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... the irony and complexity which enrich historical architecture. This dissatisfaction was translated into direct action in 1972 with the demolition of several 14 -story slab blocks that had been built only 20 years earlier from designs by Yamasaki as part of the award-winning Pruitt-Ie housing development in St. Louis, Mo.
Similar apartment blocks in Europe and North America were demolished in the following decades, but it was at St. Louis that the postmodernist era was begun. (Drexler 74) Venturi's Learning from Las Vegas (with Denise Scott Brownand Steven Izenour) was also published in 1972. In seeking to re humanize architecture by ridding it of the restricting purism of the Modern movement, the authors pointed for guidance to the playful commercial architecture and billboards of the Las Vegas highways. Venturi and his partner John Rauch reintroduced to architectural design elements of wit, humanity, and historical reference in buildings such as the Tucker House, Katonah, N. Y. (1975), and the Brant-Johnson House, Vail, Colo. (1976). These owed something to Lutyens, who, as a master of paradox and complexity, exercised a deep appeal for Venturi and for his followers, such as Charles Moore and Michael Graves.
Graves's Portland Public Service Building, Portland, Ore. (198082), and Humana Tower, Louisville, Ky. (1986), have the bulk of the modern skyscraper yet incorporate historical souvenirs such as the colonnade, belvedere, keystone, and swag. Like Moore's Piazza d'Italia, New Orleans (197580), and Alumni Center, University of California at Irvine (198385), these confident and colourful buildings are intended to reassure the public that it need no longer feel that its cultural identity is threatened by modern architecture. (Pevsner 67) That mood was encapsulated in Venice in 1980 when a varied group of American and European architects, including Venturi, Moore, Paolo Portoghesi, Aldo Rossi, Hans Hollein, Ricardo Bofill, and Leon Krier, provided designs for an exhibition organized by the Venice Biennale under the title, The Presence of the Past. These key architects of postmodernism represented several different outlooks but shared the ambition of banishing the fear of memory from modern architectural design. The many American architects in the 1970 s and ' 80 s who adopted a populist language scattered with classical souvenirs included Philip Johnson and his partner John Burgee and the prolific Robert Stern. Johnson and Burgee designed the AT&T Building, New York City (197884), a skyscraper with a Chippendale skyline. Their School of Architecture Building, University of Houston (198285), is inspired by Ledoux's project for a House of Education at Chat (177379).
Stern's Observatory Hill Dining Hall, University of Virginia, Charlottesville (198284), is in a cheerful Jeffersonian classicism, while his Prospect Point Office Building, La Jolla, Calif. (198385), incorporates Spanish Colonial references. Many postmodernist architects were either trained by or began their careers as modernists, and many elements of Modernism carried over into postmodernism, especially in the work of architects such as Graves, Venturi, and Richard Meier. Rejecting the playful elements in such buildings as kitsch, some architects, notably Allan Greenberg and John Blatteau, chose a more historically faithful classical style, asin their official reception rooms of the U. S. Department of State in Washington, D.
C. (198485). The most complete instance of historical accuracy is probably the J. Paul Getty Museum, Malibu, Calif. (197075), an essay in Neoclassicism designed by the Los Angeles partnership of Langdon and Wilson, who relied on archaeological advice to achieve the authentic character of a Roman villa at Herculaneum. A similar duality existed in this period in Britain, where the populist style of Graves was paralleled in the work of Terry Farrell (TV-am Studios, Camden Town, London, 1983), and of James Stirling (Close Gallery at the Tate Gallery, London, 198087), while undeviating classicism was pursued by Quinlan Terry (Riverside Development, Richmond, Surrey, 198688), Julian Bicknell (Henry Rotunda, Cheshire, 198486), and John Simpson (Ashford House, Sussex, 198587).
The spirit of classical urban renewal was represented in France by Christian Langlois's Senate Building, rue de Vaugirard, Paris (1975), and the Regional Council Building in Orleans (197981). Urban preoccupations have been more dramatically expressed in France by Ricardo Bofill's vast housing developments, such as Les Espaces d'Abraxas, Marne-la-Vallee, near Paris (197883; . The gargantuan scale of this columnar architecture of prefabricated concrete pushes the language of classicism to its limits and beyond. (Pevsner 72) A third branch of postmodernism was represented by a neo rationalist or element alist approach that echoes the stripped classicism of the 19 th and early 20 th century. This movement was again in part a reaction to changes in the urban environment by the combination of commercial pressure and Modern movement ideology. Neorationalism originated in Italy where the architect Aldo Rossi published an influential book, L'architecture della citta (1966; The Architecture of the City).
Rossi's Modena Cemetery (197177) exhibits both his austerely fundamental classicism and his concern for contextualism, since it echoes features of the local farms and factories of Lombardy. Neorationalist ideals have also been realized in the Italian-speaking Swiss canton of Ticino: for example, in the work of Mario Campi (Casa Maggi, Arosio, 1980); Mario Botta; and Bruno Reichlin and Fabio Reinhardt, whose Casa Tonino, Torricella (197274), is a pristine stripped Palladian essay in white concrete. Close to this work is a group of buildings in the Basque region, including the School at Ikastola (197478) by Miguel Gay and Jose-Ignacio Linazasoro; Casa Mendiola at Andoian (197778) byGaray; and the Rural Centre at Cordobilla (1981) by Manuel Iniguez and Alberto Ustarroz. The projects of the German architect Oswald Matthias Ungersfor example, his Stadtloggia in the Hildesheim marketplace (1980) promoted the same kind of rationalist contextualism in Germany. They have been influential on the design of infill buildings in other historic towns in Germany, Italy, and France.
The Viennese architect Hans Hollein also contributed to this vein of radical eclecticism, as in his sophisticated interiors in the Austrian Travel Bureau, Vienna (1978), which distantly recall the city of Otto Wagner and Josef Hoffmann. The urban work of the Belgian architect Rob Krier has been related to this movement, as can be seen in his housing in the Ritterbergstrasse, Berlin (197880). His brother, Leon Krier, has been influential in both the United States and Britain for his icon like drawings of city planning schemes in a ruthlessly simple classical style and for his polemical attacks on what he sees as the destruction by modern technology of civic order and human dignity. The 1920 s revivalist element in the neo rationalist movement is demonstrated in the United States in the work of Richard Meier, for example in his Smith House, Darien, Conn. (196567), inspired by Le Corbusier's Citrohan and Domino houses, and his more complex High Museum, Atlanta (198083).
Helmut Jahn's Bank of the South West, Houston (1982), recalls the Art Deco glass skyscraper, while the prolific Kevin Roche, originally a minimalist trained in the 1950 s by Every Saarinen, returned to the heroic formalism of the early skyscrapers for his Morgan Bank headquarters, New York City (198387), a 48 -story skyscraper resting on a 70 -foot-high entrance loggia of coupled granite columns. In Japan, Isozaki Art and Yamashita Kazumasa led the move away from Brutalism and Metabolism toward a postmodernism inspired by Charles Moore for example, Isozaki's Tsukuba Centre building, Tsukuba Science City, Ibaraki (1983), and Yamashita's Japan Folk Arts Museum, Tokyo (1982). In India, Charles Correa led a parallel shift away from high-rise mass-housing of the Le Corbusier type. In the 1950 s he worked in the International style, as in his hotel of white concrete at Ahmad (b (d, but later low-rise housing and in his book, The New Landscape (1985), he demonstrated the virtues of a return to the more indigenous building types of the Third World.
The spirit of technology is, by contrast, celebrated in the Centre Pompidou, Paris (197177), by Renzo Piano and Richard Rogers. With its services and structure exposed externally and painted in primary colours, this exhibition centre can be seen as an outrageous joke in the historic centre of Paris. Though defiantly modern, it has a postmodernist flavour as a playful statement of the modernist belief, going back at least to Viollet-le-Duc, in the truthful exposure of the structural bones of a building. Rogers repeated the theme in his Lloyd's Building, London (198486), but Stirling's addition to the Staatsgalerie, Stuttgart, Ger. (197782), is a key postmodernist building in the Venturi sense: that is, it makes ironic references to the language of Schinkel without accepting the fundamental principles of classicism.
A good example of modern movement in urban design would be Eric Owen Moss who had been described as a "Jeweler of Junk. " More likely then not, this term had been used to describe Moss for the way he combines different materials in his projects when he is exploring the complexity of his spaces. This term is not fully accurate; Moss merely wishes one to recognize or not to recognize the different materials in their functions and in their relationships to other materials. Los Angeles/Southern California is the bellwether region for architectural design. The residential home is a way for the architect and client to collaborate to create a functional, yet contemporary design. The Lawson/Weston House very distinctly and dynamically uses wood, steel, and concrete in the major part of the building.
In this project, the materials used play a very important role in the way the spaces are created and how they feel. It is often interesting to see how Moss uses materials by overlapping them and removing parts of them. In this project, he removed sections of the glue lamb beams to theoretically connect the beams, yet still provide the transparency and the overlapping qualities that he desires. One example of this overlapping is the way many of the material puncture or grow out of the walls. In this project, the different materials played an important role in the forming of the building. Frank Gehry is Design Principal for the firm Frank O.
Gehry and Associates, Inc. , which he established in 1962. Before founding the firm, Frank Gehry worked with architects Victor Gruen and Pereira and Luckman in Los Angeles, and with Andr C Reminder in Paris. (Pevsner 74) The Lawsen-Western House in California, one of was designed by Moss with much feedback from his client. Both individuals for whom the house was built communicated their ideas to Moss many times prior to building. They created a "wish list' for Moss with many ideas prevalent throughout the process. The wish list was a conglomeration of stream-of-consciousness ideas of the future owners. Their ideas come from many past houses that they wanted to replicate.
The task was not easy for Moss because of spatial limitations of the setting, and a rectangular plot. The main ideas conveyed by the clients was an emphasis on height and space, they wanted room to breathe. The clients wanted living rooms with high ceilings, crossed beams, skylights, and something up there, a construction that makes one look up, like a cathedral. The dominant soaring space was imperative, and the most important aspect of the house.
The rooms were to stay as a conglomeration instead of a series of small rooms. The living room had to be spacious, truly lived in (and not a formal appendage), comfortable, appropriate for looking at art and listening to music, perhaps incorporating the dining area as well as the kitchen, seductive for parties and entertaining, even large gatherings. The word seductive was important to the architect. The relationship between the interior and the exterior of the home was a result of study and experience of the client. Philip Johnson's 'Glass House' in New Canaan, Connecticut was an inspiration. However, the Lawsen-Western House could never fully have the same seclusion as the Glass House because of its location in Southern California.
Therefore the clients adapted their plans and decided on a garden house in the middle of the city. Their image of a circular house with a garden on the outside and one inside was used. To conclude on the topic of urban architecture it is important to point out that it is truly hard to overestimate the significance of the post-war architectural developments that laid a firm foundation to new emerging schools of urban planning and design. A lot of modern architectural approaches that are implemented at the beginning of the twenty first century have to be traced to the past in order to adequately understand their true value. Bibliography: Nikolaus Pevsner, Pioneers of Modern Design: From William Morris to Walter Gropius, rev. ed. (1975, reprinted 1986); Sigfried Giedion, Space, Time, and Architecture: The Growth of a New Tradition, 5 th rev.
ed. (1967, reprinted 1982); Reader Bantam, Theory and Design in the First Machine Age, 2 nd ed. (1967). Kenneth Frampton, Modern Architecture: A Critical History, rev. ed. (1985); Arthur Drexler, Transformations in Modern Architecture (1979). William H.
Jordan, American Buildings and Their Architects: The Impact of European Modernism in the Mid-Twentieth Century (1972, reissued 1986); Jane Jacobs, The Death and Life of Great American Cities (1961, reissued 1984); Carl W. Condit, American Building Art: The Twentieth Century (1961). (Paolo Portoghesi, Postmodern: The Architecture of the Post-Industrial Society (1983) Charles A. Jenks, The Language of Post-Modern Architecture, 4 th rev. ed. (1984),
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Research essay sample on 20 Century Architectural And Urban Part 2
