postmodern (stapascamodern)

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  • Relationship of Man and NatureIdeology and Art

    BEFORE MODERNMODERNAFTERMODERN

    ManRational

    Ecole de Beaux ArtsRenaissanceBauhausCIAM

    Relationship of Man and NatureIdeology and Art

    ManRational

    PluralismMetaphorCommunicationDe-Constructionetc. etc. etc. etc.

    The End of mo-dernism

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    postmodernBack to HistoryReturn of "wit, ornament and reference- breaking away from convention

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    [post] modernStart to questioning many thingsRenewing architecture from the inside

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    Late ModernFRANK LOYD WRIGHTLE CORBUSIERALDO ROSSI : MENGKRITIK KERAS FORM FOLLOW FUNCTIONLOUIS I. KAHN : mulai dari ruang EXPERIENCE architecture

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    TEAM X

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    Peter & Alison SmithsonArchitecture is not made with the brain

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    Ralph Erskine [1960]

    Mengkritisi bahwa pemahaman tentang modern terlalu naif sehingga membelenggu kebebasan Mengajukan proposisi house participating dalam pembangunan perumahan

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    Aldo van Eyck [1962]

    Mengkritisi bahwa Industrialisasi bangunan mereduksi arsitektur menjadipackaging of space Mengajukan proposisi integrasi twin phenomena ketimbang separasi dalam design

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    NEW STATEMENT

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    Robert VenturiA controversial critic of the purely functional and spare designs of modern orthodox architecture, Venturi has been considered a counterrevolutionaryLess is Bore

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    Robert VenturiThe Author of Complexity and Contradiction in Architecture, 1966The book was metaphorically the postmodern rebuttal to Modernisms most influential manifesto, Le Corbusiers Towards a New Architecture, published nearly forty years before

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    Vanna Venturi house

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    Robert Venturi (1966)LESS is BOREBoth-andeither orHybrid formPure formRiches of meaningClarity of meanings"Learning from Las Vegas" (1972-1978)

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    With regards to Robert Venturi

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    Learning from Las Vegas

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    Las VegasModernist 'honesty' was replaced by Postmodern superficiality at first, which revealed multiple layers of meaning ressed in humor

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    Aesthetics and order in Las Vegastreatment of walls, proportions of windows, the relation of wall-space to window-space.treatment of the exterior of a building as a wholethe effect of our senses of the treatment of the interior, the sequence of rooms

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    Signage and Communication over space

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    Complexity in architectureThe new architecture is self-similar, like tree growths. If you look at any leaf on any tree branch it's similar to but not exactly a repetition of the previous branch. So the new science of complexity or showing how an architecture can be produced just as quickly, cheaply and efficiently by using computer production methods to get the slight variation, the self-similarity.

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    Charles JenksThe death of modern architecture [1972]The new language of architecture [1981]Architecture of the Jumping universe [1995] What is postmodernism? [1996]The new paradigm in architecture [2004]

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    According to Jenksit's a big black box, huge, scale-less and repetitive, endlessly repetitive. These black boxes were built all over the world in every downtown from the 60s to the 80s, and still there's some of them are still being built. I mean it is dumb and boring frankly, although it has great details and it has a sleek elegance and it became the businessman's vernacular. Mies van der Rohe's Chicago Civic Centre.

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    Charles Jencks on Postmodern Architecture

    1. The most obvious new convention concerns beauty and composition. Instead of Renaissance harmony and Modernist integration, we have dissonant beauty or disharmonious harmony. In a new pluralist society an oversimplified unity is either false or unchallenging. The juxtaposition of tastes and world views is more real than modernism was prepared to allow. This also comes from contemporary science's conviction that the universe is dynamic and changing. Classical forms have mirrored a universe that was static and in harmony. The Renaissance gave us architecture that was well proportioned, on Greek lines, and mirrored the microcosm and the macrocosm. Now, we don't have any one theory of the microcosm that is "true".

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    The New York A.T.&T. Building

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    2. Pluralism is also important. Stylistic variety is important, and the celebration of difference is always apparent. Different "languages" of art and architecture are mixed together. It is not just a matter of whim, but is tied to specific functions and symbolic intentions. Ambiguity is often valued it is up to the reader to supply the "unifying text".3. Postmodern architects try to achieve an urbane urbanism. New buildings should both fit into and extend the urban context, reuse such constants as the street, arcade and piazza, yet acknowledge too the new technologies and means of transportation. Elements of the city must be balanced public to private, working to living, monument to infill, short blocks to city grid. This will end up looking more like the 18th century European city, where you have small blocks and mixed-use planning, rather than the modern overcentralised city.

    Charles Jencks on Postmodern Architecture

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    Cabot Square, Canary Wharf

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    Charles Jencks on Postmodern Architecture

    4. Anthropomorphism is another important trait. Many postmodern architects incorporate ornaments and mouldings suggestive of the human body. There might be a hidden or suggested face, for instance, or a full figure.

  • The Turning Torso

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    Charles Jencks on Postmodern Architecture

    5. Another theme is the continuum between the past and the present. Recall that for modernism there is a positive break with the past. In postmodern architecture there is parody, nostalgia, and pastiche. It is almost like a half-remembered dream bits of classical reference. The technical term is "anamnesis" suggested recollection, or unforgetting.6. There is a kind of return to painting in postmodernism, although it is a return that does not simply replicate the modernist search for form. There is a return to content. There is no sense that we are looking for the pure "spiritual" form, but rather we are playing with the images of the past, without the narrative of the past.

    Great Urban Construction [Aldo Rossi 1978]

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    Charles Jencks on Postmodern Architecture

    7. Postmodernism uses double-coding, irony, ambiguity, and contradiction. The unexpected is incorporated. Opposites are juxtaposed.

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    Charles Jencks on Postmodern Architecture

    8. When several codes are used coherently they produce another quality, multivalence. A univalent work or building attempts to refer only to itself. A multivalent building reaches out to the rest of its environment and makes different associations. This ensures that a work will have multiple resonances, and different readings.

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    9. This multivalence comes only with the displacement of conventions and the reinterpretation of tradition. A classical form may be pressed into new service, and look strange to begin with but actually make sense once you understand the references.10. Postmodernists also try to elaborate new rhetorical figures.

    Charles Jencks on Postmodern Architecture

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    Trafford Centre Manchester

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    Trafford Centre Manchester

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    Manchester Trafford CentrePantheon Rome

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    Crystal PalaceTrafford Centre Manchester

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    11. Postmodernism finally has a return to an absent centre. It has always been linked with other "posts": post-western, post-Christian. It suggests a culture that has a sense of departure, but no clear sense of direction. We don't have any grand narratives anymore, but we are led back to ourselves and our "petit recit" through the work of the postmodernists. And, just as post-industrial incorporates the industrial as well (it is not a repudiation or abandonment), so the post-modern incorporates the modern as well.

    Charles Jencks on Postmodern Architecture

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    Charles Jencks

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    Evolutionary Tree [the language of architecture]

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    post modern architectureAs a style

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    Neo eclectic :

    where reference and ornament have returned to the faade, replacing the aggressively unornamented modern styles. This eclecticism is often combined with the use of non-orthogonal angles and unusual surfaces

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    Used classical styles in new combinations: pillars, arches, domes, curtain wall facades; green and roman conventions

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    The Federal Branch Bank of Houstonby Robert Stern, at first appears as an abstracted Greek temple from far away, but the highly contrasting colors, the broken faade planes, and the gigantic painted brick mortar joints reveal a rather postmodern treatment. The front faade of the building resembles more a childs drawing of house than a temple, and the gaps between the punched planes undermine the banks traditional image as being a strong fortress that protects wealth.

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    Similar to old cathedrals, draws the eye upwards toward the sky

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    Reconciled differences between old and new generations (culture wars)Postmodern architecture takes old styles and updates them

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    Post modern1970s- Rebelling against the minimalism of Modern Architecture of the 60s which rebelled against the conformity of the 50s

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    universalism = boring

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    6 common themes in postmodern architecture

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    Theme #1: Historicism Back to History-- krisis pada arsitektur modern meningkatkan kesadaran diri, analitis, image baru , dan orientasi pada alam dari periode postmodern. Para arsitek postmodern kemudian lebih menaruh perhatian pada mereka sendiri dengan suatu sejara