Postmodernism in Australia and Worlds Architecture - Essay Example

Student’s Name Professor’s Name Subject Code and Name Date Submitted Postmodernism in Australia and World’s Architecture Abstract Postmodern architecture has its roots in Robert Venturi’s book Complexity and Contradiction in Architecture of 1966 and Charles Jencks influential publication The Language of Postmodern Architecture (1977). The inherent principles in postmodernism are simplicity and history. However, Bertens point out that corporate characterized post modernism in the third phase that led to it losing its core values and become susceptible to overproduction and inflation. Ironically, Jencks had also mentioned that avarice and corporate influence led to the demise of modernism. The development of architecture in Australia has been relatively at par with other countries of the world since the modern era of architecture; architects such as Peter Corrigan were introducing the concepts of postmodernism in Melbourne as early as 1970s, in addition, the Sydney Opera house which is considered postmodern by many was actually designed in the late fifties and accepted by a panel of prominent judges. Furthermore, Ashton Raggat McDougall (ARD) Firm was established in the mid eighties with the ethos of postmodernism and went ahead to design buildings all over Australia. Postmodernism was received by mixed reactions in Australia; 1) some conservatives were against ARD designs but most of their buildings received worldwide accolades and two of them even made it to postage stamp, 2) some of the leading architects such as Seinder openly rejected it, 3) while buildings characterized by postmodernism were being built in cities such as Melbourne and Sidney. Ironically, Horizon apartment which was designed by Seinder is seen to have many postmodernism elements. The presence of brilliant architectural buildings such as Sydney Opera House, Rule Steel House and Melbourne Shopping Centre is a testament to Australian brilliance in postmodern day architecture. If Sydney Opera House is postmodern architecture, as is regarded by many, then, Australia is supposed to be a pioneer in postmodern architecture. Fig 1: Postmodernism: Melbourne shopping centre. Source (www.melbourne.world-guides) Introduction Architecture is a concept frozen in time. As long as it will not be destroyed architecture is a permanent existence (Tay, 85). It can be used as an indicator of identity. Brian McHale describes post modernism as being characterized by reality or ontological issues while modernism is characterized by issues pertaining to nature and limits of knowledge (cited by Theoretical modernism, 1). Postmodern architecture is characterized by buildings in the 1960s and beyond as per Venturi who claims that modern architecture became boring because of single mindedness and inconsideration to history (Sydney architect, par.1; Karl, 56). Architecture did develop over the decades; it therefore makes sense if postmodern architecture is considered in context to the history of architecture. This is because postmodern is a relational term that depends highly on the user’s understanding and characteristics of modernism (Quek, 135). This essay will therefore look at the history of architecture; it will focus on the history in relation to Australia and postmodernism. Pre-postmodern era at a glance According to Johnson, Australia had quite a few architects and architectural traditions towards the end of 19th century. Foreign architects such as Hanner, Hennessey and Dods dominated the architecture scene in Australia in the early years of the 20th century (Johnson 8-16). During the first half of the 20th century, functionalism was widely regarded as the main guiding principle of western modernist architecture. Functionalism or modernism brought about change in aesthetic paradigm and introduced a new way of handling materials and processes (Tay, 85). The economy of Australia was doing very well at this time (early 20th century) and this proliferated modern architecture in Australia as Australia was able to outsource talented architects such as Griffin and Wilkinson to build magnificent buildings in cities such as Melbourne and Sydney (Johnson 38-42). It was at this era that Canberra flourished. The bungalows also shaped this period in Australia; Melbourne architects Oakden and Ballantyne in 1908 ushered the modern bungalow to Australia. They created one bungalow for Harry Martin in Toorak and it is still hailed as one of the best bungalow designs ever to be conceptualized and actualized (Johnson, 57). The campaign to popularize bungalows resulted to corrupt commercial replicas popularized by America’s magazines; this took credit from authentic work of art. Architects were empowered in this period of internalization by receiving financial assistance such as Kemp memorial Medal, forming a journal Architecture to relay their information and scholarships such as the one received by Raymond McGrath who was a beneficiary of Wentworth Travelling Fellow in 1926 and Australians Medallion in 1928 (Johnson 88). This played out well as he became an expatriate in 1930s and was among the most sought after architect both in Australia and the world. Many other architects in Australia benefited from these scholarships including Barnerd, Costello, and Graham among others who proceeded to contribute significantly to architecture (Johnson, 90). The scholarships and communication improvement provided a foundation for growth of Australia’s architecture. Postmodern Architecture Charles Jencks is among the most notable theorists of postmodern architecture. He claims that the exact death of modern architecture was July 15th, 1972 at 3.32 pm or whereabouts when Pruitt-Igoe scheme in Missouri was flattened by dynamite (Malpas, 15). Tim woods in his book, Beginning Postmodernism, characterizes postmodernism as a celebration of spectacle, radical eclecticism, collage of historical styles, non-standard/irrational space and communicate meaning (Wood, 113-114). Buchanan (par. 1) contends that postmodernism is hard to define in plain terms, but reckons that the art emphasizes on fragmentation, a characteristic that modernism did not consider. Buchanan however criticizes postmodernism on the basis that it is flat and is concerned by surface and not substance (par. 3). Postmodern verses Modern Postmodern architecture rejects the notion of modernism that dwelt on functionalism and efficiency. Jencks notes that modern architecture failed when it became so financially minded that avarice architects would churn out billion dollar projects to be completed in two years; though the same system did finance postmodernism, but that was irrelevant to Jencks (Quek, 136). Jencks also claimed that not only had modern architecture run its course but it also had lacked communication as it did not treat architecture as a language. The modern architecture failed to relate to the public while post modern was meant to communicate on two levels basis as they have reference to history and irony (Quek, 136-137). In 1961, Jane Jacobs had criticized modern architecture for failing to design livable and safe environments. Many other populist architects actually criticized modern architecture from the sixties to eighties claiming that it was bureaucratic, paternalistic and undemocratic. Another pioneer to postmodernism was the American, Robert Venturi who had always wanted to be an architect. He obtained both his masters and undergraduate degree from Princeton University. He practiced architecture under different firms for a while before opening his own firm in Philadelphia and teaching Pennsylvania University (Karl, 56). He began to question blandness or modernism in American cities in 1950s that lead him to publish his book Complexity and Contradiction in Architecture in 1966. Venturi rejected the ‘universal’ notion of modern architecture and claimed that architecture needed to be historical and regional (Wood, 97). Carren reports that Venturi believed that the modern architecture was out of touch with reality and believed that middle class Americans wanted homes that are nostalgic to their past (cited by Karl, 57). During the 1970s, Venturi builds a number of small houses that did not receive much recognition but he was proud of their simplicity and claimed that they were houses that actually looked like houses. In 1975, he and his firm were hired to rehabilitate a shopping mall in Texas. They reconstructed the original canopied walkway and carefully selected the color scheme; these helped an ailing neighborhood to reclaim their former glory. The principle of history and fancy finishing inculcated by Venturi came to shape postmodernism as we know it in the eighties and beyond (Karl 58-60). Postmodernism introduces the history into the building, regional forms and materials (Sydney architect, par 5; Malpas, 15). Example is Charles Moore’s, Piazza d Italia in New Orleans that integrates Italian history and culture by parodying the geographical shape of the country and the Trevi fountain transcoding their culture into neon and steel (Malpas, 15). It utilizes the common features of obelisks, columns, pyramids, unorthodox shapes on roof lines and a mix of glass and stone on the facade (Sydney architect, par 5). Postmodernism is a pluralistic approach in which buildings return to history (Benson, par 2). It was advanced and developed by architects like Robert Venturi of America, Charles Jencks, Aldo Rossi, Stirling, Robert Krier and Michael Graves (Quek, 137; Benson, Par 1; Karl 57). Modernism demands for extensive use of glass which is ignored in postmodern buildings. The decorative components used in post modern buildings include pastel colors are almost always applied extensively (Sydney architect, par2). Unlike the case in modernism, late twentieth century postmodernism movement in Australia did not show a striking difference from the movements in Europe and America (Sydney architect, par 3) Bertens notes that the first phase of postmodern architecture from 1960 to 1972 was a reaction to the destruction of a historic city by modern architecture. According to Bertens, Venturi showed how architects such as Borromini and Lutyens had resolved contradictory stand points leading to buildings with wit, resolve, surprise and ambiguity (Bertens, 123). The second phase of postmodernism from 1972 to 1978 was pluralist where a variety of styles ranging from ad hoc methods as applied by Kroll to extreme eclecticism of Stirling James. The third phase 1978 to 1985 saw postmodernism go into corporate public and professional (Bertens, 124). It is at this stage of postmodernism as Bertens explains that the successes of postmodernism were generating problems. This is because avarice, inflation and overproduction set in. Bertens even claim that James Stirling did the conceptual sketch of Stuttgart at the back of his plane ticket (Bertens, 125). IBA in Berlin is one of the landmarks that mark this phase of postmodernism. Fourth stage of postmodernism started in 1985 to date and it concern itself with the developments from the third stage for instance, large offices are now broken down into small blocks expressed in numerous articulations (Bertens 126). Jencks claims that postmodern is taking over from modernism chronologically while Lyotard sees a more complex relationship between modern and postmodern as postmodern architecture follows the precedence set by modern architecture and in a way it just develops it (Bertens, 388). Reactions to Postmodernism: Australia and beyond Quek contends that American postmodernism had aspects of avant-garde as it had not become an overstretched Endeavour as it were in Europe. This is significant because the trend of modernity was seen as internationalist with the 19th century growth of Paris, early 1900s growth of Moscow and the 1940s growth of New York (Quek, 139). Woods comments that Stirling Stuttgart State Gallery is a very good example of postmodern building as the building is dotted with former architectural historical styles such as ‘traces’, ‘Romanesque arches’ as desired by Venturi, blue stone and concrete color scheme, ‘Jokes’ played in the building like stones blocks pushed out in the car park grass to form holes resembling an eighteenth century ‘ruin’ and yet on a closer look the pushed stones actually serve the purpose of ventilation (Wood, 113-144). Fig 2: Stirling Stuttgart State Gallery, ‘perfect example of postmodernism.’ Source (inmagine.com) Postmodern architecture was received with much zeal in the seventies and eighties but its reception worldwide went down because of its obscure characteristics (Klimball Par 1). He then states that there can be no definite answers on success or failures of any architecture practice in history as they were successful in their time; and that is why they were adopted(Klimball, Par 22). But postmodernism has also had its critics; Fredric Jameson claims that it is a manifestation of consumer capitalism. He gives an example of Bonaventure Hotel in Los Angeles with its huge reflective glass skin as an attempt to dissociate itself from the city. Jameson argues that postmodern architecture functions aesthetically to undermine urban space (Woods, 94-95). Furthermore, critics of postmodern architecture argued that there was nothing new postmodernism was bringing in as the two strains visionary celebratory strain and anarchic desperate strain were already in existence during modernism (Quek, 138). Jurgen Harbermas blamed Postmodernism for obscuring conservative attitude under a seemingly progressive mask; for him postmodernist were in nice and pleasant but socially irrelevant formal games. Kenneth Frampton has criticized postmodern tendencies as being superficial and just for aesthetics. And finally, Dianne Ghirrardo blamed postmodernist for being focused on issues of appearance instead on focusing on the harder and important issues of structure, land development and building. It is the ideas of postmodernism that Peter Corrigan introduced to Melbourne Australia in the 1970s. In fact Peter Corrigan has contributed to Australian architecture for decades both in his writings and practice in his over three decade in the industry (Architecture Australia, par. 1). Although he did not completely ascribe to Jencks theories, he reassesses by imagery Australia’s society and the Australians everyday people in suburbs and towns through his work (Architecture Australia, par. 11). As it has already been pointed out, history is an important aspect in postmodern architecture. Australia culture of architecture has been consistent and stable since around 1900(Architecture Australia, par. 1). Peter Corrigan version of postmodern architecture expressed a myriad of historical and cultural aspects that were expressed internationally as exemplified by Athan’s house designed in 1987, which stands secluded in semi rural site beyond Melbourne fringe (Evans, 3). Mrs. Athan had described earlier Corrigan work as ‘international postmodern’ (Evans 6) Fig 3: Athan’s House by Corrigan, a part castle from the driveway approach (source, Evans p. 4) The work of Ashton Raggat McDougall (ARM) National Museum in Canberra is equivalent to dance music according to Rattenberry, Beven and Long (2001), they describe the work of this brilliant Australian architect firm as “sampling the work of other architects that is both infectious and puzzling.” Ashton Raggat McDougall Firm is based in Melbourne and was formed in 1986 by partners Stephen Ashton, Howard Raggat and Ian McDougall. They have been driving Australian architecture since its formation on ideas (postmodernism) instead of the pragmatic or poetic response to landscape. They work in all ranges from education, housing to commercial but it is their cultural edge that has made them renowned worldwide (Rattenberry, Beven & Long, 2001). An example of their postmodern work is the refurbish and extension to Storey Hall at RMIT university of Melbourne where it was transformed to a structure similar to a green chameleon converting a neoclassical building to a gallery and auditorium informed by computer based models (Rattenberry, Beven & Long, 2001). There scheme for saint Kilda Library Melbourne 1993, creates a façade in form of a large stone book complete with leaves, this is described by Rattenberry, Beven and Long as “Postmodernism writ large” (2001). Despite the outrageous designs and jokes, the Australians have taken the practice of ARM to heart, albeit the conservatives are not impressed by their outspokenness. As a testimony of their acceptance, two of their schemes have been made into postage stamps (Rattenberry, Beven & Long, 2001) Another Australian architect Darryl Jackson notes that “if the ‘stranger’ of modernity was here awaiting temporary solution, the ‘stranger’ of postmodern society is here to stay therefore the important question is not how to do away with it but rather how to live with and handle the differences” ( Jackson& Passarelli, 16). Nationalism in Australia’s architecture was best documented by the works of Robin Boyd who championed the suburban vision of Australia; since 1950s Australians architecture had been hovering between image of Sydney Opera House and works of Glen Murcutt (Queck, 148). Fig 4: Sydney Opera House. Source (sidneyachitecture.com) One of Australia well known architects the late Harry Siedler, a modern architect did not like the idea of postmodern architecture. In his book he claims that modern architecture is in evolution and maintains a conviction that it is in effective continuity (Klimball, 13). It is also reported by Hogben that Siedler criticized the journal Architecture Australia that had surveyed buildings in Melbourne and Sydney by claiming that ‘the journal is childish and aims at aping fashionable imported tendencies’ (Hogben, 162). This implies that postmodern architecture was met by mixed signals in Australia as some such as Siedler were opposing it viciously while buildings were being constructed meaning that the style was being approved by some quarters too. Recognizable imagery and visibility are among the characteristics of postmodern architecture; the potential of this physical imagery can be seen in the effect that Sydney Opera House had on advertising Sydney and Australia to the world (SOH, par 1). The building is a UNESCO world heritage listed and was designed by Danish architect John Utzon in 1957(SOH, par 2), long before the debates of postmodernism started. Its construction started in 1964 after modification to the design by Utzon and was officially opened by Queen Elizabeth in 1973 (SOH par 3-4). In 1965, liberal government were elected and the then minister of works Davis Hughes questioned Utzon’s estimates and costs and proceeded to stop his payment forcing him to resign in 1966. This prompted protests from people including Australia’s leading architect Seidner (SOH par 7-8). It should be noted that Seidner was a vocal anti postmodernism. Fig 5: Chiefly tower Source (Sydneyarchitecture.com) Chifley Tower is an example of postmodern building in Australia that was designed by Kohn Pederson architects of the USA. According to Louise, the design principal at Kohn Pederson, the building was conceptualized from a collage of forms, with each form relating to the texture of its surroundings (Louise, 1). It is among the timeless pieces of architecture in the world according to Louise. Another postmodern building in Sydney is Horizon Apartments. This is controversial as the main architect is Harry Siedler and associates; note that Harry Siedler was a vocal opponent of postmodernism. The building is designed to gain the widest sweep at the harbors outlook. Living areas in the first six floors are at the centre so that their outlook is not obstructed by the adjacent lower townhouse garden apartment building (AIA, par 1). This shows that the late Seidner was moving towards postmodernism as the great American architect Philip Johnson had done. Philip Johnson mentored some of the ubiquitous names in architecture today including Michael Graves and Robert Stern. He surprisingly converted to postmodernism after laying foundations and defending modernism in the fifties. Rattenburry, Beven & Long (2013) claim that his postmodernism work have not been critically acclaimed and give the example of his Pittsburg Plate Glass headquarter in Pennsylvania as a malnourished version of London Parliament House, though they cannot ignore the brilliance of AT&T and his immense contributions to contemporary architecture. Fig 6: Plan for horizon towers. Source (Seidner.net.au) Conclusions Walter Griffin is an American architect who lived and performed his art in America, Australia and India. Johnson claims that immigration has been very successful in provoking change as Australia is not the only country to be gratefully influenced by foreign architects. There are numerous examples for this including Richardson influence on Europe, and German Groupies influence to England and then Harvard (Johnson, 4). There are a number of postmodern buildings in design in Australia made by exemplary Australian architects and others like Chifley Tower made by foreign architects. Australia was somehow lagging behind in pre modernism and modernism, probably because of inadequate expertise but it is definitely at par with other countries in the forth stage of postmodernism. It is fair to conclude that Australia’s postmodernism era was moving in the same pace as the pioneers countries of postmodernism such as America because as early as 1957, the Australians were working on a postmodern masterpiece Sidney Opera House before even postmodernism had picked in 1970s. Architects like Peter Corrigan had embraced postmodernism and was introducing the ideas in Melbourne when it was developing up in the world during the seventies while ARM firm was formed in the mid eighties with the principles of postmodernism in tact. All in all, postmodernism is accepted in Australia as attested by the plethora of postmodern buildings in Sydney, Melbourne and Canberra though there has been some resistance, most notably from the late Seidner and other conservationists. As a matter of fact, if Sydney Opera House qualifies as postmodern architecture, as is regarded by many, then, Australia is supposed to be a pioneer in postmodern architecture. Works cited AIA. Horizon Apartments. Australian institute of architects. 2011 Web. Viewed 25 May 2011 Australia architecture. Raia Gold Medallist 2003 Peter Corrigan: Life through Architecture. March April 2003. Web. Viewed 29 May 29, 2011. Benson, Robert. Postmodern Architecture.2011 Web. 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Oshkoshscholar vol 3 2008 pp55-68 Web. Viewed 25 May 2011 Kimball, Roger Death And Resurrection Of Postmodern Architecture. 1988. web viewed 25 May 2011 Malpas, Simon. The postmodern. Routledge. 2005 Web. Viewed 28 May 2011 Quek, Raymond. Situating the postmodern: The delay of the architectural avant-garde beyond the Western world. University of Nottingham 2007 vol 22 no 1 Rattenberry, Kester., Beven, Robert. and Long Kieran. Architects Today. Lawrence King Publishing. 2004. Web viewed 31 May 2011 Siedler, Harry , Dobney Steven. Houses and Apartments. Images publishing 1997, Print. SOH. Sydney Opera House Architect. SOH. 2011. web Sydney Architecture. Post Modernism Sidney architecture.2011 Web. Viewed 25 May 2011 Tay, William. Ideology, Identity, and Architecture :Modernism, Postmodernism, and Antiquarianism in Taiwan Npb. Nd. web. Viewed 25 May 2011 Theoretical post modernism. Architectural postmodernism as an introduction to literary postmodernism. Npb. Nd. Web. Viewed 25 May 2011 Woods Tim. Beginning postmodernism. Manchester university press. Manchester 1999. web. Viewed 28 May 2011 Read More