Post modernism

POST-MODERNISM
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Post-modernism Architecture
Leading Architects In Post-modernism Are :
Charles Moore
Robert Venturi
Philippe Johnson
Hans Hollein
James Stirling

•Modernist architecture –when the cube was king-didn‘t age well. As time
passed, grime streaked flat, concrete walls, like wrinkles carved into a
smooth face. Glass-paned skyscrapers lost their shine. Stripped of
ornament, abstract forms that once seemed ultramodern appeared just plain
blank by the 1970s. In scaling up from the margins to the mainstream,
Modernism went awry.
•What shook up the architectural world and broke the stranglehold of slick,
geometric forms was a book by Robert Venturi, Complexity and
Contradiction (1966). ―Architecture is evolutionary as well as
revolutionary.
POST-MODERNISM ARCHITECTURE

•During the 1970s and ‘80s, buildings termed Postmodern were decorated
not only with color –but with a Classical elements like slightly out-of-whack
columns. Architects liberally tacked on miscellaneous borrowings from all
periods of history. Sleek was gone―Anything goes was
booming.
•By the 1990s, picturesque Po-Mo had been so overdone, plastered on every
suburban strip mall facade, it was declared passé. The next thing was
Deconstructivism, a cerebral style of spiky angles and fractured forms.
Decon practitioners claimed the style reflected cultural chaos at the end of
the millennium.
•Since 1960s, the mainstream has split into multiple branches. Diversity
reigns, with a push for sustainable (environment-friendly) design gaining
ground.
POST-MODERNISM ARCHITECTURE

For Charles Moore (1925-1993), an archetypal Post-Modernist who heaped
on multiple allusions, more was never enough. An outspoken opponent of
anonymous bedroom suburbs and interchangeable cities, Moore wanted
architecture to recapture a lost ―sense of place.
each commission was an opportunity to highlight what the ancients called
―genius loci,
Charles Moore :
Moore And More
Sea Ranch housing (1965-72)
or special attributes of a site.
Moore‘s Sea Ranch housing
(1965-72) on the California coast
was an extreme example of
ecological architecture. The
houses modeled on local barns,
are nestled into the site,
sheltered from the prevailing
wings. Slanted woods both
deflect wind and collect sun

Charles Moore : Piazza d’Italia
Piazza d’Italia (1975-1978) ,New
Orleans, By Charles Moore.
Moore stressed the need for
“joy” in architecture. A MIX of
historical forms, in his relation to
high and low culture.

Charles Moore : Piazza d’Italia
(1975-1978) ,New Orleans
Moore refer indirectly to
historical motifs only to put-on them.
His capitals consist of water jets shaping
Corinthian ―leaves.
Stainless-steel Ionic volutes and
streams of water flowing down
columns to suggest fluting are a
naughty takeoff on Classical
style. In a high-camp parody,
medallions shaped like Moore‘s
head spout water.

Michael Graves
Michael Graves (b.1934), who originally
wished to be a painter, color-codes his
building to create what he calls
―metaphorical landscapes.
His shades are derived from nature, such as
blue as an analogy for sky, green and earth
tones for landscape. It is as if he is carving
his own mount, at the same time adorned
with his personal interpretation of Classical
motifs.
He wants his architecture to be capable of
being read by anybody.

Michael Graves Portland Building,
at Portland, Oregon, 1982

Michael Graves Humana Building,
Louisville, Kentucky, located at 500
West Main Street . 1985
Each side of the building has slightly
different designs. The form of the
upper few floors are designed as a
sloping pyramid. The building is
famous because of the flat pink
granite that covered the exterior
façade.
The loggia on the building‘s north
facade is respectful to the older
downtown architecture, and in a way
continues the store front line of the
original street fabric.

Robert Venturi & Dennis Scott
Brown
Robert Venturi might be considered as
one of the fathers of Postmodern
architecture.
He is also known for coining the
maxim "Less is a bore" as antidote to
Mies van der Rohe's famous modernist
dictum "Less is more". Together with
his wife, Dennis Scoot Brown, Venturis
are running an architectural office and
their designs forced the American
architects and planners to reconsider
the Modernist sway of architectural
practice, and to perform a more
humanist architecture that belongs to
American traditions.

Robert Venturi
Guild House –The Symbolism Of The Ordinary:
The pretensions of the giant order on the front, the symmetrical, palazzo-like
composition with its three monumental stories (as well as its six real stories),
it is this juxtaposition of contrasting symbols—the decoration (appliqué ) of one
order of symbols on another—that constitutes for us the decorated shed. This is
what makes Guild House an architect’s decorated shed.

Robert Venturi
Vanna Venturi House, Philadelphia, PA, 1964
Venturi designs this building for his mother. The design of the building embodies
several “complexities and contradictions”: it is both complex and simple, open
and closed, big and little; some of its elements are good on one level and bad on
another; its order accommodates the generic elements of the house in general,
and the circumstantial elements of a house in particular. It achieves the difficult
unity of a medium number of diverse parts rather than the easy unity of few or
many motival parts.

ROBERT VENTURI
Concerning the inside, the plan is originally symmetrical with a central
vertical core from which radiate two almost symmetrical diagonal walls that
separate two end spaces in front from a major central space in back. This
almost Palladian rigidity and symmetry is distorted, however, to
accommodate to the particular needs of the spaces: the kitchen on the right,
for instance, varies from the bedroom on the left.
The contradiction between
inside and outside,
however, is not total:
inside, the plan as a whole
reflects the symmetrical
consistency of the outside;
outside, the perforations in
the elevations reflect the
circumstantial distortions
within.

ROBERT VENTURI

Philip Johnson
American architect, critic and
collector. He enrolled as an
undergraduate at Harvard University,
Cambridge, MA, in 1923.

PHILIP JOHNSON
Glass House or Johnson house, in
New Canaan, Connecticut, built in 1949
Derived from Mies van der Rohe‘s Farnsworth House (1946–51) at Plano,
IL, but more classical in plan, the Glass House attests to Johnson‘s
naturally critical turn of mind and his preoccupation with history.

PHILIP JOHNSON
Johnson is best known for his
Post-Modern structures, like AT&T
(now Sony) building. This granite
clad skyscraper sounded the
death knell for minimalist glass
boxes. With its Classical loggia at
the base and Chippendale top, it
certified the marketibility of Post-
Modernism. It borrows elements
and references from the past and
reintroduces symbolism to
architecture.
Sony Building
(originally AT&T Building) in New York City,
1984.

PHILIP JOHNSON
Sony Building
(originally AT&T Building) in New York City,
1984.

JAMES STIRLING
James Stirling(1926-1992) began as
a Brutalist and High-Tech exponent.
Without loosing his techno flair,
Stirling dallied with Po-Mo design,
juicing up his buildings from the
1970s onward with a range of
historic references. Enlivened by
bright colors and undulating walls,
Stirling‘s work is both monumental
and casual.

JAMES STIRLING No 1 Poultry,
London , 1986

In his vivacious and
engaging design for
the New Staatsgalerie
(New State Gallery) in
Stuttgart, Germany,
James Stirling
combined classical
forms with bright
green, pink, and blue
painted elements and
seemingly
imbalanced lines
meeting at awkward
and unpredictable
angles. Neue Staatsgalerie, Stuttgart, Germany,
1977–1984.
JAMES STIRLING
Dissonance (Inharmonious) as an Aesthetic Strategy:

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Post modernism

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