M11 chapters 56-57-58
Sara278
ch-57-PPTaccessible.pptxArchitecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 57
Post Modern
1960s – 1990s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Post Modern
Pluralistic & inclusive design approach to reflect modern world
Rejects ideas & principles of International Style
Celebrates complexity, diversity, historicism
Creates designs that communicate with common person as well as design elite
Architecture, interiors, furnishings, decorative arts—many forms, materials, colors
Often imbued with wit, whimsy, classicism
Memphis—avant-garde style, outgrowth of Post Modern
Challenges traditional notions of good design using anti-design—quirky forms & shapes, strong colors, patterns in luxurious & common materials
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
2
Concepts
Pluralistic, inclusive approach; acknowledges importance of communication, complexity, diversity in aesthetics, form, space, color
Theorists: Robert Venturi, Aldo Rossi, Charles Jencks
Double communication to designer & common person achieved by historicism, revivalism, neo-vernacular, urban context, metaphor
Rational choices convey building’s purpose, symbolism, monumentality
Iconic symbols, traditional features, cultural accents
Respond to consumerism—designs regarded as fine art; design everyday objects
Creating an image distinctly different than earlier Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
3
Characteristics and Motifs
Designers creatively manipulate historic or classical elements for new, modern, complex compositions
May be eclectic, whimsical, bizarre, exaggerated fanciful, whimsical, entertaining
Creative inventions, fragments, applied ornament, ironic juxtapositions, layering, projecting & receding forms, contrasts
Variety in form, shape, color, character, detail express individuality & diversity
Additive over integrative method so interiors do not necessarily connect with exteriors
Motifs: Many are revived from past—columns, pediments, arches; motifs from client logos, letters, abstracted designs
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
4
57.1
La Strada Novissima—Presence of the Past (street facades), Venice Biennale, 1980; Venice, Italy (as reconstructed in 1982 in San Francisco, California); Michael Graves, Oswald Mathais Ungers, Joseph Paul Kleues and Leon Krier. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
A street facade has a wall decorated with a floral motif, plus signs, geometrical patterns, and a pediment. Another facade with a rectangular doorway is mounted on the columns.
5
Architecture
Broad range of interpretations of principles identified by Jencks:
Ornamentalism or applied decoration; more & brighter colors; contextualism through identifiable/reinvention of past historic architecture; allusionism so building relates to context or location
Unique designs, no rigid design guidelines; poetic & symbolic design language instead of technological & utilitarianism of International Style
Silhouette, roofline, façade, entry convey historic sources & decoration; doors, windows human scale
Distinguish parts of building in color, texture, design
Wit, whimsy important, especially in themed buildings
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
6
57.2
Piazza d’Italia, 1975-1980; New Orleans, Louisiana; Charles Moore and William Hersey. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The facade is circular with arches and friezes supported by columns. The central axis has an arched porch supported by the Corinthian order columns on the front and the ionic order columns on the back. The friezes have texts. The building is between the water. The shores have floors with back support.
7
57.3
Portland Public Services Building, 1979-1980; Portland, Oregon; Michael Graves. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has a flat roof. The facades have keystone representation. The off-white rectangular block features a grid of small, square windows. It has heavy triangular capital. The building stands out from its environment. The flat column shaft in terra cotta. The symmetrical axis with classical architectural icons defines the facade. The dark green base area relates to the lawn and features an entry area.
8
57.4
A T&T (Sony) Building, 1978-1984; New York, New York; Philip Johnson and John Burgee. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.5
Humana Building, 1982-1985; Louisville, Kentucky; Michael Graves. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The facade has fewer stories with pediment, friezes with geometrical patterns, glass windows, and tall columns extended front from the rear tall building. The rear tall building has multiple stories with glass walls at its central axis and glass windows in series. The top has a semicircular protrusion with geometrical patterns and a glass wall.
10
57.6
The Dolphin Hotel, Walt Disney World, 1989-1990; Lake Buena Vista, Florida; Michael Graves. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has boldly geometric volumes and animal-shaped pediments. The Dolphin hotel is anchored by a giant triangular element at its center, intersected by a linear volume with a slightly curved top. It has four wings that protrude away from the main building towards the water, while the sprawling convention center stretches off at an angle behind. It has a lotus and upside-down dolphin sculptures on the top.
11
57.7
Office complex, 1995; Celebration Place, Florida. Aldo Rossi. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.8
Feature Animation Building, 1995; Burbank, California; Robert Stern. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The facade has a semicircular portico with a conical tower above the portico. The conical tower is decorated with stars and a quarter moon. The building has asymmetrical structures with rectangle windows. A dependency building is decorated with checked patterns. The top of the building has an irregular quadrilateral construction with geometrical patterns and rectangular voids.
13
57.9
Vanna Venturi House, 1964; Philadelphia, Chestnut Hill, Pennsylvania; Robert Venturi. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has a triangular shape roof with a vertical groove at its central axis. The entrance is a rectangle with a horizontal beam on its top. The facade has rectangle glass windows. The building has a rear tall building.
14
Interiors
Layered, angled, sloped walls & details plus color, pattern, ornament eliminate simple, spare rectangular box of International Style
May relate to exterior, be more architectural or decorative; highly sophisticated, kitsch, bizarre, ironic
Historical & classical allusions; dramatic elements
Mix luxurious with common materials for contradiction, complexity
Architects’ own houses showcase ideas, experiments
Memphis-style interiors: fanciful, playful, unexpected
Inspired by suburban pop, Asia, Middle East, Arts & Crafts
Individual; discontinuity among parts, new ways of using color, decoration
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.10
Reception, Esprit Showroom, c. 1970s-1980s; Europe; Ettore Sottsass. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The ceiling and walls are decorated with geometrical patterns. The floor is decorated with random irregular shapes and has carpets. The hall has glass walls. It has a table, a circular table with a vase, and a sofa.
16
57.11
Sunar Furniture Showroom, 1979-1981; Houston Texas; Michael Graves. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The ceiling has geometrical patterns. The friezes are supported with dual columns in series. The top of the columns has quadrilateral protrusions. The walls are decorated with paintings. A sofa and table are arranged.
17
56.12
Lobby, Swan Hotel, 1990; Walt Disney World, Lake Buena Vista, Florida; Michael Graves. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The lobby has multicolor painted wood draperies to control views and circulation paths. The walls and ceilings are colorful, decorative, theatrical, and dramatic. The layered effect is created between the wall and drapery. The scalloped painted wood valence repeats the one above. It has a curved iron balustrade. The small scale of furniture contrasts with extremely large scale space.
18
57.13
Textiles: Fabrics, c. 1980s; Milan, Italy; Studio Alchimia/Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.14
Lighting: Ashoka lamp, 1981; Italy; Ettore Sottsass. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has a rectangle bottom through which two slanting sticks with squares on the head rise. A horizontal oval tube passes through a rectangle bar on the top and the two squares. The oval has two lamps on its left and right. The rectangle bar has two rising wavy arms with lamps on the left and the right and a small rectangle piece at its center.
20
Furnishings and Decorative Arts
Post Modern furniture rejects spare International Style in favor of historicism, color, pattern, ornament
Furniture as art instead of anonymity of other Modern
Unique objects not mass produced & lasting
Redesign pieces with unusual or traditional forms, motifs drawing upon classicism, Neoclassicism, Art Deco
Memphis—mocks Modernism, challenges ideals of traditional decorating, ideas of comfort & function
Inexpensive materials but still expensive
Defined planes, asymmetry, geometric shapes, contrasting materials; abstract, repeating, nondirectional patterns; color & pattern define elements, volume, structure
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.15
Capitello (foam capital chair), 1971; Studio 65; Italy. Post Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.16
First Chair, 1983; Italy; Michele De Lucchi for Memphis Milano. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.17
Bel Air armchair, 1982; Italy; Peter Shire for Memphis Milano. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.20
Kyoto end table, c. 1980s; Shiro Kuramata for Memphis Milano. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.19
Kandissi sofa, 1978; Italy; Alessandro Mendini for Studio Alchimia/Memphis Milano. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
57.21
Carlton shelving unit; 1981; Italy; Ettore Sottsass for Memphis Milano. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The bottom has a rectangle. A drawer is mounted on the bottom. The wood plates are arranged slanting on the left and the right. Three rows of horizontal wood plates have different shapes of side plates. The shelves have a triangle, rectangles, and square shapes.
27
57.22
Decorative Arts: Tea kettle; Michael Graves for Alessi, and glass vase; Italy; Ettore Sottsass; both c. 1970s-1990s. Memphis.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The top resembles an inverted Hat. An oval with two dark beads under the top resembles the head and the eyes. An oval shape depicts the nose. It has a glass body and ceramic bottom. A wavy tube connects the bottom and the top.
28
Copyright
This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
29
