A new exhibition devoted to postmodern British architecture is designed to spark a revival of interest in the movement. The exhibition titled The Return of the Past: Postmodernism in British Architecture is now showing at Sir John Soane’s Museum in London through August 26. The exhibition will display a selection of important works by some of the country’s most prominent architects such as Terry Farrell, CZWG, Sir Jeremy and Fenella Dixon, John Outram, and James Stirling. Their works emerged as part of the postmodern movement, which was a reaction against the confining modernist style used in designing many British towns and cities at the time. Postmodernist architecture generally emphasized the reconnection of architecture to the past through “ornament, materials, form or typology,” according to a statement from the Soane Museum. The SIS building designed by Terry Farrell houses the headquarters of Britain’s foreign intelligence agency Secret Intelligence Service MI6. Located on the bank of the River Thames in central London, the cascading building looks like a fortress, finished with a cream-colored facade and green-tinted windows. Another highlight is a project for 200 Queen Victoria Street for Rosehaugh-Stanhope Developers by John Outram. Although unbuilt, its signature image, featuring oversized Greco-Roman columns, chinoiserie posts, mosaic patterns, turbine flourishes, and fantastical additions make it a shining example of the movement's style. CZWG’s work is also celebrated in the exhibition. Cascades is a twenty-story apartment building located on the Isle of Dogs in London. Its design offered an alternative appearance to the high rise typology. According to CWZG, the “Pharaonic references” signify the high-reaching ambition of the construction, making it a postmodernist centerpiece. China Wharf is also a significant piece by the same firm. The building combines functionalism and aesthetics. The scalloped wall “is used to twist windows, both towards the rising sun and away from the neighbors directly across the courtyard,” according to the designers. As part of a regeneration scheme for the London Docklands, the building includes a pastiche of stylistic references such as naval and pagoda motifs. “Postmodern architecture in Britain is frequently written-off as an expression of 1980s Thatcherism and still little understood. We conceived this exhibition to set the record straight and reveal this period as one of such amazing creativity and innovation that can hold its own with any moment in British architecture history,” said Owen Hopkins, Senior Curator at Soane. “Full of color, ingenuity, and exuberance, the exhibition will also show the serious intellectual basis that underlay a movement whose legacy still shapes how we create and understand architecture today.” The organizers of the exhibition hope to renew attention to postmodern buildings in the U.K. Later this year, Historic England, the public body that looks after England’s historic environment, will launch a project to assess postmodern buildings for listing.
Posts tagged with "Terry Farrell":
Revisiting Postmodernism Sir Terry Farrell and Adam Nathaniel Furman RIBA Publishing $47.90 In their new, amply illustrated book, Revisiting Postmodernism, from RIBA publishing, architects Sir Terry Farrell and Adam Nathaniel Furman construct a cross-generational account of postmodern architecture’s birth, evolution, and eventual decline in America and Europe, placing special emphasis on the movement’s development in their native UK in the 1980s, ’90s, and early 2000s. As the title suggests, the work revisits—and is thus a revision of—a well-known disciplinary narrative. Readers unfamiliar with the subject would do well to begin with first-wave accounts before engaging with Farrell and Furman’s somewhat idiosyncratic views—Charles Jencks’s Language of Postmodern Architecture, for example, or the more academic and comprehensive The History of Postmodern Architecture by Heinrich Klotz. From the start, Farrell and Furman exhibit a sincere enthusiasm for the works gathered in Revisiting Postmodernism, privileging careful, sensitive readings of mostly built individual projects over theoretical generalizations and broad cultural criticism. The works cited are almost entirely illustrated with brightly colored photographs, foregrounding the authors’ endorsement of postmodernism’s potential for populist appeal and mass communication, while affirming critical theorist Fredric Jameson’s assertion that “many are the postmodern buildings that seem to have been designed for photography…” What Farrell and Furman’s text offers is a charming and highly digestible breeze through a famously difficult and hotly contested series of interrelated developments in architectural aesthetics, art practice, academic pedagogy, and theories of city planning from the late 1960s to the present day. The authors present complementary accounts of postmodern architecture’s more than 50-year life cycle through an aggregation of loose chronological narratives, speculative asides, biographical anecdotes, and generous nods to a host of B-side projects and lesser-known offices. The text glosses over oft-recited narratives of competing factions (the Grays, the Whites, the Chicago Seven, and the Silvers) and the contentious positions of their critical/philosophical avatars (the phenomenological, semiotic, psychoanalytic, and Marxist rhetoric that marked academic discourse at that time), favoring the trajectories of projects and bodies of work. Revisiting Postmodernism’s unique contribution to a now-rapidly expanding collection of postwar alternative histories (see Jorge Otero-Pailos’s excellent Architecture’s Historical Turn) is its focus on the much-decried middle and late periods of the movement. This period, Farrell suggests, was ushered in by Paolo Portoghesi’s Venice Architecture Biennale in 1980, and while other critics view the 1980 biennale as the beginning of the end for the once-radical, ideologically charged trajectories of figures like Michael Graves, Aldo Rossi, Charles Moore, and Robert Venturi, Farrell declares it a “watershed.” By Farrell’s account, Portoghesi’s “Presence of the Past” set in motion two decades of unprecedented cultural and financial investment in a variety of interrelated postmodern styles. Indeed, both Farrell and Furman devote a great deal of their attention to the urban (at times, massively) scaled, public and corporately funded works by offices like Ricardo Bofill, CZWG, Richard Rogers, César Pelli, Helmut Jahn, Philip Johnson, and Graves. Farrell’s own giant-scale work from that period, such as his MI6 Building at Vauxhall Cross (1994) and Alban Gate in the City (1992), epitomize the marketability, populist agency, and aesthetic and material limits of high postmodern. Farrell and Furman avoid too-easy critiques of a corporately sanctioned, populist, historical (read: reactionary) architecture built in the wake of Reagan and Thatcher. Instead, they interpret the moment of MI6 and the pre-Disney work of Michael Graves as remarkable anomalies in the history of architecture and capitalism. As Furman writes: “Younger architects, critics and the public were blinded to the incredible opening up of the profession that it had brought about, to its transformation of how planners and architects related to the city, to history, to heritage and the contemporary world, and to how buildings could say something, could tell stories and generate atmospheres…” Farrell and Furman conclude with hopeful, if somewhat disorienting, speculations, briefly touching on the neo-postmodernisms of a younger generation (offices like FAT and WAM) that began to take root in the shadow of corporate pomo’s polemical and commercial decline. The authors seem to suggest that fluid, global networks of information, materials, cultural exchange, and capital have happily rendered us all default postmodernists in this second decade of the 2000s. Where cultural critics like Fredric Jameson paranoiacally theorized the rise of a ubiquitous “postmodern hyperspace,” that is, a space that accurately renders our collective incapacity to map the “multinational and decentered” networks that engulf us, Farrell and Furman celebrate the potential of a multivalent, multicultural architecture of the future—a communal, urban architecture presaged in the first and later waves of postmodernism.
The Council on Tall Buildings and Urban Habitat, the nonprofit arbiter on tall building design, has named its 2014 picks for best tall buildings. Among the winners are a twisting tower in Dubai, Portland's greenest retrofit, and a veritable jungle of a high-rise. The four regional winners are: The Edith Green-Wendell Wyatt Federal Building, Portland, USA (Americas); One Central Park, Sydney, Australia (Asia & Australia); De Rotterdam, Rotterdam, Netherlands (Europe); and Cayan Tower, Dubai, UAE (Middle East & Africa). Portland’s Edith Green-Wendell Wyatt Federal Building is not a new building. Designed by SOM in 1974, the office tower used a pre-cast concrete façade that had begun to fail by the turn of the 21st century. Bainbridge Island, Washington-based Cutler Anderson Architects and local firm SERA modernized the 18-story, 512,474 square-foot structure that is now targeting LEED Platinum. One Central Park in Sydney uses hydroponics and heliostats to cultivate gardens and green walls throughout the tower, cooling the building and creating the world's tallest vertical garden. OMA’s De Rotterdam is the largest building in the Netherlands, and its form playfully morphs the glassy midcentury office high-rise in a way that’s part homage and part experimental deconstruction. In the Middle East, Dubai’s twisting Cayan Tower (formerly The Infinity Tower) is a 75-story luxury apartment building that turns 90 degrees over its 997-foot ascent. Remarked the CTBUH panel: “happening upon its dancing form in the skyline is like encountering a hula-hooper on a train full of gray flannel suits.” CTBUH will pick an overall “Best Tall Building Worldwide” winner at their 13th Annual Awards on November 6, at the Illinois Institute of Technology in Chicago. Their panel of judges includes Jeanne Gang, OMA’s David Gianotten, Laing O’Rourke’s David Scott, and Sir Terry Farrell, among others. OMA’s CCTV Tower in Beijing won last year’s competition. Most of the 88 contest entries were from Asia, CTBUH said, continuing that continent’s dominance of global supertall building construction. CTBUH's international conference will take place in Shanghai in September. You can find more about the 2014 CTBUH awards, including a full list of finalists, at their website.