國(guó)外高校課件[現(xiàn)代與后現(xiàn)代的碰撞]

1、Contrasts of Modernism and Post-modernismThe 1960s into the 1970sKevin Roche,College Life InsuranceBuilding, 1969.IndianapolisI.M.Pei, Boston, Hancock Tower, 1969-73Late 20th Century Louis Kahn Kimball Art Museum 1966-1972Kahn developed a series of barrel vaulted galleries in a series of structural

2、bays. The design harkens back to Roman times. At the center of each vault, Kahn used a skylight/ indirect light fixture to provide a gentle glow in the space. Moveable walls are used on the inside to display various pieces of art. Kimball Museum - InteriorKimball Museum - exteriorMinoru Yamasaki, NY

3、C, World Trade Center, 1969-77; destroyed 2001Venice, Querini Stampalia Foundation, 1961-63 by Carlo ScarpaGarden faade and gardenMODERNIST ARCHITECTUREPOSTMODERNIST ARCHITECTURE“Less is MORE.”“Less is A BORE.”1970s- Rebelling against the minimalism of Modern Architecture of the 60s which rebelled a

4、gainst the conformity of the 50s1970s- Rebelling against the minimalism of Modern Architecture of the 60s which rebelled against the conformity of the 50sIn contrast, modern functionalism is boring, uninteresting, and unpleasantReconciled differences between old and new generations (culture wars)Pos

5、tmodern architecture takes old styles and updates them“Return of wit, ornament and reference“- breaking away from convention”Post-ModernismRobert VenturiA great admirer of Louis KahnPost-Modern architect whose early works were very influential in contemporary architecture Wrote Complexity and Contra

6、diction in ArchitectureWas fed up with “the puritanically moral language of orthodox Modern architecture”Believed “Less is a bore” not more as Mies had quotedVenturi, Complexity and Contradiction 1966 and Learning from las Vegas, 1972Post-ModernismChestnut Hill HouseDesigned by VenturiLocated in Phi

7、ladelphia, PAA conventional American suburban, stuccoed, wood-frame “crackerbox”Critics called the house “ugly and ordinary”Post-Modernism/Acads/Cities/wld/wcapts2.html Robert Venturi, House for Vanna Venturi, Pennsylvania, 1962Post-Modernism/Acads/Cities/wld/wcapts2.htmlChestnut Hill, Vanna Venturi

8、 House, 1963, Robert VenturiEclectic House Series, 1977/ Venturi, House and studio on Block IslandL. Mies van der Rohe: “Less is more.”Post-Modernism introduced a challenge to an architecture or a design culture of minimalism and abstraction, an architecture dominated by the taste of its architects.

9、Robert Venturi: “Less is a bore.”Venturi argued that great architecture is not characterized by unity and simplicity.In his book Complexity and Contradiction in Architecture, first published by the Museum of Modern Art in 1966, Venturi made a case for creating architecture that has the same characte

10、ristics as great poetry in which words and phrases often have multiple meanings, layers of interpretation, and irony as enriching factors. Referring to the literary criticism of T. S. Eliot, Venturi argued that great architecture should be “complex and contradictory.”Philadelphia, Guild House, 1961-

11、3, Robert VenturiGuild House introduced the notion that the taste of the client is more important than the taste of the architect. Especially in this kind of urban context, new buildings should not threaten older buildings; nor should they make the belongings of the inhabitants seem out of place.In

12、other words, context is as important as content or intention.The concept of context began to have an impact on many architects. While Venturi considered the design of Guild House in the context of its urban setting and the lives of its intended occupants, other architects began to consider such thin

13、gs as history, vernacular tradition, and an inherited sense of place as contextual. Context offered a matrix for creating complex, contradictory, layered, and multi-valent architecture.Robert Venturi was at the forefront of this movementA controversial critic of the purely functional and spare desig

14、ns of modern orthodox architecture, Venturi has been considered a counterrevolutionaryPost-ModernismCharles MooreAnother Post Modern architect who was a contemporary of VenturiAffected by Louis Kahns feelings for the architectural pastMajor structuresDormitory Complex, Kresge College, CAPiazza dItal

15、ia, New Orleans, LAPost-ModernismDormitory Complex, Kresge CollegeLocated in Santa Cruz, CAResembles an Italian hill townAccented with bright , primary colors at strategic placesPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlCharles Moore, Sea Ranch, 1994Char

16、les Moore, Searanch Condominiums, Sonoma County, California, 1964-66Charles Moore, Faculty Club, University of California,Santa Barbara, 1968Post-ModernismPiazza dItaliaLocated in New Orleans, LADesigned by Charles MooreDesigned to provide the small Italian-American population in New Orleans with an

17、 architectural focus of ethnic identityPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlCharles Moore, Piazza dItalia, New Orleans, 1975Charles Moore, New Orleans,Piazza dItalia, 1976-78Michael GravesMichael Graves born in 1934. Michael Graves is still alive to

18、day.Was a Princeton University professor.“For visitors to Disney world, a familiar sight is the Walt Disney world Swan Hotel and its companion the Dolphin hotel with these buildings,Graves continues to adder to classic forms but he abolishes them inside and out.” -Gerald F. Brommer. First trained as

19、 a painter, Michael Graves never left his interest in color behind. While the Benecerraf addition employed an abstract white structural frame, it also introduced color and playful shapes as contrasting elements against the white frame.More important, Graves soon developed an interest in the idea of

20、reintroducing classical elements into his work. These appeared in a number of smaller designs, especially for the Sunar showrooms in Chicago and Houston in the 1970s. Hardly defensible on the basis of physical context, Graves simply argued that these elements had inherent value as architectural elem

21、ents expressing entry or portal, passage, protection or covering, order, and structure.Late 20th Century Michael Graves Furniture Showroom 1980Graves had become the leader of the Post-Modern movement. The movement copied classical elements, exaggerated their proportions, used new materials and decon

22、structed original uses to create spaces full of color and whimsy. In this space for a furniture showroom, Graves uses oversized stuffed red leather chairs to act as the focal grouping between the paired aluminum columns. The Capitals of the columns are gypsum board and house light fixtures casting l

23、ight onto the ceiling.Furniture Showroom - InteriorMichael Graves, Sunar Showroom, Chicago, 1970s“House for an academical couple” by Robert A. M. Stern, 1974-76 Late 20th Century Michael Graves Portland Municipal Building, 1983This work is the epitome of the Post modern movement. This building in Po

24、rtland was designed to be a large column engaged upon a pediment. The exaggerated nature of the column highlights the design. The Interior space is made up of a series of offices. In the lobby, the two story space is ringed with a portico a la Italian Palazzo designs. The columns themselves on the i

25、nterior are exaggerated with partial capitals oversized and housing fluorescent downlight.Portland Municipal building - interiorPortland Municipal building - EXTERIORMichael Graves,Portland Public Services Building, 1982.POSTMODERNMichael Graves,Portland Public Services Building, 1982.POSTMODERNHome

26、 Design by Michael GravesMichael Graves, Benecerraf House addition, Princeton, NJ, 1969Michael Graves, Team Disney The Eisner Building, 1991. POSTMODERNPhilip JohnsonArchitectJuly 8, 1906 - January 25, 2005Facts Born July 8, 1906 in Cleveland, Ohio. Attended Hackley School in Tarrytown, New York. La

27、ter, at Harvard University as an undergraduate. Made many trips to Europe and was inspired by the many architecture he saw. More Facts Returned to school in 1940 and in 1943, received Bachelor of Architecture from Harvard University, Graduate School of Design. The first Pritzker Architecture Prize w

28、inner, in 1979. Designed a long list of buildings and projects around the US and world. Received the Gold Medal of the American Institute of Architects, the highest honor of his profession. Passed away on January 25, 2005 at his Glass House residence in Canaan, Connecticut. The Glass HouseBuilt in 1

29、949 in New Canaan, Connecticut. Designed by him as his own residence and is a masterpiece in the use of glass. Declared a National Historic Landmark in 1997.Place of Philip Johnsons passing in January 2005. The Crystal CathedralA Protestant Christian mega church in Garden Grove, CA.Constructed using

30、 over 10,000rectangular panes of glass and can hold 2,900worshippers.Construction began in 1977 and ended in 1980. Final cost was over $17million. Phillip Johnson in 1978 with model of AT&T buildingAT & T BuildingPhillip JohnsonPhillip Johnson helped Mies van der Rohe design the Seagram Building in

31、the 1950s, but in the 70s he did the opposite with the AT&T Building (now called the Sony Building)Post-ModernismPhilip JohnsonThe most powerful figure of American Post-ModernismThe reigning dean of American architectureNotable structureAT&T Building in New York CityAT&T BUILDINGKnown today as the S

32、ony Building.A 37-story building. About 647feet (197m) tall. The building was completed in 1984.Located in New York City.Instead of a building made of sleek glass and metal, this building is predominantly masonry (only 30% of the outside is glass) and revives a classical architectural vocabularyJohn

33、son & his associates divided the building into three parts, reminiscent of the three elevations of a Greek temple base, column and pediment.Phillip Johnson, the AT&T Building (New York), 1984. POSTMODERNThe top slopes down like a pediment, including a space in the middle known as an orbiculum (simil

34、ar to the look of 18th century dressers)Phillip Johnson, the AT&T Building (New York), 1984. POSTMODERNThin strips of masonry that make up the center resembles the fluting of columnsThe entrance includes a massive round arch, similar to a triumphal arch or a Romanesque portal.(Please note the modern

35、-day looking coffers and rose window)Phillip Johnson, the AT&T Building (New York), 1984. POSTMODERNPHILIP JOHNSON, AT&T BUILDNG, New York, 1978Used classical styles in new combinations: pillars, tourettes, arches, domes, curtain wall facades; green and roman conventionsPost-ModernismHans Hollein(漢斯

36、霍萊因 )Austrian Post-Modern architect1934出生於奧地利(Austria)的維也納(Vienna)19491953就讀於維也納聯(lián)邦工藝學(xué)院(Bundesgewerbeschule)的土木工程系1956畢業(yè)於維也納藝術(shù)學(xué)院（Academy of Fine Arts）的建築學(xué)院19581959就讀美國(guó)芝加哥伊利諾理工學(xué)院（Illinois Institute of Technology）的建築系1960於加州大學(xué)柏克萊分校完成建築碩士學(xué)位1967於德國(guó)，杜塞朵夫(Dusseldorf)的美術(shù)學(xué)院（Academy of Fine Arts）任教19761970於維也

37、納主編“Bau”雜誌1979任教於維也納的應(yīng)用美術(shù)學(xué)院（the Academy of Applied Arts），並為康乃狄克州（Connecticut）新哈芬（New Haven）的耶魯大學(xué)（Yale University）的客座教授1985榮獲普立茲克建築獎(jiǎng)（Pritzker Prize）Post-ModernismAustrian Travel Bureau Located in Vienna, Austria1978Gains influence from the Piazza dItaliaFeaturesOriental pavilionChessboard seating are

38、aPost-Modernism/Acads/Cities/wld/wcapts2.htmlSchullin珠寶店（奧地利維也納）玻璃和陶瓷博物館（德黑蘭,伊朗）Haas,1995現(xiàn)代藝術(shù)博物館,德國(guó)法蘭克福烏爾卡尼亞，火山主題公園和博物館，法國(guó)，2002博物館的核心是一個(gè)陷入地下的圓錐體。錐體表面飾以當(dāng)?shù)睾谏幕鹕綆r；內(nèi)側(cè)嵌入金屬箔。這一空間從形式到內(nèi)外材質(zhì)、再到色彩的轉(zhuǎn)換都給人以身處熾熱火山口的感覺。博物館突出反映了自然力量的強(qiáng)大和人與自然的關(guān)系，意在使人從中得到啟示，了解自然規(guī)律。霍萊因?yàn)橹袊?guó)國(guó)家大劇院所做的設(shè)計(jì) 杰拉納里媒體大廈 Late 20th Century Cesar Pelli

39、 World Financial Center Winter Garden, 1988Pelli has developed quite a career as and architect / designer. His practice stretches across the globe. The Argentinean Born Architect is best known for his skyscraper designs.In this complex developed in New York, Pelli designed the atrium of the building

40、s to be a large winter garden with lush planting. The large central space houses retail stores as well as the elevator lobbies for the adjoining buildings. This space was designed to be a destination. The Glass superstructure and its spider web like framing of set the Multi-colored marble & granite

41、floor. The Columns and framing were all kept simple to not take away from the external views.Unfortunately this dynamic space is no longer in use due to the damage it incurred during September 11th attack on the world trade Center. Asahi Building interior StairPost-ModernismJames StirlingDesigned a

42、key work of Post-ModernismThe expansion of the StaatsgaleriePost-ModernismStaatsgalerieLocated in StuttgartFeaturesGrand historical collage of structures Theater and museumGains influence from Egypt, Mycenae, and the Athenian AcropolisPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/

43、Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlJames Stirling, Neue Staatsgalerie, Stuttgart, 1977-83Used classical styles in new combinations: pillars, tourettes, arches, domes, curtain wall facades; green and roman conventionsSimilar to old cathedrals, draws the eye upwards toward the skyReconciled differences between old and new generations (culture wars)Postmodern architecture takes old styles and updates themAldo RossiPost-M