Question 2. Post Modernism in architecture resulted from disenchantment with Modernism. Discuss the various approaches adopted byarchitects in America and Europe to restore public interest in architecture. Cite examples to illustrate your point.

Submitted by: Kirti 12001006028

Postmodernism means, after the modern. It was a reaction to modernism and was influenced by the disenchantment brought about the Second World War. Modernism began in the 1890s and lasted till about 1945. Postmodernism began after the Second World War, especially after 1968. The architectural forms that were popular during modernism were replaced by a mix of different architectural styles in the postmodern times. Inmodernarchitecture,appearancewasnotasessentialasfunctionduringthetimebetweenthe1900sand1950s,andthenthroughpostmodernbuildings,ornamentationandaestheticshavegainedimportanceinarchitecture.

In1972,thedestructionofthePruittIgoeHousing(fig.1),whichwasconstructedaccordingtotheidealsofCIAM(theCongressofInternationalModernArchitects)andawardedbytheAmericanInstituteofArchitectsin1951,wasdeclaredbythepostmodernarchitecturetheoristJencksasthedeathofmodernarchitecture.

Figure1.Destruction of the Pruitt Igoe HousingInsubstance,modernarchitectureandpostmodernarchitecturehavedifferentapproachesforarchitectureandtheyareveryagainsteachother.Ifmodernarchitectureandpostmodernarchitecturearedefinedbyoneword,thewordsfunctionandaestheticswouldbequiteaccurate.Modernism and postmodernism in architecture are interpreted as two unlike movements. Modernism is the innovative design of buildings that are made in the modern age as a step to move away from classical architecture and using the new technology that was invented after the industrial revolution in the late 18th century. Postmodern, also called late modernism, is another style of architecture which was invented as opposed to the last prevailing style in modern architecture, which was international style, by using classical and modern language together. In postmodernism, architects are free in using any architectural style and element in their designs.

Figure2. Barcelona PavilionThere are many differences between modernism and postmodernism in terms of design concepts. It is a fact that the ways of thinking in both movements have an opposite direction. For example, the German architect Mies Van De Rohe stated that less is more. This quotation means that the concept of design should be based on simplicity; Mies in his Barcelona pavilion (fig. 2) used pure design elements, right angles, unambiguous meaning and the use of an open floor plan idea, simple lines, pure and cubic shapes. In general, any part of any of his design has functionally and rationally rather than a form based on aesthetics. He also rejected any kinds of decoration. So design concepts in modernism are exclusive to each design.In contrast, American architect Robert Venturi, one of the founders of postmodernism had his own idea, Less is a bore, which means postmodern buildings should break the simplicity of modernism. Postmodernism also needs to have aspects like hybrid or mixture, irony, surprise, contradictions, often non-orthogonal angles and historical elements, which replaced the purity and clarity of modernism.

Figure3. AT&T building, New YorkThe understanding of form and function in these two movements to some extent are different. Most modernists focused on function rather than form and they used simple form. In fact, an American modernist architect Louis Sullivan has a famous statement that form follows function. Significantly, modernism is functionality rather than formality. Nevertheless, in late modern architecture both function and form have their own value. In postmodernism, form is an integration of both conventional elements and modernism with new ideas, while the function still has its own importance as the form. In the AT&T Headquarters (Fig.3), viewers can see a traditional form at the top of the building and modern shapes in the bottom and middle of the building. Also it is functioning well. In postmodernism, form is adopted for its own sake and function has a strong combination with artistic form.The new construction materials such as steel, reinforced concrete and development of technology have mainly affected the facades and structure of modern and postmodern architecture. Both movements are similar in using these materials yet are different in their facades. Postmodernism elevations contain ornamental and classical elements like the Portland building, which is recognized as an icon of postmodern architecture.In conclusion, although the modernism phenomenon began over 100 years ago to spread new ideologies in terms of space, new design, functionality and faade, it could not provide the aesthetics for viewers because of repetitive design features, which led to it being dismissed by most people. As a result, postmodernism replaced it because each movement in architecture brings new ideas and covers the flaws of the former movements. In the final analysis, postmodern architecture neither killed modern architecture nor became an extension of modern architecture. Architects in America and Europe, who adopted the various approaches to restore public interest in architecture:- Aldo RossiCarles MooreMichael GravesLeon KrierRob KrierRobert A.M. SternRobert venturiPost modernism in America:-This response deals with the problems of overcoming Modernisms Shortcomings at the built form type level.Charles Willard Moore(October 31, 1925 December 16, 1993) was anAmericanarchitect, educator, writer,Fellowof theAmerican Institute of Architects, and winner of theAIA Gold Medalin 1991.

Figure4:Piazza d'Italia,New OrleansThePiazza d'Italia(fig.4)is an urbanpublic plazalocated at Lafayette and Commerce Streets in downtownNew Orleans, Louisiana. It is controlled by the Piazza d'Italia Development Corporation, a subdivision of New Orleans city government.Completed in 1978 according to a design by charles moore. An architectural masterpiece even prior to its completion, the Piazza in fact began to rapidly deteriorate as the development surrounding it was never realized.The turn of the new millennium, the Piazza d'Italia was largely unfrequented by and unknown to New Orleanians, and was sometimes referred to as the first "postmodern ruin". Michael Graves(July 9, 1934 March 12, 2015) was an American architect. Identified as one ofThe New York Five, as well as Memphis Group, Graves was known first for his contemporary building designs and some prominent public commissions that became iconic examples ofPostmodern architecture, such as thePortland Buildingand theDenver Public Library.His recognition grew through designing domestic products sold by premium Italian housewares makerAlessi, and later low-cost new designs at stores such asTargetandJ. C. Penneyin the United States. He was a representative ofNew UrbanismandNew Classical Architectureand formerly designedpostmodernbuildings, and was recognized as a major influence in all three movements.ThePortland Building,(fig.5) alternatively referenced as thePortland Municipal Services Building, is a 15-story municipal office building located at 1120 SW 5th Avenue indowntownPortland,Oregon. Built at a cost of US$29 million, it opened in 1982 and was considered architecturally groundbreaking at the time. The building houses offices of theCity of Portlandand is located adjacent toPortland City Hall. It was added to theNational Register of Historic Placesin 2011.

Robert A. M. Stern(born May 23, 1939), is an American architect and writer. He is currently the Dean of theYale School of Architecture.

Figure5:Portland BuildingStern is a representative ofNew UrbanismandNew Classical Architecture, with a particular emphasis on urban context and the continuity of traditions. He may have been the first architect to use the term "postmodernism,but more recently he has used the phrase "Modern traditionalist" to describe his work. In 2011, Stern was honored with the renownedDriehaus Architecture Prizefor his achievements in contemporary classical architecture.

TheGerald R. Ford School of Public Policy(fig.6)at theUniversity of Michigan, often referred to as theFord School, is a leadingpublic policy schoolin theUnited States. Founded in 1914 as theInstitute of Public Administration, it was named in 1999 after formerPresidentGerald Ford, who was a 1935 graduate of the University of Michigan.

Figure6:Gerald R.School of public policyThe Ford School offers wide-ranged research inpublic policyand is known for its strongquantitativeorientation. The school runsdual degreeprograms with theUniversity of Michigan Law School,Ross School of Business,Taubman College of Architecture and Urban Planning,School of Information,School of Social Work, School of Natural Resources and Environment, and School of Public Health, as well as the Departments of Economics, Sociology and Political Science.

Robert Charles Venturi, Jr.(born June 25, 1925) is an Americanarchitect, founding principal of the firm Venturi, Scott Brown and Associates, and one of the major architectural figures in the twentieth century. Together with his wife and partner,Denise Scott Brown, he helped to shape the way that architects, planners and students experience and think about architecture and the American built environment. Their buildings, planning, theoretical writings and teaching have also contributed to the expansion of discourse about architecture. Venturi was awarded thePritzker Prizein Architecture in 1991; the prize was awarded to him alone, despite a request to include his equal partner Denise Scott Brown. A group of women architects attempted to get her name added retroactively to the prize, but the Pritzker Prize jury declined to do so.Venturi is also known for coining the maxim "Less is a bore", apostmodernantidote toMies van der Rohe'sfamousmodernistdictum "Less is more". Venturi lives inPhiladelphiawith Denise Scott Brown.

Figure7:Trabant Student Center,University of DelawareTheUniversity of Delaware(fig.7)(colloquially "UD") is the largest university inDelaware. The main campus is inNewark, with satellite campuses inDover,Wilmington,Lewes, andGeorgetown. It is medium-sized approximately 16,000 undergraduate and 3,500graduate students. UD is a private university and receives public funding for being aland-grant,sea-grant,space-grantandurban-grantstate-supported research institution.As of 2013, the school's endowment is valued at about US$1.171 billion. Delaware has been labeled one of the "Public Ivies," a publicly funded university considered as providing a quality of education comparable to those of theIvy League.

European Rationalism:-This response deals with the problems of overcoming Modernisms Shortcomings at the Urban Scale besides built form types.

Aldo Rossi(3 May 1931 4 September 1997) was an Italianarchitectanddesignerwho accomplished the unusual feat of achieving international recognition in four distinct areas: theory, drawing, architecture and product design.

TheBonnefanten Museum(fig.8)is amuseumoffine artinMaastricht,Netherlands. The museum was founded in 1884 as the historical and archaeological museum of the Dutch province of Limburg. The name Bonnefanten Museum is derived from the French 'bons enfants' ('good children'), the popular name of a former convent that housed the museum from 1951 until 1978.In 1995, the museum moved to its present location, a former industrial site named 'Cramique'. The new building was designed by the Italian architectAldo Rossi. With its rocket-shapedcupolaoverlooking the riverMaas,

Figure8:Bonnefanten Museum Museumit is one of Maastricht's most prominent modern buildings.

Lon Krier(born 7 April 1946 inLuxembourg,Grand Duchy of Luxembourg) is anarchitect,architectural theoristandurban planner. He is a representative ofNew UrbanismandNew Classical Architecture. Krier was the first laureate of theDriehaus Architecture Prizein 2003.Lon Krier is the younger brother of architectRob Krier. RobKrier(Grevenmacher,10 june1938) is probably one of the most prolific and talented contemporary architects. He is a painter and a sculptor and has produced a large amount of buildings, urban and architectural designs, and an infinite number of sketches, drawings and sculptures. His architectural designs are passionately dedicated to the urban realm and the beautiful and poetic dialectics of house, city, monument and square. His sculptures on the other hand are all consecrated to the human figure, in its beauty and vitality, joy and strength, but also its fragility and suffering. The same vigorous and charismatic, and often tormented figures, appear through all of Robs design work. Alone, or more often in pairs and couples, groups or crowds, they appear as an essential component of humanity and the human condition, as citizens and inhabitants, often actively involved in the projects narrative. They give measure, proportion, scale and life to cities and buildings, squares and streets and so on.

Figure9:Canal View, Urban Proposal Bussum, Netherlands, 2001, by Rob KrierProjects recompose elements of memory, of research, study and knowledge. The contact with a new site, a client or a functional program is the beginning of a complex narrative and the start of a fascinating dialectics of ordering, composing, making and crafting of, not only, forms and spaces, but also meanings and relationships. It is a highly articulate, suggestive, imaginative and poetic process of architectural invention with infinite layers of diagrammatic, abstract as well as sensuous, visual and figural iterations. This process is framed dynamically by an intense and complex production of images and conceptual narratives, abstract schemes, references of existing buildings and spaces, perspectives, details, and so on, randomly accumulated, ruthlessly selected, frenetically or wisely processed, wildly collaged, permutated or assembled in a rich visual synthesis.