Design and Postmodernism. Reading – B.A. Robert Venturi Learning from Las Vegas: the forgotten symbolism of architectural form. 1972. CCS Tutorials. 10.00am 11.00am First Year Studio This week: Groups 3 and 4 Marks correlate directly with seminar attendance.
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Design:Raizman, D. A history of modern design. Graphics and products since the industrial revolution. London: Laurence King Publishing Ltd; 2004, pp353-62. (See also: Chapter 14)Woodham, J. M. Twentieth Century Design. Oxford: Oxford University Press; 1997, pp183-203.
Honour H, Fleming J. A World History of Art. 7th ed. London: Laurence King Publishing; Edition, 2005.
N.B. Search Index on Postmodernism and ‘Modernism and Postmodernism’.
Culture Fix: Postmodernism (videocassette).
London: BBC; 2001.
To begin the In its simplest form postmodernism is most clearly understood in terms of its rejection of the values, forms and theories associated with Modernism or Modernity
"Every object in the world can pass from a closed, silent existence to an oral state"Barthes, R., Mythologies, New York, Hill and Wang, 1998, p.109"We shall therefore take language, discourse, speech etc., to mean any significant unit or synthesis, whether verbal or visual: a photograph will be a kind of speech for us in the same way as a newspaper article; even objects will become speech"Ibid., p.109
Complexity and Contradiction in Architecture. 1966
Learning from Las Vegas. 1972
“Architecture 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 clean, distorted rather than straightforward, ambiguous rather than articulated, perverse as well as impersonal, boring as well as interesting, conventional rather than designed, accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear. I am for messy vitality over obvious unity” Complexity and Contradiction in Architecture. 1966
“there are the puritanically moral language of orthodox Modern architecture. I like elements which are didactic images more important than the images of recreation for us to take home to New Jersey or Iowa: one is the Avis with the Venus: another Jack Benny under a classical pediment with Shell Oil beside him...These show the vitality that may be achieved by an architecture of inclusion, or, by contrast the deadness that results from too great a preoccupation with tastefulness and total designLearning from Las Vegas. 1972
“Memphis. The new Made in Italy, which draws from global culture, from real time, from computers and television by satellite. Thus, Sottsass and his associates have shown us the way out of the cul-de-sac of the Bauhaus”
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