Modernism and Postmodernism in Architecture, an Emphasis on the Characteristics, Similarities and Differences
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12. Selma Harrington Et Al 11-3-178-192
Selma Harrington, Branka Dimitrijević, Ashraf M. Salama Archnet-IJAR, Volume 11 - Issue 3 - November 2017 - (178-192) – Regular Section Archnet-IJAR: International Journal of Architectural Research www.archnet-ijar.net/ -- https://archnet.org/collections/34 MODERNIST ARCHITECTURE, CONFLICT, HERITAGE AND RESILIENCE: THE CASE OF THE HISTORICAL MUSEUM OF BOSNIA AND HERZEGOVINA DOI: http://dx.doi.org/10.26687/archnet-ijar.v11i3.1330 Selma Harrington, Branka Dimitrijević, Ashraf M. Salama Keywords Abstract Bosnia and Herzegovina; Bosnia and Herzegovina is one of the successor states of conflict and identity former Yugoslavia, with a history of dramatic conflicts and narratives; Modernist ruptures. These have left a unique heritage of interchanging architecture; public function; prosperity and destruction, in which the built environment and resilience; reuse of architecture provide a rich evidence of the many complex architectural heritage identity narratives. The public function and architecture of the Historical Museum of Bosnia and Herzegovina, once purposely built to commemorate the national liberation in World War 2, encapsulates the current situation in the country, which is navigating through a complicated period of reconstruction and transformation after the war in 1990s. Once considered as the embodiment of a purist Modernist architecture, now a damaged structure with negligible institutional patronage, the Museum shelters the fractured artefacts of life during the three and a half year siege of ArchNet -IJAR is indexed and Sarajevo. This paper introduces research into symbiotic listed in several databases, elements of architecture and public function of the Museum. including: The impact of conflict on its survival, resilience and continuity of use is explored through its potentially mediatory role, and • Avery Index to Architectural modelling for similar cases of reuse of 20th century Periodicals architectural heritage. -
Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017)
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Identifying Atlanta: John Portman, Postmodernism, and Pop- Culture August McIntyre Dine Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons, and the Urban, Community and Regional Planning Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dine, August McIntyre, "Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017). Senior Projects Spring 2017. 128. https://digitalcommons.bard.edu/senproj_s2017/128 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Identifying Atlanta: John Portman, Postmodernism, and Pop Culture Senior Project Submitted to The Division of Social Studies of Bard College by August Dine Annandale-on-Hudson, New York May 2016 Acknowledgements Thanks to my advisor, Pete L’Official; my friends; and my family. Table of Contents Introduction…………………………………………………………………….…………………1 Chapter 1: Two Atlantas………………………………………………………….………………4 Chapter 2: The Peachtree Center…..…………………………...………………………………..23 Chapter 3: Pop Culture…………………………..……………………………………………....33 1 Introduction In his 1995 text “Atlanta,” architect, theorist, and notorious provocateur1 Rem Koolhaas claims, “Atlanta has culture, or at least it has a Richard Meier Museum.”2 Koolhaas is implying that the collection at Atlanta’s High Museum of Art is a cultural veneer. -
Towards a Deleuzian Approach in Urban Design
Difference and Repetition in Redevelopment Projects for the Al Kadhimiya Historical Site, Baghdad, Iraq: Towards a Deleuzian Approach in Urban Design A Dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN ARCHITECTURE In the School of Architecture and Interior Design Of the college of Design, Architecture, Art, and Planning 2018 By Najlaa K. Kareem Bachelor of Architecture, University of Technology 1999 Master of Science in Urban and Regional Planning, University of Baghdad 2004 Dissertation Committee: Adrian Parr, PhD (Chair) Laura Jenkins, PhD Patrick Snadon, PhD Abstract In his book Difference and Repetition, the French philosopher Gilles Deleuze distinguishes between two theories of repetition, one associated with the ‘Platonic’ theory and the other with the ‘Nietzschean’ theory. Repetition in the ‘Platonic’ theory, via the criterion of accuracy, can be identified as a repetition of homogeneity, using pre-established similitude or identity to repeat the Same, while repetition in the ‘Nietzschean’ theory, via the criterion of authenticity, is aligned with the virtual rather than real, producing simulacra or phantasms as a repetition of heterogeneity. It is argued in this dissertation that the distinction that Deleuze forms between modes of repetition has a vital role in his innovative approaches to the Nietzschean’s notion of ‘eternal return’ as a differential ontology, offering numerous insights into work on issues of homogeneity and heterogeneity in a design process. Deleuze challenges the assumed capture within a conventional perspective by using German philosopher Friedrich Nietzsche’s conception of the ‘eternal return.’ This dissertation aims to question the conventional praxis of architecture and urban design formalisms through the impulse of ‘becoming’ and ‘non- representational’ thinking of Deleuze. -
Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1
Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, -
Peircean Interpretation of Postmodern Architecture
PEIRCEAN INTERPRETATION OF POSTMODERN ARCHITECTURE A Dissertation by IWAO TAKAHASHI Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Robert Warden Committee Members, Frances E. Downing Robert W. Burch Gregory F. Pappas Head of Department, Ward V. Wells December 2013 Major Subject: Architecture Copyright 2013 Iwao Takahashi ABSTRACT The influence of philosophy on architectural theory contributes to the formulation of architectural theory in the history of architecture. This relationship created the oscillation of architectural theory between rationalism and romanticism reflecting the woven tendency of philosophy such as enlightenment and counter-enlightenment movement. This dissertation research focuses on architectural language theory which maintains a tight relationship with the philosophy of language. Postmodern architecture during the period of the 1970s through 1980s is examined to determine meanings of architecture, and the language theory of architecture. It followed the philosophy of language originated from Ferdinand de Saussure who influenced theorists, and explicitly sign theorists influenced by Charles Sanders Peirce. This theoretical underpinning of language theory is questionable because of an inappropriate application of the sign theory of Charles Sanders Peirce in terms of principal interpretation of language structure, dyadic and triadic type of language. This research re-interprets the meaning of architecture during postmodern period along with Peirce’s semeiotic theory, and American Pragmatism that Peirce originally invented. The collection of evidence from architectural history and the influence from philosophy provides a conceptual sketch that the oscillation of theoretical tendency is the source of architectural creation. -
What Is Islamic Architecture Anyway?
What is Islamic architecture anyway? Nasser Rabbat I have been teaching Islamic architecture at MIT for the past twenty-one years. My classes have by and large attracted two types of students. There are those who see Islamic architecture as their heritage: Muslim students from abroad, Muslim- American students, and Arab-American non-Muslims. Then there are the students who imagine Islamic architecture as exotic, mysterious, and aesthetically curious, carrying the whiff of far-distant lands. They have seen it mostly in fiction (Arabian Nights for an earlier generation, Disney’s Aladdin for this one) and they are intrigued and somewhat titillated by that fiction. These two types of students are but a microcosmic – and perhaps faintly comical – reflection of the status of Islamic architecture within both academia and architectural practice today. The two dominant factions in the field are indeed the aesthetes and the partisans, although neither side would agree to those appellations. Nor would either faction claim total disengagement from each other or exclusive representation of the field. The story of their formation and rise and the trajectories they have followed is another way of presenting the evolution of Islamic architecture as a field of inquiry since the first use of the term ‘Islamic architecture’ in the early nineteenth century. This is a fascinating story in and of itself. In the present context of a volume dedicated to the historiography of Islamic art and architectural history, tracing the genesis of these two strains in the study and practice of Islamic architecture also allows me to develop my own critical position vis-à-vis the ‘unwieldy field’ of Islamic art and architecture, to use a recent controversial description.1 To begin with, the study of the architecture of the Islamic world was a post- Enlightenment European project. -
Junkspace As Theoretical Framework for Looking at Postmodern Architecture
I. M. Pei’s La Pyramide du Louvre: A Diamond in the Rough or Merely Junkspace? By Rebecca L. Moyer After a moment of astonishment at first sight of the model of the Pyramide du Louvre, Emile Biasini reportedly exclaimed, “It looks like a diamond!”1 Biasini, chosen by Francois Mitterand to chair the Etablissement Public du Grand Louvre, was first to see Ieoh Ming Pei’s design. The Pyramide, completed in 1989, was designed by the Chinese-American, who offered the “luminous structure-symbol” as a distinct way to avoid distracting attention away from the Louvre, but rather, as a structure that would complement or “gracefully blend” with the great palace.2 Further, he rationalized, its geometric shape would enclose the greatest area within the smallest possible volume, so it would stand as unobtrusively as possible. It was, Pei assured, “a natural solution.”3 Pei argued that a traditional horizontal roof would only bring in light; a high, pointed roof would bring in both volume and light, with the added advantage of making the entrance very visible.4 This was the point of the project, after all. Before the construction of the Pyramide, the Louvre was known for puzzling its visitors – the entrance was concealed and hard to locate; congestion and chaos plagued the courtyard (la cour Napoleon); the hallways of the galleries beneath were dimly lit and incoherent in structure; the entire Richelieu wing was off limits. Pei saw the “L” shape of the museum as nonconducive to public life. By liberating this wing from the French Treasury and restoring it as part of the museum, Pei would reshape the Louvre as a “U.”5 Finding this a much friendlier, more inviting shape, Pei determined the new entrance would, therefore, have to be located in the center. -
Intertextual Reading of Postmodern Architecture (Based on Historicist Postmodern Architecture and Deconstruction)
Int. J. Architect. Eng. Urban Plan, 28(1): 15-24, June 2018 DOI: 10.22068/ijaup.28.1.15 Architecture Intertextual Reading of Postmodern Architecture (Based on Historicist Postmodern Architecture and Deconstruction) S. Rahimi Atani1, K. Bazrafkan2,*, I. Raeisi3 1PhD Candidate, School of Architecture, Department of Engineering, Karaj Branch, Islamic Azad University, Karaj, Iran 2PhD, School of Architecture, Department of Art and Architecture, Central Tehran Branch, Islamic Azad University, Tehran, Iran 3PhD, School of Architecture, Department of Art and Architecture, Central Tehran Branch, Islamic Azad University, Tehran, Iran (Department of Architecture and Urbanism, Qazvin Branch, Islamic Azad University, Qazvin, Iran) Received: 12 August 2017, Revised: 31 December 2017, Accepted: 16 January 2018, Available online: 28 February 2018 Abstract Postmodernism is a very ambiguous term. It attracted many researchers from different fields of knowledge in the late 1960s. This article explains intertextuality as a critical means to derive its concepts and components in order to understand the hidden layers of meaning in postmodern pluralist ideology. Variable thoughts of postmodern architecture have been divided into two categories-Historicist and Deconstruction-To be able to detect and classify the inner layers of meaning in postmodern architecture. The authors seek to answer these questions: 1. How can we achieve the intertextual relationship between Historicist postmodern architecture and Deconstruction? 2. How can we define Historicist postmodern architecture and Deconstruction into the diachronic and synchronic axes? The results show that Historicist postmodernism uses objective signifiers and moves only along the diachronic axis. This group only imitates the past and its elements have humor and irony in the works. -
What Are the Different Types of Architecture? Source
What are the different types of Architecture? Source: http://architecture.about.com/cs/historicperiods/a/timeline.htm Baroque Architecture era 1600-1830 AD In Italy, the Baroque style is reflected in opulent and dramatic churches with irregular shapes and extravagant ornamentation. In France, the highly ornamented Baroque style combines with Classical restraint. Russian aristocrats were impressed by Versailles in France, and incorporated Baroque ideas in the building of St. Petersburg. Elements of the elaborate Baroque style are found throughout Europe. Baroque Characteristics: Buildings in the Baroque style have many of these features: • Complicated shapes • Large curved forms • Twisted columns Neoclassical Architecture era 1730 to 1925 AD A keen interest in ideas of Renaissance architect Andrea Palladio inspired a return of classical shapes in Europe, Great Britain and the United States. These buildings were proportioned according to the classical orders with details borrowed from ancient Greece and Rome. What is the greatest example? US Capitol Building in Washington D.C. 1 Neo Gothic Architecture era 1905 to 1930 AD Early 20th century skyscrapers borrowed details from medieval Gothic architecture. The Tribune Tower in Chicago is an example of Neo-Gothic design. Read below for facts about Neo-Gothic architecture. Gothic Revival was a Victorian style inspired by Gothic cathedrals and other medieval architecture. In the early twentieth century, Gothic Revival ideas were applied to modern skyscrapers. Twentieth Century Gothic Revival buildings are often called Neo-Gothic. Neo-Gothic buildings have many of these features: • Strong vertical lines and a sense of great height • Pointed windows with decorative tracery • Gargoyles and other carvings • Pinnacles Famous Neo-Gothic Buildings: The Chicago Tribune Tower shown above was built in 1924. -
Architecture and Nation-Building in Mid-20 Century Urban Turkey And
Architecture and Nation-building in Mid-20 th Century Urban Turkey and Iraq Lydia Harrington A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Arts University of Washington 2014 Committee: Selim Kuru Brian McLaren Re şat Kasaba Program authorized to give degree: Department of Near Eastern Languages and Civilization © 2014 Lydia Harrington Table of Contents Introduction………………………………………………………………………….3 Modernism in Ankara………………………………………………………………10 Modernism in Iraq………………………………………………………………….28 Conclusion………………………………………………………………………….50 Bibliography…………………..................................................................................55 2 Introduction The premise of this thesis is locate parallels and differences of foreign involvement in Ankara and Baghdad’s architecture during the development of each state’s nationalisms. In doing so, it will examine how foreign-originated modern architecture was modified in each case to fit its local context. I chose to focus on slightly different time periods in the two cities—the 1930s in Ankara and the 1950s in Baghdad— since these were defining periods of urban planning and nationalism-formulation in each. They are also periods that demonstrate well how modernity and nationalism were realized in the built environment. The degree to which architectural modernism was modified in each case was determined by the transmission of new ideas to Turkey and Iraq, education of and communication between foreign and local architects and the influence of nationalism. The history of modern Turkey and Iraq are very different, but architecture helps demonstrate two unique yet not entirely inseparable experiences of modernity in the post-Ottoman Middle East. With the coming of modernity and the threat of European imperialism in the Ottoman Period, Turkey, as the home of the empire’s administration, and Iraq, then as the three provinces Mosul, Baghdad and Basra, underwent varying degrees of modernization reforms, beginning in the Tanzimat Period (1839-1876).