Doors, windows, walls and other elements: reflections on contemporary postmodern categories
In the first Venice Architecture Biennale held in 1980, The Present of the Past, the supremacy of (historicist) postmodernism was reproduced, and Charles Jencks’s voice of protest was heard claiming for the importance of distinguishing the different postmodern categories. Years later, in the Venice...
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| Autores principales: | , |
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| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Universidad de Lima. Carrera de Arquitectura
2019
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| Acceso en línea: | https://revistas.ulima.edu.pe/index.php/Limaq/article/view/4530 |
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| Sumario: | In the first Venice Architecture Biennale held in 1980, The Present of the Past, the supremacy of (historicist) postmodernism was reproduced, and Charles Jencks’s voice of protest was heard claiming for the importance of distinguishing the different postmodern categories. Years later, in the Venice Architecture Biennale of 2014, Fundamentals, a (retroactive) research on the architectural elements and a global reflection on the absorption of modernity were presented. Fundamentals took place at the same time as certain independent practices, which were difficult to classify according to the categories established by Jencks in his family trees. Based on the fragmented definition (half modern, half something else), new contemporary postmodern compositions are analyzed and new categories are identified. In consequence, the matter of debate is the following: Does a contemporary architecture that could be referred as postmodernism really exist? |
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