Post modern architecture
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Postmodern architecture emerged in the 1960s as a rejection of the strict functionalism of modern architecture. It sought to reintroduce ornamentation, color, and references to historical styles. Key characteristics included drawing from multiple sources rather than pure forms, moving away from neutral colors, and taking elements from different styles and combining them in new ways. Notable postmodern architects included Robert Venturi, Philip Johnson, and Michael Graves.
Post modern architecture
- 1. POST-MODERN ARCHITECTURE History of Architecture- III Class - 1 Prepared By-Alemayehu W. WOLLO UNIVERSITY Department Of Architecture
- 2. Postmodernism – international architectural movement that emerged in the 1960s, became prominent in the late 1970s and 80s, and remained a dominant force in the 1990s. Rejection of strict rules set by the early modernists and seeks high spirits in the use of building techniques, angles, and stylistic references Postmodernist movement is often seen as an American movement, starting in USA around the 1960s–1970s and then spreading to Europe and the rest of the world The movement largely has been a reaction against the austerity, simplicity and functional design approach of the modern architecture/international style Portland Public Services Building, 1982. Michael Graves,
- 3. The aims of Postmodernism or Late-modernism begin with its reaction to Modernism; it tries to address the limitations of its predecessor. The list of aims is extended to include communicating ideas with the public often in a witty way. The communication is done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it also strives to produce buildings that are sensitive to the context within which they are built. Postmodernism has its origins in the perceived failure of Modern Architecture; its preoccupation with functionalism and economical building which failed to meet the human need for comfort both for body and for the eye. In response, postmodern architects sought to reintroduce ornament, color, decoration and human scale to buildings. Form was no longer to be defined solely by its functional requirements or minimal appearance. Portland Public Services Building, 1982.
- 4. CHARACTERISTICS OF POSTMODERNISM Postmodern Architecture rejects the notion of “pure” or “perfect” form, instead it draws from: all methods, materials, forms, & colours available to architects. Moves away from the neutral white colours seen in modernism the return of "wit, ornament and reference" to architecture Team Disney –The Eisner Building, 1991 Michael Graves, Took past components of different styles and melded them together to create new means of design. It is known for the re-emergence of surface ornament, reference to its surrounding buildings, and historical references.
- 5. revival of traditional elements and techniques. Post modernists looked into past architecture in order to learn from it. Classical designs such as pillars, arches, and domes used in new, almost humorous ways, just to send a message to the modernist people. It favoured personal preferences and variety over objective truths and principles! Piazza d’Italia, New Orleans, 1976-1980. CHARLES MOORE, CHARACTERISTICS OF POSTMODERNISM sensitivity to the building’s context, history and the client’s requirements physical characteristics- the use of sculptural forms, ornaments and anthropomorphism conceptual characteristics - pluralism, double coding, high ceilings, irony, paradox & contextualism
- 6. Used classical styles in new combinations: pillars, arches, domes, curtain wall facades, sculptures and roman conventions Bank of America Center in Houston, by John Burgee and Philip Johnson, completed 1983
- 7. Used classical styles in new combinations: pillars, arches, domes, curtain wall facades, sculptures and roman conventions
- 8. Used classical styles in new combinations: pillars, arches, domes, curtain wall facades, sculptures and roman conventions
- 9. Similar to old cathedrals, draws the eye upwards toward the sky
- 10. Reconciled differences between old and new generations (culture wars) Postmodern architecture takes old styles and updates them
- 11. Reconciled differences between old and new generations (culture wars) Postmodern architecture takes old styles and updates them VannaVenturi House, RobertVenturi
- 13. RobertVenturi Philip Johnson Michael Graves VannaVenturi House Team Disney – The Eisner Building AT &T Building ( Sony building)
- 14. Phillip Johnson in 1978 with model of AT&T building AT & T Building Phillip Johnson Phillip Johnson helped Mies van der Rohe design the Seagram Building in the 1950s, but in the ’70s he did the opposite with the AT&T Building (now called the Sony Building)
- 15. Instead of a building made of sleek glass and metal, this building is predominantly masonry (only 30% of the outside is glass) and revives a classical architectural vocabulary… Johnson & his associates divided the building into three parts, reminiscent of the three elevations of a Greek temple – base, column and pediment. Phillip Johnson, the AT&T Building (New York), 1984. POSTMODERN
- 16. The top slopes down like a pediment, including a space in the middle known as an orbiculum (similar to the look of 18th century dressers) Phillip Johnson, the AT&T Building (New York), 1984. POSTMODERN Thin strips of masonry that make up the center resembles the fluting of columns
- 17. The entrance includes a massive round arch, similar to a triumphal arch or a Romanesque portal.
- 18. Modernist architects may regard postmodern buildings as vulgar Postmodern architects may regard many modern buildings as soulless and bland Le Corbusier. Villa Savoye 1928-1929. Poissy, France
- 19. Flat Roofs Gable Roofs
- 20. No colors used Colors come back to the facade Le Corbusier, Chapel of NôtreDame du Haut, 1955
- 21. Postmodernist building were a stack of varied design elements for a single vocabulary from ground level to the top, ( "wedding cake" design). Modernist high-rise buildings had become monolithic. Seagram Building,NewYork,Ludwig Mies van Der Rohe, 1957