The Architectural Review has recently published an article celebrating the 50th anniversary of Robert Venturi’s book, Complexity and Contradiction in Architecture, which is regarded as one of the most important writings about architecture since Le Corbusier’s Vers une Architecture. In the article, Martino Stierli—Chief Curator of Architecture and Design at the Museum of Modern Art—delves into the significance of Venturi’s work, the motivation behind it, its continuing impact, and more. Read the full article at the Architectural Review, here.
A new collection of five minute-long On Design stories—developed by the team behind Section D, Monocle 24's 24's weekly review of design, architecture and craft—profile a person, survey a place, or unpack an idea that’s changing or shaping design and architecture today. We've selected fourteen of our favorites from the ongoing series, examining issues as wide as Postmodernism and the architectural competition, to five-minute profiles of Alvaro Siza, Josef Hoffman, Kengo Kuma and Superstudio.
Though the Las Vegas Strip may be garish to some, with its borderline intrusive décor and “pseudo-historical” architecture, some professional architects, most notably Robert Venturi and Denise Scott-Brown, have become captivated by the “ornamental-symbolic elements” the buildings present. The two architects developed the curious design distinction between a “duck” and a “decorated shed”, depending on the building’s decorative form. In his essay for 99% Invisible, Lessons from Sin City: The Architecture of “Ducks” versus “Decorated Sheds”, Kurt Kohlstedt explores how the architects implemented their knowledge of ornamentation in their own works and began an architectural debate still ongoing today.
As a firm believer in the importance of making good design accessible to the public, Michael Graves (July 9, 1934 – March 12, 2015) produced an enormous body of work that included product design alongside his architecture. Graves brought Postmodernism to the public eye through his emphasis on ornament and aesthetics, and stood firmly behind his design philosophy even as it went out of vogue.
The city of Venice has been caught in a tug of war between progress and traditionalism for many years, and particularly since the construction of a railroad viaduct in 1846 linked the island city to the Italian mainland for the first time in its history. Over a century later, the Venetian government commissioned Louis Kahn to design a new Palazzo dei Congressi for the city; his proposal, while paying respect to the histories of both the Republic of Venice and a unified Italy, could not escape similar controversy.
Situated in a former industrial district in the southern Dutch city of Maastricht, it’s perhaps fitting that the Bonnefantenmuseum has often been called a “viewing factory.” The museum, with its ‘E’-shaped plan and distinctive domed tower, is one of the most prominent landmarks along the River Meuse that flows around the city center. Europe’s rich cultural history was a key impetus for architect Aldo Rossi’s design, which employed a number of historical architectural gestures to place the Bonnefantenmuseum within a collapsed European canon.
British architect and Pritzker Laureate Sir James Stirling (22 April 1926 – 25 June 1992) grew up in Liverpool, one of the two industrial powerhouses of the British North West, and began his career subverting the compositional and theoretical ideas behind the Modern Movement. Citing a wide-range of influences - from Colin Rowe, a forefather of Contextualism, to Le Corbusier, and from architects of the Italian Renaissance to the Russian Constructivist movement - Stirling forged a unique set of architectural beliefs that manifest themselves in his works. Indeed, his architecture, commonly described as "non-comformist", consistently caused annoyance in conventional circles.
Designed shortly before Zaha Hadid left the Office of Metropolitan Architecture (OMA)—led by Rem Koolhaas—to found her practice, Zaha Hadid Architects, the proposed extension for the Dutch Parliament firmly rejects the notion that imitation is the sincerest form of flattery. Rather than mimic the style of the existing historic buildings, OMA elected to pay tribute to the complex’s accretive construction by inserting a collection of visibly postmodern, geometric elements. These new buildings, unapologetic products of the late 1970s, would have served as unmistakable indicators of the passage of time, creating a graphic reminder of the Parliament’s long history.
The British Twentieth Century Society (C20) have announced a forthcoming conference in London on Postmodernism. Speakers including Sir Terry Farrell, Piers Gough and Charles Holland (Ordinary Architecture) will join Alan Powers, Emily Gee and Elain Harwood of Historic England to "raise the profile of Britain’s best Postmodernist buildings following concerns over proposed changes to leading examples of this much maligned style."
For nearly two millennia, European architecture was closely affiliated with and shaped by Christianity. Prior to the advent of Modernism, there was scarcely a style that was not promoted, or more likely defined, by the designs of churches. Such a hypothesis makes it difficult to imagine Medieval England outside the purview of Gothic Cathedrals, or Renaissance Italy as separate from its Basilicas. But with the Industrial Revolution and the economic and population growth that ensued, infrastructure and housing became the new symbols and necessities of cultural representation, finding their ultimate expression in the ease and simplicity of Modernism. The field of architecture, so long shaped and dominated by the church, had been subsumed by the changing concerns of a commercially driven society. Of course there were still churches being built, but the typology that once defined architecture in its ubiquity became novel and rare. Or so we’ve all been lead to believe.
Surprising as it might be, in the wake of World War II and under Soviet control, Poland built more churches than any other country in Europe. The majority were built in the 1980s, at a time when church construction was neither authorized nor forbidden, and as a result played a pronounced role in Cold War politics. The construction of these churches was a calculated affront to the proletariat-minded Modernism of the Soviets. In their project Architecture of the VII Day, Kuba Snopek, Iza Cichońska and Karolina Popera have sought to comprehensively document these Polish churches and the circumstances of their construction. Unique not only in how they defied the prefabrication and regularity of the Eastern Bloc, the churches were community-led endeavors that relied on local funding and input, long before these practices became buzzwords in 21st century architectural circles.
Venturi Scott-Brown’s National Gallery Sainsbury Wing extension (1991) was born into a precarious no-man’s land between the warring camps of neo-Modernists and traditionalists who had been tussling over the direction of Britain’s cities for much of the prior decade. The site of the extension had come to be one of the most symbolic battlefields in British architecture since a campaign to halt its redevelopment with a Hi-Tech scheme by Ahrends Burton Koralek had led to that project’s refusal at planning in 1984.
The Colossus of Rhodes, a thirty-metre high sculpture depicting the Greek Titan God Helios that once stood guard at the entrance to the city's harbour, may be realised once again. Standing for only 54 years until it was destroyed by an earthquake in 226BC, its position in the ranks of Seven Wonders of the Ancient World has become almost mythological. Plans to construct a new, much larger inhabitable statue—that will stand almost four times taller at 122 metres—have now been put in motion by a small collective of architects, engineers, and tourism agents.
According to one survey, images of the BEST Products Showroom in Houston, Texas, designed by SITE (Sculpture in the Environment), appeared in more books on 20th-century architecture than any other building. The intentionally crumbling brick at that Houston store, known as “Indeterminate Façade,” and the eight other showrooms SITE designed, were simultaneously iconic and controversial, and most importantly for BEST, they brought in customers. Although SITE-founder James Wines never considered himself a Postmodernist architect, his designs for BEST, completed between 1972 and 1984, steeped in whimsical social commentary, came to symbolize the essence of Postmodernism. Today, all but one of the BEST showrooms have been demolished or altered beyond recognition, but they set a lasting precedent, and continue to influence the use of architecture in corporate branding today.
If there’s one thing that can get the architectural community up in arms, it’s the threat of demolition being placed over a much-loved building. Whether it’s a 44-year-old bus station, a 38-year-old hospital, or even a 12-year-old art museum, few other news stories can raise such a sustained outcry. And recently, some have started to turn their eyes toward the next wave of preservation battles: the upcoming crop of Postmodern buildings which are increasingly being placed under threat. But in all of these heated debates about preservation, do people really know what they’re arguing for?
East of Paris, in Seine-Saint-Denis, sits a "Babel-like" housing estate. Its otherworldly atmosphere—existing somewhere between a 'new world' utopian dream and a postmodern, neoclassical housing estate—has set the scene for two Hollywood films including Brazil (1984) and, more recently, the upcoming second instalment of The Hunger Games: Mockingjay (2015). Parisian photographer Laurent Kronental's photo series, Souvenir d'un Futur (Memory of a Future), is an homage to the senior citizens of the French capital's Grand Ensemble region — not only in Noisy-le-Grand but across the Parisian banlieue. His photographs capture a number of places and their people which, in spite of their often megalomaniacal architectural settings, have been comparatively overlooked.
See Laurent Kronental's photo series—the result of four years of visits—after the break.
Robert Venturi's Vanna Venturi House is now for sale. According to reports on Curbed, the postmodern home could be yours for just $1.75 million! Said to be one of the top 10 buildings that "changed America," the house was originally designed and built by the Pritzker Prize laureate for his mother in 1964. The home's most recent owner, University of Pennsylvania professor Dr. Thomas P. Hughes passed away February, leaving the historic residence to his daughter who is now selling the home.
This article is part of ArchDaily Essentials, a series of articles which give you an overview of architecture's most important topics by connecting together some of our best articles from the past. To find out more about ArchDaily Essentials, click here; or discover all of our articles in the series here.
By the mid point of the twentieth century, the clean lines of the International Style and the stripped utilitarianism of functionalism were becoming increasingly common in American and European cities. Created out of a wholesale rethink of core modernist values, Postmodern architecture came as part of a philosophical shift that was just as all-encompassing as the Modernism it sought to replace; aiming to revive historical or traditional ideas and bring a more contextual approach to design. A critical elite who never really left modernism often condemned postmodernism as tacky, regressive or pandering to popular opinion; but after something of a resurgence of modernism in recent years, what’s the value of postmodernism to contemporary thinking?
In March of this year, two of the world’s great architects died in the same week. The coincidence was unusual not because of the similarities between these two men - the advanced stage of their careers, their age and relative success - but because of the marked differences. In the few days between their mutual passing, one of the two was awarded architecture’s highest medal, the Pritzker Prize. This year’s winner, Frei Otto, had been notified of his triumph in the months prior to his death. Someone you might call his alter ego – stylistically that is – the late, great Michael Graves, died shortly after the prize was awarded to Otto.
Otto was a leading light of a particular strain of European modernism, whose most lauded works were mainly completed in his youth; on the other side of the pond, Michael Graves ran a busy commercial practice with more than 350 completed buildings, but was reviled by some for his revisionist, classical style.