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Two Postmodernists

Two Postmodernists. Charles W. Moore & Robert Venturi. Moore & Venturi. Both Postmodernists Contemporary In the Gray Group (Historic Oriented) Educators Published Theorists Practicing Architects. Postmodern Architect. Charles W. Moore. Charles W. Moore (1925-1993). Background

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Two Postmodernists

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  1. Two Postmodernists Charles W. Moore & Robert Venturi

  2. Moore & Venturi • Both Postmodernists • Contemporary • In the Gray Group (Historic Oriented) • Educators • Published Theorists • Practicing Architects

  3. Postmodern Architect Charles W. Moore

  4. Charles W. Moore (1925-1993) • Background • Written Works • Selected Design Works

  5. Charles Willard Moore (1925-1993) • Architect • Theorist and Author • Educator • Received many awards for Contribution and Building Design

  6. Bibliography • 1947: graduated from the University of Michigan with a degree in architecture • Worked in San Francisco, served two years in the Army Corps of Engineers • Received Master’s Degree and a Ph.D in architectural history from Princeton University • Taught at Princeton, University of California at Berkeley, Yale, University of California Los Angeles and University of Texas, Austin • Practiced architecture under the firm identification "MLTW" – Moore, Lyndon, Turnbull, Whitaker; Centerbrook; Urban Innovations Group; Moore, Ruble, Yudell; Moore/Anderson Architects

  7. Moore’s Books 12 Co-authored Books including: • (1974) The Place of Houses (with Gerald Allen and Donlyn Lyndon) • (1976) Dimensions. Space, Shape and Scale in Architecture (with Gerald Allen) • (1977) Body, Memory and Architecture(with Kent C. Bloomer) • (1988) The Poetics of Gardens (with William J. Mitchell and William Turnbull, Jr.) • (1994) Chambers for a Memory Palace (with Donlyn Lyndon) • You Have to Pay for the Public Life: Selected Essays of Charles W. Moore (2001)

  8. Moore’s Roles and Interests • Post-Modernist Architect (one of the Gray) • Knowledgeable in Architectural History • Inclusive Design (like Venturi) • Public Life and Public Spaces • Pop Architecture (reject pure Modern) • Prefers Wonder and Excitement of Everyday Environments

  9. “Santa Barbara” inThe Place of Houses (1974) • Sense of place • Relaxed air of Mediterranean dream • The common imagery give a sense of “being in the same place” • The application and preservation of Mediterranean style architecture

  10. Santa Barbara

  11. Santa Barbara as a Unique Place • Relationships between people and enclosures (white stucco walls, tile roofs, iron grills, arcades, columns, balconies, hedges, trees and mountain) • Public realm to live in as much as the private • Encouraging and dramatizing the act of public habitation  a stage for daily action • So much cares and agreements were spent on it • Physical embodiment of the shared dream

  12. Body Memory and Architecture (1977) • Introductory lecture on basic problem in architecture • About how buildings are experienced before [more than] how they are built • Anthropological conception of architecture • Architecture is measured by the way it is experienced by the human body in space • Basic elements as objects of human perception– space, site, walls, roof, etc., especially orders

  13. Body Memory and Architecture (1977) • Architecture as the projection of human experience (house or city) • Architecture is physical and psychological, possession of place by inhabitant who confirms his own identity in the symbols of individual and historic memory (สถาปัตยกรรมเป็นการยึดครองสถานที่ทางกายภาพและทางจิตวิทยาของผู้อยู่ ที่ได้ยืนยันอัตลักษณ์ของตนเองด้วยสัญลักษณ์ส่วนตัว และความทรงจำต่อประวัติศาสตร์)

  14. Problems with Modernism • Architectural beliefs became severely “rational” • Architecture as a highly specialized system with a set of prescribed technical goals rather than a sensual social art responsive to real human desires and feeling • Relied more on 2D diagram andquantifiable features than colorful 3D qualities of the whole architectural experience • Cartesian notion of space and measurement • Human body has not been a central concern in the understanding of architectural form

  15. Moore’s Intentions • Re-examine the significance of the human body in architecture • Examine some post-Cartesian philosophical and psychological thoughts as they pertain to changing views of architecture • Review some models of perception that have been influential in the 20th century • Discuss vocabulary of architectural forms and their relationships

  16. Beyond the Body Boundary • We used to measure and order the world out from our own bodies (we don’t anymore) • Cartesian spatial relationship of thing and coordinates (x, y, z) • No connection with the body-centered, value charged sense of space • Except single-family house

  17. Cartesian Coordinates and Order

  18. Single Family House • Free standing • Based on our sense of ourselves extended beyond the boundaries of our bodies to the world around • With a face and a back– up and down • With a hearth (a heart) • Looks like face (door like a mouth, windows like eyes, a roof like forehead) • Detail outside tells a story about the interior • This house façade is not a billboard, a simple sign, but rather the complex intimation of much more within • The lawn as personal envelop or personal space

  19. Single Family House

  20. The Lawn

  21. Extensions from the Body • Basic enclosure (womb) • Toward the public

  22. Identity of the Body

  23. Body of Christ, Body of Politic

  24. Body of the King

  25. The Sense of Beauty • Laws and priorities governing our sense of beauty • Aesthetics comes from the Greek aesthetikos = of sense perception • Reason and Thought vs. Sense and Emotion

  26. Different Philosophical Standpoints

  27. Beauty, Sense and Thought “One must deduce the meaning of buildings, not sense them” (Descartes) “Sensible knowledge is of course inferior to knowledge developed by the mind alone” (Baumgarten)

  28. The Aesthetic Feeling Compared with Measurement • Mechanical measurement (actual bigness) • Visual measurement (the bigness it appears to have) • Bodily measurement (the feeling of bigness) • Only the last has aesthetic value

  29. Sense Perception • Five Basic Senses as Perceptual Systems, aggressively seeking information (J. J. Gibson) • Visual system • Auditory system • Taste-smell system • Basic-orienting system • Haptic system • The last two contribute the most to our understanding of 3Ds and architectural experience

  30. The Sense of Dwelling • We do not aggressively seek architectural form • We experience satisfaction in architecture by desiring it and dwelling in it, not seeking it • We require a measure of possession and surrounding to feel the impact and the beauty of a building

  31. The Sense of Dwelling

  32. Body-Image Theory • We have unconscious and changing images of our bodies (separate from our knowledge) • We unconsciously locate our bodies inside a 3-dimensional boundary (changing according to internal and external events and strength) • The body boundary can be modified by clothes, badges, weapons, an automobile or an airplane that connect directly to the body and is subject to body-reflex actions

  33. Body Movement • The Spatiality of Movement • Awareness of gravity and maintenance of a center • Directions (up, down, left, right) • The Building as a Stimulus for Movement • Architecture functions as a potential stimulus for movement, real or imagined • The Building as a Stage for Movement • Awareness of our own movements in relation to the boundaries as well as our spatial relationship to one another

  34. The Stage for Movement

  35. The Stage for Movement

  36. Vocabulary of Architectural Forms The inhabited world within boundaries that can be identify as a syntax of: • Place: distinguishable from the world around them • Path: limited variety, going one point to another or returning to the same point again • Pattern: composed mostly with paths and places (with recognizable system as bounded space) • Edge: the end of domain with walls, façades, parapets, walls, face out, and the fold in the system or face out from it

  37. Place

  38. Path

  39. Pattern

  40. Edge

  41. Human Identity in Memorable Places • What missing from our dwellings are the potential transactions between body, imagination and environment • We will care increasingly for our buildings if: • There is some meaningful order in them • There is definite boundaries to contain our concerns • We can inhabit them • We can establish connection with what we know, believe and think • We can share with others • Some sense of human drama, of transport, of tension, or of collision of forces

  42. The Real [memorable] Place They are memorable because • They are unique • They affect our bodies and generate enough associations to hold it in our personal worlds • They are susceptible to continuous readings– complex and ambiguous ones • Changeability

  43. Moore’s Preferences and Styles • Neo-Vernacular • Historic References • Pseudo Public Space and Historic Elements • Movements • Analogy of Water (flexible arrangement– out of, go in pass through, up and down, etc.) • Dramatic Experiences/ Choreographic Work

  44. Examples of Architectural Design:Moore and Others

  45. Moore House (1962) "Its forms admittedly derive from primitive huts and from Mayan or Hindu temples…and Moore makes it clear that he was thinking in broad and recollective terms when he made the design." Gerald Allen

  46. Sea Ranch Condominium (1965) California

  47. Kresge College, University of California (1973) • Promote feeling of community • Shopping mall concept • Paths • Bodies moving through planes or stage • Trivial monuments

  48. Kresge College (1973)

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