Postmodern architecture began as an international style the rst examples of which are generally cited as being from the

1950s, but did not become a movement until the late 1970s[1] and continues to inuence present-day architecture. Postmodernity in architecture is said to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. As with many cultural movements, some of Postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist style are replaced by diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of building which had been abandoned by the modern style. Inuential early large-scale examples of postmodern architecture are Michael Graves' Portland Building in Portland, Oregon and Philip Johnson's Sony Building (originally AT&T Building) in New York City, which borrows elements and references from the past and reintroduces color and symbolism to architecture. Postmodern architecture has also been described as neo-eclectic, where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles. This eclecticism is often combined with the use of non-orthogonal angles and unusual surfaces, most famously in the State Gallery of Stuttgart by James Stirling and the Piazza d'Italia by Charles Moore. The Scottish Parliament Building in Edinburgh have also been cited as being of postmodern vogue.[citation needed] Modernist architects may regard postmodern buildings as vulgar, associated with a populist ethic, and sharing the design elements of shopping malls, cluttered with "gew-gaws". Postmodern architects may regard many modern buildings as soulless and bland, overly simplistic and abstract. This contrast was exemplied in the juxtaposition of the "whites" against the "grays," in which the "whites" were seeking to continue (or revive) the modernist tradition of purism and clarity, while the "grays" were embracing a more multifaceted cultural vision, seen in Robert Venturi's statement rejecting the "black or white" world view of modernism in favor of "black and white and sometimes gray." The divergence in opinions comes down to a difference in goals: modernism is rooted in minimal and true use of material as well as absence of ornament, while postmodernism is a rejection of strict rules set by the early modernists and seeks meaning and expression in the use of building techniques, forms, and stylistic references. One building form that typies the explorations of Postmodernism is the traditional gable roof, in place of the iconic at roof of modernism. Shedding water away from the center of the building, such a roof form always served a functional purpose in climates with rain and snow, and was a logical way to achieve larger spans with shorter structural members, but it was nevertheless relatively rare in modern houses. (These were, after all, "machines for living," according to LeCorbusier, and machines did not usually have gabled roofs.) However, Postmodernism's own modernist roots appear in some of the noteworthy examples of "reclaimed" roofs. For instance, Robert Venturi's Vanna Venturi House breaks the gable in the middle, denying the functionality of the form, and Philip Johnson's 1001 Fifth Avenue in Manhattan advertises a mansard roof form as an obviously at, false front. Another alternative to the at roofs of modernism would exaggerate a traditional roof to call even more attention to it, as when Kallmann McKinnell & Wood's American Academy of Arts and Sciences in Cambridge, Massachusetts, layers three tiers of low hipped roof forms one above another for an emphatic statement of shelter.

Relationship to previous styles

Ancient ruyi symbol adorning Taipei 101 (Taiwan) New trends became evident in the last quarter of the 20th century as some architects started to turn away from modern Functionalism which they viewed as boring, and which some of the public considered unwelcoming and even unpleasant. These architects turned towards the past, quoting past aspects of various buildings and melding them together (even sometimes in an inharmonious manner) to create a new means of designing buildings. A vivid example of this new approach was that Postmodernism saw the comeback of columns and other elements of premodern designs, sometimes adapting classical Greek and Roman examples (but not simply recreating them, as was done in neoclassical architecture). In Modernism, the traditional column (as a design feature) was treated as a cylindrical pipe form, replaced by other technological means such as cantilevers, or masked completely by curtain wall faades. The revival of the column was an aesthetic, rather than a technological, necessity. Modernist high-rise buildings had become in most instances monolithic, rejecting the concept of a stack of varied design elements for a single vocabulary from ground level to the top, in the most extreme cases even using a constant "footprint" (with no tapering or "wedding cake" design), with the building sometimes even suggesting the possibility of a single metallic extrusion directly from the ground, mostly by eliminating visual horizontal elementsthis was seen most strictly in Minoru Yamasaki's World Trade Center buildings. Another return was that of the wit, ornament and reference seen in older buildings in terra cotta decorative faades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods. In Postmodern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale. Contextualism, a trend in thinking in the later parts of 20th century, inuences the ideologies of the postmodern movement in general. Contextualism is centered on the belief that all knowledge is context-sensitive. This idea was even taken further to say that knowledge cannot be understood without considering its context. While noteworthy examples of modern architecture responded both subtly and directly to their physical context (analyzed by Thomas Schumacher in "Contextualism: Urban Ideals and Deformations," and by Colin Rowe and Fred Koetter in Collage City[2]), postmodern architecture often addressed the context in terms of the materials, forms and details of the buildings around itthe cultural context. The term "Contextualism" itself is an amalgamation of the words "context" and "texture".[2]

Roots of Postmodernism
The interior of the Basilica of Our Lady of Liche clearly draws from classical forms of Western European church architecture. The Postmodernist movement began in America around the 1960s1970s and then it spread to Europe and the rest of the world, to remain right through to the present. The aims of Postmodernism or Late-modernism begin with its reaction to Modernism; it tries to address the limitations of its predecessor. The list of aims is extended to include communicating ideas with the public often in a then humorous or witty way. Often, the communication is done by quoting extensively from past architectural styles, often many at once. In breaking away from modernism, it also strives to produce buildings that are sensitive to the context within which they are built. Postmodernism has its origins in the perceived failure of Modern Architecture. Its preoccupation with functionalism and economical building meant that ornaments were done away with and the buildings were cloaked in a stark rational appearance. Many felt the buildings failed to meet the

human need for comfort both for body and for the eye, that modernism did not account for the desire for beauty. The problem worsened when some already monotonous apartment blocks degenerated into slums. In response, architects sought to reintroduce ornament, color, decoration and human scale to buildings. Form was no longer to be dened solely by its functional requirements or minimal appearance.

Robert Venturi
Vanna Venturi House with its split gable Robert Venturi was at the forefront of this movement. His book, Complexity and Contradiction in Architecture (published in 1966), was instrumental in opening readers eyes to new ways of thinking about buildings, as it drew from the entire history of architectureboth high-style and vernacular, both historic and modernand lambasted overly simplistic Functional Modernism. The move away from modernisms functionalism is well illustrated by Venturis adaptation of Mies van der Rohes famous maxim Less is more to "Less is a bore." The book includes a number of the architect's own designs in the back, including structures such as Guild House, in Philadelphia, that became major icons of postmodernism. He sought to bring back ornament because of its necessity. He explains this and his criticism of Modernism in his Complexity and Contradiction in Architecture by saying that: Architects can bemoan or try to ignore them (referring to the ornamental and decorative elements in buildings) or even try to abolish them, but they will not go away. Or they will not go away for a long time, because architects do not have the power to replace them (nor do they know what to replace them with). Venturi's second book, Learning from Las Vegas (1972) further developed his take on modernism. Co-authored with his wife, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas argues that ornamental and decorative elements accommodate existing needs for variety and communication. Alex Todorow in one of his essays, A View from the Campidoglio, to that effect when he says that: When [he] was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity. Postmodernism with its diversity possesses sensitivity to the buildings context and history, and the clients requirements. The postmodernist architects often considered the general requirements of the urban buildings and their surroundings during the buildings design. For example, in Frank Gehry's Venice Beach House, the neighboring houses have a similar bright at color. This vernacular sensitivity is often evident, but other times the designs respond to more high-style neighbors. James Stirling's Arthur M. Sackler Museum at Harvard University features a rounded corner and striped brick patterning that relate to the form and decoration of the polychromatic Victorian Memorial Hall across the street, although in neither case is the element imitative or historicist.

Hood Museum of Art at the campus of Dartmouth College in Hanover, New Hampshire (1983) The aims of Postmodernism, including solving the problems of Modernism, communicating meanings with ambiguity, and sensitivity for the buildings context, are surprisingly unied for a period of buildings designed by architects who largely never collaborated with each other. The aims

do, however, leave room for various implementations as can be illustrated by the diverse buildings created during the movement. The characteristics of postmodernism allow its aim to be expressed in diverse ways. These characteristics include the use of sculptural forms, ornaments, anthropomorphism and materials which perform trompe l'oeil. These physical characteristics are combined with conceptual characteristics of meaning. These characteristics of meaning include pluralism, double coding, ying buttresses and high ceilings, irony and paradox, and contextualism. The sculptural forms, not necessarily organic, were created with much ardor. These can be seen in Hans Holleins Abteiberg Museum (19721982). The building is made up of several building units, all very different. Each buildings forms are nothing like the conforming rigid ones of Modernism. These forms are sculptural and are somewhat playful. These forms are not reduced to an absolute minimum; they are built and shaped for their own sake. The building units all t together in a very organic way, which enhances the effect of the forms. After many years of neglect, ornament returned. Frank Gehrys Venice Beach house, built in 1986, is littered with small ornamental details that would have been considered excessive and needless in Modernism. The Venice Beach House has an assembly of circular logs which exist mostly for decoration. The logs on top do have a minor purpose of holding up the window covers. However, the mere fact that they could have been replaced with a practically invisible nail, makes their exaggerated existence largely ornamental. The ornament in Michael Graves' Portland Municipal Services Building ("Portland Building") (1980) is even more prominent. The two obtruding triangular forms are largely ornamental. They exist for aesthetic or their own purpose.[citation needed] Postmodernism, with its sensitivity to the buildings context, did not exclude the needs of humans from the building. Carlo Scarpa's Brion Cemetery (197072) exemplies this. The human requirements of a cemetery is that it possesses a solemn nature, yet it must not cause the visitor to become depressed. Scarpas cemetery achieves the solemn mood with the dull gray colors of the walls and neatly dened forms, but the bright green grass prevents this from being too overwhelming.[citation needed] Postmodern buildings sometimes utilize trompe l'oeil, creating the illusion of space or depths where none actually exist, as has been done by painters since the Romans. The Portland Building (1980) has pillars represented on the side of the building that to some extent appear to be real, yet they are not.[citation needed] The Hood Museum of Art (19811983) has a typical symmetrical faade which was at the time prevalent throughout Postmodern Buildings.[citation needed] Robert Venturis Vanna Venturi House (196264) illustrates the Postmodernist aim of communicating a meaning and the characteristic of symbolism. The faade is, according to Venturi, a symbolic picture of a house, looking back to the 18th century. This is partly achieved through the use of symmetry and the arch over the entrance.[citation needed] Perhaps the best example of irony in Postmodern buildings is Charles Moores Piazza d'Italia (1978). Moore quotes (architecturally) elements of Italian renaissance and Roman Antiquity. However, he does so with a twist. The irony comes when it is noted that the pillars are covered with steel. It is also paradoxical in the way he quotes Italian antiquity far away from the original in New Orleans.[citation needed] Double coding meant the buildings convey many meanings simultaneously. The Sony Building in New York does this very well. The building is a tall skyscraper which brings with it connotations of

very modern technology. Yet, the top contradicts this. The top section conveys elements of classical antiquity. This double coding is a prevalent trait of Postmodernism.[citation needed] The characteristics of Postmodernism were rather unied given their diverse appearances. The most notable among their characteristics is their playfully extravagant forms and the humour of the meanings the buildings conveyed.[citation needed]

Robert Venturi Guild House is a residential building in Philadelphia, Pennsylvania, which is an important and inuential work of 20th century architecture[1] and was the rst major work by Robert Venturi.[2] Along with the Vanna Venturi House it is considered to be one of the earliest expressions of Postmodern architecture,[3] and helped establish Venturi as one of the leading architects of the 20th century.[1][4] The building, which houses apartments for low-income senior citizens, was commissioned by a local Quaker organization and completed in 1963. Employing a combination of nondescript commercial architecture and ironic historical references, Guild House represented a conscious rejection of Modernist ideals and was widely cited in the subsequent development of the Postmodern movement.[3] Guild House was commissioned by the (Quaker) Friends Neighborhood Guild as low-income housing for the elderly and built in 196063.[5][6] It was designed by Venturi and Rauch in collaboration with Cope and Lippincott, another Philadelphia rm. In 2004, the building was added to the Philadelphia Register of Historic Places despite being barely 40 years old at the time.[1]

Exterior
The building's architecture combines historical forms with "banal" 20th-century commercialism,[7] hiding a "slyly intellectual agenda" behind its "apparent ordinariness".[8] As Venturi wrote, "Economy dictated not 'advanced' architectural elements, but 'conventional' ones. We did not resist this."[9] The architects used dark brick and "inelegant" double-hung windows to recall existing public housing projects and express "kinship with neighboring inner-city structures",[3][8] along with a subtle use of ironic ornamental details "intended in some way to express the lives of the elderly."[10] Guild House is a six-story building with a symmetrical facade that steps outward to a monumental, classically ordered entrance pavilion.[3][2] The facade is anchored by a thick column of polished black granite and crowned with a large arched window opening onto the building's upstairs common area. The ground oor entrance is highlighted with white glazed brick, while a "perfunctory"[10] string course in the middle of the fth oor terminates the facade. According to Venturi, the combination of the latter two elements "sets up a new and larger scale of three stories, juxtaposed on the other smaller scale of six stories demarked by the layer of windows."[9] A large block-letter sign above the entrance spells the name of the building, while the roof was originally crowned with an oversize, nonfunctional television antenna serving as both an abstract sculptural element and a literal representation of the inhabitants' chief pastime.[8] Venturi later explained the architecture of Guild House in the context of his "decorated shed" philosophy: In Guild House the ornamental-symbolic elements are more or less literally appliqu... The symbolism of the decoration happens to be ugly and ordinary with a dash of ironic heroic and original, and the shed is straight ugly and ordinary, though in its brick and windows it is symbolic too.[11]

Interior
The building contains 91 apartment units. The stepped organization of the facade allowed most of the units to have south-, east-, or west-facing windows, giving the inhabitants sunlight and a view of

the street below.[9] Winding interior corridors were intended to create a more intimate and informal space.[6] Vanna Venturi House Venturi designed the Vanna Venturi House at the same time that he wrote his anti-Modernist polemic Complexity and Contradiction in Architecture in which he outlined his own architectural ideas. During the writing he redesigned the house at least ve times in fully worked-out versions.[9] A description of the house is included in the book[10] and the house is viewed as an embodiment of the ideas in the book.[11] He states: Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture. I like elements which are hybrid rather than "pure," compromising rather than "clear," distorted rather than "straightforward." ... I am for messy vitality over obvious unity. I include the non sequitur and proclaim duality.[12] Many of the basic elements of the house are a reaction against standard Modernist architectural elements: the pitched roof rather than at roof, the emphasis on the central hearth and chimney, a closed ground oor "set rmly on the ground" rather than the Modernist columns and glass walls which open up the ground oor.[13] On the front elevation the broken pediment or gable and a purely ornamental applique arch reect a return to Mannerist architecture and a rejection of Modernism. Thus the house is a direct break from Modern architecture, designed in order to disrupt and contradict formal Modernist aesthetics.[14] The site of the house is at, with a long driveway connecting it to the street. Venturi placed the parallel walls of the house perpendicular to the main axis of the site, dened by the driveway, rather than the usual placement along the axis. Unusually, the gable is placed on the long side of the rectangle formed by the house, and there is no matching gable at the rear. The chimney is emphasized by the centrally placed room on the second oor, but the actual chimney is small and off-center.[15] The effect is to magnify the scale of the small house and make the facade appear to be monumental. The scale magnifying effects are not carried over to the sides and rear of the house, thus making the house appear to be both large and small from different angles.[16] The central chimney and staircase dominate the interior of the house. Two vertical elements the replace-chimney and the stair compete, as it were, for central position. And each of these elements, one essentially solid, the other essentially void, compromises in its shape and position that is, inects toward the other to make a unity of the duality of the central core they constitute. On one side the replace distorts in shape and moves over a little, as does its chimney; on the other side the stair suddenly constricts its width and distorts its path because of the chimney.[17] The themes of scale, contradiction, and "whimsy" - "not inappropriate to an individual house," can be seen at the top of the stair, that seems to go from the second oor to a non-existent third oor. On one level, it goes nowhere and is whimsical; at another level, it is like a ladder against a wall from which to wash the high window and paint the clerestory. The change in scale of the stair on this oor further contrasts with that change of scale in the other direction at the bottom.[17] The house was constructed with intentional formal architectural, historical and aesthetic contradictions. Venturi has compared the iconic front facade to "a child's drawing of a house."[18] Yet he has also written, "This building recognizes complexities and contradictions: it is both complex and simple, open and closed, big and little; some of its elements are good on one level and bad on another its order accommodates the generic elements and of the house in general, and the circumstantial elements of a house in particular."[19]

About historical references, the Swiss architectural theorist Stanislaus von Moos[20] regards the monumental facade as a recall to Michelangelo's Porta Pia, the back wall to Palladio's Nymphaeum at Villa Barbaro and the broken pediments to the facade of Moretti's Il Girasole house (building also cited by Venturi's in Complexity and Contradiction in architecture)

Aldo Rossi (May 3, 1931 September 4, 1997) was an Italian architect and designer who accomplished the unusual feat of achieving international recognition in four distinct areas: theory, drawing, architecture and product design.[1] Rossi was born in Milan, Italy. In 1949 he started studying architecture at the Politecnico di Milano where he graduated in 1959. Already in 1955 he started writing for the Casabella magazine, where he became editor between 19591964. Bonnefanten Museum in Maastricht. His earliest works of the 1960s were mostly theoretical and displayed a simultaneous inuence of 1920s Italian modernism (see Giuseppe Terragni), classicist inuences of Viennese architect Adolf Loos, and the reections of the painter Giorgio De Chirico. A trip to the Soviet Union to study Stalinist architecture also left a marked impression. In his writings Rossi criticized the lack of understanding of the city in current architectural practice. He argued that a city must be studied and valued as something constructed over time; of particular interest are urban artifacts that withstand the passage of time. Rossi held that the city remembers its past (our "collective memory"), and that we use that memory through monuments; that is, monuments give structure to the city. He became extremely inuential in the late 1970s and 1980s as his body of built work expanded and for his theories promoted in his books The Architecture of the City (L'architettura della citt, 1966) and A Scientic Autobiography (Autobiograa scientica, 1981).

Stainless steel kettle "Il Conico", 1986. Such products have been designed for Alessi, Pirelli, and others.

Exhibits
For the Venice Biennale in 1979 he designed a oating Teatro del Mondo[2] that seated 250 people. For the Venice Biennale in 1984, he designed a triumphal arch at the entrance to the exhibition site.

Mario Botta (born April 1, 1943) is a Swiss architect. He studied at the Liceo Artistico in Milan and the IUAV in Venice. His ideas were inuenced by Le Corbusier, Carlo Scarpa, Louis Kahn. He opened his own practice in 1970 in Lugano. Botta designed his rst buildings at age 16, a two-family house at Morbio Superiore in Ticino. While the arrangements of spaces in this structure is inconsistent, its relationship to its site, separation of living from service spaces, and deep window recesses echo of what would become his stark, strong, towering style. His designs tend to include a strong sense of geometry, often being based on very simple shapes, yet creating unique volumes of space. His buildings are often made of brick, yet his use of material is wide, varied, and often unique. His trademark style can be seen widely in Switzerland particularly the Ticino region and also in the Mediatheque in Villeurbanne (1988), a cathedral in vry (1995), and the San Francisco Museum of Modern Art or SFMOMA (1994). He also designed the Europa-Park Dome, which houses many major events at the Europa-Park theme park resort in Germany. Religious works by Botta, including the Cymbalista Synagogue and Jewish Heritage Center were shown in London at the Royal Institute of British Architects in an exhibition entitled, Architetture del Sacro: Prayers in Stone.[1] A church is the place, par excellence, of architecture, he said in an interview with architectural historian Judith Dupr. When you enter a church, you already are part of what has transpired and will transpire there. The church is a house that puts a believer in a dimension where he or she is the protagonist. The sacred directly lives in the collective. Man becomes a participant in a church, even if he never says anything.[2] In 1998, he designed the new bus station for Vimercate (near Milan), a red brick building linked to many facilities, underlining the city's recent development. He worked at La Scala's theatre renovation, which proved controversial as preservationists feared that historic details would be lost. In 2004, he designed Museum One of the Leeum, Samsung Museum of Art in Seoul, South Korea. [3] On January 1, 2006 he received the Grand Ofcer award from President of the Italian Republic Carlo Azeglio Ciampi. In 2006 he designed his rst ever spa, the Bergoase Spa in Arosa, Switzerland. The spa opens in December 2006 and cost an estimated CHF 35 million. Mario Botta participated in the Stock Exchange of Visions project in 2007. He will be a member of the Jury of the Global Holcim Awards in 2012.

Born in Kanie, Aichi, Kurokawa studied architecture at Kyoto University, graduating with a bachelor's degree in 1957. He then attended University of Tokyo, under the supervision of Kenzo Tange. Kurokawa received a master's degree in 1959. Kurokawa then went on to study for a doctorate of philosophy, but subsequently dropped out in 1964. With colleagues, he cofounded the Metabolist Movement in 1960, whose members were known as Metabolists. It was a radical Japanese avant-garde movement pursuing the merging and recycling of architecture styles within an Asian context. The movement was very successful, peaking when its members received praise for the Takara Cotillion Beautillion at the Osaka World Expo 1970. The group was dismantled shortly thereafter.

Entrance to the Nagoya City Art Museum Kurokawa had a daughter, potter Kako Matsuura, and a son, renowned photographer Mikio, from his rst marriage to his college classmate. His second marriage was to Ayako Wakao ( Wakao Ayako), an actress with some notable lms in the 1950s and 1960s and who still appears on stage. Kurokawa's younger brother works in industrial design but has also cooperated with Kurokawa on some architecture projects. Kurokawa was the founder and president of Kisho Kurokawa Architect & Associates, established 8 April 1962. The enterprise's head ofce is in Tokyo with branch ofces in Osaka, Nagoya, Astana, Kuala Lumpur, Beijing and Los Angeles. The company is registered with the Japanese government as a "First Class Architects Ofce." Although he had practiced the concept of sustainable and eco-minded architecture for four decades, Kisho Kurokawa became more adamant about environmental protection in his latter years. In 2007, he ran for governor of Tokyo and then for a seat in the House of Councillors in the Japanese House of Councillors election, 2007. Although not elected, Kisho Kurokawa successfully established the Green Party to help provide environmental protection. Also in 2007, Kurokawa created the structure of the Anaheim University Kisho Kurokawa Green Institute, which helps to develop environmentally-conscious business practices. Kurokawa was a stakeholder and founding Chair of the Executive Advisory Board of the Anaheim, California-based university since 1998 and his wife Ayako Wakao-Kurokawa serves as Honorary Chairman of the institute. Kurokawa wrote extensively on philosophy and architecture and lectured widely. He wrote that there are two traditions inherent in any culture: the visible and the invisible. His work, he claimed, carried the invisible tradition of Japan. In 1972, he received a grant from the Graham Foundation to deliver a lecture at the Museum of Science and Industry in Chicago. Looking at his architectureparticularly at metabolismtradition may not appear to be present, but, underneath the hard skin of the surface, his work is indeed Japanese. However, it is difcult to claim that the modern technologies and material he called on was inherited from the Japanese tradition and that the traditional forms of Japanese architecture can be recognized in his contemporary concrete or steel towers. Yet, Kurokawas architecture evolved from the Japanese tradition, and there is a Japanese aesthetic in the context of his work. His architecture focused on keeping traditional Japanese concepts invisible, especially materiality, impermanence, receptivity and detail. Kurokawa specically referred to these four factors in his discussions of new wave Japanese Architecture. He died of heart failure on October 12, 2007, he was 73.

Key architectural concepts

Impermanence
The National Art Center, Tokyo Kurokawa noted that, with the exception of Kyoto and Kanazawa, most Japanese cities were destroyed during World War II. When Western cities are destroyed, brick and stone remained as proof of their past existence. Sadly, remarks Kurokawa, Japans cities were mostly built of wood and natural elements, so they burnt to ashes and disappeared completely. He also noted that both Edo (now Tokyo) and Kyoto were almost entirely destroyed during several battles of the Warring States period in the 15th and 16th centuries. The shifting of power caused parts of Japan to be destroyed. On the same note, historically speaking, Japans cities have almost yearly been hit with natural disasters such as earthquakes, typhoons, oods and volcanic eruptions. This continuous destruction of buildings and cities has given the Japanese population, in Kurokawa's words, an uncertainty about existence, a lack of faith in the visible, a suspicion of the eternal. In addition, the four seasons are very clearly marked in Japan, and the changes through the year are dramatic. Time, then, in Japanese culture is a precious entity that forces every candle, every being, every entity to fade at one point in time. The idea that buildings and cities should seem as natural as possible and that they should be in harmony with the rest of nature, since it is only temporarily there, helped create the tradition of making buildings and cities of temporary structure. This idea of impermanence was reected in Kurokawas work during the Metabolism Movement. Buildings were built to be removable, interchangeable and adaptable. The concept of impermanence inuence his work toward being in open systems, both in time and space.

Materiality
The Museum of Modern Art, Wakayama Kurokawa explains that the Japanese tried to exploit the natural textures and colors of materials used in a building. The traditional tea room was intentionally built of only natural materials such as earth and sand, paper, the stems and leaves of plants, and small trees. Trees from a person's own backyard were preferred for the necessary timbers. All articial colors were avoided, and the natural colors and texture of materials were shown to their best advantage. This honesty in materials stemmed from the idea that nature is already beautiful in itself. The Japanese feel that food tastes better, wood looks better, materials are better when natural. There is a belief that maximum enjoyment comes from the natural state. This tradition on materiality was alive in Kurokawas work which treated iron as iron, aluminum as aluminum, and made the most of the inherent nish of concrete. The tradition of honesty of materiality is present in Kurokawas capsule building. In it, he showed technology with no articial colors." The capsule, escalator unit, elevator unit and pipe and ductwork were all exterior and exposed. Kurokawa opened structures and made no attempt to hide the connective elements, believing that beauty was inherent in each of the individual parts. This bold approach created a texture of elements that became the real materiality of the whole.

Receptivity
The notion of receptivity is a crucial Japanese ideapossibly a tradition." Kurokawa stated that Japan is a small country. For more than a thousand years, the Japanese had an awareness of neighboring China and Korea and, in the modern age, Portugal, Great Britain and America, to name

a few. The only way for a small country like Japan to avoid being attacked by these empires was to make continuous attempts to absorb foreign cultures for study and, while establishing friendly relations with the larger nations, preserve its own identity. This receptivity is the aspect that allowed Japan to grow from a farming island into an imperial nation, rst using Chinese political systems and Chinese advancement, then Western techniques and knowledge. Japan eventually surpassed China and stumbled upon itself during World War II. After the war, Japan, using this same perspective absorbed American culture and technology. Kurokawas architecture follows the string of receptivity but, at one point, tries to diverge and nd its own identity. At rst, Kurokawa's work followed the Modern Movement that was introduced in Japan by Tange, Isozaki and their peers. Tange showed the world that Japan could build modern buildings. His peers followed and continued the style. Then at one point in the 1960s, Kurokawa and a small group of architects began a new wave of contemporary Japanese architecture, believing that previous solutions and imitations were not satisfactory for the new era: life was not present in Modernism. They labeled their approach metabolism." Kurokawas work became receptive to his own philosophy, the Principle of Life." (He saw architecture and cities as a dynamic process where parts needed to be ready for change. He mostly used steel in open frames and units that were prefabricated and interchangeable.)

Detail
Kurokawa explained that the attention paid to detail in Japanese work derived essentially from the typical attempt to express individuality and expertise. In Japan the execution of details was a process of working not from the whole to the parts but from the parts to the whole. Every wood connection in a house was carefully crafted from the inside out. Japan is a country that moved from a non-industrial country to a fully industrial nation in less than 50 years, during the Meiji revolution. This sharp jump from producing goods by craftsmen to industrially realized production was so rapid that the deep-rooted tradition of ne craftsmanship as a statement of the creator did not disappear. As a result, the Japanese maker continues to be instilled with a fastidious preoccupation for ne details, which can be seen in contemporary architecture, art and industry. The attention to detail, an integral part of Japan's tradition, forms a uniquely indigenous aesthetic. Similarly, Kurokawas architecture features carefully detailed connections and nishes. He confessed: This attention to detail is also an important key to understand my own architecture. The belief in the importance of details also suggests the new hierarchy. Kurokawa believed that, while Western architecture and cities have been organized with a hierarchy from the infrastructure to the parts and details, his new approach to contemporary Japanese architecture focused on the autonomy of parts.

Sustainability
In 1958, Kisho Kurokawa predicted a Transition from the Age of the Machine to the Age of Life, and has continually utilized such key words of life principles as metabolism (metabolize and recycle), ecology, sustainability, symbiosis, intermediate areas (ambiguity) and Hanasuki (Splendor of Wabi) in order to call for new styles to be implemented by society. For four decades, Kisho Kurokawa created eco-friendly and sustainable architectural projects. In 2003 he was awarded the Dedalo-Minosse International Prize (Grand Prix) for his creation of the Kuala Lumpur International Airport in Malaysia and KLIA is the rst and only airport in the world to receive the United Nations' Green Globe 21 certication for the airport's commitment to environmental responsibility each year since 2004. In 2008, the Kisho Kurokawa Green Institute was founded in his honor.

Michael Graves (born July 9, 1934) is an American architect. Identied as one of The New York Five, Graves has become a household name with his designs for domestic products sold at Target stores in the United States. Graves was born in Indianapolis, Indiana. He attended Broad Ripple High School, receiving his diploma in 1952. He earned a bachelor's degree from the University of Cincinnati where he also became a member of the Sigma Chi fraternity, and a master's degree from Harvard University. An architect in public practice in Princeton, New Jersey, since 1964, Graves is also the Robert Schirmer Professor of Architecture, Emeritus at Princeton University. He directs the rm Michael Graves & Associates, which has ofces in Princeton and in New York City. In addition to his popular line of household items, Graves and his rm have earned critical acclaim for a wide variety of commercial and residential buildings and interior design, although some occupants of the buildings object to the conned views caused by signature features such as small or circular windows and squat columns. Graves was elected a Fellow of the American Institute of Architects (AIA) in 1979. In 1999 Graves was awarded the National Medal of Arts, in 2001 the AIA Gold Medal, in 2010 the AIA Topaz Medal, and in 2012 the Driehaus Prize for Classical Architecture. He is also a Senior Fellow of the Design Futures Council.[1] In 2003, an infection of unknown origin (possibly bacterial meningitis) left Graves paralyzed from the waist down. He is still active in his practice, which is currently involved in a number of projects; including an addition to the Detroit Institute of Arts, and a large Integrated Resort, Resorts World Sentosa in Singapore. In 2010, Graves was inducted into the New Jersey Hall of Fame.[2]

Architecture in English II
Lecture 11: Post Modernism Fall 2012

Saturday, December 22, 2012

Post Modernism is:

A rejection of Modernism Based on Historical Reference Meant to Reect Complexity of Society Ornament over Pure Form

Saturday, December 22, 2012

Modernism vs Postmodernism

Less is More - vs - Less is a Bore Ornament as a Tectonic Expression - vs Ornament as a reection of History

Machine for Living - vs - Decorated Shed Iconic Functionalism - vs - Contextualism

Saturday, December 22, 2012

Vanna Venturi House San Francisco MOMA Wakayama MOMA (MOCA) Portlandia Building San Cataldo Cemetery
Saturday, December 22, 2012

Robie House - Oak Park, Illinois

Date: 1906 -10 AD Architect: Frank Lloyd Wright
Saturday, December 22, 2012

Robie House - Oak Park, Illinois

Date: 1906 -10 AD Architect: Frank Lloyd Wright
Saturday, December 22, 2012

Seagrams Building - New York, New York

Date: 1954 - 58 Architect: Mies van der Rohe
Saturday, December 22, 2012

Bauhaus - Dessau, Germany

Date: 1925 - 26 Architect: Walter Gropius
Saturday, December 22, 2012

Villa Savoye - Poissy, France

Date: 1929 Architect: Le Corbusier
Saturday, December 22, 2012

Unite d'Habitation Marseille - Marseille, France

Date: 1946 - 52 AD Architect: Le Corbusier
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Vanna Venturi House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

Guild House - Philadelphia, Pennsylavania

Date: 1962 Architect: Robert Venturi
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

San Francisco Museum of Modern Art - San Francisco

Date: 1994 - 95 AD Architect: Mario Botta
Saturday, December 22, 2012

1973 House - Monte San Giorgio, Switzwerland

Date: 1972 AD Architect: Mario Botta
Saturday, December 22, 2012

Nakagin Capsule Hotel - Tokyo, Japan

Date: 1972 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Nakagin Capsule Hotel - Tokyo, Japan

Date: 1972 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Nakagin Capsule Hotel - Tokyo, Japan

Date: 1972 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Museum of Contemprary Art - Wakayama, Japan

Date: 1988 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Museum of Contemprary Art - Wakayama, Japan

Date: 1988 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Museum of Contemprary Art - Wakayama, Japan

Date: 1988 AD Architect: Kishio Kurokawa
Saturday, December 22, 2012

Nara City Museum - Nara

Date: 1991 Architect: Kishio Kurokawa
Saturday, December 22, 2012

Nara City Museum - Nara

Date: 1991 Architect: Kishio Kurokawa
Saturday, December 22, 2012

Nara City Museum - Nara

Date: 1991 Architect: Kishio Kurokawa
Saturday, December 22, 2012

Wacoal Center - Tokyo

Date: 1982 - 85 AD Architect: Fumihiko Maki
Saturday, December 22, 2012

Wacoal Center - Tokyo

Date: 1982 - 85 AD Architect: Fumihiko Maki
Saturday, December 22, 2012

Wacoal Center - Tokyo

Date: 1982 - 85 AD Architect: Fumihiko Maki
Saturday, December 22, 2012

MOMA - Kyoto
Date: 1983 Architect: Fumihiko Maki
Saturday, December 22, 2012

MOMA - Kyoto
Date: 1983 Architect: Fumihiko Maki
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Portlandia Building - Portland Oregon

Date: 1980 - 82 AD Architect: Micheal Graves
Saturday, December 22, 2012

Denver Central Library - Denver, Colorado

Date: 1990 - 96 AD Architect: Micheal Graves
Saturday, December 22, 2012

Denver Central Library - Denver, Colorado

Date: 1990 - 96 AD Architect: Micheal Graves
Saturday, December 22, 2012

Denver Central Library - Denver, Colorado

Date: 1990 - 96 AD Architect: Micheal Graves
Saturday, December 22, 2012

Denver Central Library - Denver, Colorado

Date: 1990 - 96 AD Architect: Micheal Graves
Saturday, December 22, 2012

Denver Central Library - Denver, Colorado

Date: 1990 - 96 AD Architect: Micheal Graves
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

San Cataldo Cemetery - Modena, Italy

Date: 1971 - 84 AD Architect: Aldo Rossi
Saturday, December 22, 2012

Ensemble d'Habitation, Parc de la Villette - Paris, France

Date: 1990 Architect: Aldo Rossi
Saturday, December 22, 2012

Teatro del Mundo - Venice Biennale

Date: 1979 Architect: Aldo Rossi
Saturday, December 22, 2012

Teatro del Mundo - Venice Biennale

Date: 1979 Architect: Aldo Rossi
Saturday, December 22, 2012

Teatro del Mundo - Venice Biennale

Date: 1979 Architect: Aldo Rossi
Saturday, December 22, 2012

Aldo Rossi - Tea Kettle

Architect: Aldo Rossi
Saturday, December 22, 2012