GROUP REPORT

SUBMITTED BY:
MA’AM FARYAL

SUBMITTED BY
GROUP :3
FATIMA AMIR (A-19-AR-27)
HIBBA ABBAS (D-19-AR-26)

SUBMITTED DATE:
22-OCTOBER 2021
 ACKNOWLEDGEMENT

We would like to thank Almighty ALLAH and we would like to acknowledge and extend our
heartfelt gratitude to the following persons who have made the completion of this report
possible;
Our Teacher, Ma’am faryal for her vital encouragement and support and for teaching us in
such a manner that we would stay thankful to her throughout our life.
& our friend’s n family for supporting me in every step we took for making the report.
 POSTMODERNISM
Postmodernism – international architectural movement that emerged in the 1960s, became prominent in the
late 1970s and 80s, and remained a dominant force in the 1990s. Rejection of strict rules set by the early
modernists and seeks high spirits in the use of building techniques, angles, and stylistic references
Postmodernist movement is often seen as an American movement, starting in USA around the 1960s–1970s
and then spreading to Europe and the rest of the world The movement largely has been a reaction against the
austerity, simplicity and functional design approach of the modern architecture/international style Portland
Public Services Building, 1982. Michael Graves,

The aims of Postmodernism or Late-modernism begin with its reaction to Modernism; it tries to address the
limitations of its predecessor. The list of aims is extended to include communicating ideas with the public
often in a witty way. The communication is done by quoting extensively from past architectural styles, often
many at once. In breaking away from modernism, it also strives to produce buildings that are sensitive to the
context within which they are built. Postmodernism has its origins in the perceived failure of Modern
Architecture; its preoccupation with functionalism and economical building which failed to meet the human
need for comfort both for body and for the eye. In response, postmodern architects sought to reintroduce
ornament, color, decoration and human scale to buildings. Form was no longer to be defined solely by its
functional requirements or minimal appearance. Portland Public Services Building, 1982.

CHARACTERISTICS OF POSTMODERNISM
 Postmodern Architecture rejects the notion of “pure” or “perfect” form, instead it draws from: all
methods, materials, forms, & colours available to architects.
 Moves away from the neutral white colours seen in modernism the return of "wit, ornament and
reference" to architecture Team Disney –The Eisner Building, 1991 Michael Graves, took past
components of different styles and melded them together to create new means of design. It is known
for the re-emergence of surface ornament, reference to its surrounding buildings, and historical
references.
 revival of traditional elements and techniques.
 Post modernists looked into past architecture in order to learn from it.
 Classical designs such as pillars, arches, and domes used in new, almost humorous ways, just to send a
message to the modernist people.
 It favored personal preferences and variety over objective truths and principles! Piazza distalia, New
Orleans, 1976-1980.
 CHARLES MOORE, characteristics of postmodernism sensitivity to the building’s context, history
and the client’s requirements physical characteristics- the use of sculptural forms, ornaments and
anthropomorphism conceptual characteristics - pluralism, double coding, high ceilings, irony, paradox
& contextualism.
 Used classical styles in new combinations: pillars, arches, domes, curtain wall facades,
sculptures and roman conventions

Bank of America Center in Houston, by John Burgee and Philip Johnson, completed 1983

 Used classical styles in new combinations: pillars, arches, domes, curtain wall facades, sculptures
and roman conventions

 Used classical styles in new combinations: pillars, arches, domes, curtain wall facades,
sculptures and roman conventions
 Similar to old cathedrals, draws the eye upwards toward the sky

 Reconciled differences between old and new generations (culture wars) Postmodern
architecture takes old styles and updates them

 Reconciled differences between old and new generations (culture wars) Postmodern
architecture takes old styles and updates them Vanna Venturi House, Robert Venturi
 ROBERT CHARLES VENTURI, JR.
Born – June 25,1925  American architect, founding principal of the firm “Venturi”, Scott
Brown and associates, and one of the major architectural figures in the twentieth century.
Their buildings, planning, theoretical writings and teaching have contributed to the expansion of
discourse about architecture.
Awarded the Pritzker Prize In architecture in 1991  Known for coining the maxim “Less Is A
Bore" a postmodern antidote to Mies Van der Rohe's famous modernist dictum "Less Is More".

CHARACTERISTICS

Venturi's buildings typically juxtapose architectural systems, elements and aims, to acknowledge
the conflicts often inherent in a project or site
Robert Venturi is known for incorporating stylized cultural icons into his buildings.
However, Venturi is recognized for much more than postmodernist designs.
The firm has completed more than 400 projects, each uniquely suited to the special needs of the
clients.

DESIGN PHILOSOPHIES

Designs are eclectic i.e. draws inspiration from varied sources, such as historic design styles and
popular culture, including contemporary commercial architecture and advertising.  Combines
design elements in unexpected ways
Incorporates cultural icons into his building
Against the Modernist tendency to treat buildings as solitary objects without regard for their
settings, he argued that a building derives meaning from its context, and different contexts
require different forms of architectural expression.
CASE STUDY 1

VANNA VENTURI HOUSE

PROJECT NAME VANNA
VENTURI HOUSE
CONSTRUCTION YEAR 1964
ARCHITECT ROBERT
VENTURI
PROJECT CATEGORY
RESIDENTIAL
LOCATION 8330 MILLMAN ST,
PHILADELPHIA, USA VANNA VENTURI HOUSE
 One of the first prominent works of the postmodern architecture movement, is located in
the neighbourhood of Chestnut hill in Philadelphia, Pennsylvania.  Designed by
architect Robert Venturi for his mother Vanna Venturi
 The house was sold in 1973 and remains a private residence.
STRUCTURAL DETAILS
•The five room house stands only about 30
feet (9 m) tall at the top of the chimney, but
has a monumental front façade.
• A non-structural appliqué arch and "hole
in the wall" windows, among other
elements, were challenge to modernist
orthodoxy.
• The house is designed around a chimney
that is centralised and goes all the way to the
top of the house.
•Externally, the house is built symmetrical. Venturi has distorted this idea of symmetry.

•There is also a basement underneath the house that is often not uncovered by

people.
 PLAN
ARCHITECTURAL FEATURES
 The basic elements of the house are a reaction against standard modernist architectural
elements: - pitched roof rather than flat roof, - emphasis on central hearth & chimney, -
closed ground floor "set firmly on ground" rather than modernist columns & glass walls
which open up the ground floor. -On the front elevation the broken pediment or gable &
a purely ornamental applique
arch reflect return to mannerist
architecture and a rejection of
modernism.

ARCHITECTURAL FEATURES
 House is a composition of
rectangular, curvilinear, and
diagonal elements coming
together (or sometimes
juxtaposing each other) in a way
that inarguably creates
complexity and contradiction.
 In order to create more
contradiction and complexity,
Venturi experimented with scale.
 Inside the house certain
elements are “too big,” such as
the size of the fireplace and the
height of the mantel compared to the size of the room. -Doors are wide and low in
height, especially in contrast to the grandness of the entrance space. - Venturi also
minimized circulation space in the design of the house, so that it consisted of large
distinct rooms with minimum subdivisions between them.
PRECEDENT STUDY:

CASE STUDY 2

PROJECT NAME EPISCOPAL

academy chapel
construction year 2008
Architect venturi, scott & associates
Project category chapel
Location newton square,
pennysylvania, united states episcopal
academy chapel

 Inside the 15,000 square foot

chapel‟s fan – shaped plan
allows worshipers to face each other as well as the altar.
 CHANCEL AISLE MAIN ENTRANCES - 3
 THE SPACES BETWEEN THESE LAYERS OF MASONRY WALLS ALLOW
CIRCULATION AND LIGHT
 PLAN
INTERIOR
 The interior is lit by means of two level of
clerestory windows.
 Over-lapping layers of walls, which allow
indirect light to create aura
 His desire was never to take architecture back
literally to the styles of the past Venturi's
architecture has never been driven by the
desire to replicate the past; where he uses
historical form, it is with the goal of
integrating it into a wide-ranging and, in the
end, contemporary whole. His architecture seems difficult to many people. It
 isn't particularly simple or easy, and it isn't always pretty.

CASE STUDY 3
PROJECT NAME: PROVINCIAL
CAPITOL BUILDING
TYPE: GOVERNMENT
ARCHITECTURAL: POSTMODERN
COUNTRY: FRANCE
COMPLETETION: 1999
COST $80,000,000
CLIENT: DEPARTMENT OF HAUTE-
GARONNE FLOOR
AREA:760,000 SQ FEET
 DESIGN AND CONSTRUCTION ARCHITECT: VENTURI, SCOTT AND

ASSOCIATES
 The building consists of an administrative and legislative complex including offices, the
legislative assembly chamber, public services, various public and governmental support
spaces, three levels of underground parking for public and staff, and outdoor and indoor
ceremonial spaces. Today the capitole houses the city hall, as well as the Théâtre du
capitol de Toulouse opera company and a symphony orchestra

DESIGN PLAN
• two slender six-story wings of flexible loft space two glass-clad bridges.
• administration buildings frame a pedestrian way, a street"
• the crescent-shaped public space along this civic street, focus of buildings.
• the surfaces of the interior court contain the same windows, and are of brick.
• important forms such as those of the hall salle du conseil general are sheathed in glass curtain
walls.
ARCHITECTURAL FEATURES
• The building's siting in center of site, framed by landscaped park gardens, softens its impact in
this neighborhood, while allowing the possibility of future expansion of smaller increments
nearer the perimeter of the site.
• A large park facing the canal du midi enhances the neighborhood provides a setting for the
building along the canal where one can the great curved section of the building as a reflection of
the curve the Garonne in this area, as it flows to the sea.
• Covered bridges in glass span the pedestrian street connecting the two wings of the building at
two locations. They offer dramatic from within the complex and, by their form and silhouette,
serve as symbolic gateways to the civic crescent.
PHILIP JOHNSON
"I GOT EVERYTHING FROM SOMEONE. NOBODY CAN BE
ORIGINAL. AS MIE'S VAN DER ROHE SAID, 'I DON'T WANT TO BE
ORIGINAL. I WANT TO BE GOOD.'"
an American architect SUBMITTEDBY – Adnan Haider Kusumita Neogi Gurleen Malhotra Vishal singh
Iqbal Azam

• Became founder and director of the Department of Architecture and Design of the Museum of
Modern Art in New York , he headed the department between 1930 and 1936.

• Philip Johnson not only lived and ate in places of his own design, he also worked in them. For many
years, his architectural design office was in the Seagram Building in New York City, where he practiced
alone for many years.

• Though he began in the stark style of MIES VAN DER ROHE’S work, by the 1960 he had turned to a
more individual style that incorporated HISTORICAL ELEMENTS.

• His greatest influence as an architect was his use of GLASS.

• JOHNSON was the first to experiment will all glass facades, and by 1980s such buildings had become
commonplace the world over.

CASE STUDY 1
GLASS HOUSE , 1949
• The Glass House is one of the largest projects undertaken by the American architect Philip Johnson.

• He designed it as his own residence in

New Canaan, Connecticut.

• There are no interior supports.

• It is a steel frame structure and all the

windows and doors are made up of glass.

• Johnson has described the glass house

as the permanent camping trip.

• BUILDING TYPE - Residency

PHYLOSOPHY
• According to Philip Johnson “ crutches” by which architects evade their real responsibilities are –
HISTORY i.e. Justifying elements which are earlier used. UTILITY i.e. if utility of a building overcomes
artistic inventions, then is merely an assemblage of useful parts.
• He designed according to the belief “ to go against the grain “

• DE constructivist architecture : he presented design issues in strictly stylistic terms.

• The house is a 56 feet by 32 feet glass rectangle, • The Glass House is located on a beautiful spot
where the trees are the only barrier – which acts as the surrounding wall – that can stop the view of
visitors through the walls of glass. SITE PLAN Trees surrounding it Plan of houseEntrance Pathway for
entry

PLAN

CONCEPT
• At the Glass House is clearly one of the most important architectural principles proposed by Mies van
der Rohe: “Less is more, here are minimal materials used, elements of the economy is very clear and
does virtually any ornament

. • The interior space is divided by cabinets

• a low brick cylinder containing the bathroom.

MATERIALS USED
The floor of a cube whose contour is formed only by the thin steel work painstakingly painted black. The
steel frames of black and red brick cylinder that contains the fireplace and the bathroom Due to the
ceiling opaque and transparent walls of the house of glass, visitors will have the wonderful feeling of
being permanently under one roof One of the corner ,the way the exposed columns and window
mullions meet
 Reference
 https://www.nytimes.com/2018/09/19/obituaries/robert-venturi-dead.html
 https://www.pritzkerprize.com/biography-robert-venturi
 https://www.dezeen.com/2018/09/19/robert-venturi-best-postmodern-architecture-
projects/

 https://www.archdaily.com/964625/what-is-postmodernism

 https://www.nytimes.com/2018/09/19/obituaries/robert-venturi-dead.html
 https://www.slideshare.net/qblzm/philip-johnson-141481845

 https://www.archiweb.cz/en/b/vanna-venturi-house-rodinny-dum-venturiho-matky
 https://www.pinterest.ch/kissgagathe/venturi/
 https://www.archdaily.com/62743/ad-classics-vanna-venturi-house-robert-
venturi/5037e07928ba0d599b00016a-ad-classics
 https://www.archdaily.com/62743/ad-classics-vanna-venturi-house-robert-
venturi/5037e07928ba0d599b00016a-ad-classics