week 12: pop, postmodernism, and the remix
DESCRIPTION
from pop to postmodern remix cultureTRANSCRIPT
post-‐modernism and the REMIX
less is more
less is more
less is a bore
Postmodern Chairs: Robert Venturi and Denise Sco: Brown, 1977
Levi:own, Pennsylvania, 1959 Father Knows Best, TV Guide Cover, 1956
Bob Dylan Milton Glaser, 1966
complexity and contradic7on [Venturi, 1966]
[We] can no longer afford to be inOmidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than “pure,” compromising rather than “clean,” distorted rather than “straighWorward,” ambiguous rather than “arOculated,” perverse as well as impersonal, boring as well as “interesOng,” conven4onal rather than “designed,” accommoda4ng rather than excluding, redundant rather than simple, ves4gial as well as innovaOng, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity.
15 m
inutes and
the Factory
And
y Warho
l, Electric Chair, 1967
Andy Warhol, Brillo Boxes, 1968
Roy Lichtenstein, In the Ca
r, 1963
Independent Group: 1952-‐55
MARY QUANT
The Age of the Mini Skirt, 1960s
Alexander Girard, blanket and ashtray, ca.1967
Braniff Air
Braniff Stewardess in Pucci
“Jellybean Jets” by Girard
Girard, interior design for Braniff Air, c.1970
Verner Panton, Visiona II, Cologne Furniture Fair, 1970
“Phantasy Landscape”
Verner Panton, Visiona II, Cologne Furniture Fair, 1970
Victor Vasarely, Op Art PainOngs, Hungarian, c.1969
Verner Panton, Spiegel Headq
uarters, cafeteria, H
ambu
rg, 1969
Verner Panton, Astoria Hotel and Restaurant, Norway, 1960
Alex MacIntyre, “Trip Box” installed at Maples Department Store, London, 1970-‐1
Staffan Berglund
Villa Spies, Stockholm, Sweden, 1969
Staffan Berglund, Motorized Elevated Dining Area, Villa Spies, Sweden, 1969
Eero Aarnio, Ball Chair+ PasOl Chair 1966-‐68
Joe Colombo, 1967-‐69
“Living Systems” Flexible SeaOng Systems + Tube Chair
Habitat of the Future Joe Colombo, Visiona I, Cologne Furniture Fair, 1969
Stanley Ku
brick, 2001: A Spa
ce Odyssey, 1969
postmodernism AT&T building (aka Sony Building) Philip Johnson New York, 1984
Charles W. Moore, Piazza d'Italia, New Orleans, 1979
Stanley Federman, Café du Triangle, Los Angeles, CA, 1984
Memphis E:ore So:sass
1981
Learning from Las Vegas
Robert Venturi and Denise Sco: Brown 1972
Robert Venturi and Denise Sco: Brown, Sainsbury Wing, NaOonal Gallery, London, 1991
Paula Scher Swatch Watch Poster USA, 1985
Historical reprise has been a mixed blessing. At once it serves to educate designers about history, making them more open to learn about past eras and epochs, but also sancOons easy formal soluOons devoid of originality. While some criOcs argue that overt borrowing from the past tends to trivialize both past and present by promoOng rote design, others argue that the introducOon of these reprises serves to enliven the field by offering more creaOve opOons. Where history is intelligently absorbed the results are invisible. Where history is used effecOvely as a model, a sense of appropriateness is usually apparent. But where history is just a cut-‐and-‐paste procedure, the result is almost always a cliché.
Steven Heller, Design Literacy