People often think about architecture in terms of ancient structures. They see the Roman Coliseum, Notre Dame, or British Parliament and think of great architecture. These styles are loosely incorporated in the postmodern world of a commercial architect. Architecture today is meant to subtly revere history in a simplistic design.
The postmodern era in architecture defines new building styles that began after the 1970s through today. Postmodern architecture is often described as neo-eclectic. These means commercial buildings represent a loosely interpreted revival of historical styles. While there is a mixture of historical styles, neo-eclectic buildings are built with modern construction techniques.
In terms of commercial buildings, postmodernism shows an escape from the confines of the anonymous glass box of the International style. Modernism’s mantra was less is more. Postmodern architecture argues that less is bore.
The argument against modernism has led to an interminable variety of forms and sleek, asymmetrical designs for commercial buildings. Postmodernism is a big allusion to the past with multiple associations and meanings. In part, it is a rejection of modernist thought and a return to traditional, historical precedents. This has led to a re-awakened interest in history and heritage.
The urbanism and historic preservation movement helps promote postmodern designs in architectural thought. There are critics of postmodern architecture. Historical features are widely exaggerated and critics argue that commercial architects do not really try to replicate historical styles.
Criticism of postmodern implies the style actually makes fun of the past using a wide variety of historic forms. They say commercial architects simplify and mix the historic forms into an unorganized and illogical jumble of buildings.
Supporters of postmodern architecture disagree with that assessment. They enjoy the trend away from strict functionalism. There is a balance between the sleek and technical look of modern architecture with the wide variety of historical forms that can be applied to a post modern design.
In residential architecture with postmodern style, there is still a neo-eclectic quality. There are a variety of neo styles that represent a second or third round of revivals. This can include neo-Victorian, neo-mansard, and neo-craftsman. Neo-colonial is the most popular of the residential postmodern styles.
There are many examples of postmodern style in commercial buildings. In Flagstaff, Arizona, the County Administration Building was built in 2000. The old courthouse was built with a Romanesque Revival style. The new courthouse style has elements of that style, giving a nod to the old courthouse and its history.
In Durango, Colorado, there is a mixed use retail and office building with postmodern style. There was a diverse use of surface materials used for the building, including plate glass and set- back floors. The oddly jutting and asymmetrical design shows distaste for an ordinary boxy building. This fits the purpose of the building – mixed use.
The Fifth Third Bank in Cleveland, Ohio is a postmodern interpretation of classical architecture. The building has columns that are simpler than in the classical era. The columns are plated in gold, representing an appropriate grandeur symbol.
The most eclectic use of postmodern style is seen in Los Angeles, California. The Walt Disney Concert Hall, built in 2003, is deconstructive architecture. Visually, the building looks torn into pieces into a collection of grand fragments. Also in L.A., the Caltrans District 7 Headquarters shows abstract designs and geometries that only work with the postmodern style.
The postmodern style is a combination of two trains of thought. First, a reverence to history and the progress of the human race. Second, a need and desire to stand out on our own in a postmodern world. Commercial architects do not simply copy historical styles. There are no Roman Coliseums in the middle of America. Yet there is respect and allusion to previous times.
[ad_2]Source by J Ahmann
