Postmodern Architecture - Aims and Characteristics

Aims and Characteristics

The aims of Postmodernism, including solving the problems of Modernism, communicating meanings with ambiguity, and sensitivity for the building’s context, are surprisingly unified for a period of buildings designed by architects who largely never collaborated with each other. The aims do, however, leave room for various implementations as can be illustrated by the diverse buildings created during the movement.

The characteristics of postmodernism allow its aim to be expressed in diverse ways. These characteristics include the use of sculptural forms, ornaments, anthropomorphism and materials which perform trompe l'oeil. These physical characteristics are combined with conceptual characteristics of meaning. These characteristics of meaning include pluralism, double coding, flying buttresses and high ceilings, irony and paradox, and contextualism.

The sculptural forms, not necessarily organic, were created with much ardor. These can be seen in Hans Hollein’s Abteiberg Museum (1972–1982). The building is made up of several building units, all very different. Each building’s forms are nothing like the conforming rigid ones of Modernism. These forms are sculptural and are somewhat playful. These forms are not reduced to an absolute minimum; they are built and shaped for their own sake. The building units all fit together in a very organic way, which enhances the effect of the forms.

After many years of neglect, ornament returned. Frank Gehry’s Venice Beach house, built in 1986, is littered with small ornamental details that would have been considered excessive and needless in Modernism. The Venice Beach House has an assembly of circular logs which exist mostly for decoration. The logs on top do have a minor purpose of holding up the window covers. However, the mere fact that they could have been replaced with a practically invisible nail, makes their exaggerated existence largely ornamental. The ornament in Michael Graves' Portland Municipal Services Building ("Portland Building") (1980) is even more prominent. The two obtruding triangular forms are largely ornamental. They exist for aesthetic or their own purpose.

Postmodernism, with its sensitivity to the building’s context, did not exclude the needs of humans from the building. Carlo Scarpa's Brion Cemetery (1970–72) exemplifies this. The human requirements of a cemetery is that it possesses a solemn nature, yet it must not cause the visitor to become depressed. Scarpa’s cemetery achieves the solemn mood with the dull gray colors of the walls and neatly defined forms, but the bright green grass prevents this from being too overwhelming.

Postmodern buildings sometimes utilize trompe l'oeil, creating the illusion of space or depths where none actually exist, as has been done by painters since the Romans. The Portland Building (1980) has pillars represented on the side of the building that to some extent appear to be real, yet they are not.

The Hood Museum of Art (1981–1983) has a typical symmetrical façade which was at the time prevalent throughout Postmodern Buildings.

Robert Venturi’s Vanna Venturi House (1962–64) illustrates the Postmodernist aim of communicating a meaning and the characteristic of symbolism. The façade is, according to Venturi, a symbolic picture of a house, looking back to the 18th century. This is partly achieved through the use of symmetry and the arch over the entrance.

Perhaps the best example of irony in Postmodern buildings is Charles Moore’s Piazza d'Italia (1978). Moore quotes (architecturally) elements of Italian renaissance and Roman Antiquity. However, he does so with a twist. The irony comes when it is noted that the pillars are covered with steel. It is also paradoxical in the way he quotes Italian antiquity far away from the original in New Orleans.

Double coding meant the buildings convey many meanings simultaneously. The Sony Building in New York does this very well. The building is a tall skyscraper which brings with it connotations of very modern technology. Yet, the top contradicts this. The top section conveys elements of classical antiquity. This double coding is a prevalent trait of Postmodernism.

The characteristics of Postmodernism were rather unified given their diverse appearances. The most notable among their characteristics is their playfully extravagant forms and the humour of the meanings the buildings conveyed.