1. Postmodernism performance of architects
"Postmodernism" and "Postmodernism" are hot topics in the academic and cultural circles of contemporary western developed countries. Especially after the "May Storm" in 1968, western Marxism, existentialism, structuralism and other original popular thoughts suddenly lost their influence in the intellectual circles. Postmodernism was convenient to combine with post-structuralism in France and new pragmatism in the United States in the 196s and became a popular trend in the West today.
But as a philosophical trend of thought, postmodernism does not originate from the field of philosophy. On the contrary, its main components come from postmodern literature and art, architectural art style and social science in post-industrial society. The first to use the word "postmodern" was the British painter John? Watkins? JohnWatkinsChapman, in 187, used the word "Postmodern Painting" to evaluate the more avant-garde painting method than French impressionism, which determined that the word "post modern" showed transcendence and negative significance at the beginning of its use. The use of "postmodernism" to describe the new form of architecture appeared in the 194s and 195s, and by the 197s and 198s, the western architectural circles showed strong aversion to the purity and formalism in the heyday of modern architectural style. Modern architects such as le. Corbusier's utopian ideal of trying to create a better world is not presented to the world, on the contrary, it is a dull skyscraper and a condemned living machine.
In 1966, the Chicago architect Venturi first issued the first voice calling for postmodern architecture in his Complexity and Contradiction of Architecture, which set off the historical prelude of postmodern architectural design in the architectural field. Charles, a famous British architectural critic in 1977. Jencks, in his influential book Modern Architectural Language, advocated a new and post-modern architectural style, which was broken from modern architectural style and based on eclectic style and popular value orientation, and summarized six characteristics of post-modern architecture: ① Historicism; ② Direct retro-ism; ③ New local style; ④ Contextualism; ⑤ Metaphor and fantasy; ⑥ Postmodern space (or super-technicalism) [1]. It is through the soaring performance of avant-garde architects such as Venturi in architectural design and the theoretical summary of architectural critics that the obscure and incomprehensible postmodern philosophical debate is visualized, and then experienced and understood by ordinary people, which further promotes the spread and influence of postmodernism. In a sense, the field of architectural design, which has always been influenced by various philosophical thoughts and schools in society, has become a soil for cultivating postmodern philosophical thoughts.
Of course, these avant-garde architects not only seek a reasonable explanation for postmodern design in theory, but also devote themselves to design creation. They not only show their creative enthusiasm in their own professional field, architectural design, but also extend the post-modernism vocabulary to landscape design. Franklin Courtyard designed by Venturi in 1972 was not a reconstruction of the original building on the site, but a special effective history was created with its "ghost-like" imagination and a stainless steel skeleton simulating the original building. In 1977, he designed the Freedom Square on Pennsylvania Avenue in Washington, D.C., and combined historical fragments with a flat design vocabulary to vividly and concisely show the historical information and emotions contained in the place, thus dispelling the towering central composition of the traditional memorial square. Charles in 198? The Italian Plaza designed by Moore for a commercial and industrial complex in New Orleans, with its collage of historical fragments, stage-like scenes and playful details, gives the place a "chaotic and crazy landscape" experience, which has almost become synonymous with postmodern public space design.
While these radical post-modernist architects flaunt themselves and please the public by means of historical fragments, symbols, metaphors, kitsch, banter, etc., although their counterparts' response to post-modernism is somewhat slow, some avant-garde landscape architects are still inspired by this new trend of thought, from Picasso, the representative figure of Minimalism, Robert? Artists such as Robert morris learn to use the least elements to create the most impactful design; From landscape designers like rob. Robert Smithson, Michael? Learn new visual concepts from artists such as michael heiser; From Venturi, Frank? Frank Gehry and Michael? In the works of architects such as michael Graves, they learn the skills of defining space with historical fragments, light and color, and actively explore postmodernism in the field of landscape design.
second, the postmodern experiment of landscape architects.
the exploration of postmodernism in the field of American landscape design began with small-scale places. Martha, a famous American landscape architect in 198. The Bagel Garden, published by Martha Schwartz in the first issue of Landscape Architecture magazine, has aroused extensive discussion on postmodernism in the field of American landscape design, and it is regarded as the first example of postmodernism attempted by American landscape architects in modern landscape design. The bagel garden is located in an area called Back Bay in Boston, where lovely low-rise brick houses are arranged on both sides of each narrow street, which concentrate the architectural styles of past historical periods, and each building has an open courtyard facing the street. The bagel garden is a small-scale courtyard in front of the house, with a land area of 22×22 feet and facing the north. The garden space is divided into Italian concentric rectangles by hedges with a height of 16 inches. Purple gravel with a width of 3 feet is spread between the two rectangles, and 96 bagels are arranged on them, which are not affected by the climate.
3 Chinese roses are planted in a 5×6 determinant in a small rectangle. Two yew trees, a Japanese maple tree, iron railings and stone borders, which symbolize historical significance, are also preserved in the site. In the design, what Suvaz wants to create is a sense of place that is "both humorous and artistic" [4]. The biggest feature of this design is the contradiction caused by juxtaposing the geometric form symbolizing arrogance and nobility with the bagel symbolizing family warmth and democracy in one space; And the strong visual contrast between yellow bagels and purple gravel. This miniature courtyard is a microcosm of postmodernism with its historical style of flower fences, purple gravel and bagels, which are a metaphor for the barracks-like neighborhood context in Back Bay area. This garden opens a new field of vision for small-scale landscape design-that is, combining traditional and limited landscape imagination with new concepts to create new landscapes. Therefore, this miniature garden has become the orientation of new design in both academic and artistic context.
in 1983, SWA, a famous American landscape design firm, was founded by John? The harlequin Square designed by John madden Company in the administrative complex of Colorado Green Forest Village is a group of office buildings with glass curtain walls. The design not only embodies the characteristics of Renaissance historicism, but also gives the place a strong deconstruction feature of the subject of landscape experience-people by surrealism. This square space covering an acre is actually the roof of a double-decker parking lot, located between two glass curtain walls, with some cooling towers about 3 meters above the ground. Because it is a roof square, considering the structural bearing capacity of the roof, the landscape design can only be carried out in a narrow space with a width of 12 meters in the middle of 5m×1m site. The main design idea of SWA is to design a square with public function, emphasizing the landscape of Loki Mountain in the distance, and at the same time reducing the visual interference of mechanical piping equipment on the roof to the place. In the design, SWA changed the popular traditional axis technique and chose a series of unexpected reference points to solve the relationship between the square and the surrounding glass curtain wall buildings, as well as the relationship with the long and narrow Loki Mountain visual axis.
first of all, the mirror curtain walls on both sides of the square give the whole space a long, narrow, dazzling and incredible sense of confusion. Looking along the long and narrow axis of the square to the direction of Loki Mountain in the distance, the ventilation pipes and cooling towers that are wrapped with glass mirrors and protrude from the roof are like being mysteriously placed in this oversized and funny square space by a huge hand, and they form an inclined box with the ground. This dynamic posture and black-and-white diamond-shaped ground surface constitute a sense of visual psychedelic and uncertainty. In addition, the designer arranged grass slightly higher than the ground on both sides of the entrance and exit of the building, and arranged a group of white cylinders with high and low order on them, which reflected in the glass mirror of the building behind, forming a metaphorical meaning to the trimmed forest. The distinctive features of this design are the use of a large number of mirror materials, inclined body shape, black-and-white diamond terrazzo floor with wrong vision, and asymmetric geometric shapes.
Designers use mirrors to distort vision to increase the scale and vision they see, thus producing an eccentric surrealist quality similar to chirico's [5], dissolving the subject of human experience as a part of the psychedelic scene, and sometimes even completely lost in this fantastic scene. Finally, the designer cut a narrow cut in the middle of the square and divided the square into two parts, so that both buildings have their own square space. In this narrow incision, the designer juxtaposes traditional fountains and canals with flowers and plants, resulting in a traditional rural landscape, which makes people find some realistic fulcrums in this unexpected surreal postmodern space full of fantasy and confusion.
In 1988, it was written by George Hargreaves? The market park (San Jose Plaza Park) designed by George hargreaves for San Jose, California [1] shows the characteristics of post-modernism hermeneutics, which emphasizes the historicity, understandability, communicability, dialogism and the generation of meaning of places. Market Park is not only a huge traffic island, but also the oldest public open center in the city, because it is surrounded by several important public buildings-art museums, large hotels and conference centers in the city. The venue is composed of two straight lines connecting the two ends of the semicircle curve, which forms a shape similar to a sports field. A main road is designed along the east-west long axis of the site. A crescent-shaped sloping dike in the middle of the site divides the site into two parts, and the height difference between them changes with ramps and steps. In the west of the land, Victorian street lamps and wooden seats are arranged along both sides of the main road; The planting method of fruit trees on the grassland is consistent with the crescent line in the middle. At the end of the main road in the east, there are two inclined roads with acute angles, which divert people to the north and south directions. The triangular land thus formed is hard paved, and the boundary is emphasized by planted trees. In the middle of the crescent-shaped slope dike, flowers and plants with changing seasons are planted. On the upper layer of the slope, rest seats are placed, while on the lower layer, there is a grid fountain area and on the other side, there is an open grassland.
The fountain posted in China Paper Download Center shows that with the change of the time of day, its form changes from fog and small spring in the morning to strong water column in the afternoon, and the water column becomes more crystal clear and dazzling under the action of lights at night. In addition, the fountain self-draining design system not only enables people to watch its changes, but also allows people to enter it and play. In the middle of the venue, two diagonal lines from south to west and from south to north seem a bit stiff at first glance, which is actually the most in line with people's psychology of taking shortcuts. It is such a simple landscape design that contains a lot of historical metaphors and life fragments. The fountain forms in the grid format were inspired by artesian wells dug near the site in 18, and their daily changes metaphorically represented the history that water made the Santa Clara Valley flourish. The orchard in the west is also to arouse people's memory of the harvest scene of fruit and wood farms around during the two wars. Victorian street lamps reflect the 3-year history of the city, while the fountain scene illuminated by night lights is a hint to the high technology of contemporary Silicon Valley. The postmodern text here is not only interpreted by some designers, but also organized these historical elements and fragments into the main public landscape fragments of the park through Hargreaves and passed them on to the public.
Pershing Square, which was completed in 1991 by hanna/Olin and Ricardo Legorreta, was influenced by abstract sculpture, earth art, phenomenology and painting, showing the characteristics of post-modernism ambiguity and visual revolution. Pershing Square is located at 15th and 16th Streets in downtown Los Angeles. Its history dates back to 1866 and it has been designed many times. In 195s, a 18hm2 underground parking lot was built under it, and by 198s, it had been built here.