國(guó)外高校課件現(xiàn)代與后現(xiàn)代的碰撞

ContrastsofModernismandPost-modernismThe1960sintothe1970sKevinRoche,CollegeLifeInsuranceBuilding,1969.IndianapolisI.M.Pei,Boston,HancockTower,1969-73Late20thCenturyLouisKahnKimballArtMuseum1966-1972Kahndevelopedaseriesofbarrelvaultedgalleriesinaseriesofstructuralbays.ThedesignharkensbacktoRomantimes.Atthecenterofeachvault,Kahnusedaskylight/indirectlightfixturetoprovideagentleglowinthespace.Moveablewallsareusedontheinsidetodisplayvariouspiecesofart.KimballMuseum-InteriorKimballMuseum-exteriorMinoruYamasaki,NYC,WorldTradeCenter,1969-77;destroyed2001Venice,QueriniStampaliaFoundation,1961-63byCarloScarpaGardenfa?adeandgardenMODERNISTARCHITECTUREPOSTMODERNISTARCHITECTURE“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.Constructedusingover10,000

rectangularpanesofglassandcanhold2,900worshippers.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(漢斯·霍萊因)AustrianPost-Modernarchitect1934出生於奧地利利(Austria)的維也納(Vienna)1949~1953就讀於維也納納聯(lián)邦工藝學(xué)學(xué)院(Bundesgewerbeschule)的土木工程系系1956畢業(yè)於維也納納藝術(shù)學(xué)院（（AcademyofFineArts）的建築學(xué)院院1958~1959就讀美國(guó)芝加加哥伊利諾理理工學(xué)院（IllinoisInstituteofTechnology）的建築系1960於加州大學(xué)柏柏克萊分校完完成建築碩士士學(xué)位1967於德國(guó)，杜塞塞朵夫(Dusseldorf)的美術(shù)學(xué)院（（AcademyofFineArts）任教1976~1970於維也納主編編“Bau”雜誌1979任教於維也納納的應(yīng)用美術(shù)術(shù)學(xué)院（theAcademyofAppliedArts），並為康乃乃狄克州（Connecticut）新哈芬（NewHaven）的耶魯大學(xué)學(xué)（YaleUniversity）的客座教授授1985榮獲普立茲克克建築獎(jiǎng)（PritzkerPrize）Post-ModernismAustrianTravelBureauLocatedinVienna,Austria1978GainsinfluencefromthePiazzad’ItaliaFeaturesOrientalpavilionChessboardseatingareaPost-Modernism/Acads/Cities/wld/wcapts2.htmlSchullin珠寶店（奧地地利維也納））玻璃和陶瓷博博物館（德黑黑蘭,伊朗）Haas,1995現(xiàn)代藝術(shù)博物物館,德國(guó)法蘭克福福烏爾卡尼亞，，火山主題公公園和博物館館，法國(guó)，2002博物館的核心心是一個(gè)陷入入地下的圓錐錐體。錐體表表面飾以當(dāng)?shù)氐睾谏幕鹕缴綆r；內(nèi)側(cè)嵌嵌入金屬箔。。這一空間從從形式到內(nèi)外外材質(zhì)、再到到色彩的轉(zhuǎn)換換都給人以身身處熾熱火山山口的感覺。。博物館突出出反映了自然然力量的強(qiáng)大大和人與自然然的關(guān)系，意意在使人從中中得到啟示，，了解自然規(guī)規(guī)律。霍萊因?yàn)橹袊?guó)國(guó)國(guó)家大劇院院所做的設(shè)計(jì)計(jì)杰拉納里媒體體大廈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)Postmodernarchitecturetakesoldstyle