Relationship To Previous Styles
New trends became evident in the last quarter of the 20th century as some architects started to turn away from modern Functionalism which they viewed as boring, and which some of the public considered unwelcoming and even unpleasant. These architects turned towards the past, quoting past aspects of various buildings and melding them together (even sometimes in an inharmonious manner) to create a new means of designing buildings. A vivid example of this new approach was that Postmodernism saw the comeback of columns and other elements of premodern designs, sometimes adapting classical Greek and Roman examples (but not simply recreating them, as was done in neoclassical architecture). In Modernism, the traditional column (as a design feature) was treated as a cylindrical pipe form, replaced by other technological means such as cantilevers, or masked completely by curtain wall façades. The revival of the column was an aesthetic, rather than a technological, necessity. Modernist high-rise buildings had become in most instances monolithic, rejecting the concept of a stack of varied design elements for a single vocabulary from ground level to the top, in the most extreme cases even using a constant "footprint" (with no tapering or "wedding cake" design), with the building sometimes even suggesting the possibility of a single metallic extrusion directly from the ground, mostly by eliminating visual horizontal elements—this was seen most strictly in Minoru Yamasaki's World Trade Center buildings.
Another return was that of the “wit, ornament and reference” seen in older buildings in terra cotta decorative façades and bronze or stainless steel embellishments of the Beaux-Arts and Art Deco periods. In Postmodern structures this was often achieved by placing contradictory quotes of previous building styles alongside each other, and even incorporating furniture stylistic references at a huge scale.
Contextualism, a trend in thinking in the later parts of 20th century, influences the ideologies of the postmodern movement in general. Contextualism is centered on the belief that all knowledge is “context-sensitive”. This idea was even taken further to say that knowledge cannot be understood without considering its context. While noteworthy examples of modern architecture responded both subtly and directly to their physical context (analyzed by Thomas Schumacher in "Contextualism: Urban Ideals and Deformations," and by Colin Rowe and Fred Koetter in Collage City), postmodern architecture often addressed the context in terms of the materials, forms and details of the buildings around it—the cultural context. The term "Contextualism" itself is an amalgamation of the words "context" and "texture".
Read more about this topic: Postmodern Architecture
Famous quotes containing the words relationship to, relationship, previous and/or styles:
“Whatever may be our just grievances in the southern states, it is fitting that we acknowledge that, considering their poverty and past relationship to the Negro race, they have done remarkably well for the cause of education among us. That the whole South should commit itself to the principle that the colored people have a right to be educated is an immense acquisition to the cause of popular education.”
—Fannie Barrier Williams (1855–1944)
“Some [adolescent] girls are depressed because they have lost their warm, open relationship with their parents. They have loved and been loved by people whom they now must betray to fit into peer culture. Furthermore, they are discouraged by peers from expressing sadness at the loss of family relationships—even to say they are sad is to admit weakness and dependency.”
—Mary Pipher (20th century)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“There are only two styles of portrait painting; the serious and the smirk.”
—Charles Dickens (1812–1870)