By Charles Jencks
Within the tale of Post-Modernism, Charles Jencks, the authority on Post-Modern structure and tradition, presents the defining account of Post-Modern structure from its earliest roots within the early 60s to the current day. by way of breaking the narrative into seven certain chapters, that are either chronological and overlapping, Jencks charts the ebb and move of the circulation, the peaks and troughs of other rules and themes.
- The publication is very visible. in addition to delivering a chronological account of the stream, every one bankruptcy additionally has a different function at the significant works of a given period.
- the 1st updated narrative of Post-Modern structure - different significant books at the topic have been written two decades ago.
- An obtainable narrative that may entice scholars who're new to the topic, in addition to those that can take note its heyday within the 70s and 80s.
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Extra resources for The Story of Post-Modernism Five Decades of the Ironic, Iconic and Critical in Architecture, 2nd edition
Walter Gropius, Pan Am Building, Park Avenue, 1958, blocks the view down Park Avenue. In the most congested area of the city this commercial pastiche of a Le Corbusier project advertises Pan Am – the gravestone of social responsibility. By now the three most visible icons of Modernism in America symbolised three of the most powerful monopolies – for Soap, Whisky and Flying. Forget about social responsibility, but what about functionalism and cost, the other underpinnings of the Modern Movement?
During this period the exiles from the Nazis, the philosopher Karl Popper and his ally Ernst Gombrich, wrote many critiques of the zeitgeist and argued that although there is no such thing as historical inevitability, there most certainly is a ‘logic of the situation and climate of opinion’, and morality consists in resisting those pressures when they are socially negative. In architecture this syndrome became the alliance of mass production with mass urban renewal, cheap housing and overcrowding.
S/he could say Modernism dominated in 1950 not because reason had anything to do with it, but because it carried a momentary charge. If it was not Modern Art's Shock of the New, then at least it was the related Virility of the Unusual. The expressive rarity of the style, at this conservative point in the Eisenhower years, explains why Phyllis Lambert persuaded her father and the Seagram Corporation to commission Mies' dark manly bronze tower for 53rd Street. Also why they asked Philip Johnson (latterly of the Museum of Modern Art (MoMA)), to design its Four Seasons Restaurant.
The Story of Post-Modernism Five Decades of the Ironic, Iconic and Critical in Architecture, 2nd edition by Charles Jencks