2. La Postmodernidad Americana 2016

8/17/2019 2. La Postmodernidad Americana 2016

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LA POSTMODERNIDAD AMERICANA ETSA – UNIVERSIDAD SAN JORGE (ZARAGOZA

CULTURA Y TEORÍA EN ARQUITECTURA V


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LA POSTMODERNIDAD AMERICANA

LOUIS KAHN Iglesia Unitaria 1959

ETSA – UNIVERSIDAD SAN JORGE (ZARAGOZA



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LOUIS KAHN Biblioteca




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LOUIS KAHN Laboratorios Richards 1957




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LOUIS KAHN DHAKA 1962-83




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ROBERT VENTURI Casa en la playa 1959




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ROBERT VENTURI COMPLEJIDAD YCONTRADICCIÓN EN ARQUITECTURA




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ROBERT VENTURI Casa Vana Venturi 1962




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ROBERT VENTURI Guild House 1961




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ROBERT VENTURI Exposición de productos 1967




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ROBERT VENTURI National Collage Hall 1967




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ROBERT VENTURI National Collage Hall 1967



(


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ROBERT VENTURILearning f rom Las Vegas 1977



ETSA UNIVERSIDAD SAN JORGE (ZARAGOZA


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DUCK: Cuando los sistemas arquitectónicos de espacio, estructura y programaquedan ahogados y distorsionados por una forma sistémica global, llamaremos patoa esta clase de edificio que se convierte en estructura en honor de The Long IslandDuckling drive-in en forma de pato.

DECORATED SHED: Cuando los sistemas de espacio y estructura estándirectamente al servicio del programa, y el ornamento se aplica con independenciade ellos, llamaremos a este tipo el “tinglado decorado” .



LA POSTMODERNIDAD AMERICANA ETSA UNIVERSIDAD SAN JORGE (ZARAGOZA


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ROBERT VENTURI





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ROBERT VENTURI Ampliación Galería Nac. 1985





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ROBERT VENTURI Museo niños Houston 1989





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ROBERT VENTURI Emergencias Florida 1992





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CHARLES MOORE Moore House II 1962





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CHARLES MOORE Moore House III 1963





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CHARLES MOORE Otus House 1963





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CHARLES MOORE Klotz House 1967





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CHARLES MOORE Kresge College 1967





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CHARLES MOORE Sea Ranch Condominium





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CHARLES MOOREWilliam College Art Museum 1977





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CHARLES MOOREWilliam College Art Museum 1977

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CHARLES MOORE Indiana Landing 1980

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CHARLES MOORE Indiana Landing 1980

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CHARLES MOORE Architectural Fantasies

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OS OD D D C

CHARLES MOORE Architectural Fantasies CULTURA Y TEORÍA EN ARQUITECTURA V



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CHARLES MOORE CULTURA Y TEORÍA EN ARQUITECTURA V



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ROBERT STERN CULTURA Y TEORÍA EN ARQUITECTURA V



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ROBERT STERN

LOS 8 INVARIANTES DE LA ARQUITECTURA POSTMODERNA AMERICANA Whites: Peter Eisneman, Michael Graves, John Hejduk, Richard Meier, and Werner Seligmann.Grays: Robert Stern, Charles Moore, Giovanni Pasanella, Jaquelin Robertson, RichardWeinstein, and T. Merrill Prentice.

1. The use of ornament... justified in historical or cultural terms... innate human need.2. The manipulation of forms to introduce an explicit historical reference ... that the

history of buildings is the history of meaning in architecture ... go beyond modes ofspatial organization or structural expression.

3. The conscious and eclectic utilization of the formal strategies of orthodoxModernism, together with the strategies of the premodern period.4. The preference for incomplete or compromised geometries, voluntary distortion ,

and the recognition of growth of buildings over time.5. The use of rich colors and various materials that effect a materialization of

architecture’s imagery and perceptible qualities.6. The emphasis on intermediate spaces , that is, the “pochés ” of circulation, and on

the borders, that is, on the thickness of the wall.7. The configuration of spaces in terms of light and view as of use .8. The adjustment of specific images charged with carrying the ideas of the building.




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-Jencks, Charles, El lenguaje postmoderno de la arquitectura , Editorial Gustavo Gili, Barcelona, 1984

-Stern, Robert, “Gray Architecture as Post-Modernism, or, Up and Down from Orthodoxy”, L’Architecture d’Aujourd’hui , n. 186, 1976.

-Habermas, Jürgen, “Modern and Postmodern Architecture”, en Habermas, Jürgen, The NewConservatism: Cultural Criticism and the Historians’ Debate , The MIT Press, Cambridge, 1989.

-Moore, Charles, La Casa: Forma y diseño, Editorial Gustavo Gili, Barcelona, 1999, p.

2. La Postmodernidad Americana 2016

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