Postmodernism in architecture

Postmodernism is a phenomenon and a period in the culture of the 60-80s of the XX century, which was marked by deep disappointment in the ideology of historical progress, formulated by the French enlighteners of the XVIII century and based on the idea of a rational restructuring of society and man. Postmodernism has its own philosophy and artistic language. In architecture, the phenomenon of postmodernism is multifaceted, versatile and indistinct; in general, it consists in avoiding the philosophical, moral and formal dictate of rationalism with the help of a playful and ironic attitude to architectural form, architectural and historical quotes, stylistic accumulations. Postmodernism arises as a reaction to modernism, as a polemic with modernism, its outcome and rethinking.

Common features of postmodernism:

1. Pluralism and orientation towards the fragment instead of the whole. Loss of eternal guidelines (eternal values ​​are interpreted as paranoid, totalitarian, such that hinder creative realization);
2. Chaos is the ideal of postmodernism;
3. Denial of the possibility of reliability and objectivity;
4. The idea of ​​instability is the key one in postmodern ideology;
5. The concept of hypertext – supertext. The hypertext of world culture includes all the diversity of textual formations (which includes any works of art once created by humanity – from all areas of culture);
6. Double coding – the author’s game with different meanings, of which the least prepared recipient reads only the “upper”, the most accessible and obvious meaning;
7. Overcoming various boundaries and conventions – both stylistic and associated with the worldview – overcoming binary oppositions;
8. Irony as a way of distancing;
9. Direct and hidden quotation;
10. Pay particular attention to context.

The basic principles of postmodernism in architecture by Robert Stern:

1) Contextualism – the subordination of a structure to factors that go beyond the surrounding context (environment or culture);

2) Allusionism – the introduction into the object of hints, associations, links – “allusions” that refer to the existing historical architecture;

3) Ornamentalism – the return to the architecture of elements that do not have a utilitarian purpose.

The basic principles of postmodernism in architecture according to Charles Jenks:

• The principle of “double coding” – an appeal of an architectural work to both a professional and an unprepared viewer, a special mystery of the message, designed for the enhanced interpretive activity of the consumer.
• The principle of “radical eclecticism” is the permissiveness of mixing. The never-ending process of transformation draws on the historical, regional and contemporary architectural experience. “I choose”, thus, becomes the main slogan that determines the relative diversity of architectural techniques of postmodernism, designed in one way or another to serve to identify and implement the needs of diverse customers and consumers.

 Features of architectural postmodernism:

1. The absence of criteria gives rise to a huge number of architectural trends and schools in the context of postmodernism;
2. Historicism. Temporary openness – dialogue with time, broad appeal to different eras and traditions;
3. Revivalism – direct reproduction of the past, frank retrospectivism. Historical forms are emphatically distorted. Postmodern architecture is a pandemonium of columns, porticos, arcades and other “historical trash” forms and images that coexist quite well with ultramodern smooth mirrored walls and metal structures: it all depends on how much the postmodern architect has mastered the technique of working in “styles” and ” in manners. ” Now it is not considered shameful, but – on the contrary – the ability to work like this is encouraged.
4. Neo vernacular – a new appeal to local building traditions and their revival in modern building practice;
5. Adhocism – urban planning approach to place, contextualism in architecture. A concept that calls for the design to take into account, first of all, the real conditions of the area, specific circumstances, tastes of future consumers.
6. The concept of universal communication and connectivity of architecture; the concept of “double” and “multiple” coding. First of all, this concerns communicative “codes” (the ratio of personal professional and non-professional values and preferences) that arise, first of all, in communication between the customer and the artist (designer), between professionals of various levels and positions in the field of architectural and artistic (design) activities: architect – architect, architect – artist, architect – theoretician, architect – critic; architect – administrator; between professionals and amateurs, between ordinary consumers: spectator – spectator, host – guest, host – neighbor, within the neighboring community, and the like. Architecture to a large extent turns into a game (in meanings) – by the way, it is commercial in many respects.
7. “Metaphysical metaphor” – an appeal to the subtle inner meanings of the architectural form. Semantic openness is a cultural dialogue, an appeal to the sphere of content.
8. Postmodern space is a specific space treated as a play space. Spatial openness, connection and dialogue with the environment.
9. The specificity of the architectural image.
10. Function is highly valued, but not considered to be defining the image.
11. Form follows function less and less.
12. There is no need to identify the structure and real construction of the structure.
13. The latest materials are increasingly being interpreted as decor. Ornaments and decorations are welcome.
14. Historical forms are deliberately distorted.
15. Visual effects, romantic ambiguity are welcome. The importance of dialogue with the consumer is emphasized, links with the historical environment, “relevance” and contextualism are introduced into the circle of mandatory requirements.

Features of postmodern architecture (according to Alexander Vasilyevich Ryabushin):

1. Articulated plastic and “overcoming” the wall (membranes, structural grids, complex rhythms of concrete facades);
2. Geometrized sculpturality of volumes;
3. Use of various means – ways to exacerbate the effect;
4. Space interpreted as a call (closed courtyards, atriums);
5. Form is a sign (architecture semantisation). The iconic role subordinates the business function to itself;
6. Contextualism and architecture of the place. The conviction that only original architecture can be good is overcome;
7. Regionalism, historicism, radical eclecticism (historical styles were rethought to varying degrees);
8. Integration of different trends (“super-buildings”).

Main representatives:

1. Robert Venturi;
2. Michael Graves;
3. Charles Moore;
4. James Stirling;
5. Robert Stern;
6. Stanley Tigerman;
7. Peter Eisenman.

Main structures:

1. Projects of private houses of the firm “Venturi and Rauch”: Tucker House, Katonah, USA, Brant Johnson House, Weili, USA, 1977, (architect R. Venturi).
2. Franklin Court, – B. Franklin Memorial in Philadelphia, 1972-76 (R. Venturi, J. Rauch);
3. Portland Building – House of Public Utilities near Portland, 1979-82 (architect M. Graves);
4. Piazza l’Italia in New Orleans, 1976-1979 (architects C. Moore, W. Hersey);
5. Kresge College, University of California, Santa Cruz, 1972-74 (architects C. Moore, W. Turnbull);
6. Museum of Contemporary Art – art gallery in Stuttgart, Germany, 1977-1984 (architect J. Stirling);
7. Westchester House Residence, Armonk, New York, (architects R. Stern, J. Hegman, 1974-76);
8. Daisy House, Indiana, 1976-77 (architect S. Timerman);
9. House ІІІ for Robert Miller, Lakeville, 1971, (architect P. Eisenman);
10. House VI for the Franks, Washington, Connecticut, 1975 (architect P. Eisenman).

The fountain in Piazza d’Italia in New Orleans (USA) is a programmatic construction of postmodernism – one of the most ambitious works of Charles Moore, which received wide publicity. In 1977, this extremely sham work made a real sensation in the world of architecture. It seems that this particular building can serve as an example of the most aesthetic postmodern architecture. It was designed and built by order of representatives of the city’s Italian diaspora. In the applied design methodology, consciously and “cynically” (or, rather, openly), the following things personify “theatrical cunning” and “cheap chic” in the place presented: a decorative “iconographic” pool with the “boot” of Italy in it, ironic replicas of a giant order of the church of San Andrea Borromini, made with the use of stainless steel and the creation of “order attractions” – like fountains – “vetopes” [here – a specific and characteristic language game for postmodernism, – we top – from the English word “wet”], caricatured pasta and parodied with auto-ironic images – gushing or protruding tongue and the like. Until 1980, the Piazza Italia complex was supplemented – in accordance with the idea of Charles Moore – with the “Arch of Lafayette” (architect Hiard), installed at the end of the street named after the same figure during the American Revolutionary War. The narrow opening of the arch creates the impression of an increase in the Piazzi space, but this deliberately created illusion is leveled by the ironic construction of tectonics. Neon lighting, bright advertising colours, exaggerated details, in everything are the imprint of excess and parody. It seems that the architectural decoration, hanging on a huge podium in the form of a map of Italy, takes on the character of a toy model. The “unreality” of architecture, the taste of imitation and forgery are not hidden here. Neon lamps consistently follow the contours of pediments and cornices: Advertising props, behind which there is a longing for lost values. In a certain sense of the word, frivolous architecture seems to be displayed with its problematic and fake. Moore’s aesthetics easily plays the role of “seeming”, casually questioning the very foundations of architecture. The deliberate, pompous, insincere architectural form in postmodernism seems to be specially calibrated according to the laws of what it seems, “and not of what is.”