国外高校课件现代与后现代的碰撞

ContrastsofModernismandPost-modernismThe1960sintothe1970sKevinRoche,CollegeLifeInsuranceBuilding,1969.IndianapolisI.M.Pei,Boston,HancockTower,1969-73Late20thCentury

LouisKahnKimballArtMuseum1966-1972Kahndevelopedaseriesofbarrelvaultedgalleriesinaseriesofstructuralbays.ThedesignharkensbacktoRomantimes.Atthecenterofeachvault,Kahnusedaskylight/indirectlightfixturetoprovideagentleglowinthespace.Moveablewallsareusedontheinsidetodisplayvariouspiecesofart.KimballMuseum-InteriorKimballMuseum-exteriorMinoruYamasaki,NYC,WorldTradeCenter,1969-77;destroyed2001Venice,QueriniStampaliaFoundation,1961-63byCarloScarpaGardenfaçadeandgardenMODERNISTARCHITECTUREPOSTMODERNISTARCHITECTURE“LessisMORE.”“LessisABORE.”1970’s-RebellingagainsttheminimalismofModernArchitectureofthe60swhichrebelledagainsttheconformityofthe50s1970’s-RebellingagainsttheminimalismofModernArchitectureofthe60swhichrebelledagainsttheconformityofthe50sIncontrast,modernfunctionalismisboring,uninteresting,andunpleasantReconcileddifferencesbetweenoldandnewgenerations(culturewars)Postmodernarchitecturetakesoldstylesandupdatesthem“Returnof"wit,ornamentandreference“-breakingawayfromconvention””Post-ModernismRobertVenturiAgreatadmirerofLouisKahnPost-ModernarchitectwhoseearlyworkswereveryinfluentialincontemporaryarchitectureWroteComplexityandContradictioninArchitectureWasfedupwith“thepuritanicallymorallanguageoforthodoxModernarchitecture”Believed“Lessisabore”notmoreasMieshadquotedVenturi,ComplexityandContradiction’1966and'LearningfromlasVegas‘,1972Post-ModernismChestnutHillHouseDesignedbyVenturiLocatedinPhiladelphia,PAAconventionalAmericansuburban,stuccoed,wood-frame“crackerbox”Criticscalledthehouse“uglyandordinary”Post-Modernism/Acads/Cities/wld/wcapts2.htmlRobertVenturi,HouseforVannaVenturi,Pennsylvania,1962Post-Modernism/Acads/Cities/wld/wcapts2.htmlChestnutHill,VannaVenturiHouse,1963,RobertVenturiEclecticHouseSeries,1977/Venturi,HouseandstudioonBlockIslandL.MiesvanderRohe:“Lessismore.”Post-Modernismintroducedachallengetoanarchitectureoradesigncultureofminimalismandabstraction,anarchitecturedominatedbythetasteofitsarchitects.RobertVenturi:“Lessisabore.”Venturiarguedthatgreatarchitectureisnotcharacterizedbyunityandsimplicity.InhisbookComplexityandContradictioninArchitecture,firstpublishedbytheMuseumofModernArtin1966,Venturimadeacaseforcreatingarchitecturethathasthesamecharacteristicsasgreatpoetryinwhichwordsandphrasesoftenhavemultiplemeanings,layersofinterpretation,andironyasenrichingfactors.ReferringtotheliterarycriticismofT.S.Eliot,Venturiarguedthatgreatarchitectureshouldbe“complexandcontradictory.”Philadelphia,GuildHouse,1961-3,RobertVenturiGuildHouseintroducedthenotionthatthetasteoftheclientismoreimportantthanthetasteofthearchitect.Especiallyinthiskindofurbancontext,newbuildingsshouldnotthreatenolderbuildings;norshouldtheymakethebelongingsoftheinhabitantsseemoutofplace.Inotherwords,contextisasimportantascontentorintention.Theconceptofcontextbegantohaveanimpactonmanyarchitects.WhileVenturiconsideredthedesignofGuildHouseinthecontextofitsurbansettingandthelivesofitsintendedoccupants,otherarchitectsbegantoconsidersuchthingsashistory,vernaculartradition,andaninheritedsenseofplaceascontextual.Contextofferedamatrixforcreatingcomplex,contradictory,layered,andmulti-valentarchitecture.RobertVenturiwasattheforefrontofthismovementAcontroversialcriticofthepurelyfunctionalandsparedesignsofmodernorthodoxarchitecture,VenturihasbeenconsideredacounterrevolutionaryPost-ModernismCharlesMooreAnotherPostModernarchitectwhowasacontemporaryofVenturiAffectedbyLouisKahn’sfeelingsforthearchitecturalpastMajorstructuresDormitoryComplex,KresgeCollege,CAPiazzad’Italia,NewOrleans,LAPost-ModernismDormitoryComplex,KresgeCollegeLocatedinSantaCruz,CAResemblesanItalianhilltownAccentedwithbright,primarycolorsatstrategicplacesPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlCharlesMoore,SeaRanch,1994CharlesMoore,SearanchCondominiums,SonomaCounty,California,1964-66CharlesMoore,FacultyClub,UniversityofCalifornia,SantaBarbara,1968Post-ModernismPiazzad’ItaliaLocatedinNewOrleans,LADesignedbyCharlesMooreDesignedtoprovidethesmallItalian-AmericanpopulationinNewOrleanswithanarchitecturalfocusofethnicidentityPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlCharlesMoore,Piazzad’Italia,NewOrleans,1975CharlesMoore,NewOrleans,Piazzad’Italia,1976-78MichaelGravesMichaelGravesbornin1934.MichaelGravesisstillalivetoday.WasaPrincetonUniversityprofessor.“ForvisitorstoDisneyworld,afamiliarsightistheWaltDisneyworldSwanHotelanditscompaniontheDolphinhotelwiththesebuildings,Gravescontinuestoaddertoclassicformsbutheabolishestheminsideandout.”-GeraldF.Brommer.Firsttrainedasapainter,MichaelGravesneverlefthisinterestincolorbehind.WhiletheBenecerrafadditionemployedanabstractwhitestructuralframe,italsointroducedcolorandplayfulshapesascontrastingelementsagainstthewhiteframe.Moreimportant,Gravessoondevelopedaninterestintheideaofreintroducingclassicalelementsintohiswork.Theseappearedinanumberofsmallerdesigns,especiallyfortheSunarshowroomsinChicagoandHoustoninthe1970s.Hardlydefensibleonthebasisofphysicalcontext,Gravessimplyarguedthattheseelementshadinherentvalueasarchitecturalelementsexpressingentryorportal,passage,protectionorcovering,order,andstructure.Late20thCenturyMichaelGravesFurnitureShowroom1980GraveshadbecometheleaderofthePost-Modernmovement.Themovementcopiedclassicalelements,exaggeratedtheirproportions,usednewmaterialsanddeconstructedoriginalusestocreatespacesfullofcolorandwhimsy.Inthisspaceforafurnitureshowroom,Gravesusesoversizedstuffedredleatherchairstoactasthefocalgroupingbetweenthepairedaluminumcolumns.TheCapitalsofthecolumnsaregypsumboardandhouselightfixturescastinglightontotheceiling.FurnitureShowroom-InteriorMichaelGraves,SunarShowroom,Chicago,1970s“Houseforanacademicalcouple””byRobertA.M.Stern,1974-76Late20thCenturyMichaelGravesPortlandMunicipalBuilding,1983ThisworkistheepitomeofthePostmodernmovement.ThisbuildinginPortlandwasdesignedtobealargecolumnengageduponapediment.Theexaggeratednatureofthecolumnhighlightsthedesign.TheInteriorspaceismadeupofaseriesofoffices.Inthelobby,thetwostoryspaceisringedwithaporticoalaItalianPalazzodesigns.Thecolumnsthemselvesontheinteriorareexaggeratedwithpartialcapitalsoversizedandhousingfluorescentdownlight.PortlandMunicipalbuilding-interiorPortlandMunicipalbuilding-EXTERIORMichaelGraves,PortlandPublicServicesBuilding,1982.POSTMODERNMichaelGraves,PortlandPublicServicesBuilding,1982.POSTMODERNHomeDesignbyMichaelGravesMichaelGraves,BenecerrafHouseaddition,Princeton,NJ,1969MichaelGraves,TeamDisney––TheEisnerBuilding,1991.POSTMODERNPhilipJohnsonArchitectJuly8,1906-January25,2005FactsBornJuly8,1906inCleveland,Ohio.AttendedHackleySchoolinTarrytown,NewYork.Later,atHarvardUniversityasanundergraduate.MademanytripstoEuropeandwasinspiredbythemanyarchitecturehesaw.MoreFacts…Returnedtoschoolin1940andin1943,receivedBachelorofArchitecturefromHarvardUniversity,GraduateSchoolofDesign.ThefirstPritzkerArchitecturePrizewinner,in1979.DesignedalonglistofbuildingsandprojectsaroundtheUSandworld.ReceivedtheGoldMedaloftheAmericanInstituteofArchitects,thehighesthonorofhisprofession.PassedawayonJanuary25,2005athisGlassHouseresidenceinCanaan,Connecticut.TheGlassHouseBuiltin1949inNewCanaan,Connecticut.Designedbyhimashisownresidenceandisamasterpieceintheuseofglass.DeclaredaNationalHistoricLandmarkin1997.PlaceofPhilipJohnson'spassinginJanuary2005.TheCrystalCathedralAProtestantChristianmegachurchinGardenGrove,CA.Constructedusingover10,000rectangularpanesofglassandcanhold2,900worshippers.Constructionbeganin1977andendedin1980.Finalcostwasover$17million.PhillipJohnsonin1978withmodelofAT&TbuildingAT&TBuildingPhillipJohnsonPhillipJohnsonhelpedMiesvanderRohedesigntheSeagramBuildinginthe1950s,butinthe’70shedidtheoppositewiththeAT&TBuilding(nowcalledtheSonyBuilding)Post-ModernismPhilipJohnsonThemostpowerfulfigureofAmericanPost-ModernismThereigningdeanofAmericanarchitectureNotablestructureAT&TBuildinginNewYorkCityAT&TBUILDINGKnowntodayastheSonyBuilding.A37-storybuilding.About647feet(197m)tall.Thebuildingwascompletedin1984.LocatedinNewYorkCity.Insteadofabuildingmadeofsleekglassandmetal,thisbuildingispredominantlymasonry(only30%oftheoutsideisglass)andrevivesaclassicalarchitecturalvocabulary…Johnson&hisassociatesdividedthebuildingintothreeparts,reminiscentofthethreeelevationsofaGreektemple––base,columnandpediment.PhillipJohnson,theAT&TBuilding(NewYork),1984.POSTMODERNThetopslopesdownlikeapediment,includingaspaceinthemiddleknownasanorbiculum(similartothelookof18thcenturydressers)PhillipJohnson,theAT&TBuilding(NewYork),1984.POSTMODERNThinstripsofmasonrythatmakeupthecenterresemblestheflutingofcolumnsTheentranceincludesamassiveroundarch,similartoatriumphalarchoraRomanesqueportal.(Pleasenotethemodern-daylooking‘‘coffers’and‘rosewindow’)PhillipJohnson,theAT&TBuilding(NewYork),1984.POSTMODERNPHILIPJOHNSON,,AT&TBUILDNG,NewYork,1978Usedclassicalstylesinnewcombinations:pillars,tourettes,arches,domes,curtainwallfacades;greenandromanconventionsPost-ModernismHansHollein(汉斯·霍莱因)AustrianPost-Modernarchitect1934出生於奧地利(Austria)的維也納(Vienna)1949~1953就讀於維也納聯聯邦工藝學院(Bundesgewerbeschule)的土木工程系1956畢業於維也納藝藝術學院（AcademyofFineArts）的建築學院1958~1959就讀美國芝加哥哥伊利諾理工學學院（IllinoisInstituteofTechnology）的建築系1960於加州大學柏克克萊分校完成建建築碩士學位1967於德國，杜塞朵朵夫(Dusseldorf)的美術學院（AcademyofFineArts）任教1976~1970於維也納主編““Bau”雜誌1979任教於維也納的的應用美術學院院（theAcademyofAppliedArts），並為康乃狄狄克州（Connecticut）新哈芬（NewHaven）的耶魯大學（（YaleUniversity）的客座教授1985榮獲普立茲克建建築獎（PritzkerPrize）Post-ModernismAustrianTravelBureauLocatedinVienna,Austria1978GainsinfluencefromthePiazzad’ItaliaFeaturesOrientalpavilionChessboardseatingareaPost-Modernism/Acads/Cities/wld/wcapts2.htmlSchullin珠宝店（奥地利利维也纳）玻璃和陶瓷博物物馆（德黑兰,伊朗）Haas,1995现代艺术博物馆馆,德国法兰克福乌尔卡尼亚，火火山主题公园和和博物馆，法国国，2002博物馆的核心是是一个陷入地下下的圆锥体。锥锥体表面饰以当当地黑色的火山山岩；内侧嵌入入金属箔。这一一空间从形式到到内外材质、再再到色彩的转换换都给人以身处处炽热火山口的的感觉。博物馆馆突出反映了自自然力量的强大大和人与自然的的关系，意在使使人从中得到启启示，了解自然然规律。霍莱因为中国国国家大剧院所做做的设计杰拉纳里媒体大大厦Late20thCenturyCesarPelliWorldFinancialCenterWinterGarden,1988Pellihasdevelopedquiteacareerasandarchitect/designer.Hispracticestretchesacrosstheglobe.TheArgentineanBornArchitectisbestknownforhisskyscraperdesigns.InthiscomplexdevelopedinNewYork,Pellidesignedtheatriumofthebuildingstobealargewintergardenwithlushplanting.Thelargecentralspacehousesretailstoresaswellastheelevatorlobbiesfortheadjoiningbuildings.Thisspacewasdesignedtobeadestination.TheGlasssuperstructureanditsspiderweblikeframingofsettheMulti-coloredmarble&granitefloor.TheColumnsandframingwereallkeptsimpletonottakeawayfromtheexternalviews.UnfortunatelythisdynamicspaceisnolongerinuseduetothedamageitincurredduringSeptember11thattackontheworldtradeCenter.AsahiBuilding–interiorStairPost-ModernismJamesStirlingDesignedakeyworkofPost-ModernismTheexpansionoftheStaatsgaleriePost-ModernismStaatsgalerieLocatedinStuttgartFeaturesGrandhistoricalcollageofstructuresTheaterandmuseumGainsinfluencefromEgypt,Mycenae,andtheAthenianAcropolisPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlPost-Modernism/Acads/Cities/wld/wcapts2.htmlJamesStirling,NeueStaatsgalerie,Stuttgart,1977-83Usedclassicalstylesinnewcombinations:pillars,tourettes,arches,domes,curtainwallfacades;greenandromanconventionsSimilartooldcathedrals,drawstheeyeupwardstowardtheskyReconcileddifferencesbetweenoldandnewgenerations(culturewars)

PostmodernarchitecturetakesoldstylesandupdatesthemAldoRossiPost-ModernismA