Lecture #12.doc

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Victoria College Courses
Lisa Steele

December 5, 2012 Modernist vs. Postmodernist Architecture - Modernist characteristics: steel frame with flat roof; internal steel structure; rectangular; ability to have glass curtain wall (because of steel frame, don’t need something to hold up sides) - Guggenheim - clean lines, flat roof, use of concrete = very important building material - early th 20 century - Postmodernist characteristics (Venturi 1966): less is a bore; wants to bring back ornament, necessity for ornamentation - not just beautiful, clean lines - Hybrid rather than pure elements; ambiguous rather than articulated; perverse and interesting => better to have elements that don’t go together than be interesting; complexity and contradiction - Move away from functionalism - Pluralist and diverse - Architect has to be sensitive to context - what goes on around the site - Modernist building: look at me, I’m alone; you don’t need to look at anything else - Postmodernist building: considers context, what’s around the site - Michael Graves: Rejection of modernist principles of 20 century; pyramidal shape/design format (classical architecture) - Something other than featureless glass towers - AT&T/Sony Building Philip Johnson: double-coding = buildings convey many simultaneous meanings -- resembles modernist architecture (steel structure, rectangular, tall) - but has flourish at the top - open at the top and not flat roof => topped with classical form - Postmodernist architecture - wit, irony in design - Frank Gehry - Beach House - made of mundane materials; working in vernacular (everyday) - made of small ornamental materials, fanciful - like getting on a ship, turn a wheel to open windows, bridge to get to rest of the house (rather than sparse, stripped-down modernist houses) => Gehry quotes neighbour’s house - bright use of colours (often pastels) - sculptural rather than architectural detail (logs at front of the house) - Gehry: considers buildings as sculpture; resembles Rauschenberg’s ripped assemblage sculpture - Venturi: context - architect’s relation to materials; cultural context - American Center - mirrored Paris (Cubist forms) - sculptural forms - no real function except for beauty and whimsy - Guggenheim Bilbao - titanium, wild shapes - references/quotes Wright’s sweeping curves but reinterprets them as scales, takes orderliness and disorders it; interconnecting shapes - limestone and titanium; glass curtain walls interact - From a distance it looks like a huge work of sculpture - Humana Building - Graves - classical forms; return of the column but not just neoclassical architecture; postmodernism: column was revived for aesthetic purposes - No integration - Graves sought hybridity so they’d be juxtaposed rather than integrated; no clean look, unification => in a good postmodern building, you can’t take it in all at once; your eye moves from place to place - Graves worked into Louisville city space - contrast - James Stirling - Staatsgaleri - connected quirky materials into historical building, typography of the land itself; different types of stone arranged in stripes - Embracing history, anthropomorphism, vernacular => pluralistic - decorative, quirky, bright colours => return to history - Louvre redesign pyramid entrance - I.M. Pei => architectural response to historicism; very practical Contemporary African and Asian Art - Not a movement; rather an intendency - Market developed in 90s among collectors - Globalization => contemporary art spread across the world; artists come from countries all around the world; venues for exhibition around the world - Producing for the art market (rather than pictures generation => could do/say anything they wanted because no one was looking at their art) - El Anatsui - born in Ghana - Found plastic bag of liquor bottle caps (particular type of metal) => stopped being industrially- produced objects and stitched them together with fine metal wire and made curtains of them - huge sculptures and draped - different shapes - bars, squares - Between Earth & Heaven - referencing his own history - Abstract not representational; not ironic; likes them for beauty they create - Yinka Shonibare - born in England, returned to Nigeria - fro
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