9. postmodern architecture & theatre
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Here is a power-point presentation about Postmodern architecture.TRANSCRIPT
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POSTMODERN ARCHITECTURE
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What could this space be?
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What could this space be?
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What could this space be?
Westin Bonaventure Hotel, Los Angeles
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
p. 39
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The Westin Bonaventure Hotel (1974–76), Los Angeles architect John Portman
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991) p. 39
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Hôtel Ritz Paris(15 Place Vendôme)
The Ritz London (150 Piccadilly)
Istanbul
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
pp. 39-40
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
pp. 41-2
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The Westin Bonaventure Hotel (1974–76), Los Angeles architect John Portman
Bonaventure Hotel seen from the platform of 444 South Flower St.
Downtown Los Angeles seen from South Figueroa St.
[right: Bonaventure Hotel 404 Figueroa St. entrance]
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The Westin Bonaventure Hotel as a ‘miniature city’ / ‘minicity’ = ‘a total space’ (Jameson 1991: 40)
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
p. 42
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Westin Bonaventure Hotel (1974–76), Los Angeles, architect John Portman
Westin Peachtree Plaza Hotel (1976), Atlanta, architect John Portman
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Postmodern architecture
• architect Charles Jencks’ semiotic view of postmodern architecture:1. its structural elements derive their meanings from their
relationships of similarity/contrast with other elements; 2. changing codes of interpretation, based on & reflecting the multiple
contexts in which any work of architecture is experience/‘read’;• deliberate exploration of the incompatibilities of style, form &
texture, the public & the domestic = complexity & contradiction;• fragmented space/experience;• architecture responsive to its urban context;• re-introduces ornamentation.
Sarup (1993: 169–72)
Modernist architecture
• < modernist faith in the rational; • < individual vision/expression; • novelty: aspect, materials & construction techniques; • unity of art, science & industry; • simplicity of form & impersonal, self-sufficient functionality = the exterior is the result of the interior
[‘form follows function’, rather than quoting early form]; • unity of intention & execution in a building.
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
p. 42
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Fredrick Jameson, Postmodernism or, The Cultural Logic of Late Capitalism (1991)
p. 42
Watch Prof. Edward Soja’s discussion of the postmodern city on BBC Two (early 1990s): http://www.youtube.com/watch?v=hhyQ0HES8mM
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What makes the Westin Bonaventure Hotel an example of postmodern architecture?
• postmodern architecture:1. its structural elements derive their meanings from their relationships of
similarity/contrast with other elements; 2. changing codes of interpretation, based on & reflecting the multiple contexts in
which any work of architecture is experience/‘read’;• deliberate exploration of the incompatibilities of style, form & texture, the public &
the domestic = complexity & contradiction;• fragmented space/experience;• architecture responsive to its urban context;• re-introduces ornamentation.
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What makes the Westin Bonaventure Hotel an example of postmodern architecture?
• postmodern architecture:1. its structural elements derive their meanings from their
relationships of similarity/contrast with other elements; 2. changing codes of interpretation, based on & reflecting
the multiple contexts in which any work of architecture is experience/‘read’;
• deliberate exploration of the incompatibilities of style, form & texture, the public & the domestic = complexity & contradiction;
• fragmented space/experience;• architecture responsive to its urban context;• re-introduces ornamentation.
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What makes the Hyatt Regency Hotel (1967/1971), Atlanta,architect John Portman,an example of postmodern architecture?
• postmodern architecture:1. its structural elements derive their meanings from
their relationships of similarity/contrast with other elements;
2. changing codes of interpretation, based on & reflecting the multiple contexts in which any work of architecture is experience/‘read’;
• deliberate exploration of the incompatibilities of style, form & texture, the public & the domestic = complexity & contradiction;
• architecture responsive to its urban context;• re-introduces ornamentation.
The all-glass cylinder addition (1971) served as a design precursor for Portman’s Westin Peachtree Hotel, Atlanta (1976)
The Blue Dome Restaurant, Hyatt (1967)
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This staircase of the Westin Bonaventure Hotel, LA, is essentially a spiral staircase. Is there more to it?
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Vatican museums spiral staircase
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Do the staircases of the Westin Bonaventure Hotel, LA, and of the abbey library in The Name of the Rose (1986; dir. Jean-Jacques Annaud) have anything in common?
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Do the staircases of the Westin Bonaventure Hotel, LA, and of the abbey library in The Name of the Rose (1986; dir. Jean-Jacques Annaud) have anything in common?
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Staircases of the Westin Bonaventure, the abbey library in The Name of the Rose (1986) and Piranesi’s Carceri (1749/50; 1761)
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Piranesi, Carceri, plate 14 (2nd ed. 1761)
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Piranesi, Carceri (2nd ed. 1761)
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The carceral in Rosencrantz and Guildenstern Are Dead (1990; written & dir. Tom Stoppard)
Hamlet: Denmark’s a prison. Rosencrantz. Then is the world one. Hamlet: A goodly one; in which there are many confines, wards and dungeons, Denmark being one o’ the worst.
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The carceral in Rosencrantz and Guildenstern Are Dead (1990; written & dir. Tom Stoppard)
Hamlet: Denmark’s a prison. Rosencrantz. Then is the world one. Hamlet: A goodly one; in which there are many confines, wards and dungeons, Denmark being one o’ the worst.
WHO SEES WHOM / WHAT ?
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The carceral in Rosencrantz and Guildenstern Are Dead (1990; written & dir. Tom Stoppard)
Hamlet: Denmark’s a prison.
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Piranesi, Carceri (2nd ed. 1761)
Rosencrantz and Guildenstern Are Dead (1990; written & dir.
Tom Stoppard)
WHO SEES WHOM / WHAT ?
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Rosencrantz and Guildenstern Are Dead (1990; written & dir. Tom Stoppard)WHO SEES WHOM / WHAT ?