PLOT 31

Wednesday 3 de August, 2016
PinExt PLOT 31

IMG 0457 PLOT 31 520 PLOT 31

PLOT 31 is out on the street! You can get the June 2016 – July 2016 issue in bookstores and in our virtual store. If you subscribe to the magazine, you have a 20% discount on the price of the cover.

OH YEAH, POSTMODERNISM!

“WhatsApp, Uber, Airbnb, Netflix and many other cases of deregulation; the clear progress of postindustrial logic that points out the expiration or lack of real representation of modern models of nationalisms vs. populisms; the technological overflow that gets us behind the latest applications and devices; the circulation of information that, as Paul Mason explains, is different from any previous technology for its spontaneous tendency towards dissolution of markets and private property; the logic of collaborative consumption known as sharing economies; these are more than clear symbols of vital transformations that define us and transcend borders. To all this, issues outlined in the past ­­–before the advent of computer–, such as the end of history, the end of art, man and illusion, the creation of consuming masses, the dedifferentiation of cultural spheres, the dynamics of pastiche or post-production that affect art but also issues of ordinary life, the breakdown in the forced modern separation between nature and culture, and many others. So: Can anyone deny that we are still postmodern? Or at least that we live in a period positively different from modernity?”

Extract from editorial text by Florencia Rodriguez

In this issue of PLOT we publish twelve projects from around the world exhibiting different expressions of the central ideas of postmodernism in contemporary architecture.

In addition, we include five essays of architects and critics, both historical and contemporary, in which they develop reflections on postmodernism, their definitions and contradictions.

PLOT 31

INDEX

MAGAZINE

Oh Yeah, Postmodernism! In the editorial text, Florencia Rodriguez wonders how to define our time. How do the terms and symbols of what we call postmodernism appear?

PRACTICE

MONADNOCK, Landmark Nieuw Bergen. This small brick building was designed to satisfy the need of an urban icon in a small Dutch village. The simple composition reflects the concerns of Dutch architects Job Floris and Sandor Naus, whose work is based on an instrumentation of history, where many historical precedents are used in order to build disciplinary continuities in each new project.

Ortner & Ortner Baukunst, NRW State Archive in Duisburg. The archive is a huge brick building located in the inner harbour of Duisburg, opposite to the historic city center. Its imposing figure, composed of a large brick tower with gabled roofs and without openings, is clearly distinguishable in the skyline of the city. The formal strength of this project takes up the radical nature of many of the utopian and experimental proposals of the Ortner brothers with Haus-Rucker-Co.

MOS Architects, Element House in New Mexico. The project is a guest house and visitor center for Star Axis, a work of land art in the desert of New Mexico. It consists of a series of volumes arranged seemingly randomly in the middle of the desert landscape.

Michael Meredith, Architectonic Indifference. Meredith reflects on the state of the art in contemporary architecture, and presents the stance of MOS Architects.

Jens Wolter Architects, FRO House in Maschwitz. This project renovation and expansion of a Norman-style house located in the metropolitan area of Buenos Aires proposes a functional review of the existing house and its relationship with the environment. The project does not focus on the effect of its shape, but the complexities that are generated from the subtle changes of use that inevitably impact the archetypal form of the existing house.

Vazio S/A, House in the Cerrado. The project explores the plasticity of the basic architectural elements and subverts the autonomy of the modern singular object as a prototype and model of a cultural and material construction that sought to systematize the construction processes of architecture in suggesting the machinic efficiency as dogma for a new paradigm.

Independent Architecture, Catamount Residence in Woodland Park. The office founded by Paul Andersen is part of a new generation of American architects, freed from stylistic dogmas and constructive-rational mandates from previous generations. The project emphasized morphology in relation to the site, with its educational uses and with the technology used to manage energy.

FAT Architecture, A House for Essex. The project was designed by FAT in collaboration with the artist Grayson Perry. Just outside the small town of Essex on the natural environment of Stour Estuary, the project transformed the landscape in a scenario that calls into question the boundary between reality and fiction. The project is saturated with symbols and contradictions with which it celebrates its aversion to the aesthetic purity and symbolic uniqueness of modern functionalist architecture.

Taller DE2, Gutiérrez-delaFuente, Day Center for Children in Selb. Through a strategy of “urban acupuncture” the Day Center for Children in Selb proposes the completion of a city block with programs oriented towards the revival of urban dynamics. Formally, the intervention is developed so that every new building is defragmented into smaller sections that emulate the urban front and change in height, shape and color from one section to the other.

OMA, Fondazione Prada in Milan. The building, located in a former distillery in an industrial complex in the south of Milan, consists of seven existing structures and three new ones. As Rem Koolhaas states: ” The Fondazione Prada is neither a preservation project nor new architecture. Two conditions that are usually kept separate, here face in a state of permanent interaction, offering a set of fragments that can not be frozen in a single image and in which no party dominates the others…”.

MVRDV, Rotterdam Markthal. The hybrid building was projected stressed between public and private interests and it is recognizable by the synergy that emerges from the particular assembly of uses. The building is configured with two parallel housing plates joined with an arc that covers a huge enclosed space where the central market is set. Through typological, architectural and pictorial resources, the Rotterdan Markthal –like the poster buildings that Venturi saw in Las Vegas– quickly communicate its function.

Angela Deuber, New School in Thal. In the project, the architectural language derives exclusively from the structural resolution. At the same time, each of these structural elements is a venturian “dual function element”.

Raphael Zuber, School and kindergarten in Grono. The elements that define the building declare the autonomy of the structure in the shaping of the project: the concrete enclosure that holds the building is completely independent of the glass walls that mark out the interior spaces. The design of this envelope is not inserted in a recognizable structural logic, Zuber seeks to build a new element foreign to the disciplinary traditions that define the project.

THEORY

Barry Bergdoll, Complexities and contradictions of postmodern classicism. Barry Bergdoll, curator of Architecture and Design at the Museum of Modern Art, reflects on the museum’s exhibition The architecture of the École des Beaux-Arts, in 1975.

Sam Jacob, A postmodern revival, huh? Sam Jacob, who for over twenty years was the director of FAT Architecture, questions the idea of the post-modern revival, stating that it is a trap set by the past for designers of the future.

Ethel Baraona Pohl, Adhocracy, the end of postmodernism? Ethel Baraona Pohl, co -founder of dpr -barcelona, develops her hypothesis about how, as the financial crisis of 2008 marked a turning point in the economy, architecture as a profession has begun to reinvent itself and try to understand how to adapt to a changing world that requires flexibility and languages ​​that were not used before.

Pier Vittorio Aureli, More and more about less and less. Italian architect Pier Vittorio Aureli shows with a series of archetypical examples of the past that the possibility of non-figurative architecture is not new, but is already latent in architecture history.

Carmelo Rodríguez Cedillo, Bizarre Columns. In his essay, Spanish architect Carmelo Rodriguez Cedillo builds a categorization of various types of columns: distorted columns, hyper-graphic columns, inhabited columns, furniture columns, naturalists columns, technological columns, invisible columns and columns without gravity.

Imaginary epilogue. The last pages of the magazine are devoted to a series of drawings, collages and paintings from fala atelier, Bernard Dubois, OFFICE KGDVS, BRUTHER and Pezo von Ellrichschausen.

See content for other PLOT issues:

PLOT 01 PLOT 02 / PLOT 03 PLOT 04 / PLOT 05 PLOT 06 / PLOT 07 / PLOT 08 / PLOT 09 PLOT 10 PLOT Special Edition Nº2: Constructive details. 1º Unfinished Technological Map / PLOT 11 PLOT 12 / PLOT 13 / PLOT 14 / PLOT 15 / PLOT Special Edition Nº3: Constructive details. 2º Unfinished Technological Map/ PLOT 16 / PLOT 17 / PLOT 18 / PLOT 19 / PLOT 20PLOT 21PLOT 22PLOT 23PLOT 24PLOT 25PLOT 26PLOT 27PLOT Special Edition Nº5: Landscapes of the unstable / PLOT 28 / PLOT 29 / PLOT 30

Subscribe now to PLOT and receive it in your home with 20% off the cover price!

BAJA PLOT31 TAPA 1 520x665 PLOT 31

PinExt PLOT 31

Posts Relacionados:

Curiosidad ascendente
Domicilio nómade
Permanencia de fragmentos históricos
Museo como Genealogía
REVISTA PUL 9 / CONTENIDOS
Containers en un sistema abierto

Fatal error: Uncaught Exception: 12: REST API is deprecated for versions v2.1 and higher (12) thrown in /nfs/c09/h03/mnt/134343/domains/revistaplot.com/html/en/wp-content/plugins/seo-facebook-comments/facebook/base_facebook.php on line 1273