INTRODUCTION
After the movement modern, since the final hours of this movement, three main trends have emerged in architecture, it is:
- of postmodernism,
- high-tech,
- deconstructionist movement.
Their invocation is all the more necessary it is in the disappearance of these currents, through a process of innovation we find the beginnings a post-urban renewal or a new one Omran.
Meanwhile, the architecture postmodern architectural style has become international in scope. Just as modern architects were inspired by the architecture without architects, engineers (factories, grain elevators, ships), architects are inspired by postmodern 'architecture without architects "of Hollywood villas or unions, malls and leisure cities after the war.
absorption of postmodernism, which is considered a simple Modern architecture style international, can be illustrated by Portland Building in Portland the Oregon and especially the AT & T Building of Philip Johnson at New York (currently Sony Building ), which borrow elements and references from the past and reintroduces color and symbolism in architecture.
I. THE POSTMODERNISM
The term postmodernism, used mainly a stylistic point of view, might suggest what comes after the ideologies of modernism. In general, the postmodern style was achieved through a reinterpretation of the symbols and traditional ornaments.
In fact, modern architects considérèrent postmodern buildings as vulgar and overworked. Postmodern architects often regard modern spaces as bland and soulless. These opinions betray in fact different purposes: Modernism seeks truth in the strict utility and integrity of constructive materials, according to his logic banning ornamentation as slag from the past, outdated useless, resulting in a minimalist feel as smooth .
Postmodernism rejects the strict laws enacted by early modern popes and seek joy in the exuberance of the construction techniques juxtaposed in eclecticism, angles less agreed, references stylistic nod, up the profusion of surprise, a sense of visual rhetoric. He uses this design in a logic of collage: while the decoration in the nineteenth century was the result also of the logic and constructive work, including sculpture, the materials it is applied here as a sign superimposed [1] .
postmodernism interest for diversity and the history is accompanied by a concern news for the conservation and reuse to other uses of old buildings [2] .
With the abandonment of utopian hopes raised by modernism, the confrontation with the architectural heritage has been replaced by a new sense of respect for the Architectural Heritage and urban.
1. Origin of the current postmodern
Postmodernism in architecture is generally characterized by the return of ornament and architectural landmark, in response to the formalism of International Style Modernist . From the 50s, the forms and spaces functionalist and formalist Modernism will gradually diversify and give rise to tendencies of different aesthetic: the Brutalism, the organic architecture, the high-tech , and this from an objective position: styles collide, it adopts certain forms for themselves, new approaches on how to see styles or spaces familiar multiply. But postmodernism introduces a radical departure from these developments of the International Style, to the extent that it opposes the tenets of the modern movement , namely functionalism and the rejection of ornamentation.
It also describes the architecture Postmodern as "neo-eclectic", with references and embellishments reinvesting the facade, replacing it in the aggressive nudity Moderne. This eclecticism is often combined with the use of non-orthogonal angles, surfaces left [3] .
The first paradigmatic elements were given to the late 60 [4] and influence of this current of thought is still going on in the contemporary architecture .
2. Postmodernism USA
In the 1980s, postmodernism had become the predominant architectural style, including the United States. Continuing to emphasize individuality, its representatives have worked in very diverse styles, ranging from the complexity Richard Meier's stark contrasting colors and historical allusions by Michael Graves or flamboyant style of Helmut Jahn. Among the major postmodern architects are also included Robert Venturi, Charles Gwathmey, etc..
3. Postmodernism in Japan
In this regard, Japan has developed since the 1950s in a specific architecture thinking purely architectural and urban research in plastic and formal in the search for a worldview marked by eclecticism and Eastern meditation. Among the architects Arata Isozaki are more important, whose buildings are often associated with postmodernism and Fumihiko Maki, who built buildings playing on the effects of transparency and fluidity and also more aggressive forms
4. Postmodernism in France
In France, the architects have also provided original solutions with regard to interaction between forms and functions, between urban space and the aesthetic quality of buildings.
can include Follies (1982-1990), Bernard Tschumi, conducted in the park of the Villette
Recalling the geometric designs of tiles of the mosques, which automatically open or close depending on the intensity of outside light.
Finally there
II. THE MOVING HIGH-TECH
The high-tech architecture, or late modernism, is a architectural style that emerged in 1970s, incorporating elements high-tech, industry and technology in building design. This movement has emerged as a consolidation modernism, an extension of these ancient ideas further facilitated by advances in technological achievements. In 1980s, architecture of high technology has become more difficult to distinguish from the post-modern architecture. Many of his themes and ideas were absorbed into the discourse of the schools of architecture postmodern.
1. origin movement
Often called High-tech (from high technology), a very special power of contemporary architecture has developed, mainly in Great Britain in the 1970s. It is characterized by unusual lightness of its structure, elegance, sophistication sometimes a bit affected its construction processes, the renewed use of iron, glass, cable networks and stretched by the use of the materials most new. Seen as a renewed optimism and confidence in modernity, this current tends toward an excess of international modern architecture, reported that some people exhausted and had to suffer the onslaught of postmodernism deniers and historicist tendencies.
The high-tech has its roots in the industrial construction of e XIX century, as the huge emissions of the Crystal Palace Joseph Paxton built in London for Universal Exhibition of 1851, then in the embodiments of sound and innovative technology architects Mies van der Rohe and John Proved. He also draws inspiration from the utopian technical group Archigram or the American architect Buckminster Fuller . The high-tech buildings are based on an enhancement of the carriers sometimes sophisticated (eg use of guy) and distribution systems (elevators, escalators, etc..) Often integrated facade.
Unlike functionalist architecture, form does not seek to directly express its contents. The architects are trying to create more flexible spaces, free of all bearing points intermediate maximum adaptation to the building to different uses. The use of cover materials such as metal and glass also reflects their desire to put their buildings in industrial production methods, particularly through prefabrication.
Apart from the Renzo Piano, its leaders represent a very small cohort of professionals Anglo-Saxon of the same generation. Trained together, they often worked together: Michael Hopkins, Nicholas Grimshaw Peter Rice, and especially Richard Rogers (who built piano in Paris with the Pompidou Center, first building high tech and long the only one) and his former partner Norman Foster. The both have completed their major work in 1986: Rogers to the new headquarters of Lloyd's, in the heart of the
2. Appellation movement
style takes its name from the book High Tech: The Industrial Style and Source Book For The Home, written by journalists Joan Kron and Suzanne Slesin [5] . The book, illustrated with hundreds of photographs, shows how designers, architects and homeowners have embraced the classic industrial objects.
Following the publicity and popularity of the book, the style of the decoration became known as "High-Tech, and accelerated the entry of the term in everyday language. In 1979, the term high technology has emerged for the first time in a magazine New Yorker cartoon showing a woman berating her husband not be enough high-tech. The book continued to be played in England, France,
3. Features
The characteristics of high-tech architecture varied somewhat with the technical elements accentuated. These included the presentation of the art building, functional components and a systematic classification of the use of prefabricated elements. The walls of glass and steel are also part of its components.
To extol the technical characteristics of this movement, they have often been exalted to the importance of structures such as the example of Centre Pompidou. The ventilation ducts are all displayed prominently on the outside. This has been a radical change in design, unlike the previous ventilation ducts that were something hidden inside the building. The means of access to the building are also exposed to the outside, with the large tube that allows visitors to enter the building. The logic of building high-tech architectural style is ordered as part of their design which seeks to retain their functional essence as it appears in Norman Foster 's Hong Kong and Shanghai Bank HQ.
Besides the fact that technology is the essential feature of the building, its design is very functionally oriented. The large open interior space and easy access to all floors prove the value of the function of a bank. Also, elements of the buildings are very carefully composed to fit into the logical order and solve the problem of the needs of the bank. This can be seen at the structure and escalators.
This movement requires the use of glass curtain walls and steel. For that, it fits into the modern movement, influenced by the design of buildings Mies van der Rohe. The Sears Tower SOM with its walls of glass and steel tube structure, is one example. Many high-tech buildings seek to be dynamic, such as the Olympic Stadium in Munich [6] . This structure of the outdoor sports is intended to be used for multiple purposes in an abandoned airfield converted into a sports stadium used for different disciplines.
III. MOTION DECONSTRUCTIVISM
The deconstructivism , also called deconstruction , is a school of thought in recent architecture which draws its philosophical underpinnings of the literary movement which deconstruction Jacques Derrida was the figurehead. Its name derives also Russian Constructivism of the 1920 he takes some of its formal inspirations.
is a contemporary style that primarily opposed to the ordered rationality of modern architecture . The foundations of this movement include ideas of fragmentation, the design process nonlinear, the non-Euclidean geometry , negative polarity as structure and envelope, and so on. The final visual appearance in this style are characterized by a stimulating and imprédictabilité controlled chaos. However, critics of deconstruction see it as a purely formal with little social significance. Few known architects who practice in this mode are:
- Peter Eisenman
- Frank Gehry
- Bernard Tschumi
- Rem Koolhaas
- Daniel Libeskind
- Zaha Hadid
- Coop Himmelblau
It seems a priori absurd or contradictory, to want to deconstruct that which belongs to the field of construction. The buildings are regarded as the fulfillment and culmination of a process of work. But the deconstructive architecture in the years assertive
1. Constructivism
operations distortion, disruption or interruption to the structures and the geometry used by the deconstructionists, are part of the transformations previously used in the visual arts to the forefront Russian but diverted from their original context. Before the revolution of 1917 in Russia, forms created by artists constructivist no longer come from a classical composition but an ordered geometry unstable and conflict-free line of hierarchy.
After that date the Russian avant-garde rejects the traditional fine arts to accommodate the architecture as a medium directly immersed in the social reality. This may indeed be used to support revolutionary aims as it is in constant contact with the population. The dynamism inherent in formal education is shot in instability in the structures of V. Tatlin (cons-reliefs around the 3rd International, 1919), A. Rodchenko (drawing for a radio station, 1920) or I. Chernikhov (construction of architectural forms and machine, 1930). But these structures were not performed and forms of conflict have shifted to safer mechanical assemblies, similar to those machines. The posters of El Lissitzky (Lenin Tribune, 1920) and Altman lay the foundations of a new visual culture. The vocabulary of abstract forms and their application space with plans to collage or cut and assembled sculptures N. Gabo are attempts to fight against the static volumes full advantage of the depth and dynamic kinetic rhythm.
movement and interaction between the forms, the threat of instability, hollowed volumes mass, and the fitting to reveal the complexity and diversity that the artist can reconstruct are issues intrinsic to constructivism. They will be reused as tools for conceptual work in deconstructionist architecture. They give it the strength and pleasure of deviance that allow the creativity to open a closed system and immutable.
2. Deconstruction literature
Deconstructivism is a qualifier set up by art critics by selected criteria very specific. But before that we should remember that deconstruction is a method of analysis of literary and philosophical texts created by the philosopher Jacques Derrida . Architecture has often been a metaphor for the philosophy, but deconstruction is not an architecture or even an architectural metaphor. It does not present itself as a closed system, but rather as a questioning. It does not conclude but opens doors for reflection. It does not finalizing the concepts but the analysis. It is an endless commentary on the texts, languages and concepts of philosophy. Deconstruction is a "text suspended . It does not seek the foundations of the visible parts of the building. It tackles the causes that lead to the origin at the end of a linear, and this because it considers that the two coexist permanently.
Deconstruction is a critical negative but not productive. "Deconstruction is inventive or not (...) calls his approach a statement. ". She wants to invent the impossible reinvent invention itself, another, inventing what did not seem possible. (...) Give place to another, let him come another. I say let them come because if the other is what can not be invented, initiative or deconstructive inventiveness can only be to open décloturer, destabilize structures foreclosure to allow the passage of the other ".
Deconstruction not only offers an analysis of literary texts are full. So this is a technique that aims to reconstruct the literary but freed from the grip of the author, according to another set of rules than that originally produced.
3. Deconstruction in Architecture
Deconstruction is therefore the opposite construction of philosophical systems that support closed or completed work. Deconstruction is a space that opens, a state of open space reflections, transformations. This is an opportunity to build a space "other."
In the 90s the term deconstructionism applied to architecture is not a movement or style and is not synonymous with destruction or demolition. Through processes of decomposition designers express their buildings in the contradictions, dilemmas and conflicts of the city, a reflection of society and culture today.
These complex situations are exposed through a formal search expression. Forms are thought to be so and not hide, they have the capacity to disturb the usual way of perceiving spatial configurations.
In fact, deconstruction architecture arises from exposure "Deconstructivist Architecture " organized under the leadership of Philip Johnson and Peter Eisenmann to the Museum of Modern Art (MoMA) in New York in 1988. It owes its name to the theoretical references and made a formal part in the Russian Constructivism of the inter-war years, some works of Aleksandr Rodchenko and Vladimir Tatlin were cited for their formal character "unstable" and other share the philosophy of deconstruction and deconstructionism, illustrated by the work of Jacques Derrida.
The coherence of this movement remains difficult to identify when one compares the work presented in 1988 by architects Coop Himmelblau as dissimilar as Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas and Bernard Tschumi. Despite a major effort to legitimize philosophical deconstruction quickly loses sight of its founding theoretical issues to do to become, over many publications and international exhibitions that accompany an architectural style influenced mainly by the work of some architects Anglo-profile Saxon. In the early ninety, and for many it becomes a source of inspiration turned into a spatially tormented and taste pronounced for the performance meaningful type "post-high-tech. Since the trend of the first architects of the exhibition of 1988 who wanted a reconciliation between architectural practice and aesthetic theories, deconstruction was exhausted in a production too fast and too diverse publicized.
However it is significant to note that for its adequacy in the image and prestige, the proponents of deconstructionist architecture are most prominent in recent years. This architecture also fits well museums and large trade bodies and headquarters of major multinationals. Thus, the architecture of the period par excellence digital proponents are doing does not pray to fill the space in our urban cities of the buildings to look worried.
Indeed, while Zaha Hadid built virtually in the world, Daniel Libeskind has become an expert in the project including towers at Ground Zero for rebuilding the World Trade Center. The American Thom Mayne construct including the tallest in France
It should be noted that two factors contributed to the emergence of this theoretical architecture that is left will have one half century. First, the development of computer and the emergence of new modeling software very complex as Catia, Rhino, 3ds studio max ... and secondly, the development of the engineering building for which nothing is impossible to build. Found particularly in the vanguard of those engineers builders Londoner firm Ove Arup & Partners, which works with most deconstructionist architects.
CONCLUSION
The theoretical vacuum and individualization in architecture
Unlike the modern movement, all currents that came after it have that in common that they have no a priori theoretical basis. It is indeed far from the major theoretical debates, even farther from the time or the same theoretical values gathered under the banner of the same movement architects, planners, sociologists, artists, ...
It would therefore not exaggerated to speak of theoretical vacuum after the modern movement. The hearings were convened in a few schools around charismatic teachers like Tschumi and Rem Koolhaas (Architectural Association School in London) who have trained students of the same trend, but this does not relate to real currents definable characteristics solid theoretical
Another parameter that is most highlight the lack of theoretical basis is the unreliability of the architects themselves because many of them have been lured by the flashes of the press and the demands of digital capitalism, they are no longer building that according to customer requirements , of firms. . Thus the works of some renowned architects would have almost nothing in common, sometimes deconstructionist modern times, sometimes high-tech .... Anything that does not require that the return of a strong current has both bases theoretical solid prospects for well-defined application.
We saw that deconstructive architectural projects can be reconciled to the work of deconstruction in literature but in a complementary rather than parallel. They have their own methods but both in their respective disciplines explore aspects forgotten or deliberately silent. The projects are not an application of the theory of deconstruction in literature, they rather express the qualities in a deconstructive context of the emerging modern tradition. Architects address the questions of the origins of architecture, the legitimacy of forms, the reformulation of concepts. Through their research they open new paths to creation, they release the sterile areas of the adequacy and stylistic stasis.
Projects deconstructivist definitely do not rank the architects who designed them into a stylistic category. They mark a time rather a reminder that these designers have participated in joint work on architecture in keeping their distinct architectural language.
These projects have the potential to disrupt our way of thinking forms and functions. To take a current element in the architectural vocabulary: the wall, its layout and its various forms challenge the division of interior and exterior spaces. The geometry is more complex and the notion of protection or partitioning that provide a room or suite of buildings is disturbed. The closure is not simply replaced by the opening of modern open plan, but the wall is in tension, torn, creased. It no longer provides the sense of security by sharing the pet from abroad or within the outside but the whole notion of fencing or enclosure is broken. This process of subversion, beyond any ideology or folly of its creators, demonstrates the many possible combinations of architectural vocabulary too often crystallized in traditional architecture.
[1] - This is the logic of "decorated shed" defined by Robert Venturi in "Learning from Las Vegas .
[2] - As the example shows the conversion by the Italian architect Game Aulenti the magnificent Gare d'Orsay (1900), in Paris, a museum of art of XIX th century (1981-1986, see Musée d'Orsay).
[3] - Such, for example, New State Gallery in Stuttgart James Stirling or
[4] - Complexity and Contradiction in Architecture ( the Complexity in Architecture ) Venturi published by the Museum of Modern Art in New York in 1966.
[5] - Published November 1978 by Clarkson N. Potter, New York.
[6] - Built by Günther Behnisch and Frei Otto .
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