modern+post modern
TRANSCRIPT
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 1/21
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 2/21
Classic examples of modern architecture are SOM's Lever House or Mies van der Rohe's Seagram Building, as well as the architecture of Le Corbusier or the Bauhaus movement. Transitional examples of postmodern architecture are Michael Graves'Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originallyAT&T Building) in New York City, which borrows elements and references from the
past and reintroduces color and symbolism to architecture. A prime example of inspiration for postmodern architecture lies along the Las Vegas Strip, which wasstudied by Robert Venturi and Denise Scott Brown in their 1972 book Learning from
Las Vegas celebrating the strip's ordinary and common architecture.
Postmodern architecture has also been described as "neo-eclectic", where reference andornament have returned to the facade, replacing the aggressively unornamented modernstyles. This eclecticism is often combined with the use of non-orthogonal angles andunusual surfaces, most famously in the State Gallery of Stuttgart ( New wing of theStaatsgalerie Stuttgart) and the Piazza d'Italia by Charles Willard Moore. The ScottishParliament buildings in Edinburgh have also been cited as being of postmodern vogue.[citation needed ]
Modernist architects regard post-modern buildings as vulgar and cluttered with "gew-gaws". Postmodern architects often regard modern spaces as soulless and bland. Thedivergence in opinions comes down to a difference in goals: modernism is rooted inminimal and true use of material as well as absence of ornament, while postmodernismis a rejection of strict rules set by the early modernists and seeks exuberance in the useof building techniques, angles, and stylistic references.
Contents
[hide]
• 1 Relationship to previous styles• 2 Postmodernism• 3 Robert Venturi• 4 Aims and Characteristics• 5 Influential architects• 6 Changes in the teaching of architecturalhistory • 7 Photo gallery• 8 Notes• 9 References
• 10 External links
[edit] Relationship to previous styles
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 3/21
San Antonio Public Library, Texas.
New trends became evident in the last quarter of the 20thcentury as some architects started to turn away frommodern Functionalism which they viewed as boring, and which some of the publicconsidered unwelcoming and even unpleasant. These architects turned towards the past,quoting past aspects of various buildings and melding them together (even sometimesin an inharmonious manner) to create a new means of designing buildings. A vivid
example of this new approach was that Postmodernism saw the comeback of pillars andother elements of premodern designs, sometimes adapting classical Greek and Romanexamples (but not simply recreating them, as was done in neoclassical architecture). InModernism, the pillar (as a design feature) was either replaced by other technological means such as cantilevers, or masked completely by curtain wall façades. The revival of the pillar was an aesthetic, rather than a technological, necessity. Modernist high-rise
buildings had become in most instances monolithic, rejecting the concept of a stack of varied design elements for a single vocabulary from ground level to the top, in the mostextreme cases even using a constant "footprint" (with no tapering or "wedding cake"design), with the building sometimes even suggesting the possibility of a single metallicextrusion directly from the ground, mostly by eliminating visual horizontal elements — this was seen most strictly in Minoru Yamasaki's World Trade Center buildings.
Ancient ruyi symbol adorning Taipei 101 (Taiwan)
Another return was that of the “wit, ornament and reference” seen in older buildings interra cotta decorative façades and bronze or stainless steel embellishments of theBeaux-Arts and Art Deco periods. In post-modern structures this was often achieved by
placing contradictory quotes of previous building styles alongside each other, and evenincorporating furniture stylistic references at a huge scale.
Contextualism, a trend in thinking in the later parts of 20th Century, influences theideologies of the postmodern movement in general. Contextualism was centered on the
belief that all knowledge is “context-sensitive”. This idea was even taken further to say
Postmodernism
preceded by Modernism
PostmodernityPostchristianity
Postmodern philosophyPostmodern architecture
Postmodern artPostmodernist film
Postmodern literaturePostmodern musicPostmodern theater
Critical theoryGlobalizationConsumerism
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 4/21
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 5/21
Postmodernists, he sought to bring back ornament because of its necessity. He explainsthis and his criticism of Modernism in his Complexity and Contradiction in
Architecture by saying that:
Architects can bemoan or try to ignore them (referring to the ornamental and decorative
elements in buildings) or even try to abolish them, but they will not go away. Or they will notgo away for a long time, because architects do not have the power to replace them (nor dothey know what to replace them with).
Robert Venturi was possibly the foremost campaigner of the rebellion againstModernist Architecture which became known as Postmodern. His two booksComplexity and Contradiction in Architecture (1966) and Learning from Las Vegas
(1972) (although not actual manifestos of Post Modern Architecture) do well to expressmany of the aims embodied in Postmodernism. The latter book he co-authored with hiswife, Denise Scott Brown, and Steven Izenour .
Learning from Las Vegas highlights an aim that ornamental and decorative elements“accommodate existing needs for variety and communication”. Here Venturi stressesthe importance of the building communicating a meaning to the public (whichnecessitates non-functional elements of the building). The Postmodernists in generalstrive to achieve this communication through their buildings. This communication isnot intended to a direct narrating of the meaning. Venturi goes on to explain that it israther intended to be a communication that could be interpreted in many ways. Eachinterpretation is more or less true for its moment because work of such quality will havemany dimensions and layers of meaning. This pluralism of meaning is intended tomirror the similar nature of contemporary society. The pluralism in meaning was alsoechoed in the postmodern architects striving for variety in their buildings. Venturi
reminisces in one of his essays, A View from the Campidoglio, to that effect when hesays that:
When [he] was young, a sure way to distinguish great architects was through the consistencyand originality of their work...This should no longer be the case. Where the Modern masters'strength lay in consistency, ours should lie in diversity.
Postmodernism with its diversity possesses sensitivity to the building’s context andhistory, and the client’s requirements. The Postmodernist architects considered thegeneral requirements of the urban buildings and their surroundings during the
building’s design. For example, in Frank Gehry's Venice Beach House, the neighboring
houses have a similar bright flat color. This vernacular sensitivity is evident in somePostmodern buildings.
[edit] Aims and Characteristics
The aims of post-modernism, including solving the problems of Modernism,communicating meanings with ambiguity, and sensitivity for the building’s context, aresurprisingly unified for a period of buildings designed by architects who largely never collaborated with each other. The aims do, however, leave room for variousimplementations as can be illustrated by the diverse buildings created during the
movement.
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 6/21
The characteristics of Postmodernism allow its aim to be expressed in diverse ways.These characteristics include the use of sculptural forms, ornaments, anthropomorphism and materials which perform trompe l’oeil . These physical characteristics are combinedwith conceptual characteristics of meaning. These characteristics of meaning include
pluralism, double coding, flying buttresses and high ceilings, irony and paradox, and
contextualism.
Detail of Abteiberg Museum.
The sculptural forms, not necessarily organic, were created with much ardor. These can
be seen in Hans Hollein’s Abteiberg Museum (1972-1982). The building is made up of several building units, all very different. Each building’s forms are nothing like theconforming rigid ones of Modernism. These forms are sculptural and are somewhat
playful. These forms are not reduced to an absolute minimum; they are built and shapedfor their own sake. The building units all fit together in a very organic way, whichenhances the effect of the forms.
Portland Public Service Building
Robinson's department store, Fashion Island (William Pereira, 1967), an example of Spanish-inspired postmodernism.
After many years of neglect, ornament returned. Frank Gehry’s Venice Beach house, built in 1986, is littered with small ornamental details that would have been consideredexcessive and needless in Modernism. The Venice Beach House has an assembly of circular logs which exist mostly for decoration. The logs on top do have a minor
purpose of holding up the window covers. However, the mere fact that they could have been replaced with a practically invisible nail, makes their exaggerated existencelargely ornamental. The ornament in Michael Graves' Portland Public Service Building
(1980) is even more prominent. The two obtruding triangular forms are largelyornamental. They exist for aesthetic or their own purpose.
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 7/21
Postmodernism, with its sensitivity to the building’s context, did not exclude the needsof humans from the building. Carlo Scarpa’s Brion-Vega Cemetery (1970-72)exemplifies this. The human requirements of a cemetery is that it possesses a solemnnature, yet it must not cause the visitor to become depressed. Scarpa’s cemeteryachieves the solemn mood with the dull gray colors of the walls and neatly defined
forms, but the bright green grass prevents this from being too overwhelming.
Postmodern buildings sometimes perform the age old trompe l'oeil , creating the illusion of forms or depths where none actually exist, as has been done by painters since therenaissance. The Portland Public Service Building (1980) has pillars represented on theside of the building that to some extent appear to be real, yet they are not.
The Hood Museum of Art (1981-1983) has a typical symmetrical façade which was atthe time prevalent throughout Postmodern Buildings.
Robert Venturi’s Vanna Venturi House (1962-64) illustrates the Postmodernist aim of
communicating a meaning and the characteristic of symbolism. The façade is,according to Venturi, a symbolic picture of a house, looking back to the 18th century.This is partly achieved through the use of symmetry and the arch over the entrance.
Piazza d'Italia by Charles Willard Moore, New Orleans.
Perhaps the best example of irony in Postmodern buildings is Charles Willard Moore’sPiazza d’Italia (1978). Moore quotes (architecturally) elements of Italian renaissance and Roman Antiquity. However, he does so with a twist. The irony comes when it isnoted that the pillars are covered with steel. It is also paradoxical in the way he quotesItalian antiquity far away from the original in New Orleans.
Double coding meant the buildings convey many meanings simultaneously. The Sony
Building in New York does this very well. The building is a tall skyscraper which brings with it connotations of very modern technology. Yet, the top contradicts this.The top section conveys elements of classical antiquity. This double coding is a
prevalent trait of Postmodernism.
The characteristics of Postmodernism were rather unified given their diverseappearances. The most notable among their characteristics is their playfully extravagantforms and the humour of the meanings the buildings conveyed.
[edit] Influential architects
Some of the most well-known and influential architects in the postmodern style are:
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 8/21
• Ricardo Bofill• John Burgee• Terry Farrell• Michael Graves• Helmut Jahn• Jon Jerde• Philip Johnson• Ricardo Legorreta• Charles Willard Moore• William Pereira• Cesar Pelli• Antoine Predock • Robert A.M. Stern• James Stirling• Robert Venturi• Peter Eisenman
[edit] Changes in the teaching of architectural history
The rise of interest in history that came as a consequence of the general Postmodernistturn had a profound impact on architectural education. History courses becameincreasingly regularized and insisted upon. With the demand for professorsknowledgeable in the history of architecture, several Ph.D. programs in schools of architecture arose in order to differentiate themselves from art history Ph.D. programs,where architectural historians had previously trained. In the US, MIT and Cornell werethe first, created in the mid 1970s, followed by Columbia, Berkeley, and Princeton.
Among the founders of new architectural history programs were Bruno Zevi at theInstitute for the History of Architecture in Venice, Stanford Anderson and HenryMillon at MIT, Alexander Tzonis at the Architectural Association, Anthony Vidler atPrinceton, Manfredo Tafuri at the University of Venice, Kenneth Frampton at ColumbiaUniversity, and Werner Oechslin and Kurt Forster at ETH.[1]
The creation of these programs was paralleled by the hiring, in the 1970s, of professionally trained historians by schools of architecture: Margaret Crawford (with aPh.D. from U.C.L.A) at SCI-Arc; Elisabeth Grossman (Ph.D., Brown University) atRhode Island School of Design; Christian Otto[2] (Ph.D., Columbia University) atCornell University; Richard Chafee (Ph.D., Courtauld Institute) at Roger Williams
University; and Howard Burns (M.A. Kings College) at Harvard, to name just a fewexamples. A second generation of scholars then emerged that began to extend theseefforts in the direction of what is now called “theory”: K. Michael Hays (Ph.D., MIT) atHarvard, Mark Wigley (Ph.D., Auckland University) at Princeton (now at ColumbiaUniversity), and Beatriz Colomina (Ph.D., School of Architecture, Barcelona) atPrinceton; Mark Jarzombek (Ph.D. MIT) at Cornell (now at MIT), Jennifer Bloomer (Ph.D., Georgia Tech) at Iowa State and Catherine Ingraham (Ph.D., Johns Hopkins)now at Pratt Institute.
[edit] Photo gallery
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 9/21
Cathedral of Our Lady of the Angels
by Rafael Moneo.Transamerica Pyramid in San Francisco byWilliam Pereira.
Harold WashingtonLibrary in Chicago by Hammond, Beebyand Babka.
Comerica Tower inDetroit by JohnBurgee and PhilipJohnson.
Messeturm inFrankfurt by HelmutJahn.
The McCormick Tribune CampusCenter at Chicago'sIIT Campus by RemKoolhaas.
Bank of AmericaCenter in Houston by
by John Burgee andPhilip Johnson.
The Milwaukee ArtMuseum by SantiagoCalatrava.
[edit] Notes
1. ^ Mark Jarzombek , “The Disciplinary Dislocations of ArchitecturalHistory,” Journal of the Society of Architectural Historians 58/3 (September 1999), p. 489. See also other articles in that issue by Eve Blau, StanfordAnderson, Alina Payne, Daniel Bluestone, Jeon-Louis Cohen and others.2. ^ Cornell University Dept. of Architecture website[1]
[edit] References
• Postmodern Architecture: Restoring Context Princeton University Lecture •
Postmodern Architecture and Urbanism University of California - Berkeley Lecture • Learning from Las Vegas: The Forgotten Symbolism of Architectural
Form. Robert Venturi, Cambridge, MA: MIT Press, 1977 ISBN 0-262-22015-6 • History of Post-Modern Architecture. Heinrich Klotz, Cambridge, MA:MIT Press, 1998. ISBN 0-262-11123-3
[edit] External links
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 10/21
Wikimedia Commons has media related to: Post-modern architecture
• About Postmodernism• Postmodern architecture at the archINFORM database • Gallery of Postmodern Houses• Post Modern Architecture at Great Buildings Online
[show] v • d • e
Modern architecture
[show] v • d • e
History of architecture
Retrieved from "http://en.wikipedia.org/wiki/Postmodern_architecture"Categories: Architectural styles | House styles | Postmodern architectureHidden categories: Articles lacking in-text citations | All articles with unsourcedstatements | Articles with unsourced statements since January 2008
Views
• Article• Discussion• Edit this page
• History
Personal tools
• Log in / create account
Navigation
• Main page• Contents• Featured content• Current events• Random article
Search
Interaction
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 11/21
• About Wikipedia• Community portal• Recent changes• Contact Wikipedia• Donate to Wikipedia• Help
Toolbox
• What links here• Related changes• Upload file• Special pages• Printable version• Permanent link • Cite this page
Languages
• Bosanski• Česky• Deutsch• Español• Français• Galego• Italiano• • ქქქქქქქ • Nederlands• 日本語 • Polski• Português• Shqip• Slovenčina• Српски / Srpski• Svenska• Tiếng Việt• Türkçe• 中文
• This page was last modified on 17 November 2008, at 23:48.• All text is available under the terms of the GNU Free DocumentationLicense. (See Copyrights for details.)Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S.
registered 501(c)(3) tax-deductible nonprofit charity.• Privacy policy
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 12/21
•
•
•
•
•
•
•
•
• Disclaimers
[Collapse]
Wikipedia relies on your donations: please give today.$3,045,413
Our Goal: $6 millionDonate Now »
[Expand]
Support Wikipedia: a non-profit projectDonate Now »
Modern architecture
From Wikipedia, the free encyclopedia
(Redirected from Modernist architecture)Jump to: navigation, search
This article needs additional citations for verification.Please help improve this article by adding reliable references. Unsourced material may bechallenged and removed. (July 2008)
The examples and perspective in this article or section may not represent aworldwide view of the subject.Please improve this article or discuss the issue on the talk page.
This article is concerned with architectural aspects of modernism; for the most
recent developments in architecture, see Contemporary architecture.
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 13/21
The Seagram Building, New York City, 1958. One of the finest examples of thefunctionalist aesthetic and a masterpiece of corporate modernism
Modern architecture is a set of building styles with similar characteristics, primarilythe simplification of form and the elimination of ornament. The first variants wereconceived early in the 20th century. Modern architecture was adopted by manyinfluential architects and architectural educators, however very few "Modern buildings"were built in the first half of the century. It gained popularity after the Second WorldWar and became the dominant architectural style for institutional and corporate
buildings for three decades.
The exact characteristics and origins of Modern architecture are still open tointerpretation and debate.
Contents
[hide]
• 1 Historyo 1.1 Originso 1.2 Modernism asdominant style
• 2 Characteristics• 3 Preservation• 4 See also• 5 References
• 6 External links
[edit] History
[edit] Origins
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 14/21
Some historians see the evolution of Modern architecture as a social matter, closely tiedto the project of Modernity and thus the Enlightenment. The Modern style developed, intheir opinion, as a result of social and political revolutions. [1]
Melnikov House near Arbat Street in Moscow by Konstantin Melnikov.
Others see Modern architecture as primarily driven by technological and engineeringdevelopments, and it is true that the availability of new building materials such as iron,steel, concrete and glass drove the invention of new building techniques as part of theIndustrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his'fireproof ' design, which relied on cast iron and brick with flag stone floors. Suchconstruction greatly strengthened the structure of mills, which enabled them toaccommodate much bigger machines. Due to poor knowledge of iron's properties as aconstruction material, a number of early mills collapsed. It was not until the early 1830sthat Eaton Hodgkinson introduced the section beam, leading to widespread use of ironconstruction, this kind of austere industrial architecture utterly transformed the
landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as "Dark satanic mills".
The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an earlyexample of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and LouisSullivan. Early structures to employ concrete as the chief means of architecturalexpression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum,
built from 1926 near Basel, Switzerland.
Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau. Note thatthe Russian word for Art Nouveau, "Модерн" , and the Spanish word for Art Nouveau,"Modernismo" are cognates of English word "Modern" though they carry differentmeanings.
Whatever the cause, around 1900 a number of architects around the world begandeveloping new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto
Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others,can be seen as a common struggle between old and new. An early use of the term in
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 15/21
print around this time, approaching its later meaning, was in the title of a book by OttoWagner .[2][3]
A key organization that spans the ideals of the Arts and Crafts and Modernism as itdeveloped in the 1920s was the Deutscher Werkbund (German Work Federation) a
German association of architects, designers and industrialists. It was founded in 1907 inMunich at the instigation of Hermann Muthesius. Muthesius was the author of a three-volume "The English House" of 1905, a survey of the practical lessons of the EnglishArts and Crafts movement and a leading political and cultural commentator.[4] The
purpose of the Werkbund was to sponsor the attempt to integrate traditional crafts withthe techniques of industrial mass production. The organization originally includedtwelve architects and twelve business firms, but quickly expanded. The architectsinclude Peter Behrens, Theodor Fischer (who served as its first president), Josef Hoffmann and Richard Riemerschmid. Joseph August Lux, an Austrian-born critic,helped formulate its agenda.[5]
[edit] Modernism as dominant style
By the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, andLudwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe andGropius were both directors of the Bauhaus, one of a number of European schools andassociations concerned with reconciling craft tradition and industrial technology.
Frank Lloyd Wright's career parallels and influences the work of the Europeanmodernists, particularly via the Wasmuth Portfolio, but he refused to be categorized
with them. Wright was a major influence on both Gropius and van der Rohe, however,as well as on the whole of organic architecture.
Marina City (left) and IBM Plaza (right) in Chicago.
In 1932 came the important MOMA exhibition, the International Exhibition of ModernArchitecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell
Hitchcock drew together many distinct threads and trends, identified them as
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 16/21
stylistically similar and having a common purpose, and consolidated them into theInternational style.
This was an important turning point. With World War II the important figures of theBauhaus fled to the United States, to Chicago, to the Harvard Graduate School of
Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional andcommercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about1984.
Trellick Tower , London featuring the brutalist architecture of Ernő Goldfinger .Architects who worked in the International style wanted to break with architecturaltradition and design simple, unornamented buildings. The most commonly usedmaterials are glass for the facade, steel for exterior support, and concrete for the floorsand interior supports; floor plans were functional and logical. The style became mostevident in the design of skyscrapers. Perhaps its most famous manifestations include theUnited Nations headquarters (Le Corbusier, Oscar Niemeyer , Sir Howard Robertson),the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore,Owings, and Merrill), all in New York. A prominent residential example is the LovellHouse (Richard Neutra) in Los Angeles.
Detractors of the International style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to livein machines.[citation needed ] Even Philip Johnson admitted he was "bored with the box."Since the early 1980s many architects have deliberately sought to move away fromrectilinear designs, towards more eclectic styles. During the middle of the century,some architects began experimenting in organic forms that they felt were more humanand accessible. Mid-century modernism, or organic modernism, was very popular, dueto its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of themost prolific architects and designers in this movement, which has influenced
contemporary modernism.
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 17/21
Although there is debate as to when and why the decline of the modern movementoccurred, criticism of Modern architecture began in the 1960s on the grounds that it wasuniversal, sterile, elitist and lacked meaning. Its approach had become ossified in a"style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the1961 introduction to his evolving text, Space, Time and Architecture (first written in
1941), could begin "At the moment a certain confusion exists in contemporaryarchitecture, as in painting; a kind of pause, even a kind of exhaustion." At theMetropolitan Museum of Art, a 1961 symposium discussed the question "ModernArchitecture: Death or Metamorphosis?" In New York, the coup d'état appeared tomaterialize in controversy around the Pan Am Building that loomed over Grand CentralStation, taking advantage of the modernist real estate concept of "air rights",[6] Incriticism by Ada Louise Huxtable and Douglass Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of
postmodernism was attributed to disenchantment with Modern architecture. By the1980s, postmodern architecture appeared triumphant over modernism; however,
postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As
part of this revival, much of the criticism of the modernists has been revisited, refuted,and re-evaluated; and a modernistic idiom once again dominates in institutional andcommercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residentialdesign continues to be dominated by a traditional aesthetic.
[edit] Characteristics
This section does not cite any references or sources.Please help improve this section by adding citations to reliable sources. Unverifiablematerial may be challenged and removed. (July 2008)
Modern architecture is usually characterized by:
• an adoption of the principle that the materials and functionalrequirements determine the result• an adoption of the machine aesthetic• a rejection of ornament• a simplification of form and elimination of "unnecessary detail"• an adoption of expressed structure• Form follows function
[edit] Preservation
This section does not cite any references or sources.Please help improve this section by adding citations to reliable sources. Unverifiablematerial may be challenged and removed. (July 2008)
Although relatively young, works of Modern architecture may be lost because of
demolition, neglect, or alterations. While an awareness of the plight of endangeredModern buildings is growing, the threats continue. Non-profit groups such as the World
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 18/21
Monuments Fund, Docomomo International and the Recent Past Preservation Network are working to safeguard and document imperiled Modern architecture. In 2006, theWorld Monuments Fund launched Modernism at Risk, an advocacy and conservation
program. Since Hurricane Katrina, New Orleans modernist structures have beenincreasingly slated for demolition. Currently plans are underway to demolish many of
the city's modernist public schools, as well as large portions of the city's Civic Plaza.FEMA funds will contribute to razing the State Office Building and State SupremeCourt Building, both designed by the collaborating architectural firms of August Perezand Associates; Goldstein, Parham and Labouisse; and Favrot, Reed, Mathes andBergman. The New Orleans Recovery School District has proposed demolitions of schools designed by Charles R. Colbert, Curtis and Davis, and Ricciuti Associates. The1959 Lawrence and Saunders building for the New Orleans InternationalLongshoremen's Association Local 1419 is currently threatened with demolitionalthough the union supports its conservation.
[edit] See also• Modern furniture• Bauhaus
[edit] References
1. ^ Crouch, Christopher. 2000. "Modernism in Art Design and Architecture", New York: St. Martins Press. ISBN 0312218303 (cloth) ISBN 031221832X (pbk)2. ^ Otto Wagner. Moderne Architektur: Seinen Schülern ein Führer auf diesem
Kunstgebiete. Anton Schroll. 1902.
3. ^ Otto Wagner. Translated by Harry Francis Mallgrave. Modern
Architecture: A Guidebook for His Students to This Field of Art. Getty Center for theHistory of Art and the Humanities. 1988. ISBN 0226869385 4. ^ Lucius Burckhardt (1987) . The Werkbund . ? : Hyperion Press. ISBN.Frederic J. Schwartz (1996). The Werkbund: Design Theory and Mass Culture Before
the First World War . New Haven, Conn. : Yale University Press. ISBN.5. ^ Mark Jarzombek . "Joseph August Lux: Werkbund Promoter, Historian of aLost Modernity," Journal of the Society of Architectural Historians 63/1 (June 2004):202-219.6. ^ Meredith L. Clausen, 2005. The Pan Am building and the shattering of the
Modernist Dream (Cambridge: MIT Press) (On-line analytical review)
[edit] External links
Wikimedia Commons has media related to: Modern movement
• http://www.mastersofmodernism.com/?page=Modernism• Atomic Age Alliance Volunteer group dedicated to celebrating and
preserving Modern architecture
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 19/21
• Lotta Living Message Board Online Community for fans of Mid-centurymodern, Googie, International, Art Deco, 20th century architecture culture anddesign• Graphic and chronological vision of modern architecture through itshouses. • Famous architects - Biographies of well-known architects, almost all of the Modern Movement. • Architecture and Modernism• World Monuments Fund Modernism at Risk • "Preservation of Modern Buildings" edition of AIA Architect • Modern architecture & design news
[show] v • d • e
Modern architecture
[show] v • d • e
History of architecture
[show] v • d • e
Modernism
Retrieved from "http://en.wikipedia.org/wiki/Modern_architecture"Categories: Architectural history | Architectural styles | Modernism | Modernistarchitecture | Postmodern architecture | Architectural designHidden categories: Articles needing additional references from July 2008 | Articles withlimited geographic scope | All articles with unsourced statements | Articles withunsourced statements since October 2008
Views
• Article•
Discussion• Edit this page
• History
Personal tools
• Log in / create account
Navigation
• Main page
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 20/21
• Contents• Featured content• Current events• Random article
Search
Interaction
• About Wikipedia• Community portal• Recent changes• Contact Wikipedia• Donate to Wikipedia• Help
Toolbox
• What links here• Related changes• Upload file• Special pages• Printable version• Permanent link • Cite this page
Languages
• • Deutsch• Español• Français• Galego• Italiano• • Nederlands• 日本語 • Polski• Português• Slovenščina• Svenska• ไไไ
• Tiếng Việt• Türkçe• 中文
7/31/2019 Modern+Post Modern
http://slidepdf.com/reader/full/modernpost-modern 21/21
• This page was last modified on 19 November 2008, at 01:47.• All text is available under the terms of the GNU Free Documentation
License. (See Copyrights for details.)Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S.registered 501(c)(3) tax-deductible nonprofit charity.• Privacy policy• About Wikipedia• Disclaimers