O Pós Modernismo

[JVS]

A arquitetura pós-moderna é um termo genérico para designar uma série de novas propostas arquitetônicas cujo objetivo foi o de estabelecer a crítica à arquitetura moderna, à partir dos anos 60 até o início dos anos 90 . Seu auge é associado à década de 80 (e final da década de 70) em figuras como Robert Venturi, Philip Johnson e Michael Graves nos Estados Unidos, Aldo Rossi na Itália, e na Inglaterra James Stirling e Michael Wilford, entre outros.

Os arquitetos pós-modernos utilizaram uma série de estratégias para estabelecer a crítica do modernismo, principalmente a sua versão mais difundida e homogênea: o estilo internacional. Entre estas estratégias a principal foi a reavaliação do papel da história, reabilitada na composição arquitetônica, principalmente como meio de provocação e crítica à austeridade do modernismo. Philip Johnson (antes um ávido defensor do estilo internacional), por exemplo, adotou uma postura irônica em seus projetos utilizando um "armário antigo" como referência formal para o seu edifício da AT&T em Nova Iorque. Outros arquitetos adotaram padrões de ornamento e formas de composição antigas. A cidade histórica foi re-estudada em busca da reabilitação da escala humana no urbanismo por Rob Krier, entre outros.
Outras tendências podem ser associadas aos pós-modernos, como o interesse pela cultura popular e a atenção para o contexto de inserção do projeto. Robert Venturi, por exemplo, chamou atenção para as muitas formas de arquitetura vernacular (produzidas segundo uma estética da cultura popular) em seu livro Aprendendo com Las Vegas. Aldo Rossi, por sua vez, preocupou-se com a relação entre o novo projeto e os edifícios existentes acompanhando a escala, altura e modulação destes. Esta postura de congregação entre o novo e o antigo convencionou-se chamar de contextualismo.

Pós-modernismo nos anos 60

As críticas à arquitetura moderna ganharam força nos anos 60 através de figuras como a socióloga e ativista política Jane Jacobs e o arquiteto e matemático Christopher Alexander. Ambos criticam através de observações sociológicas a escala monumental e a impessoalidade do modernismo. Suas críticas, dirigidas principalmente à visão urbanística anterior, apontam a desagregação das comunidades e das relações humanas como resultado dos preceitos modernos.
Em sua expressão inicial as tendências pós-modernas estão ligadas ao movimento de contra-cultura nos anos 60.

Pós-modernismo nos anos 70 e 80


A imagem que temos hoje da arquitetura pós-moderna é associada principalmente à década de 80. Alguns elementos utilizados nos projetos desta época fizeram da pós-modernismo imediatamente reconhecível como estilo, mas foram responsáveis também pela criação de uma imagem estereotipada e caricatural do "movimento". O uso irônico exagerado de referências históricas, a repetição sem critério do uso do frontão como elemento de coroação do prédio, ou a explosão de cores (características que podem ser observadas na Piazza d'Italia de Charles Moore, FIGURA), são alguns desses elementos. Estes foram compreendidos como um estilo a ser repetido e não como crítica à austeridade sisuda do chamado modernismo.
O pós-modernismo na arquitetura tem também uma forte ligação com os espaços comerciais e sua expressão máxima: o shopping center. Esta ligação fez com que o estilo fosse associada à nova cultura do consumo, representando valores passageiros e menores. Esta noção foi reforçada pela adoção do estilo por grandes empresas internacionais, que buscavam uma nova imagem corporativa. O edifício da AT&T de Philip Johnson é o principal exemplo desta tendência.

in http://pt.wikipedia.org/wiki/Arquitetura_p%C3%B3s-moderna

[JVS]

Postmodernity (also called post-modernity or the postmodern condition) is a term used to describe the social and cultural implications of postmodernism. The term is used by philosophers, social scientists, art critics and social critics to refer to aspects of contemporary art, culture, economics and social conditions that are the result of the unique features of late 20th century and early 21st century life. These features include globalization, consumerism, the fragmentation of authority, and the commoditization of knowledge

Postmodernism and postmodernity

There are multiple positions on the differences between postmodernity and postmodernism.[citation needed]
One position says that postmodernity is a condition or state of being, or is concerned with changes to institutions and conditions (Giddens 1990) - whereas postmodernism is an aesthetic, literary, political or social philosophy. Postmodernism is the "cultural and intellectual phenomena" while postmodernity is focused on social and political outworkings in society.
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Uses of the term

The term postmodernity is used in a number of ways. Most generally, postmodernity is the state or condition of being postmodern (i.e., after or in reaction to what is modern), particularly in reference to postmodern art and postmodern architecture. In philosophy and critical theory, postmodernity more specifically refers to the state or condition of society which is said to exist after modernity. A related term is postmodernism, which refers to movements, philosophies or responses to the state of postmodernity, or in reaction to modernism.
Most theorists of postmodernity view it as a historical condition that marks the reasons for the end of modernity, which is defined as a period or condition loosely identified with the Industrial Revolution, or the Enlightenment. One "project" of modernity is said to have been the fostering of progress, which was thought to be achievable by incorporating principles of rationality and hierarchy into aspects of public and artistic life. (see also post-industrial, Information Age). This usage is ascribed to the philosophers Jean-François Lyotard and Jean Baudrillard. Lyotard understood modernity as a cultural condition characterized by constant change in the pursuit of progress, and postmodernity to represent the culmination of this process, where constant change has become a status quo and the notion of progress, obsolete. Following Ludwig Wittgenstein's critique of the possibility of absolute and total knowledge, Lyotard also further argued that the various metanarratives of progress - such as positivist science, Marxism, and structuralism - were defunct as methods of achieving progress.
The literary critic Fredric Jameson and the geographer David Harvey have identified post-modernity with "late capitalism" or "flexible accumulation;" that is, the stage of capitalism following finance capitalism. This stage of capitalism is characterized by a high degree of mobility of labor and capital, and what Harvey called "time and space compression." They suggest that this coincides with the breakdown of the Bretton Woods system which they believe defined the economic order following the Second World War. (See also Consumerism, Critical theory)
Many philosophers, particularly those seeing themselves as being within the modern project, use post-modernity with the reverse implication: the presumed results of holding post-modernist ideas. Most prominently this includes Jürgen Habermas and others who contend that post-modernity represents a resurgence of long running counter-enlightenment ideas.

"Post-modernity" is also used to demark a period in architecture beginning in the 1950's in response to the International Style, or an artistic period characterized by the abandonment of strong divisions of genre, "high" and "low" art, and the emergence of the global village. Postmodernity is said to be marked by the re-emergence of surface ornament, reference to surrounding buildings in urban architecture, historical reference in decorative forms, non-orthogonal angles such as the Sydney Opera House and the buildings of Frank Gehry.
For some of its critics, "post modernism" is simply cynical belief, the dissolution of cause and effect, the absence of order.

Descriptions

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Philosophy and critical theory

The relationship between "postmodernity" and critical theory, sociology and philosophy is fiercely contested. This debate has two distinct elements that are often confused: (1) the nature of contemporary society and (2) the nature of the critique of contemporary society.
The first of these debates is concerned with accounting for the changes that have taken place between the past 25 and 50 years. There are broadly three principal camps. First, theorists such as Callinicos (1991) and Calhoun (1995) offer a conservative position on the nature of contemporary society underplaying the significance and extent of socio-economic changes emphasising a continuity with the past. Second, is a range of theorists who have tried to theorise the present as a signficant development of the modern project into a second phase that is distinct from the first but modernity nevertheless. This has been termed the "second" or "risk" society by Ulrich Beck (1986), "late" or "high" modernity by Giddens (1990, 1991), "liquid" modernity by Zygmunt Bauman (2000), and the "network" society by Castells (1996, 1997). Third, are those theorists who argue that contemporary society has moved into a phase distinct from modernity, an era literally "post" modernity. The most prominent proponents of this position is Lyotard and Baudrillard.
The second group, often confused with the first, tackles another set of issues altogether concerning the nature of critique. These debates are often a replaying of debates over (what can be crudely termed) universalism and relativism, where modernism is seen to represent the former and postmodernism the latter.
A sophistocated rendition of this debate can be found between Seyla Benhabib (1995) and Judith Butler (1995) in relation to feminist politics. Benhabib argues that postmodern critique comprises three main elements: an anti-foundationalist conception of the subject and identity, the death of History (and notions of teleology and progress), and the death of Metaphysicas defined as the search for objective Truth - which can all have strong and weak variations. Benhabib argues forcefully against these positions as she holds that they undermine the basises from which a feminist politics can be founded as strong versions of postmodernism remove the possibility for agency, sense of self-hood, and the appropriation of women’s history in the name of an emancipated future. The denial of normative ideals removes the possibility for utopia, central for ethical thinking and democratic action.
Butler responds to Benhabib by arguing that her use of "postmodernism" is an expression of a wider paranoia over anti-foundationalist philosophy, in particular, poststructuralism.
“A number of positions are ascribed to postmodernism - Discourse is all there is, as if discourse were some kind of monistic stuff out of which all things are composed; the subject is dead, I can never say “I” again; there is no reality, only representation. These characterizations are variously imputed to postmodernism or poststructuralism, which are conflated with each other and sometimes conflated with deconstruction, and understood as an indiscriminate assemblage of French feminism, deconstruction, Lacanian psychoanalysis, Foucauldian analysis, Rorty’s conversationalism, and cultural studies ... In reality, these movements are opposed: Lacanian psychoanalysis in France positions itself officially against poststructuralism, that Foucauldian rarely relate to Derridideans ... Lyotard champions the term, but he cannot be made into the example of what all the rest of the purported postmodernists are doing. Lyotard’s work is, for instance, seriously at odds with that of Derrida” Butler uses this debate over the definition of "postmodernism" to demonstrate how philosophy is implicated in power relationships. She defends poststructuralist critique by arguing that the critique of the subject is not the end but the beginning of analysis as the questioning of accepted "universal" and "objective" norms is the first task of enquiry.
There is no simple definition of a postmodern theorists as the very definition of postmodernity itself is contested, as the Benhabib-Butler debate demonstrates. For example, Michel Foucault rejected the label of postmodernism explicitly in interviews, but is seen by many, such as Benhabib, to advocate a form of critique that is "postmodern" as it breaks with the utopian and transcendental nature of "modern" critique by calling universal norms of the Enlightenment into question. Giddens (1990) rejects this characterisation of modern critique by pointing out that a critique of Enlightenment universals were central philosophers of the modern period, most notably Nietzsche. The debates continues.
Another prominent position in philosophy is generally associated with modern critical theory, particularly with Jürgen Habermas. It argues that the modern project is not finished, and that universality cannot be so lightly dispensed with. In general, the use of the term in this context argues that postmodernity is a consequence of holding postmodern ideas. It is generally a negative term in this context.

Post Modern Architecture

Postmodernity or postmodern architecture is a period whose first examples are generally cited as being from the 1950s, which runs through the present.
Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism.
As with many cultural movements, one of postmodernism's most pronounced and visible ideas can be seen in architecture. The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound.

in WIKIPEDIA

[JVS]

Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning. The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously by Kenneth Frampton.
Frampton put forth his views in "Towards a Critical Regionalism: Six points of an architecture of resistance." He evokes Paul Ricoeur's question of "how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization". According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual. Frampton draws from phenomenology to supplement his arguments.
As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways. Here the aim is to make aware of a disruption and a loss of place that is already a fait accompli through reflection and self-evaluation.
Critical regionalism is different from regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.
Critical regionalism is considered a particular form of post-modern (not to be confused with postmodernism as architectural style) response in developing countries.
Architects who have used such an approach in some of their works include B.V.Doshi, Charles Correa, Alvaro Siza, Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William S.W. Lim, Tay Kheng Soon and Tan Hock Beng.

IN http://en.wikipedia.org/wiki/Critical_Regionalism

[JAG]

É de destacar que os primeiros trabalhos do Tomas Taveira, como o Amoreiras, fazem parte do Pós-Modernismo.

[asimplemind]

Em poucas palavras, o Pós -Modernismo surge como reacção ao modernismo, criticando a sua postura perante a cidade e o Homem, afirmando que é demasiado austero, demasiado funcional e que não pretende fazer cidade. Assim, o pós-modernismo suporta-se do modernismo para criar a sua teoria e as obras pós-modernistas pretendem acima de tudo criar o espectáculo da arquitectura, pretendem ser funcionais mais ao mesmo tempo serem dinâmicas e monumentais. Podemos aqui estabelecer um pouco uma relação entre uma corrente renascentista e as correntes maneiristas e barrocas. Trata-se sempre de opostos, de teorias que surgem como reacção a teorias anteriores. Apesar de na generalidade eu não achar que o pós-modernismo se tenha materializado com sucesso, conseguiu produzir alguns teóricos de especial interesse para os nossos tempos (Jencks, Frampton).

[Pedro Barradas]

JAG... as obras do siza vieira não são pós-modernistas... como é referido na tua galeria

[JAG]

JAG... as obras do siza vieira não são pós-modernistas... como é referido na tua galeria

Tens razão... ...
Vou alterar isso... obrigado pela dica. E o estadio do Tomas Taveira, tambem não é. :p