Post Modernism

• The Emergence of Postmodernism

Postmodernism may be viewed as a rejection

of modernist principles. Postmodernism
accommodates a wide range of styles,
subjects, and formats.
 Post-Modernism
• Juxtaposition of forms
appear chaotic
• Revolves around a
central axis, the
atrium
• Combines classical,
rectangular spaces
with others of unusual Frank Gehry, Guggenheim Museum,
proportions and forms Bilbao, 1997.
Juxtaposing Past and
Present:
Charles Moore's Piazza d'Italia
in New Orleans is a complex
conglomeration of symbolic,
historical, and geographic
allusions. The open plaza is
accessed on foot from three
sides through gateways of
varied design that lead to an
open circular area partially
formed by short segments of
colonnades arranged in
staggered concentric arcs.
34-46 CHARLES MOORE,
Piazza d'Italia, New Orleans,
Louisiana, 1976–1980.
•Postmodernism
Postmodern architecture is pluralistic, complex, eclectic,
expansive, and inclusive.
• Many postmodern architects consciously selected past
architectural elements or references and juxtaposed them to
contemporary elements or fashioned them of high-tech
materials.
•Postmodern architecture incorporated both traditional
architectural features and references to mass culture and
popular imagery.
A Modernist Embraces
Postmodernism:
Philip Johnson and John Burgee's
classicizing postmodern design for
the AT&T in New York City
incorporates elaborate shapes,
motifs, and silhouettes freely
adapted from historical styles. The
design is crowned by a pediment
broken by an orbiculum.

PHILIP JOHNSON and JOHN

BURGEE with Simmons
Architects, associated
architects, a model of the AT&T
Building, New York, 1978–1984
Vindicating Architectural
Populism:
Robert Venturi, John
Rauch, and Denise Scott
Brown's design for a house
in Delaware respects the
countryside setting and its
eighteenth-century history
by recalling the stone-based
barn-like, low-profile farm
dwellings. The design
asserts that form should be
separate from the function
and structure and that
decorative and symbolic
forms of everyday life
should enwrap the
ROBERT VENTURI, RAUCH AND SCOTT BROWN
structural core.
house in Delaware (west elevation), 1978–1983.
An "Enlarged Jukebox":
In Michael Graves's postmodernist
design for The Portland (Oregon)
Building, the wall, the miniature
square windows, and the painted
polychromy define the surfaces as
predominately mural. The wall's
horizontality is asserted against the
verticality of the tall, fenestrated
shaft.

MICHAEL GRAVES, The

Portland Building,
Portland, 1980
“Return of "wit, ornament and reference“-
breaking away from convention”
“Neo-eclectic”, where reference and ornament have returned to the façade,
replacing the aggressively unornamented modern styles. This eclecticism is
often combined with the use of non-orthogonal angles and unusual surfaces
Robert Venturi was at the forefront of this
movement
 A controversial critic of the
purely functional and spare
designs of modern orthodox
architecture, Venturi has
been considered a
counterrevolutionary
 Used classical styles in new combinations: pillars,
tourettes, arches, domes, curtain wall facades; green and
roman conventions
 Used classical styles in new combinations: pillars,
tourettes, arches, domes, curtain wall facades; green and
roman conventions
Similar to old cathedrals, draws the eye
upwards toward the sky
Reconciled differences between old and new
generations (culture wars)
Postmodern architecture takes old styles and
updates them
1970’s- Rebelling against the minimalism of Modern
Architecture of the 60s which rebelled against the
conformity of the 50s
1970’s- Rebelling against the minimalism of Modern
Architecture of the 60s which rebelled against the
conformity of the 50s
In contrast, modern functionalism is boring,
uninteresting, and unpleasant