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Postmodern criticism
Modern vs postmodern architecture
Essay examples of postmodern architecture
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Humor has many aspects; it can leave you laughing, or as it sharpens its ironic claws it can cause catharsis. Humor as a Postmodern creative device can be seen in the paradox imagery, satirical references and dark humor of postmodern literature, architecture, and art (Fiero 503). Postmodern has continued to influence the world around us, by assisting in the letting go of pre-World War II constraints thereby leading us through modernization to globalization that engages us in contemporary paradigms( Fiero 503). Humor, funny and iconic works that define Postmodern reinterpretations into the present-day world will be presented by examining works of Yolanda Lopez, Norman Foster, and Wang Guangyi. Lopez’s work, the Portrait of the Artist as the Virgin of Guadalupe, …show more content…
et al., 137). Reinventing Our Lady is imbuing satirical provocation, while the metamorphosis liberates the icon (Castillo, R.G. et al., 137). Lopez’s use of Humor and wit was necessary to soften the blow that ridicules religious oppression. Otherwise, her message may have been interpreted as just irreverent. Consequently, Lopez ensures that religion, Americanism, and any serpent that seeks to dis-empower Lopez will be overcome. Reinventing icons not only holds true in Postmodern art, but it also holds true in architecture, where modern form reinvents tall stacks. Postmodern has continued to influence the world around us, reconsidering and redefine forms, beauty, and functionality propelling concern globally for the environment (Fiero 503). Environmental concern, Postmodern humor and breaking from tradition can be seen in the contemporary work of architect Norman Foster in the Swiss Re office building at 30 St. Mary Ave. in London (Fiero
“We are never more truly and profoundly human than when we dance.” Jose Arcadio Limon was a dancer and choreographer born and raised in Mexico. He was inspired to begin his studies in modern dance when he saw a performance of Harald Krutzberg and Yvone Georgi. Limon enrolled at the dance school of Doris Humphrey and Charles Weidman. He continued to work with Humphrey until 1946, when he founded the José Limón Dance Company. His most successful work is called The Moor's Pavane and it is based on Shakespeare's Othello. The Limón Dance Company still exists and is part of the Jose Limon Dance Foundation, an institution dedicated to preserve and disseminate his artistic dance work and technique. Jose Limon is important in the American Dance History
Through the study of the Peruvian society using articles like “The “Problem of the Indian...” and the Problem of the Land” by Jose Carlos Mariátegui and the Peruvian film La Boca del Lobo directed by Francisco Lombardi, it is learned that the identity of Peru is expressed through the Spanish descendants that live in cities or urban areas of Peru. In his essay, Mariátegui expresses that the creation of modern Peru was due to the tenure system in Peru and its Indigenous population. With the analyzation of La Boca del Lobo we will describe the native identity in Peru due to the Spanish treatment of Indians, power in the tenure system of Peru, the Indian Problem expressed by Mariátegui, and the implementation of Benedict Andersons “Imagined Communities”.
Marcario Garcia was not born in Texas; rather his parents carried him across the border from Mexico to Texas as an infant. The family settled in Sugar Land, Texas, where they worked as lowpaid farm workers and raised ten children. The land was originally owned by the Mexican government and was part of the land grant to Stephen F. Austin. Very early, sugarcane stalks from Cuba were brought to the area and a
In his opinionated book, From Bauhaus to Our House, Tom Wolfe describes his views on the way architecture has framed our modern world. He frames his book long essay with an excerpt from America the Beautiful, "O Beautiful, for spacious skies, for amber waves of grain, has there ever been another place on earth where so many people of wealth and power have paid for and put up with so much architecture they detested as within thy blessed borders today? . . . Every child goes to school in a building that looks like a duplicating-machine replacement-parts wholesale distribution warehouse . . . Every new $900,000 summer house in the north woods of Michigan or on the shore of Long Island has so many pipe railings, ramps, hob-tread metal spiral stairways, sheets of industrial plate glass, banks of tungsten-halogen lamps, and white cylindrical shapes, it looks like an insecticide refinery." (Wolfe 1) This quote, in short, is the premise of his critique. He does not like the way modern architecture
In “Turkeys in the Kitchen,” an essay written by Dave Barry, humor is used as an aid to make a point about the usefulness of men after Women’s Liberation. “A Plague of Tics,” a personal narrative written by David Sedaris, uses a different kind of humor to explain the reasoning behind his behavior. Through these two essays and their author’s personal experiences, humor is presented as a device to captivate reader’s attention and declare the author’s intended meaning.
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
Black Humor in Vonnegut's Cat's Cradle The phrase Black Humor has the broad meaning of poking "fun at subjects considered deadly serious or even taboo by some"2. This definition is simple, and yet embodies an important idea that is often lost in more complex definitions: the idea that Black Humor can actually be "fun", and provoke laughter. This is not, of course, the only important aspect of the term, and I shall explore some of the other important defining features of Black Humor before moving on to discuss its use in Kurt Vonnegut's Cat's Cradle3. Many critics have attempted definitions of Black Humor, none of them entirely successfully. The most significant recurring features of these definitions are that Black Humor works with: absurdity, ironic detachment4; opposing moral views held in equipoise, humanity's lack of a sense of purpose in the unpredictable nuclear age, the realization of the complexity of moral and aesthetic experience which affects the individual's ability to choose a course of action5; and a playing with the reader's ideas of reality6.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
(Image taken from Tranchtenberg, Marvin, Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Second Edition. Prentice Hall, Inc. New Jersey: 2002.)
In the early twentieth century the Modern movement of architecture and industrial design came about. This movement was a reaction to the change within society and the introduction of new technologies. The ever changing world and technology meant artists to evolve alongside the changing world and this kind of ‘industrial revolution’ that was happening. Modernists ideas have seeped into every form of design especially architecture and design. Although most modernists insisted they were not following any style in particular, their work is instantly
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
In conclusion, the designers and builders of the tower have an undesirable job: creating a building that is functional, modern, sustainable and unique. At the same time it is honoring the memory of the people that died in and around the buildings that stood there before. While the green sustainable features have been criticized for being too expensive, they will do more than save just water, electricity and emissions. They and the grace of the building will inspire a generation of green and safe skyscrapers for the twenty-first century. This building has become one of the safest, environmentally friendly and expensive ever built, but as critics slate the building for various reasons, one cannot take away the determination through political, social and economic status that designers and workers have created such a beautiful building with great meaning.