Interpreting the Postmodern - Critical, Dead or Developmental - Term Paper Example

Interpreting the Postmodern - Critical, Dead or Developmental Introduction The first examples of postmodern architecture began to emerge in 1950s, and two decades later it had already become a movement. The influence can be felt in the architecture that is found in today's buildings. Postmodern architecture is considered as the comeback of ornament, wit and reference and founded on the backbone of international style of modernism. Postmodern architecture has given itself freedom to look at architectural styles in its own way in which formalised and functional spaces and shapes are dotted with aesthetics that is diverse. Lots of spaces abound in postmodern architecture. There is a prevalent notion that architects have rediscovered architecture's symbolic value and expressive style that have been foundations for architecture through centuries. There is a neo-eclectic element in postmodern architecture, the first traces of which can be found in Portland Building by Michael Graves and Sony Building by Oregon and Philip Johnson. The latter is in New York. Both these buildings have borrowed something from the "past" and infused it with something from the "present". References and elements are from the past and the colour is from the present. The eclecticism contained in the postmodern architecture is often used in combination with unusual surfaces and non-orthogonal angles. Examples can be found in James Stirling's State Gallery of Stuttgart and Charles Moore's Piazza d'Italia. Mention s also made of Edinburgh's Scottish Parliament Building. Postmodern buildings have been critiqued too and termed as being 'vulgar', linked to 'populist ethic', and 'gew-gaws' cluttered. They are also being termed as bland and soulless, abstract and overly simplistic. A juxtaposition of whites and grays has been seen dominant in postmodern architecture, where whites are considered as synonymous with revival and grays as embracing multifaceted cultural identity. Robert Venturi calls this as the rejection of "black and white" and while retaining the two adding another component of gray. Portland Building, Source: http://25.media.tumblr.com/78aa5ae5d30a7295f4b21f08e6f09e32/tumblr_milj55txyI1qf5re5o1_1280.jpg There are divergent views on the subject and something that sets postmodern apart from modernism elements of ornament. The modernistic view seeks meanings from several elements used for the architectural integrity while as postmodern experiments with new forms and ideas, not bound by as strict rules as modernistic thoughts on architecture. State Gallery of Stuttgart, Source: http://www.mimoa.eu/images/12154_l.jpg The advent of postmodernism movement of architecture was in United States of America and by now it has spread throughout the world. Europe was the first to catch up. It is, in fact, a reaction to modernism, which had certain limitations. Postmodernist architecture wants to communicate with public in many different ways, including that of being humorous or witty. It is an amalgamation of past architectural styles, breaking away from its predecessor, and speaking on behalf of the context in which buildings based on postmodernistic principles are built. It could also be said that postmodernism begins where modern architecture begins to falter or fail. Postmodern architecture does way with ornament not because use of ornament was not impressive but because but postmodern architecture has to be both economical and functional. There has to be a great deal of comfort that a building must offer both to human eye and body. (i) What, both at the time and in retrospect, do you believe were the intentions behind postmodernism, and how – and how successfully – did it function as a critique of modernism? Modernism had left some problems and intention of postmodernism was to solve them. It intended to communicate sensitivity of context in which buildings are made, and communicate ambiguity and meanings. These two elements are being found strongly representative in the buildings that were built during the emergence of postmodern period. Postmodernism expresses itself in diverse ways and to say that postmodern buildings have given up the past in its entirety would be wrong. Ornaments, sculptural forms, and anthropomorphism are still prevalent in postmodern architecture; all enabled to create trompe l'oeil, which is a term denoting use of realistic imagery so that such an illusion can be created which seems to exist in three dimensions. Trompe l'oeil murals, Source: http://www.decor-medley.com/image-files/italian-kitchen-decor-trompe-l'oeil-tuscan-mural.jpg These are all physical characteristics to which conceptual characteristics are provided so as to create a meaning, which include double coding, pluralism, high ceilings, flying buttresses, contextualism, paradox and irony. The concept can also be seen as transcending to the sculptural forms which are created with ardor and may not necessarily be organic. Abteiberg Museum, which was built by Hans Hollein between 1972-1982, is an ideal example that depicts this. the most surprising thing that can be seen in this museum is that it is, in reality, a combination of several building units; each different from another, and not even a single conforming to rigid principles of modernism, which makes it, as explained above, postmodern. Its sculptural themes are somewhat very playful; they are reduced neither to minimum nor escalated to maximum, they are just optimal, having their own meanings and shapes, either for the sake of it or to provide that added element to the buildings so as to look postmodern. The best part is that all buildings units have an organic integrity with the whole, which is what provides effect to different forms and makes the museum what it is known for today. Postmodernism fulfils the need that the context in which it is built imposes on it. As mentioned above it is sensitive to its context's need. It incorporates the needs of humans and their expectations they have from it. The need could be both of physical or psychological accommodation. Oft-repeated example for this is Brion Cemetery by Carlo Scarpa, which was built between 1970-1972. Cemeteries are normally depressing, even if they possess a solemn nature. This one while being solemn is not depressing at all. It has neatly defined forms and the solemn mood is supposed to come from its walls that are painted in dull gray colours. Brion Cemetery by Carlo Scarpa, Source: http://farm3.static.flickr.com/2147/2373942619_6e106b4525_b.jpg So as to avoid gray being too overwhelming, there is bright green grass that balances it. Clearly, it can be said this cemetery does not fulfil the purpose of being cemetery alone, but it goes a step beyond that. At the cemeteries are cemeteries, places meant for people laid to be at rest on their last journeys, and there can be nothing happy, if not depressing about them. But this one creates that ubiquitous trompe l’oeil. It creates an illusion of depth and space where none of these two actually exist. On contrary to what critiques term postmodernism as bland, it can be said that it has been successful in letting the ornament return, albeit in a different fashion. Modernism, on the other hand, had totally done away with it. One best example of this can be seen in 1986-built Venice Beach House by Frank Gehry. It is replete with ornamental details and yet does not seem to be excessively laden with it. Venice Beach House has circular logs assembled sequentially and leant for decoration; they even can hold window covers, and they could even have been simple nails out there. But the architect wanted to give these small logs the purpose of ornament, which he has been successful in accomplishing. The best part is that while being ornaments, they are still not the ones that used to be heavily expensive. The Portland Building, as referred to in the beginning of this paper, is dotted with similar ornaments and holds prominence in postmodern architecture for such embellishments. Its obtruding triangular forms are known for providing the building an ornamental look and an aesthetic value that seems to define certain things on its own. In the same way Vanna Venturi House built by Robert Venturi from 1962-64 communicates a meaning and a character of symbolism. Its facade is symbolic of an 18th century house, which Venturi has successfully achieved by placing and arch over the entrance and using symmetry over it. Postmodernism surpassed modernism in many ways. One it provides meaning to a structure and it offers the freedom to do playful experiments with extravagant forms. Postmodernism is another name for appearances that are unified and diverse. Venice Beach House, Source: http://www.thegrumpyoldlimey.com/images/buildings/vbeachtowerfromhouse.jpg Postmodernism as critique of modernism As mentioned above postmodernism is a reaction to modernism and is based on a cluster of literary, philosophical, art and cultural movements which took shape in the mid-2oth century. Postmodernism is actually based on modernism’s philosophical criticism and disillusionment that took place among political left wing European philosophers. This happened after World War II; a period in which it is widely held that Eastern Europe's communist governments could not conceal their misbehaviour. It was suggestive of a notion that spread among intelligentsia that Marxism was obsolete since it was divisive. Suggestions have generally been made that however critiquing in nature it might be against modernism, it still remains far from being held as understandable. To understand it, it is primary to understand what reaction it speaks of against modernism. Nationalists believe that postmodernism is composed of certain vague interpretations but on the other hand proponents of postmodernism believe that it is one of the most critical methods that have the capability of talking about artistic and social things, discussions engrossed in a gross ambit of "culture". Postmodernism is relevantly capable of pointing out to effects of modernism and in the process it evolves a genre of its own. Postmodernism critiques modernism through methodological pluralism and rejects the concept of central narratives. Even though it is has not yet been clear as to what could be strict definition of postmodernism, yet it attempts to define itself by pitting against modernism. It critiques it by modernism’s attempts at "totalizing' knowledge and imparting "grand theories". Deterministic and teleological explanations of social and historical phenomena do not have any place on postmodernism. these explanations found widespread acceptance during modernism, particularly during early 20th and throughout 19th century. In order to further understand then advent of postmodernity as a critique of modernism, it is important to delve deep into the latter. Modernism or modernity as it is commonly referred to saw its emergence taking place as early as 16th century, with Europe's peasant population's urbanisation, expansion of international trade, and rise in literacy that was steady. Protestant Reformation as part of the superstructural phenomena enabled and reflected in economic and social conditions. The emphasis started shifting to nuclear family which became patriarchal, individualism and literacy. Along with this there was Enlightenment, emphasis on human progress and rationality and development of science and scientific method. Modernism period was characterised by an industry and its large scale capitalisation, increased and centralised control over production, and high degree of standardisation and routinisation of processes and products. However, at a point when threshold was reached, people faith in modernism was terribly shaken as they thought it resulted in such unimaginable consequence as a holocaust. In other words, when modernism began to collapse, postmodernism started taking its place. It created its own space by, as could be imagined, critiquing modernism in the first place. Production of information replaced the traditional importance of a 'product". Postmodernism resulted because artistic and intellectual movements that developed during modernity felt disgruntled with it. They thought industrial capitalism gave them a quality of life that was "dehumanized". To overcome this disgruntlement, they found retreat to a social order that was pre-capitalist as the only plausible option. They did so through many different ways, like embracing fascist ideologies and leaders, seeking refuge in individualism that was anti-social, or by resorting to agrarian populism. Modern art, including architecture, suffered disruption and fragmentation; primarily at the level of the form, and while it did so, it tried its best to retain overall effect and level of content. Modernists indulged in desperate efforts to "shore up." It is at this point, when modernism was emerging, that it tried to experiment with this disruption, fragmentation and abstractness. In other words, postmodernism resisted this industrial degradation and the art that flourished contained use of self-conscious, high-value strategies. There was a perceivable shift from values that were supposed to be timeless, truths that were supposed to be universal, and narratives that were supposed to be grand. In architectural parlance, words as "surface", "representation", and "appearance" started gaining precedence over concepts like "depth" and "substance". Postmodernism believes in the existence of many realities and not just one universal reality. It terms it "plural realities". Modernism, on account of its rigidity, believed otherwise. ii) How would you argue/analyse both its positive and its negative effects on architecture in its own time, and on subsequent developments; and to what extent was it just a trivial interruption between ‘then’ and ‘now’? Le Corbusier, Walter Gropius, and Ludwig Mies van der Rohe were established names of modernism. It had given them unprecedented reputation by 1920s. Before then and before modernism, architecture and design was supposed to have suffered some limitations and even failures. After mass destruction imposed by Word War II, modernism gained popularity because it began to be seen a solutions-provider to many problems, most of which were dwelling in nature. Slum clearance was one of them as nearly 15 percent of population was living in slums during 1930s (Jeremiah, 2000, pp. 123-163). Modernist planning came in handy as it was thought it can provide solution to this problem. The result was many modernist buildings came up soon after. At that point of time it was considered as a positive impact of modernism. But many years later, particularly after modernism thought started getting obsolete, many of these buildings were raised to the ground since they were not thought to be in sync with social family and community dynamics. Seventies saw the fall of many such buildings. So it can be argued that initially while modernist architecture worked and showed promise through urban utopias, in later years all ambitions that modernism showed fizzled out and failed. Walter Gropius taught students at the Bauhaus School of Design and the focus of teaching was to "design for a better world" by making them understand "purity of form". The impact of modernism was such that its phrase "form follows function" got to be known as a popular architectural term in its time. This phrase asserted that form must be simplified and ornament, wherever used, should follow purpose and structure of the building. Modernism propounded planned environments, at the centre of which were modernist dreams of trouble free areas, creation of squares, zoning amenities and spaces and roads that could be interlinked (Jeremiah, 2000, p.124). The best part of modernist planning was that lots of zoning areas were designed, the primary purpose of which was to give urban planning an aesthetic look and create distinct commercial and residential spaces. Paul Greenhalgh has succinctly outlined the key features of modernist architecture in Modernism in design, the purposes of which he has referred to as progress, "function, progress, social morality and anti-historicism" (Greenhalgh, 1990, pp. 1-24). France has prime examples of modernist architecture, where Villa Savoye in Poissy by Le Corbusier is considered as a landmark of modernism. This building has no ornament and is as simple as a residential building can get. The openness around it lends it an uncluttered integrity, most sought after in residential buildings and not usually found until cost is not a problem. The initial impact of modernism could be attributed to the ambition it showed to masses, which thrived on the saying that architecture should be able to raise the social responsibility of the field and thus raise masses' living conditions (Henket, 2002, p. 10). The very idea seemed progressive and everyone was more than willing to lap it. One of the worst failures of modernist social housing projects was St. Louis, Missouri-based Pruitt Igoe urban housing development based on Le Corbusier's modernists principles. By the time thirty-three eleven storey high rise blocks, which were made up of small individual apartments, were completed and the project's skip-stop elevators and recreational galleries' earlier called as "architectural innovations", had become danger zones and nuisance points. Pruitt-Igoe had become so infamous that it was said even poor people would prefer to live but anywhere there (Hoffman, 2010). Villa Savoye, Source: http://static4.cornucopia3d.net/galleries/albums/userpics/24257/Villa%20Savoye.jpg The greatest pitfall of modernist architecture came to be seen only as an alternative to public housing. This happened more prominently in Briatin than anywhere else. It collapsed because there were many "social problems" that reared themselves up in so-called "public housing schemes". The tipping point came when Ronan Point, collapsed on one side due to a gas explosion, in 1968. Public outrage on modernist public housing architecture went unabated after this accident. Similarly postmodern architecture also has had positive and negative effects on architecture. It has had a neo-eclectic effect on architecture. As a result of this today's commercial buildings are representative of a style that seems to be interpreting revival of styles that are historic in nature. The only difference is that these buildings of today founded on the basis of postmodern architecture use modern construction techniques while keeping their historical style integrity intact. Postmodernism has given a new meaning to architecture since it signals "escape from the glass box" which has been the hallmark of an anonymous international style. While modernism mantra was based on "less is more", postmodernism mantra is based on "less is bore". However, it has got its own share of criticism and there are many critics who have argued that postmodern architects exaggerate their "replication of historical styles" widely. iii) Was its commitment to popularity desirable; was its apparent rejection of architecture’s commitment to the avant-garde and to high art justifiable; are these issues still ‘in play’ and of significance; and what did it do for architecture and for architectural thinking, both internationally and in Australia? It can be said that popularity that postmodern architecture has attained is desirable. It is because it takes in consideration two different trains of thought. First it makes sure that it shows reverence to history and second it keeps in touch with the progresses that the human race is making. Another important point is that we live in the postmodern world today and postmodern architecture will find more relevance to it than modern architecture. With respect to postmodern architecture avant-garde and even neo-conservative strains are finding a delayed acceptance in the non-Western world. this cannot be dubbed as a negative development as it is quite normal on account of the time lag between the West and postcolonial geographies (Raymond, 2007). Postmodern architecture has been exerting significant influence on Australian landscape. Postmodernism could be seen at work best during 191-92, two years considered to be synonymous with office boom of Melbourne city, during which a number of buildings came up that could be termed as iconic since they have left lasting impressions on Melbourne's landscape. The best example of this postmodern architecture is 333 Collins Street. Some of the well-known Australian exponents include Denton Corker Marshall, Robert Peck von Hartel Trethowan, Nonda Katsalidis, and Peddle Thorp (Walkingmelbourne.com, nd). References Greenhalgh, P (1990) Modernism in Design, London: Reaktion pp.1-24. Henket, H,J. (2002). Modernity, Modernism and the Modern Movement. In: Henket, H & Henyen, H Back from Utopia: The Challenge of the Modern Movement. Rotterdam: 010 Publishers. p.10. Jeremiah, D. (2000). Emergency, Economy and Modernisation: 1940-1953. In: Architecture and Design for the Family in Britain, 1900-70. Manchester: Manchester University Press. pp. 123-163. Jeremiah, D. (2000). Emergency, Economy and Modernisation: 1940-1953. In: Architecture and Design for the Family in Britain, 1900-70. Manchester: Manchester University Press. pp. 124. Raymond, Q. (2007). Situating the postmodern: the delay of the architectural avant-garde beyond the Western world. Journal of Art History, Volume 22. Von Hoffman, A. (2010) Why They Built the Pruitt-Igoe Project. Available: http://www.soc.iastate.edu/sapp/PruittIgoe.html. Available: http://www.soc.iastate.edu/sapp/PruittIgoe.html. Accessed October 28, 2013. Walkingmelbourne.com, (nd). Post-Modern. Available http://www.walkingmelbourne.com/style_info2.html?style=6. Accessed October 28, 2013. Read More