B Pages:4 Words:1054
This is just a sample.
To get a unique essay
Hire Writer
Type of paper: Essay
University/College: University of Chicago
Download: .pdf, .docx, .epub, .txt

A limited time offer!

Get custom essay sample written according to your requirements

Urgent 3h delivery guaranteed

Order Now

Less Is More

LESS IS BORE. INTRODUCTION HOW CAN ONE DESCRIBE AND ANALYSE AN ARTISTIC MOMENT WHILE IT IS GOING ON? SO IN CASE OF POSTMODERNISM, HISTORY OFFERS NO INSIGHT AS TO THE SCOPE OF THE MOMENT BECAUSE WE ARE IN IT’S MIDST. EXPLANATION “I NEVER KNEW ANYBODY .

We will write a custom essay sample on Less Is More specifically for you
for only $13.90/page
Order Now

. . WHO FOUND LIFE SIMPLE. I THINK A LIFE OR A TIME LOOKS SIMPLE WHEN YOU LEAVE OUT THE DETAILS. ” SAME WAS THE THINKING OF ROBERT CHARLES VENTURI WHEN HE TOSSED HIS FAMOUS QUOTE ‘’LESS IS BORE’’, WHICH PAVED THE WAY FOR POSTMODERNISM IN THIS MODERN WORLD.

ACCORDING TO THE CONCEPT ‘’LESS IS BORE’’ IT DEFINES THAT POSTMODERNISM IS SO ELUSIVE BECAUSE IT IS A SET OF COMPLEX CONCEPTS AND ABSTRACT PREMISES, NOT ONE CENTRAL IDEA. IT IS ONE OF THE HARDEST PHILOSOPHICAL AND ARTISTIC MOVEMENTS TO DEFINE; HOWEVER, ITS MUCH FORM CAN BE FOUND IN VISUAL ART, LITERATURE AND ARCHITECTURE. THIS CONCEPT ADVOCATES EMBRASING “CONTRADICTION AND COMPLEXITY’’ IN ORDER TO CREATE VALID AND VITAL WORKS. ITS ARGUES ARCHITECTS TO LEAVE THE TENETS OF TRADITIONAL MODERNISM BEHIND IN PURSUIT OF “TRUTH IN ITS TOTALITY’’.

THIS MEANS THAT POSTMODERNISM IS A COMPLEX SET OF TRUE NATURE OF ARCHITECTURE AND IT IS MORE REAL THAN OVERLY PLANNED, HYPPER-LOGICAL MODERNIST CONSTRUCTIONS. POSTMODERNISM BEGAN AS AN INTERNATIONAL STYLE IN AROUND 1950’S AND CONTINUES TO INFLUENCE ARCHITECTURE TILL THIS DAY. POSTMODERNITY IN ARCHITECTURE IS SAID TO BE HERALDED BY THE RETURN OF “WIT, ORNAMENT AND REFERANCE” TO THE ARCHITECTYRE IN RESPONCSE TO THE FORMULATION OF INTERNATIONAL STYLE OF MODERNISM.

WITH THE START OF POSTMODERNISM THE FUNCTIONAL AND FORMALIZED SHAPES AND SPACES OF THE MODERIST STYLE ARE REPLACED BY DIVERSE AESTHETICS AND NEW WAYS OF VIEWING FAMILIAR STYLE AND SPACES AROUND. THE MODERNISM IS ROTTED IN MINIMAL AND TRUE USE OF MATERIAL BUT WE FIND A WHOLE ABSENCE OF ORNAMENTATION. BUT IN CASE OF POSTMODERNISM, THERE IS A STRONG REJECTION OF STRICT RULES SET BY THE EARLY MODERNISTS AND THERE IS A PURSUIT OF SEEKING MEANING AND EXPRESSION IN THE USE OF BUILDING TECHNIQUES, FORM AND STYLISTIC REFRENCES.

WHY ACCORDING TO ROBERT CHARLES VENTURI “LESS IS BORE” “THE IDEAL ART, THE NOBLEST OF ART COULD ONLY BE DONE BY WORKING WITH THE COMPLEXITIES OF LIFE, REFUSING TO SIMPLIFY, TO “OVERCOME” DOUBT. ” EVERY WHERE EXCEPT IN ARCHITECTURE, COMPLEXITTY AND CONTRADICTION HAS BEEN ACKNOWLEDGED, FROM GODEL’S PROFF OF ULTIMATE INCONSISTENCY IN MATHEMATICS TO ELIOT’S ANALYSIS OF DIFFICULT POETRY TILL JOSEPH ALBER’S DEFINATION OF THE PARADOXICAL QUALITY OF PAINTING. BUT LUCKLY VENTURI’S INFLUENCE SHOWS UP THE EMERGENCE OF WHOLLY NEW SITUATION IN ARCHITECTURE.

HIS CONTRIBUTION TO THE ARCHITECTURE CAME IN SUCH A TIME WHEN MODERNIST ARCHITECTS HAD ERRONEOUSLY ASSUMED THAT THEIR WORK WOULD EVENTULLY TAKE PLACE AS A CONGENIAL NEIGHBOR TO THE OTHER HISTORICAL STYLES. BUT VENTURIE’S AWARNESS TOWARDS THE VERSION OF CLASSICAL ELEMENTS OF DESIGN HELPED HIM TO INTRODUCE THE WORLD WITH “LESS IS BORE” CONCEPT. HE HAS MADE A SPECIAL ATTEMPT TO RELATE ARCHITECTURE TO OTHER THINGS, AND ALSO HE HAS SET A RELATION BETWEEN COMPLEXITY AND CONTRADICTION IN ARCHITECTURE. SO, THE POSTMODERNISM WELCOMES THE PROBLEMS AND EXPLOIT THE UNCERTAINTIES.

IT EMBRACES CONTRADICTIONS AS WELL AS COMPLEXITY AND AIM FOR VITALITY AS WELL AS VALIDITY. WHILE MODERNISM REJECTS DEVINE MEANING, THE BEAUTY OF NATURE AND THE FOCUS ON THE HUMAN BODY, POSTMODERNISM WISHES TO BRING TO FRUIT IDEAS OF ENLIGHTMENT THAT MODERNISM REJECTS. MODERNISM HOLDS THAT WHAT IS IMPORTANT IS THE IDEA OR OBJECT A WORD REPRESENTS, POSTMODERNISM HOLDS THAT WHAT IS IMPORTANT IS THE ACTUAL WORD ITSELF. ART CAN BE SATISFACTORILY DESCRIBED ONLY WHEN IT IS UNDERSTOOD NOT TO FULFILL THE EXPECTATIONS WHICH IT AROUSES.

SO WE MUST UNDERSTOOD THE NATURE OF ART, IT IS NECESSARY TO BEFORE FURTHER ANALYZING COMPLEXITY AND CONTRADICTION IN ARCHITECTURE. ARCHITECTURE CANNOT BE UNDERSTOOD AS ART UNTIL ART HAS BEEN UNDERSTOOD IN GENERAL. A MAJOR PROBLEM IN ART HAS BEEN A SUPPOSEDLY NECESSARY RELATIONSHIP BETWEEN THE WORK OF ART AND THE EXPERIENCE OF ART. LOOKING AT GRAPHIC DESIGN, THERE ARE NO “LAWS,” BUT THERE ARE CERTAIN IDEAS ABOUT SYSTEMS, RULES AND FORM. HOWEVER, IT SEEMS THAT MANY OF VENTURI’S PRINCIPLES WORK EFFECTIVELY IN A GRAPHIC DESIGN CONTEXT: VARIETY, INCLUSION, AND TENSION ARE ALL KEY COMPONENTS TO SUCCESSFUL AND COMPELLING WORKS.

WHILE GRAPHIC DESIGN PROJECTS GENERALLY HAVE A MUCH SHORTER LIFE SPAN THAN ARCHITECTURAL WORKS, IT IS INTERESTING TO CONSIDER THE GRAPHIC LANDSCAPE IN REFERENCE TO THE CITY LANDSCAPE. AS VENTURI DISCUSSED THESE IDEAS IN RELATION TO BOTH THE SINGULAR BUILDING AND THE DYNAMIC, LIVING CITY, WE CAN ALSO THINK ABOUT OUR DESIGN WORK AS INDIVIDUAL ENTITIES AS WELL AS PARTS OF A WHOLE BY CONSIDERING HOW THEY FIT IN WITH BOTH CONTEMPORARY AND HISTORIC EXAMPLES OF GRAPHIC DESIGN.

CERTAINLY HIS IDEA OF REPURPOSING HISTORICAL OR TRADITIONAL ELEMENTS ALSO APPLIES TO ARCHITECTURAL DESIGN—POSTMODERNISM WOULD NOT EXIST WITHOUT THIS CONCEPT. LETS US TAKE THE EXAMPLE OF RESIDENCE IN CHESTNUT HILL, PA. , VENTURI AND RAUCH, 1962. THIS BUILDING RECOGNIZES COMPLEXITIES AND CONTRADICTIONS: IT IS BOTH COMPLEX AND SIMPLE, OPEN AND CLOSED, BIG AND LITTLE; SOME OF ITS ELEMENTS ARE GOOD ON ONE LEVEL AND BAD ON ANOTHER; ITS ORDER ACCOMMODATES THE GENERIC ELEMENTS OF THE HOUSE IN GENERAL, AND THE CIRCUMSTANTIAL ELEMENTS OF A HOUSE IN PARTICULAR.

IT ACHIEVES THE DIFFICULT UNITY OF A MEDIUM NUMBER OF DIVERSE PARTS RATHER THAN THE EASY UNITY OF FEW OR MANY MOTIVAL PARTS. THE INSIDE SPACES, AS REPRESENTED IN PLAN AND SECTION, ARE COMPLEX AND DISTORTED IN THEIR SHAPES AND INTERRELATIONSHIPS. THEY CORRESPOND TO THE COMPLEXITIES INHERENT IN THE DOMESTIC PROGRAM AS WELL AS TO SOME WHIMSIES NOT INAPPROPRIATE TO AN INDIVIDUAL HOUSE. ON THE OTHER HAND, THE OUTSIDE FORM–AS REPRESENTED BY THE PARAPETED WALL AND THE GABLE ROOF WHICH ENCLOSE THESE COMPLEXITIES AND DISTORTIONS IS SIMPLE AND CONSISTENT: IT REPRESENTS THIS HOUSE’S PUBLIC SCALE.

THE FRONT, IN ITS CONVENTIONAL COMBINATIONS OF DOOR, WINDOWS, CHIMNEY AND GABLE, CREATES AN ALMOST SYMBOLIC IMAGE OF A HOUSE. SO, WE ALL MUST KNOW THAT POSTMODERNISM IS AN ART OF CREATING THE “ANOMALIES AND UNCERTAINTIES” THAT “GIVE VALIDITY TO ARCHITECTURE,” THE ARCHITECTURE MUST BE REACTING AGAINST SOMETHING. SO WHILE “THERE ARE NO FIXED LAWS,” ARCHITECTURE BENEFITS FROM SOME SENSE OF ORDER OR A SYSTEM SO THAT IT CAN REACT. BECAUSE SYSTEMS CANNOT ACCOMMODATE EVER CIRCUMSTANCE, ARCHITECTURE SHOULD STRIVE TO DEFY ORDER AND THE ALTERING OR BREAKING OF ORDER ENHANCES THE DEEPER MEANINGS OF THE ARCHITECTURE.