Art and Architecture VI

Lecture 7
Historically and architecturally-rich central Paris, with high-density , vibrant urban life and landmarks and instantly recognizable streets
The featureless urban sprawl in the outskirts of Paris
1960s New York
The copycats of Seagram
Crown Hall, IIT, Mies Van Der Rohe, 1956 (reminiscent of his earlier Farnsworth House)
Postmodernism
Postmodernism literally means 'after the modernist movement'. While "modern"
itself refers to something "related to the present", the movement of modernism and
the following reaction of postmodernism are defined by a set of perspectives. It is
used in critical theory to refer to a point of departure for works of literature, drama,
architecture, cinema, journalism and design, as well as in marketing and business
and in the interpretation of history, law, culture and religion in the late 20th and early
21st centuries.

The movement of Postmodernism began in architecture as a reactionary

movement against the perceived blandness and hostility present in the Modern
movement. Modern Architecture as established and developed by masters such
as Walter Gropius and Mies Van Der Rohe was focused on the pursuit of an
ideal perfection, harmony of form and function and dismissal of frivolous
ornament. Critics of modernism argued that the attributes of perfection and
minimalism themselves were subjective and pointed out anachronisms in
modern thought and questioned the benefits of its philosophy.

Definitive postmodern architecture such as the work of Michael Graves rejects the
notion of a 'pure' form or 'perfect' architectonic detail, instead conspicuously
drawing from all methods, materials, forms and colors available to architects.
Postmodernist perceived modernist thoughts as totalitarian, and favored personal
preferences and variety over objective, ultimate truths or principles. It is this
atmosphere of criticism, skepticism and subjectivity that defines the
postmodern philosophy.

Reference: Ashik Vaskor Mannan

550 Madison Avenue (Philip Johnson, 1984)
Robert Venturi and Denise Scott Brown
One of the early critics of modernist architecture’s ‘elitist’ and ‘purist’ approaches - Robert
Venturi and Denise Scott Brown studied the then structures of 60’s Las Vegas and wrote a
book called - ‘’Learning from Las Vegas’’.

Where other Modernist professionals saw a wasteland of kitsch and pseudo-historical

decor, Venturi and Scott Brown found rich layers of meaning in the symbolism applied to
otherwise-boring buildings. The book was controversial, galvanizing other contemporary
architects to stake out sides in the ensuing years in the battle between Modern and (what
would come to be seen as) Postmodern approaches.

Robert Venturi's Complexity and Contradiction in Architecture, published in 1966, made the
first big splash in architectural theory that disturbed the waters of modernism. In his book,
Venturi opposed to simple "matchbox architecture".

Venturi was awarded the Pritzker Prize in Architecture in 1991; the prize was awarded to
him alone, despite a request to include his equal partner, Brown.

Venturi is also known for coining the maxim "Less is a bore", a postmodern antidote to
Mies van der Rohe's famous modernist dictum "Less is more".

While teaching in University of Pennsylvania (Upenn) they were also colleagues of Louis
Kahn, with whom they discussed the need for departure from the modernist aesthetic.

Reference: https://99percentinvisible.org/article/lessons-sin-city-architecture-ducks-versus-decorated-sheds/
Las Vegas in the Sixties
From Learning From Las Vegas
Vanna Venturi House (1964, Robert Venturi)
Vanna Venturi House
Located in Chestnut Hill, Pennsylvania on a flat site isolated by surrounding
trees, Venturi designed and built the house for his mother between 1962 and
1964. In testing his beliefs on complexity and contradition (for which he also
wrote the book Complexity and Contradiction in Architecture), Venturi went
through six fully worked-out versions of the house which slowly became known
as the first example of Postmodern architecture. (Adelyn Perez, Archdaily)

Venturi took issue with the modernist movement’s overly simplified solutions.
He challenged the modern architecture establishment’s rigid, formalist rules
and reductionist strategies, believing that buildings, like the people who occupy
them, are just not that simple. And he took delight in breaking those rules –
such as the idea that decoration has no place on buildings.

With the Vanna Venturi house, his desire to challenge modern orthodoxy is
apparent in the home’s façade, which acts as a sort of billboard for a house,
with its pitched roofline and functionless arch – both clear departures from
modernist principles.

By reintroducing elements traditionally associated with houses – from a gabled

roof to an arch-framed entrance – but stripping them of their original functions,
he laid the foundations for the entire Postmodern movement.

Reference: https://interactive.wttw.com/tenbuildings/vanna-venturi-house
Children’s Museum, Houston (1992, Robert Venturi)
Philip Johnson
Philip Cortelyou Johnson (July 8, 1906 – January 25, 2005) was an American
architect. He is best known for his works of Modern architecture, including the
Glass House in New Canaan, Connecticut, and his works of postmodern
architecture, particularly 550 Madison Avenue which was designed for AT&T,
and 190 South La Salle Street in Chicago. In 1978, he was awarded an
American Institute of Architects Gold Medal and in 1979 the first Pritzker
Architecture Prize. (Wikipedia)

Johnson worked with Mies Van Der Rohe on the Seagram building has
continuously evolved and altered his style of architecture from minimalist
modern, to postmodernist styles, deconstructivist and dynamic architecture. He
himself said almost as a parody of Mies’ famous dictum – “ I am a whore”,
indicating his noncommittal relationship with a particular style of design
philosophy.
550 Madison Avenue (Formerly AT&T Building)
The building was designed by architect Philip Johnson and partner John Burgee
and was completed in 1984. It became immediately controversial for its
ornamental top, but enjoyed for its spectacular arched entrance way, measuring
about seven stories in height. With these ornamental additions, the building
challenged architectural modernism's demand for stark functionalism and purely
efficient design. The effect the building had on the public at large has been
described as legitimizing the postmodern architecture movement on the world
stage. (Wikipedia)
Philip Johnson is a chameleon of styles
Michael Graves
Michael Graves (July 9, 1934 – March 12, 2015) was an American architect and
principal of Michael Graves and Associates and Michael Graves Design Group.
He was also professor of architecture at Princeton University for nearly forty
years. (Wikipedia)

Michael Graves' Portland Municipal Services Building in Portland, Oregon, is

one of Postmodernism's most important structures – and also one of its
most divisive. The blocky edifice is dominated by highly abstracted classical
elements – including columns, pediments, and a decorative band – all set
amid a grid of small square windows. (Alan Brake, Dezeen)

Reaction to the building was mixed among architects and Portlanders as

well. Aesthetically, the highly-styled elements, such as the ribbons and
medallions, were critiqued as lacking the dignity of an official government
building. Others claimed the design was overloaded with symbolism and too
preoccupied with references to the past.

More seriously, the building was criticized for “superficially” incorporating a

traditional aesthetic without being functional. For example, the arcades of
the building doesn’t provide shelter and is difficult to access, unlike the classical
architecture it refers to. Similar difficulties of accessibility plague the fourth,
park-facing facade, which has only two small doors that lead to a windowless
restaurant and a back lobby. Users of the building also complain that the lobby
is narrow and unpleasant, the office spaces dark and claustrophobic. (Gili Merin,
Archdaily)
Michael Graves’ adaptation of classical features lacks the public function of the original
Team Disney Building,Burbank, CA (1986, Michael Graves)
St. Coletta School (2006, Michael Graves)
Louis Kahn
• Louis Isadore Kahn (born Itze-Leib Schmuilowsky) (1901–1974) was an
American architect, based in Philadelphia. Kahn created a style that was
monumental and monolithic; his heavy buildings for the most part do not
hide their weight, their materials, or the way they are assembled. Famous for
his meticulously-built works, his provocative proposals that remained
unbuilt, and his teaching, Kahn was one of the most influential architects of
the twentieth century. (Wikipedia)

• Kahn was inspired by all ancient architecture – both eastern and western,
and sought to replicate its sense of monumentality, order, timelessness and
its quality of light.

• In National Assembly in Dhaka, he interpreted the contradictions of

representation in a post-colonial state and succeeded in fusing together
Eastern and Western traditions… There are echoes of different periods and
cultures including the Pantheon in Rome, the medieval fortress of Castel del
Monte, Mogul tombs, Bengali mosques of the Sultanate period, even
Buddhist mandalas and stupas…. A mosque was included, its castle-like
form turned off the main geometry to align with Mecca. One is reminded of
Kahn’s fascination with the towers and flanking walls of citadels…. (William
Jr Curtis, Architectural Review)
Parliament of Bangladesh (1982, Louis Kahn)
Bodium Castle, England (1385)
Salk Institute, La Jolla, California (1962, Louis Kahn)
Kimbel Art Museum, Fort Worth, Texas (1972, Louis Kahn)