Postmodernism emerged as an architectural movement in the 1960s that rejected the functionalism and simplicity of modern architecture. It incorporated eclectic styles and references to historical elements. Key aspects included adding color, ornamentation, and references to classical orders to make buildings more human-scaled. Major postmodern architects like Robert Venturi, Philip Johnson, Charles Moore, and Michael Graves designed buildings that combined modern and historical elements in metaphorical and playful ways.

1. Contemporary World
Architecture
Lecture 10 – Postmodernism
Historicism, Eclecticism, Metaphorism, Straight Revivalism,
Neo–Vernacular

2. Postmodernism
• Postmodernity is generally used to describe the economic and/or cultural state or condition
of society which is said to exist after Modernity.
• Some schools of thought hold that modernity ended in the late 20th century, replaced by
post-modernity, while others would extend modernity to cover the developments denoted
by postmodernity.
• Postmodernism is an international architectural movement that emerged in the 1960s,
became prominent in the late 1970s and 80s, and remained a dominant force in the 1990s.
• Postmodernist movement is often seen as an American movement, starting in USA around
the 1960s–1970s and then spreading to Europe and the rest of the world.
• Architects explored Postmodern architecture which offered a blend of some pre-modern
elements, and deliberately sought to move away from rectilinear designs, towards more
eclectic styles.

3. Postmodernism
• The movement is considered as a reaction against the simplicity and functional
design approach of the modern architecture/international style.
• Rejection of strict rules set by the early modernists and seeks high spirits in the use of
building techniques, angles, and stylistic references.
• Postmodernism has its origins in the perceived failure of Modern Architecture; its
preoccupation with functionalism which failed to meet the human need for comfort both
for the body and for the eye. In response, postmodern architects sought to reintroduce
ornament, color, decoration and human scale to buildings. Thus, form is no longer to be
defined solely by its functional requirements or minimal appearance.
• Postmodern Architecture rejects the notion of “pure” or “perfect” form, instead it draws
from: all methods, materials, forms and colours available to architects.

4. Historicism
Schools of PostmodernArchitecture

5. Vanna Venturi House, Philadelphia,
1964, by Robert Venturi
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.
Robert Venturi
Historicismmeans using historicalarchitecturalvocabulariesin buildingdesigns

6. Vanna Venturi House
Many of the basic elements of the house are a reaction against standardModernist architecturalelements: the pitched
roof rather than flat roof, the emphasis on the central hearth and chimney, a closed ground floor "set firmly on the
ground" rather than the Modernist columns and glass walls which open up the ground floor. On the front elevationthe
broken pedimentor gable and a purely ornamentalappliquéarch reflect a rejection of Modernism. Thus the house is a
direct break from Modern architecture, designed in order to disrupt and contradictformal Modernist aesthetics.

7. Vanna Venturi House, by Robert Venturi, Philadelphia(1964)
VannaVenturi House, interiorimages

8. AT&T Headquarters(now the SONY Building) ,1984 , designed by
Philip Johnson& John Burgee
The AT&T buildingtransforms
the typical, modern skyscraper
into one that displaysa
relationshipbetween past and
present.
Instead of a buildingmade of
sleek glass and metal, this
buildingis predominantly
masonry (only 30% of the
outside is glass) and revives a
classical architectural
vocabulary.
Johnson & Burgee dividedthe
buildinginto three parts,
reminiscent of the three
elevationsof a Greek temple –
base, column and pediment.

9. AT&T Headquarters(now the SONY Building)
The entrance includes a massive
round arch, similarto a triumphal
arch or a Romanesque portal.
The top slopes down like a pediment, includinga space in the
middle known as an orbiculum (similar to the look of 18th century
dressers).

10. Eclecticism
Schools of PostmodernArchitecture

11. Eclecticism means assembling different classical architecturalstyles in one building
Oregon Building in Portland, 1980, by MichaelGraves
Portland Buildingby MichaelGraves, is one of the first major
postmodern buildings. Its design has been described as a rejection of
the Modernist principles establishedin the early 20th century. Graves'
design was selected in a large design competition, with Philip Johnson
as one of the three members of the selection committee.

12. Oregon Building in
Portland
The 15-storey
structure is dominated
by highly abstracted
classical elements –
includingcolumns,
pediments, and a
frieze-like decorative
band – all set amid a
grid of small square
windows. A teal-
coloured podium
encompasses the
entrance level, and
features a Classically-
styled sculpture of a
woman called
Portlandia,by artist
Raymond Kaskey,
above the front doors.

13. Oregon Building
in Portland

14. Swan Hotel & Dolphin Hotel, Disney World, Orlando,Florida, 1987-1990, Michael Graves
The theme for the design of the hotels
sprung right from its early conceptual
stages, where Graves developedan
entire story to create characters for
both the Swan and the Dolphinin a
magical tale that he thought could
potentially becomeDisney characters.

15. Swan Hotel & Dolphin Hotel, Disney World, Orlando,Florida, 1987-1990, Michael Graves
The exterior of
the buildings
are painted
peach and teal
and dotted
with small
windows along
its facades and
the large
murals of
plants and
waves.

16. Swan Hotel & Dolphin Hotel, Disney World, Orlando,Florida, 1987-1990, Michael Graves

17. Swan Hotel & Dolphin Hotel, Disney World, Orlando,Florida, 1987-1990, Michael Graves

18. Swan Hotel & Dolphin Hotels
An importantelement in both
hotelsis the integrationof
water.
There are two main fountains
on the exteriors and interiorsof
each hotel.

19. Swan Hotel & Dolphin Hotel, Disney World, Orlando,Florida, 1987-1990, Michael Graves
Having similardecorationof
the exterior, the interiorhas
more than 200 renderings
done by Graves himself, where
guests are likely to see one of
the architect's original works
along the walls in one of the
public main spaces or even in
their own rooms on the
headboards.

20. Team Disney – The Eisner Building, Florida, 1991, Michael Graves

21. Neue Staatsgallerie, Stuttgart, 1977 to 1984, James Sterling
Completed in 1984, Stirling’s design incorporatedthe sloping site
as part of an architecturalpromenade that moved the public
walkwaythrough the museum that embodiedthe transitionsof
the classical art of the Alte Staatsgallerieandthe modern art of
the Neue Staatsgallerieintoone seamless architecturalresponse.

22. Neue
Staatsgallerie
Throughoutthe
museum, both
on the interior
and exterior,
Stirling
implementeda
series of colors
as functional
identifiersthat
remain
consistent
throughout the
building.

23. Stirling’s design
stemmed from the idea
to combine the
traditional design
elements of Classical
19th Century museums
with modern,
complimentaryindustrial
materialsthat would
ultimatelyevoke the
timeless, yet ever-
evolvingessence of art
and architecture.
Neue Staatsgallerie

24. Neue Staatsgallerie
The main entrance has a
blue colored steel trellis
that attaches to the
travertine walls, and bright
pink and blue steel pipes
are used to denote where
circulationoccurs. This is
especiallythe case on the
public walkwaythat cuts
through the buildingwhile
traversing the sloping site.

25. Neue Staatsgallerie
The atrium also happensto be the one place in the museum that makes
the most references to the traditional 19th Century museum designs; there
are columns, gables, architraves,and designed stone facings that interact
with the public walkwaythat wraps around the circularatrium.

26. Neue Staatsgallerie

27. Neue Staatsgallerie

28. Metaphorism
Schools of PostmodernArchitecture

29. Metaphoric examples
Metaphorism means that the buildingform is metaphoricallyinspired
by the surroundingsincludinghuman beings, animals,plants, etc.

30. ExpoDach, Symbolic Construction, Expo2000, Hannover, 1999-2000, Roland Schneider,

31. La Tete au Carre - Nice, France

32. KazumasaYamashita Face House, Kyoto, 1974

33. Elephant Building - Bangkok, Thailand

34. Snail House - Sofia, Bulgaria

35. Piano and Violin-Shaped Building - Huainan, China

36. Porto Stone House - Fafe Mountains, Portugal

37. Straight Revivalism
Schools of PostmodernArchitecture

38. Piazza d'Italia, New Orleans, USA,
1978, designed by Charles Moore
Straight Revivalism means the revivalof Classical architecturalorders such as Greek, Roman, etc.
Post modernists looked into past architecture in order to learn from it. Classical designs such as pillars, arches, and domes
used in new, almost humorous ways. It favouredpersonal preferences and variety over objectivetruths and principles!

39. Piazza d'Italia
Both a memorial and a public
space, the piazza is a
manifestationof Moore's
ideasof an "inclusive"
architecture, which can
speak to and be enjoyed by
anyone.Moore's design,
however, immediately
attractedboth fans and
detractors, and many saw his
architecturalpopulismas
pure kitsch.

40. Piazza d'Italia
Colonnades,arches and a bell tower are arranged in a curving
formation arounda fountain. The layersof structures are brightly
colored, trimmed in neon and metallic,and ornamentedwith various
classical orders. The pavedsurface of the plaza is equally embellished
and textured. Light and shadows playacross the surface of the plaza,
and views through the variousopeningscreate a complexspatial
experience for visitorsmoving through the colonnades.Uplighting
and neon accents animatethe space at night.

41. Neo –Vernacular
Schools of PostmodernArchitecture

42. Hillingdon Civic
Center, London, UK,
1979
Neo –Vernacular means
borrowing elements of
vernacular architecture
and adding it to the
contemporary
architecture.
The neo-vernacular
design is generally
linked with the local
climatic conditionsand
materials of the region.

43. New Baris Village, Kharga, Egypt by Hassan Fathy
Hassan Fathy worked to create an
indigenousenvironmentat a minimal cost,
and in so doing to improve the economy
and the standard of living in rural areas.
Fathy utilized ancient design methods and
materials. He integrateda knowledge of the
rural Egyptian economic situationwith a
wide knowledge of ancient architectural
and town design techniques. He trained
local inhabitantsto make their own
materialsand build their own buildings.
Climaticconditions, publichealth
considerations,and ancient craft skillsalso
affected his design decisions. Based on the
structural massing of ancient buildings,
Fathy incorporateddense brick wallsand
traditional courtyardforms to provide
passive cooling.

44. New Baris Village, Kharga, Egypt by Hassan Fathy

45. New Baris Village, Kharga, Egypt by Hassan Fathy

46. El Gouna Golf Villas, Hurghada, Egypt. 1997, MichaelGraves
When visiting Egypt in the mid-1990s,
MichaelGraves and Studio Head Patrick
Burke were struck by the seemingly
uncontrolledproliferationof generic
hotelsthat could be anywhere in the
world, devoidof ties to local culture or
context.
They were also struck by Egyptianrural
vernaculararchitecture built of local brick
and stucco, with vaultsand domes and
other buildingforms that could be used
to create a distinctiveand culturally
stimulatinghospitalityenvironment.
What ensued was a series of projects that
all drew on the region's vernacular
traditions,includingthe MiramarHotel,
the Steigenberger Golf Hotel, a golf
clubhouse and a series of privategolf
villassited on the Red Sea in El Gouna,

47. El Gouna Golf Villas

48. El Gouna Golf Villas

49. El Gouna Golf Villas

50. Sheraton Miramar, Elgouna,Egypt, 1997, Michael Graves

51. Sheraton Miramar

52. Sheraton Miramar

53. Sheraton Miramar

54. Ceramic House - Columbia

55. Great Mosque of Djenne - Mali

56. Modernism Vs Postmodernism

57. Modernist architectsmay regard postmodern buildings
as vulgar
Postmodern architectsmay regard many modern
buildingsas soulless and bland
Modernism Vs Postmodernism

58. Flat Roofs Gable Roofs
Modernism Vs Postmodernism

59. No colors used Colorscome back to the facade
Modernism Vs Postmodernism

60. Postmodernist building were a stack of varied
design elements for a single vocabulary from
ground level to the top, ("wedding cake" design).
Modernist high-rise buildingshad become
monolithic.
Modernism Vs Postmodernism

61. Double Coding Single Coding
Modernism Vs Postmodernism

62. See this documentary:
Michael Graves: Past As Prologue
https://www.youtube.com/watch?v=qW_MQ3vIZdA