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  • POSTMODERN, 253s '12

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    Raluca Gîlcă
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    Postmodern architecture emerged in reaction to modernism's focus on form over function. Architects like Robert Venturi and Denise Scott Brown emphasized collaboration over the "lone genius" and embraced complexity and contradiction rather than strict rationalism. They drew inspiration from vernacular architecture and everyday landscapes. This movement celebrated architects like Venturi, Charles Moore, and Michael Graves, who incorporated historical references and ornamentation into their designs. However, others like James Stirling were also influential though some of their buildings suffered from functional problems.

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    Postmodern architecture emerged in reaction to modernism's focus on form over function. Architects like Robert Venturi and Denise Scott Brown emphasized collaboration over the "lone genius" and embraced complexity and contradiction rather than strict rationalism. They drew inspiration from vernacular architecture and everyday landscapes. This movement celebrated architects like Venturi, Charles Moore, and Michael Graves, who incorporated historical references and ornamentation into their designs. However, others like James Stirling were also influential though some of their buildings suffered from functional problems.

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    151 views270 pages

    POSTMODERN, 253s '12

    Uploaded by

    Raluca Gîlcă
    Postmodern architecture emerged in reaction to modernism's focus on form over function. Architects like Robert Venturi and Denise Scott Brown emphasized collaboration over the "lone genius" and embraced complexity and contradiction rather than strict rationalism. They drew inspiration from vernacular architecture and everyday landscapes. This movement celebrated architects like Venturi, Charles Moore, and Michael Graves, who incorporated historical references and ornamentation into their designs. However, others like James Stirling were also influential though some of their buildings suffered from functional problems.

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    of 270

    ARHITECTURA POSTMODERNA

    “Modern architecture, despite breaking


    with the past stylistically, nonetheless
    maintains this image of the gifted
    architect as a lone autonomous genius
    who overcomes gravity and prevails over
    his client [...]

    Rather than an inner activity done in


    solitude, it has been found that people
    often discover their thoughts and ideas
    through interactions with others [...]

    The centrality of collaboration in


    architecture is often overlooked in a
    culture celebrating and branding
    “starchitects.” Denise Scott Brown and
    Robert Venturi, 1968.
    Learning from Las Vegas—the book that taught architects, urban planners, and generations of
    students to look at the everyday landscape, “the ugly and the ordinary” as a springboard for
    authentic building in contemporary times—recently passed 40 years since its first appearance.
    Written by Robert Venturi and Denise Scott Brown (the team that would introduce what would
    come to be known as Postmodernism to American architecture) with the subtitle “The
    Forgotten Symbolism of Architectural Form.”
    Michael Graves School of Architecture
    Wenzhou, China campus.
    The Portland Building built in 1982 and added to the
    National Register of Historic Places in 2011
    house II en hardwick, vermont
    peter eisenman 1970
    The New York Five refers to a group of five New York City architects (Peter Eisenman,
    Michael Graves, Charles Gwathmey, John Hejduk and Richard Meier) whose work
    appeared in a Museum of Modern Art exhibition organized by Arthur Drexler in
    1967, and the subsequent book Five Architects in 1972.

    These five had a common allegiance to a pure form of architectural modernism,


    harkening back to the work of Le Corbusier in the 1920s and 1930s, although on closer
    examination their work was far more individual. The grouping may have had more to
    do with social and academic allegiances, particularly the mentoring role of Philip
    Johnson.

    The show did produce a stinging rebuke in the May 1973 issue of Architectural Forum,
    a group of essays called "Five on Five", written by architects Romaldo Giurgola, Allan
    Greenberg, Charles Moore, Jaquelin T. Robertson, and Robert A. M. Stern.

    These five, known as the "Grays", attacked the "Whites" on the grounds that this
    pursuit of the pure modernist aesthetic resulted in unworkable buildings that were
    indifferent to site, indifferent to users, and divorced from daily life. These "Grays"
    were aligned with Philadelphia architect Robert Venturi and the emerging interest in
    vernacular architecture and early postmodernism.
    VENTURI
    Vanna Venturi House, Philadelphia, Pennsylvania (1964)

    Robert Venturi's home for his mother is considered by many to be the first
    postmodern building. With its green hue, unusually tall chimney, stairs
    leading to nowhere and oversize fireplace with stairs squeezed around it, the
    house is what the architect called his "manifesto against Modernism."
    Although Venturi has designed many
    buildings, his theories have created
    more impact.
    Based on the philosophy of 'complexity
    and contradiction', he has re-assessed
    architecture to stress the importance of
    multiple meanings in appreciating
    design.

    In contrast to many modernists, Venturi uses a form of symbolically decorated architecture


    based on precedents. He believes that structure and decoration should remain separate
    entities and that decoration should reflect the culture in which it exists. In contradiction,
    Venturi also considers symbolism unnecessary since modern technology and historical
    symbolism rarely harmonize.

    Although Venturi considers himself a architect of Western classical tradition, he claims that
    architectural rules have changed. He rejects a populist label, but in Learning from Las Vegas he
    shifted from an intellectual critique of Modernism in terms of complexity to an ironic acceptance
    of the "kitsch of high capitalism" as a form of vernacular. His theories have generated the
    populist aesthetic of the recent Post-Modernism.
    Vanna Venturi House / Robert Venturi
    A manifesto for Postmodern architecture, the Vanna Venturi house is a
    composition of rectangular, curvilinear, and diagonal elements coming
    together (or sometimes juxtaposing each other) in a way that inarguably
    creates complexity and contradiction.
    Tucker House · Mount Kisco, New York
    Gordon Wu Hall
    Trafalgar Square: National Gallery
    Hôtel du Département de la Haute-Garonne
    ROBERT VENTURI,
    PROJECT FOR A BEACH HOUSE,
    1959
    CHARLES MOORE

    Moore believed that architecture must elicit responses from all the senses, not only the visual.
    He felt that architecture should be based on client preference and on a symbolic reference to
    the site. He purposefully creates architecture that engages history, myth and creativity. Instead
    of using architecture to moralize an ideal, he uses it to generate an environment that
    stimulates the user.
    Sea Ranch Condominium · Sea Ranch,
    California
    Piazza d Italia de Charles Moore, un des
    premiers exemples d architecture post
    moderne (1978). Le pb c est que cette
    fontaine est entouree de grilles (on peut
    y acceder par deux portes) et situee sur
    un parking en plein milieu du CBD. Aucun
    passage dans le coin, malgré l
    amenagement d une promenade et la
    présence de bancs, c est plutot un
    echec...
    The Piazza d'Italia is an urban public plaza located at Lafayette and
    Commerce Streets in downtown New Orleans, Louisiana.
    Piazza d'Italia at night,
    May 2010
    Michael Graves
    Michael Graves
    Humana
    Building,
    Louisville,
    Michael
    Graves,1985
    The Humana Building, also known as the Humana Tower, is a skyscraper in
    downtown Louisville, Kentucky,. The 27-story structure is headquarters of
    the Humana Corporation and known for its postmodern architecture. It
    was designed by Michael Graves. Construction began in October 1982 and
    was completed in May 1985.
    Portland
    Public
    Services
    Building,
    Michael
    Graves, 1979
    Portland Building
    Walt Disney World Dolphin
    HALL OF CHAMPIONS-
    INJDIANAPOLIS

    MICHAEL GRAVES
    STEIGENBERGER HOTEL- EL GOUNA-EGIPT
    Charles Gwathmey
    Gwathmey house and studio
    East Hampton - 1965
    'It has a modernist body standing on
    classical feet and sports a large and
    variously defined ornament as a head.
    There is at once a referential
    anthropomorphism and a bond with the
    grand New York skyscraper architecture,
    exemplified by the Empire State and
    Chrysler buildings, which flourished
    before the nihilism of the Miesian box
    took over.

    Sony Building (originally AT&T Building) architect


    Philip Johnson and John Burgee
    The AT&T building was a commercially-well-timed
    reaction against Miesian modernism and its
    derivatives
    Photo Album

    by mumu
    STUTTGART - Kunstmuseum
    architects Hascher and Jehle
    Aldo Rossi
    aldo rossi designed the
    ‘teatro del mondo’
    orginally for the
    venice biennale in 1979
    Monument to the Resistance from 1962
    Pritzker Prize in 1990, with
    the jury’s citation stating:

    “his work is at once bold


    and ordinary, original
    without being novel,
    refreshingly simple in
    appearance but extremely
    complex in content and
    meaning.”

    Cimitero San Cataldo


    aldo rossi, gianni braghieri, cimitero, modena, italia, 1971-78
    San Cataldo Cemetery, designed
    by Aldo Rossi in 1971
    Aldo Loris Rossi,
    Social Services for
    Workers
    Puerto de Nápoles
    1968
    Piazza Nuova a Perugia
    Quartier Schützenstrasse, Berlin
    Hans Hollein

    Architect, Designer, Artist


    Österreichisches Verkehrsbüro
    Travel Agency | Vienna | Austria
    Planning: 1976 - 1978 Completion: 1978 - 1979
    Schullin I

    Jewellery Store | Vienna | Austria


    Type: shops and interiors
    Client: Dr. Herbert Schullin
    Planning: 1972 - 1974 Completion:
    1974
    Schullin II

    Jewellery Store | Vienna | Austria


    Type: shops and interiors
    Client: Dr. Herbert Schullin
    Planning: 1981 - 1982 Completion:
    1982
    Retti

    Candleshop | Vienna | Austria


    Type: shops and interiors
    Client: Marius Retti
    Planning: 1965 - 1966 Completion: 1966
    Haas Haus

    Commercial- and Office building with restaurants | Vienna |


    Austria
    Type: office/commercial buildings
    Client: Zentralsparkasse, Wiener Städtische, Wiener Verein
    Planning: 1986 - 1987 Completion: 1990
    Städtisches Museum Abteiberg

    Mönchengladbach | Germany
    Type: museums/cultural buildings
    Client: Stadt Mönchengladbach
    Planning: 1972 - 1973 Completion: 1982
    Situated at the border
    between 3rd and
    11th district of
    Vienna, the area
    marks the beginning
    of an essential urban
    development zone.

    It can be considered
    as a signal element
    for the “Gasometer-
    City”.

    Gate 2 - Vectigal

    Officetower | Vienna | Austria


    Type: office/commercial buildings
    Client: Vectigal Immobilien GmbH & Co. KEG
    Planning: 2001 - (mit Neumann und Partner)
    james stirling,
    florey building,
    oxford 1966-
    1971
    Did the great British architect James Stirling kill architecture in Great Britain?

    The question has to be asked since, as well as being an original and internationally admired
    talent, who is sometimes said to be the Francis Bacon of British architecture, he also
    designed some of the most notoriously malfunctioning buildings of modern times.

    Worse, two of these buildings were in the ancient universities of Oxford and Cambridge,
    wherein opinion formers spent their formative years.

    James Stirling: visionary architect, and a very


    naughty boy
    Tate Britain reappraises James Stirling – who
    gave his name to Britain's premier architectural
    prize – and shows he could be good, and bad…
    but never dull Stirling's 1984
    Staatsgalerie in
    Stuttgart, Germany.
    Photograph: Marco
    Weiss/Alamy
    james stirling, cambridge university history faculty building, 1964-1967
    Stirling’s student drawing, Forest
    Ranger’s Lookout Station, 1949.
    Photograph: James Stirling/Michael
    Wilford fonds/CCA
    Engineering Building, Leicester University

    Stirling & Gowan, 1959-63.


    History Faculty, Entrance, Cambridge
    Stuttgart, Germany, Academy of Music and Performing Arts, by James
    Stirling.
    Neue Staatsgalerie, Stuttgart.

    1982
    Casa Muzicii

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