Lecture12 new movement
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The document discusses four major movements in architecture from the late 20th century: Postmodernism, Deconstructivism, High-Tech, and Contextualism. Postmodernism rejected the minimalism of Modernism in favor of ornamentation and references to historical styles. Deconstructivism used fragmented and non-rectilinear shapes influenced by Cubism. High-Tech architecture prominently displayed the building's technical components and structure. Contextualism emphasized responding to a building's site through vernacularism, regionalism, and critical regionalism.
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Lecture12 new movement
- 2. POST MODERN
- 3. POSTMODERN ARCHITECTURE • Return of "wit, ornament and reference" to architecture • The functional and formalized shapes and spaces of the modernist style are replaced by diverse aesthetics • Architects rediscovered past architectural ornament and forms which had been abstracted by the modernist architects. • Described as neo-eclectic
- 4. ROOTS OF POSTMODERNISM • Reaction to modernism; it tries to address the limitations of its predecessor. • Communicating ideas with the public often in a humorous or witty way. • Many felt the modernism failed to meet the human need for comfort both for body and for the eye, that modernism did not account for the desire for beauty. • In response, architects sought to reintroduce ornament, color, decoration and human scale to buildings. • Form was no longer to be defined solely by its functional requirements or minimal appearance.
- 5. CHARACTERISTICS • Expressed in diverse ways. • The use of sculptural forms • The sculptural forms were created with much ardor. • Ornaments
- 6. CHARACTERISTICS • Anthropomorphism (Anthropomorphism is the attribution of human traits, emotions, and intentions to non-human entities)
- 7. CHARACTERISTICS • Anthropomorphism (Anthropomorphism is the attribution of human traits, emotions, and intentions to non-human entities)
- 8. CHARACTERISTICS • Physical characteristics are combined with conceptual characteristics of meaning. • Sometimes utilize trompe l'oeil, creating the illusion of space or depths where none actually exist
- 9. CHARACTERISTICS • Double coding , the buildings convey many meanings simultaneously • The sony building in new york • The building is a tall skyscraper which brings with it connotations of very modern technology. • Playfully extravagant forms and the humour of the meanings the buildings conveyed.
- 10. Portland Building in Portland, Oregon
- 11. Portland Building in Portland, Oregon
- 12. Bank of America , Center in Houston
- 13. Espaces d'Abraxas in Noisy-le-Grand, France
- 14. Espaces d'Abraxas in Noisy-le-Grand, France
- 15. Espaces d'Abraxas in Noisy-le-Grand, France
- 16. Neue Staats Galerie in Stuttgart, Germany
- 17. Messeturm in Frankfurt, Germany
- 18. The Harold Washington Library in Chicago
- 19. The Harold Washington Library in Chicago
- 20. The Harold Washington Library in Chicago
- 21. 100 North Tampa in Tampa, Florida
- 22. 1000 de La Gauchetière, in Montréal, Canada
- 23. Westendstrasse 1 in Frankfurt
- 24. The MI6 Building in London
- 25. The MI6 Building in London
- 26. Petronas Towers in Kuala Lumpur
- 27. Petronas Towers in Kuala Lumpur
- 28. DECONSTRUCTIVISM
- 29. DECONSTRUCTIVISM • Characterized by • Fragmentation, • Interest in manipulating structure's surface, skin, non-rectilinear shapes • Characterized by unpredictability and controlled chaos. • Building exhibits a bit of chaos and still refrains from utter confusion. • Artistic in nature with no sensible logic presented • Disassembly of the building components and reassembly in a new way . • Influence by Cubism andThe Stijl
- 30. CHARACTERISTIC • Unrelated forms. • Abstract in nature. • Smooth exterior surfaces. • Contrast of shapes and forms. • Large areas of a single material (glass, metals, stones, etc.) • Exposed materials.
- 31. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 32. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 33. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 34. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 35. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 36. Daniel Libeskind’s Jewish Museum, Berlin, Germany
- 37. Zaha Hadid’s Contemporary Arts Center, Cincinnati, Ohio
- 38. OMA/Rem Koolhaas’ Seattle Central Library, Washington
- 39. OMA/Rem Koolhaas’ Seattle Central Library, Washington
- 40. OMA/Rem Koolhaas’ Seattle Central Library, Washington
- 41. Bernard Tschumi Parc de la Villette, Paris, France
- 42. Bernard Tschumi Parc de la Villette, Paris, France
- 43. Peter Eisenman’s Wexner Center for the Arts, Ohio
- 44. Peter Eisenman’s Wexner Center for the Arts, Ohio
- 45. Coop Himmelb(l)au UFA-Cinema Center, Dresden, Germany
- 46. Coop Himmelb(l)au UFA-Cinema Center, Dresden, Germany
- 47. Coop Himmelb(l)au UFA-Cinema Center, Dresden, Germany
- 51. The Crystal at the Royal Ontario Museum
- 52. The Crystal at the Royal Ontario Museum
- 53. The Crystal at the Royal Ontario Museum
- 54. The Crystal at the Royal Ontario Museum
- 55. The Crystal at the Royal Ontario Museum
- 56. The Crystal at the Royal Ontario Museum
- 57. The Crystal at the Royal Ontario Museum
- 58. National Museum of Australia
- 59. National Museum of Australia
- 60. Experience Music Project Museum
- 61. Experience Music Project Museum
- 62. Experience Music Project Museum
- 64. HIGH-TECH ARCHITECTURE • a.k.a Structural Expressionism. • Incorporating elements of high-tech industry and technology into building design. • Appeared as a restored modernism • An extension of those previous ideas helped by technological advances. • Reveal their structure on the outside as well as the inside • Visual emphasis placed on the internal steel and/or concrete skeletal structure as opposed to exterior concrete walls.
- 65. AIMS • A response to growing discouragement with modern architecture. • To show the technical elements of the building by externalizing them. • The technical aspects create the building's aesthetic. • A renewed belief in the power of technology to improve the world. • Aimed to achieve a new industrial aesthetic, spurred on by the renewed faith in the progression of technology.
- 66. CHARACTERISTICS • Prominent display of the building's technical and functional components • Orderly arrangement • Use of pre-fabricated elements • Glass walls and steel frames were immensely popular. • To boast technical features, the technical part were externalized, often along with load- bearing structures. • Example is Pompidou Centre. The ventilation ducts are all prominently shown on the outside. This was a radical design, as previous ventilation ducts component were hidden on the inside of the building. • The means of access to the building is also on the outside, with the large tube allowing visitors to enter the building.
- 70. Bank of China Tower, Hong Kong
- 72. Hongkong and Shanghai Bank
- 73. Hongkong and Shanghai Bank
- 74. 30 St Mary Axe
- 75. 30 St Mary Axe
- 76. 30 St Mary Axe
- 77. 30 St Mary Axe
- 79. BMA Tower
- 80. Leslie L. Dan Pharmacy Building, University of Toronto
- 81. Leslie L. Dan Pharmacy Building, University of Toronto
- 82. Leslie L. Dan Pharmacy Building, University of Toronto
- 83. Leslie L. Dan Pharmacy Building, University of Toronto
- 87. Sainsbury Centre
- 88. Millennium Dome
- 89. Millennium Dome
- 90. Millennium Dome
- 91. Millennium Dome
- 92. Millennium Dome
- 93. Centre Georges Pompidou, Paris, France
- 94. Centre Georges Pompidou, Paris, France
- 95. Centre Georges Pompidou, Paris, France
- 96. CONTEXTUALISM
- 97. CONTEXTUALISM in ARCHITECTURE • Comes from the latin contexere meaning to merge together. • The architecture that responds to its site. • Contextualism can be seen as a set of values, which help distinguish the architectural work. • Any site, location or a place includes number of natural features that characterize it and create the context of this place • All these features should be determined, analyzed as well as considered in the design process in order to integrate the building into its context. • Contextualism includes three distinct aspects: vernacularism, regionalism, and critical regionalism.
- 98. VERNACULARISM (VERNACULAR ARCHITECTURE) • The term vernacular is derived from the latin vernaculus, meaning "domestic, native, indigenous” • Refers to buildings and villages, which were built by both the local inhabitants and the available local resources. • Also grows over time to reflect its environmental, cultural and historical context. • Essential factors that affect the forms and shapes of vernacular architecture • Demographic • Climatic • Socio-economic • Cultural • Building materials.
- 99. REGIONALISM (REGIONAL ARCHITECTURE) • Emerged from the late 1960s onwards • Pronounce that architecture should have reference to the physical, cultural and political contexts that envelop it. • Regionalism evokes responses to the context of the site within a modern context. • Understanding of the importance of restoring the harmony between people, artefacts and nature. • There is always a tension between local culture and internationalism.
- 100. REGIONALISM (REGIONAL ARCHITECTURE) • The tendency of styles and forms to spread quickly from one area to another will increase. • Regional culture should adapt and cultivate itself to the new culture self- consciously. • Therefore, regional architects struggled to combine the integration of international styles with the reinterpretation of local styles and settings, and this has paved the way to the emergence of the third aspect, ‘critical regionalism’.
- 101. CRITICAL REGIONALISM • Critical regionalism is different from regionalism • Tries to achieve a positive communication with vernacular architecture without a conscious involvement with the universal. • Sometimes Regionalism goes back to justConservatism and resorts to blind use of vernacular. But Critical Regionalism seeks architectural traditions that are deeply rooted in the local conditions results in a highly intelligent and appropriate architecture.
- 102. CRITICAL REGIONALISM • Adopt modern architecture critically for its universal progressive qualities but at the same time should consider and value responses to the context. • Emphasis should be put on context : topography, climate, and light, rather than the attractive visual appearance of the building. • Insisted that the building must reflect the culture and tradition of its region through its design and materials. • While the postmodernists celebrated ornamentation for its own sake, critical regionalists insisted that stylistic flourishes must only be applied in a measured and meaningful way.
- 103. CONTEXTUALISM in ARCHITECTURE • Vernacular is the architecture that was created by using local materials and built by its own inhabitants without the help of architects • Regional architecture is built by architects integrating the local available resources with modern ones • While critical regionalism is a regional architecture approach seeking universality.