Notes_on_Postmodernism_Architecture

POSTMODERNISM ARCHITECTURE Notes Postmodernism Terms: Pluralistic Style: Consisting of different artistic styles, techniques, technologies etc Juxtaposition: Two random objects in parallel, a technique intended to stimulate creativity Quotation: Making reference to the past Reconceptualising: Making reference to the past and placing it into a new context to give additional meaning Hybrid: Blurring boundaries between art forms Reference to popular culture: Adopting ideas from popular culture Postmodernism Characteristics: Postmodernism challenges traditional views about art and questions dominant beliefs and values held by society. Postmodernism embraces history It rejects the pure geometric forms Experimental tendines were accepted Rejects “high art” hierarchies Gehry’s Art Practice: Gehry’s art practice draws on quotations from the site itself and its historical and cultural contexts. This is exemplified in the use of titanium in Guggenheim Museum, Bilbao, 1997. This gives reference to the Basque city’s modern industrial heritage. On going and subtle dialogue points to Gehry’s connection to the site and culture expression of Bilbao. He positions the Guggenheim Museum, Bilbao, 1997; to fit into the traditional urban fabrics of the Basque city. These of course include the bridge, railway, river, expressway and post industrial landscape. Gehry rejects the International style which is the belief that ‘one style of architecture fits all cultures’. Buildings during this era were described as plain and box like. With the emerging complexity and diversity of the recent chaotic world, modernism was now an inappropriate means to design for the modern world, which had become fragmented and chaotic. Using cultural values as a source of drawing on the cities history and past was now apart of the postmodern movement. Therefore Gehry’s postmodern art embraced regional context and rejected these traditional ideas of the international style. The Fred and Ginger Building 1996 or ‘Dancing House’, was designed by Gehry in collaboration with Vlado Milunic. This building was designed on a site where there was an America bombing during World War II. Both architects drew on diverse sources of images to create this innovative and unusual structural design. The juxtaposition of even the most diverse ideas was merged together, a postmodern characteristic known as pastiche. A possible reference for the ‘Dancing House’ of 1996, located in Prague, was its history relating to the original communism country it was, before it was set free by the liberation of democracy. Ultimately the building makes reference to the destruction of the site during World War II, when it was bombed. Many of Gehry’s work have been dubbed catastrophic and deconstructive. Experimental tendencies are a fundamental characteristic of the postmodern era that Gehry embraces. He rejects traditional conventions of the modernism style. Before the advent of the computer as a design tool, the use of the drawing board was how architects planned their designs. Gehry rejected this; he wanted to brake out of the restriction imposed by the limitations of architecture. He reproduced his deigns through models of paper and cardboard. Therefore Gehry’s very design practice challenged this notion of accepted traditions. The use of curved and flowing surfaces blurred boundaries between art forms and the traditional conventions of architectural practice. He makes sculpture and architecture become one. The original design of the in Guggenheim Museum, Bilbao, 1997, was made prior to the invention of computer technology The use of computer technology extends ideas of modernism, this allowed for the construction of Storey Hall to use free form, un-flowing and chaotic surfaces which otherwise could not have been achieved without the computer to produce there complex forms. Both artists (Gehry and Ashton, Raggat, McDougall) embrace the use of computer design technologies. Postmodern artists rely on the harnessing and embracement of new technologies, structural methods and innovative ways which allow them to use space, form and light more effectively. Visual Codes used both by Gehry and Ashton, Raggat, McDougall (ARM): Diversity of Forms: This is the evocative forms which arouse a range of meanings and associations that speak of broad contemporary cultural values and beliefs. The use of diverse forms can be interpreted as signifying cultural diversity. Organic Form: The use of organic forms signifies a challenge to the modernist aesthetic of the white cube. Chaotic Juxtapositions of Dissimilar Forms: These make connections with the dynamic energy and chaotic character of postmodern living. Materials: The juxtaposition of the different materials points to the hybrid nature of postmodern culture. Storey Hall, Melbourne, 1995: Storey Hall is located in the heart of Melbourne’s cultural spine. The architectural designs for this building were completed by ‘ARM’ – Ashton, Raggat and McDougall. Storey Hall was the result of a collaborative effort from all the architects, and undoubtedly the courageous patron of RMIT (Royal Melbourne Institute of Technology'). Storey Hall is a primary example of postmodernism architecture. Artwork: The original façade of former Hibernian Hall, 1887, was constructed during the classicism or revival style period. The building was based on modernism’s symmetrical and regular geometries. When it was redeveloped as Storey Hall, the aim of the building was specifically to acknowledge RMIT as leading the forefront of technical developments. The result of this as expressed by some critics was “Melbourne’s largest hair saloon”. The birth of the new annex was juxtaposed and in complete contrast to the other delicate and minimal half of the building. The annex was hybrid and characterised by irregular geometries and asymmetrical compositions. This was a reflection of the postmodern nature in architectural form. There is a plaque labelled “Resurrection City” at the entrance of Storey Hall. This refers to the neglected heritage and past of the buildings site. These words acknowledge the constant transition of metropolitan culture. The lower irregular entrance of the “grotto” is outlined with green and purple, these colours giving reference to the religious and cultural connections of the past uses of the hall. This is significant because it is a representation of the cultural and historical past of the building. The incongruous shapes of fractals or a diamond shapes give reference to postmodern’s chaotic and fragmented view of the world. New theories of contemporary science and mathematics are a reflection within postmodern artworks. Such include Chaos Theory, which is the belief that complexity and diversity of the recent chaotic and fragmented world brings order. The grotto entrance is also a replica of Luna Park and the National Gallery of Victoria. The interior spaces of Storey Hall are covered in decoration which makes reference to the Penrose tile and maths. The hybrid use of colours and forms, reflect the pluralist of the hybrid character of the postmodern world. Visual codes relating to feminism and chromosomes of science, pop culture, political association, Irish heritage are also evident. There are multiple layers of meaning and associates which can be made between the buildings. Sculpture forms of the boundaries blur boundaries between arts and architecture. Interior spaces covered in decoration which make reference to Penrose tile and maths Hybrid use of colours and forms, reflects the pluralist of the hybrid character of the postmodern worlD Visual codes relating to feminism and chromosomes of science, pop culture, political association, Irish heritage Layers of meaning and associates which can be made between the buildings Sculpture forms of the boundaries blur boundaries between arts and architecture[pic]