) were massive, sober, and
entirely modernist.
With the AT&T Building (now named 550 Madison Avenue) (1978–82),
Johnson turned dramatically toward postmodernism. The building's most
prominent feature is a purely decorative top modeled after a piece of
Chippendale furniture, and it has other more subtle references to
historical architecture. His intention was to make the building stand out
as a corporate symbol among the modernist skyscrapers around it in
Manhattan, and he succeeded; it became the best-known of all
postmodern buildings. Soon afterwards he completed another postmodern
project, PPG Place in Pittsburgh, Pennsylvania (1979-1984), a complex
of six glass buildings for the Pittsburg Plate Glass Company. These
buildings have neo-gothic features, including 231 glass spires, the largest
of which is 82 feet (25 m) high.
In 1995, he constructed a postmodern gatehouse pavilion for his
residence, Glass House. The gatehouse, called "Da Monstra", is 23 feet
high, made of gunite, or concrete shot from a hose, colored gray and red.
It is a piece of sculptural architecture with no right angles and very few
straight lines, a predecessor of the sculptural contemporary architecture of
the 21st century.
Humama building