Word: postmodernism
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...postmodern impulse of the 1970s was fundamentally a movement away from , the cerebral and toward the sensual. Today, although interest in the frillier postmodern forms is waning, many architects and designers are taking a further leap in the same direction. They are concerned less with issues of style and more with exploring the character and connotations of building materials -- the nuances of woods and stone and plaster and metals and plastics and finishes. The best designs of 1986 in almost every instance exemplify the new materialism...
...psychedelic, slapsticky mixture of humanoid furniture (a bright-eyed "Chairry" that hugs Pee-wee when he sits in it), animated clay figures (Popsicles dancing in a freezer) and blithe video effects (Pee-wee driving a cartoon car down a cartoon highway). The colors are surreal and polymorphous, the sensibility postmodern -- playful with a vengeance...
...propelled H.G. Wells and Jack the Ripper into San Francisco in 1979), they do just fine. Dr. "Bones" McCoy (DeForest Kelley) brazens his way through a little miracle surgery; Chekov (Walter Koenig), the Russian, has to explain his way out of an American nuclear submarine; Scotty (James Doohan) brings postmodern plastics to Marin County. And Spock, wandering around Golden Gate Park in a Vulcan bathrobe and proving his ineptness with the local slang, must be passed off as a casualty of the '60s free-speech movement. "He did a little too much LDS," Kirk explains helpfully...
...intention, usually) is to make outsiders and stylistic slow learners scramble to catch up. Thus today, as the giant architectural firms have begun routinely gussying up their new high-rise towers in pseudoantique brica-brac -- fake Corinthian columns, pediments and pyramidal tops -- the cutting edge has glided past. As postmodern cliches become ubiquitous, in other words, the movement is becoming passe...
...perverse and may (possibly) be interesting art, but how much do they have to do with architecture? Lynne Breslin's dreamy, convoluted "Stargame" drawings would make good black-light posters, but is she among the several dozen most talented young American architects? At the other end of the spectrum, postmodern sweetness still has baby-boom adherents. The cupola- topped shingle-style studio that Mark Simon designed for a Long Island beachfront is something of a contortionist folly: it jams all the moves of a mansion into a building the size of a gazebo. But in its earnest eagerness to please...