Complexity? Contradiction? What is Post-Modernism? |
| Renzo Piano and Richard Rogers, Pompidou Center, Paris, 1977 |
| Pruitt-Igoe demolition, July 1972 |
| Mies van der Rohe, TD Centre, Toronto, 1967 |
| Philip Johnson, AT&T Building, NYC, 1984 |
| McKim, Mead & White, Municipal Building, NYC, 1908 and JohnsonÕs AT&T |
| already vastly quotedÉClevelandÕs Terminal Tower (1930), ChicagoÕs Wrigley Building (1920s), JohnsonÕs AT&T (1984) |
| AT&T Building: Sources |
| Philip Johnson, PPG Place, Pittsburgh, PA, 1981-84 |
| Philip Johnson and John Burgee, PPG Plan |
| Johnson and Burgee, PPG Place, Pittsburgh, 1981-84 |
| Cathedral of Learning, U of Pittsburgh, 1926-37 |
| Philip Johnson and John Burgee, Lipstick Building, NYC, 1986 |
| Robert Venturi, b.1925, Philadelphia |
| Vanna Venturi House, Chestnut Hill, Philadelphia, Pennsylvania, 1959-64 |
| Colonial Philadelphia |
| Vanna Venturi House: Plans of 2 levels |
| Vanna Venturi House: Drawings |
| Vanna Venturi House, views |
| Venturi House: Views |
| Venturi & Rauch, Guild House, Philadelphia, 1960-65 |
| A vernacular neighbourhood |
| Venturi and Rauch, Guild House: granite column and glazed brick |
| Venturi and Rauch, Guild House, Plan: Avoids monolithic form |
| Venturi and Rauch, Guild House, view from rear |
| Venturi & Rauch, Guild House, Philadelphia, 1960-65 |
| Venturi and Rauch, Guild House, Common room |
| Venturi & Rauch, Guild House, Philadelphia, 1960-65 |
| Robert Venturi: theorist |
| Duck or Shed |
| ÒDuckÓ |
| Charles Jencks, The
Language of Post-Modern Architecture (1977): Modes of Architectural Communication: Words |
| Complexity and Contradiction in Architecture, 1966 |
| Complexity and Contradiction, 1966 |
| Venturi, Complexity and Contradiction in Architecture, 1966 |
| I like complexity and contradiction in architecture. I do not like the incoherence or arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness or expressionism. Instead, I speak of a complex and contradictory architecture based on the richness and ambiguity of modern experienceÉ | |
| Robert Venturi |
| Venturi, Complexity and Contradiction in Architecture, 1966 |
| Venturi urges one to look at the everyday landscape, Òvulgar and disdained, that we can draw the complex and contradictory order that is valid and vital for our architecture as an urbanistic whole.Ó | |
| Robert Venturi | |
| Charles Jencks, b.1939 |
| Charles Jencks, theorist |
| Charles Jencks on Post-Modernism |
| In its infancy in the 1960s Post-Modern culture was radical and critical, a minority position established, for instance, by Pop artists and theorists against the reduced view of Modern art, the aestheticism reigning in such institutes as the Museum of Modern Art. In architecture, Team Ten, Jane Jacobs, Robert Venturi and the Advocacy Planners attacked Ôorthodox Modern architectureÕ for its elitism, urban destruction, bureaucracy and simplified language. |
| Charles Jencks on Post-Modernism |
| By the 1970s, as these traditions grew in strength and changed and Post-Modernism was now coined as a term for a variety of trends, the movement became more conservative, rational and academic. Many protagonists of the 1960s, such as Andy Warhol, lost their critical function altogether as they were assimilated into the art market or commercial practice. |
| Charles Jencks on Post-Modernism |
| In the 1980s the situation changed again. Post-Modernism was finally accepted by the professions, academies and society at large. It became as much part of the establishment as its parent, Modernism, and rival brother, Late-Modernism, and in literary criticism it shifted closer in meaning to the architectural and art traditions. |
| Charles Jencks on Post-Modernism |
| But because its meaning and tradition change, one must not only define the concept but give its dates and specific context. To reiterate, I term Post-Modernism that paradoxical dualism, or double coding, which its hybrid name entails: the continuation of Modernism and its transcendance. |
| Jencks, Three types of society |
| Jencks, Evolutionary Tree of Post-Modern Architecture |
| Charles Moore, 1925-1993 |
| Charles Moore, Piazza dÕItalia, New Orleans, 1978 |
| Charles Moore, Piazza dÕItalia, 1978 |
| Charles Moore, Piazza dÕItalia, New Orleans, 1978 |
| Charles Moore, Piazza dÕItalia, New Orleans, |
| Michael Graves, Portland
Building, Portland, Oregon, 1980 (government offices) |
| Slide 53 |
| Urban context: Whidden and Lewis, Multnomah County Courthouse (1909-13) and Portland City Hall (1895) |