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Modern vs postmodern architecture
Essay examples of postmodern architecture
Essay examples of postmodern architecture
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Abstract: Contemporary architects have a wide variety of sources to gain inspiration from, but this has not always been the case. How did modernism effect sources of inspiration? What did post-modernism do to liberate the choice of influences? Now that Contemporary architects have the freedom of choice, how are they using “traditional” styles and materials to inspire them? Even after modernism why are traditional styles still around? Through the modern era technologies evolved and avant garde was not just a matter of being ahead in you design concepts,. but also in the materials that you use. Modernist designers, in an obsession of moving forward, where always looking to enhance their ideals with new materials. When the modernist bubble burst the post-modern views came forward, embracing styles and techniques of history, architectures where liberated to be able to blend and combine techniques from throughout history. Contemporary architects, in various forms, continue on with the post-modern legacy of taking inspiration from history and seek out to use traditional building methods not only for convenience but also economical, environmental, contextual and symbolic reasons. One of the key ideas of the modern era was to forge the designs of the future on the corpses of the past, disregarding everything from the last era and moving forward with new ideals and styles. Refining and discarding they shaped, molded and constricted the ideas of design until reaching the pinnacle of minimalism. Creating design with pure aesthetics and reducing an object down to its core fundamental elements. Using the ideas of “less is more” or even “using less for more”, the designs ended up simple and elegant with a focus not in quantit... ... middle of paper ... ...nd Maintenance in Practice. National Heritage Board. Asquith, L., and Vellinga, M. 2006. Vernacular architecture in the twenty-first century Taylor and Frances. Bertens, J. W., and Bertens, H. 1995. The idea of the post-modern: a history. London, Routledge. Gauzin-Muller, D., and Favet, N. 2002. Sustainable architecture and urbanism: concepts, technologies, examples. Birkhauser. Gossel, P., and Leuthauser, G. 2001. Architecture in the twentieth century. Taschen. Meijenfeldt, E. V., and Geluk, M. 2003. Below ground level: creating new spaces for contemporary architecture. Birkhauser Meyhofer, D. 1994. Contemporary Japanese Architects. Taschen. Richardson, P. 2004. New sacred architecture. Laurnce King publishing Ltd. Stergers, R. 2008. Sacred buildings - a design manual. Birkhauser. Waterson, R. 1997. The Living House. Thames and Hudson.
Lyotard, Jean-Francois. "Excerpts from The Postmodern Condition: A Report on Knowledge." Hutcheon and Natoli 71-90.
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
“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.
...“Some Common Themes and Ideas within the Field of Postmodern Thought: A handout for HIS 389,” last modified May 13,2013,
Art Deco and Bauhaus are two of the most influential art styles that influenced modern America today. From the avant-garde decorations and design that is still present in Los Angeles, to the flat roof design and simplicity of houses and shops that can be seen almost anywhere, these two designs are still present in our communities. The two movements do have some comparative similarities, but are also very different in design and concept. One should now be able to distinguish the similarities and differences between Art Deco and
An architect’s goal is to design appropriately to the time. In the mid to late twentieth century post-modernist such as Venturi found the purism and oversimplification of modernism lacking. Venturi recognized that the world is not simple in nature, but full of complexity and contradictions. Post-modernists aim for an implicit richness of meaning through complexity and contradiction rather than an oversimplified blatant clarity of meaning. A building is basically comprised of a variety of paradoxes, such as outdoor and indoor, primary spaces and secondary space and so on. In Complexity and Contradiction in Architecture, Robert Venturi states that “Blatant simplification means bland architecture” and elaborates on the necessity of complexity and contradiction architecturally appropriate for modernity (Venturi, 25).
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...
Charles Jencks in his book “The Language of Post-Modern Architecture “shows various similarities architecture shares with language, reflecting about the semiotic rules of architecture and wanting to communicate architecture to a broader public. The book differentiates post-modern architecture from architectural modernism in terms of cultural and architectural history by transferring the term post-modernism from the study of literature to architecture.
What makes modern architecture? Before answering this, one would need to understand what the term “modern” exactly describes. In architecture, modernism is the movement or transition from one period to another, and it is caused by cultural, territorial, and technological changes happening in the world. In Kenneth Frampton’s Modern Architecture: A Critical History, he details these three major societal changes that impact and create modern architecture.
McHale, Brian. “Afterword: Reconstructing Postmodernism.” Narrative 213 (2013): 357-364. Academic Search Complete. Web. 29 Oct. 2013.
We know that the author is describing is the emergence of the modern approach to architecture and indeed, the modernist movement itself. The author discuss the modernist views that there was a real need for social reform. That society itself ought to be re-evaluated and re-shaped. Modernists believed that their “machine aesthetic” and ideas of mass production were the only way in which society could propel itself toward a more progressive
Modernism began in the 1890s and lasted until around 1945. Postmodernism then started at 1968 right after the Second World War. Modernism began as a rejection of the idea of cultural baggage of it pass. It is more about new ideas and also new ideas all of the time. Modernism is also based on using rational and logical most of the time. In architecture modernism played a role of bringing in new buildings after the two World Wars such as exploring new form, materials and also technology. It emphasize about simplicity in form and design, follow the principles of functional planning and obvious rejection of all the historical precedent and ornaments.
Post-modernism can most simply be identified as an “anti-modern” movement, (The Postmodern Moment, page 19). Marvin Trachtenberg describes it as: “An architectural phase which embraces overt historicism, garish symbolism, vivid ornamentation and humble vernacular models,” (Trachtenberg, 1986. Pg. 553). Post-modernism places emphasis on existing styles and classic forms, but contains a modern approach to its design. The idea of texture, colour and profile re-emerge in this period as seen in designs such as The Portland Building, Oregon by Michael Graves. Space is also approached in more traditional terms. Walls once again form elements which contain volumes, contradicting the Modernist approach of free plan or “infinite space,” (ibid.). The works of architects such as Philip Johnson (e.g. AT & T Building), Robert Venturi (e.g. Guild House) and Charles Moore (e.g. Piazza d’Italia) are all good examples of post-modern designs. Robert Venturi, comments that: “I try to be guided not by habit ...
Jameson, Frederic (1993): Postmodernism. in: Docherty, Thomas. (ed.) Postmodernism a Reader. Cambridge: Harvester Wheatsheaf. pp.70-71