Courtesy : en.wikipedia.org

Green postmodern architecture

Postmodern architecture is a style or movement which emerged in the 1960s as a reaction against the austerity, formality, and lack of variety of modern architecture, particularly in the international style advocated by Philip Johnson and Henry-Russell Hitchcock. The movement was introduced by the architect and urban planner Denise Scott Brown and architectural theorist Robert Venturi in their book Learning from Las Vegas. The style flourished from the 1980s through the 1990s, particularly in the work of Scott Brown & Venturi, Philip Johnson, Charles Moore and Michael Graves. In the late 1990s, it divided into a multitude of new tendencies, including high-tech architecture, neo-futurism, new classical architecture and deconstructivism.However, some buildings built after this period are still considered post-modern.

Origins

Postmodern architecture emerged in the 1960s as a reaction against the perceived shortcomings of modern architecture, particularly its rigid doctrines, its uniformity, its lack of ornament, and its habit of ignoring the history and culture of the cities where it appeared. In 1966, Venturi formalized the movement in his book, Complexity and Contradiction in Architecture. Venturi summarized the kind of architecture he wanted to see replace modernism:

In place of the functional doctrines of modernism, Venturi proposed giving primary emphasis to the façade, incorporating historical elements, a subtle use of unusual materials and historical allusions, and the use of fragmentation and modulations to make the building interesting.Accomplished architect and urban planner Denise Scott Brown, who was Venturi’s wife, and Venturi wrote Learning from Las Vegas (1972), co-authored with Steven Izenour, in which they further developed their joint argument against modernism. They urged architects to take into consideration and to celebrate the existing architecture in a place, rather than to try to impose a visionary utopia from their own fantasies. This was in line with Scott Brown’s belief that buildings should be built for people, and that architecture should listen to them. Scott Brown and Venturi argued that ornamental and decorative elements “accommodate existing needs for variety and communication”. The book was instrumental in opening readers’ eyes to new ways of thinking about buildings, as it drew from the entire history of architecture—both high-style and vernacular, both historic and modern—and In response to Mies van der Rohe’s famous maxim “Less is more”, Venturi responded, to “Less is a bore.” Venturi cited the examples of his wife’s and his own buildings, Guild House, in Philadelphia, as examples of a new style that welcomed variety and historical references, without returning to academic revival of old styles.

In Italy at about the same time, a similar revolt against strict modernism was being launched by the architect Aldo Rossi, who criticized the rebuilding of Italian cities and buildings destroyed during the war in the modernist style, which had had no relation to the architectural history, original street plans, or culture of the cities. Rossi insisted that cities be rebuilt in ways that preserved their historical fabric and local traditions. Similar ideas were and projects were put forward at the Venice Biennale in 1980. The call for a post-modern style was joined by Christian de Portzamparc in France and Ricardo Bofill in Spain, and in Japan by Arata Isozaki.

Notable postmodern buildings and architects

Robert Venturi

• The Guild House in Philadelphia by Robert Venturi (1960–1963)
• Vanna Venturi House by Robert Venturi (1964)
• Fire Station Number 4 in Columbus, Indiana (1968)
• Carson Hall, Dartmouth College in Hanover, New Hampshire
• Trabant Center at the University of Delaware in Newark, DE (1996)
• Episcopal Academy Chapel
• Frist Campus Center at Princeton University (2000)

Robert Venturi (1925–2018) was both a prominent theorist of postmodernism and an architect whose buildings illustrated his ideas. After studying at the American Academy in Rome, he worked in the offices of the modernists Eero Saarinen and Louis Kahn until 1958, and then became a professor of architecture at Yale University. One of his first buildings was the Guild House in Philadelphia, built between 1960 and 1963, and a house for his mother in Chestnut Hill, in Philadelphia. These two houses became symbols of the postmodern movement. He went on to design, in the 1960s and 1970s, a series of buildings which took into account both historic precedents, and the ideas and forms existing in the real life of the cities around them.

Michael Graves

• Portland Building by Michael Graves (1982)
• Humana Building in Louisville, Kentucky (1982)
• Radisson Blu Astrid Hotel in Antwerp (1993)
• The Denver Public Library by Michael Graves (1995)
• IFC building in Washington, D.C. (1996)
• Castalia building in The Hague (1998)

Michael Graves (1934–2015) designed two of the most prominent buildings in the postmodern style, the Portland Building and the Denver Public Library. He later followed up his landmark buildings by designing large, low-cost retail stores for chains such as Target and J.C. Penney in the United States, which had a major influence on the design of retail stores in city centers and shopping malls. In his early career, he, along with the Peter Eisenman, Charles Gwathmey, John Hejduk and Richard Meier, was considered one of the New York Five, a group of advocates of pure modern architecture, but in 1982 he turned toward postmodernism with the Portland Building, one of the first major structures in the style. The building has since been added to the National Register of Historic Places.

Charles Moore

• Piazza d’Italia in New Orleans, by Charles Moore, completed 1978
• Haas School of Business at the University of California, Berkeley by Charles Moore (1992)
• National Dong Hwa University by Charles Moore (1992)
• Beverly Hills Civic Center by Charles Moore (1990)

The most famous work of architect Charles Moore (1925–1993) is the Piazza d’Italia in New Orleans (1978), a public square composed of an exuberant collection of pieces of famous Italian Renaissance architecture. Drawing upon the Spanish Revival architecture of the city hall, Moore designed the Beverly Hills Civic Center in a mixture of Spanish Revival, Art Deco and Post-Modern styles. It includes courtyards, colonnades, promenades, and buildings, with both open and semi-enclosed spaces, stairways and balconies.

The Haas School of Business at the University of California, Berkeley blends in with both the neo-Renaissance architecture of the Berkeley campus and with picturesque early 20th century wooden residential architecture in the neighboring Berkeley Hills.

Philip Johnson

• 550 Madison Avenue (Formerly AT&T Building) in Manhattan, New York City, by Philip Johnson (1982)
• Bank of America Center in Houston, Texas by Philip Johnson (1983)
• PPG Place, Pittsburgh, Pennsylvania by Philip Johnson (1979–1984)
• 500 Boylston Street building in Boston, Massachusetts, by Philip Johnson (1989)
• 400 West Market in Louisville, Kentucky by Philip Johnson (1993)
• Glass house Pavilion for the Glass House in New Canaan, Connecticut (1995)

Philip Johnson (1906–2005) began his career as a pure modernist. In 1935, he co-authored the famous catalog of the Museum of Modern Art exposition on the International Style, and studied with Walter Gropius and Marcel Breuer at Harvard. His Glass House in New Canaan, Connecticut (1949), inspired by a similar house by Ludwig Mies van der Rohe became an icon of the modernist movement. He worked with Mies on another iconic modernist project, the Seagrams Building in New York City. However, in the 1950s, he began to include certain playful and mannerist forms into his buildings, such as the Synagogue of Port Chester (1954–1956), with a vaulted plaster ceiling and narrow colored windows, and the Art Gallery of the University of Nebraska (1963). However, his major buildings in the 1970, such as IDS Center in Minneapolis (1973) and Pennzoil Place in Houston (1970–1976), were massive, sober, and entirely modernist.

With the AT&T Building (now named 550 Madison Avenue) (1978–1982), Johnson turned dramatically toward postmodernism. The building’s most prominent feature is a purely decorative top modeled after a piece of Chippendale furniture, and it has other more subtle references to historical architecture. His intention was to make the building stand out as a corporate symbol among the modernist skyscrapers around it in Manhattan, and he succeeded; it became the best-known of all postmodern buildings. Soon afterward he completed another postmodern project, PPG Place in Pittsburgh, Pennsylvania (1979–1984), a complex of six glass buildings for the Pittsburgh Plate Glass Company. These buildings have neo-gothic features, including 231 glass spires, the largest of which is 82 feet (25 m) high.

In 1995, he constructed a postmodern gatehouse pavilion for his residence, Glass House. The gatehouse, called “Da Monstra”, is 23 feet high, made of gunite, or concrete shot from a hose, colored gray and red. It is a piece of sculptural architecture with no right angles and very few straight lines, a predecessor of the sculptural contemporary architecture of the 21st century.