Word: postmodernists
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Like most postmodernists, Hollein says he is not a postmodernist. But as the Pritzker citation declared, he is "one who with wit and eclectic gusto draws upon the traditions of the New World as readily as upon those of the Old." Says Hollein: "I was never afraid to use materials in new contexts--plastics or alu- minum or marble, and all this together." Nowhere does he put more forms and materials together better than in his museum of contemporary art in Monchengladbach, West Germany. The Pritzker ostensibly honors a lifetime of work, but surely it is Monchengladbach that...
...cold. Rather, an Aalto building is apt to swell or zigzag confoundingly, to have lines and textures that seem more botanical and geological than geometrical. Ahead of his time, he declined to enforce the brittlest dogmas of the new. Thirty years before the phrase was coined, Aalto was a postmodernist, the first...
...American architecture," he believes, "is going all over the place, like pellets sprayed from a shotgun." He is particularly disenchanted with the postmodernist eclecticism that has become fashionable in the past decade. "You cannot evoke the past by simply taking historical symbols and using them as applique," he maintains."What does it mean to put a Roman arch over someone's house in Connecticut? Nothing. Architecture has to do with the totality of the building, not the application of illiterately assembled elements...
...American fabric still looks like a charming country quilt. American architecture has been pursuing a rather whimsical rediscovery of its home-grown past: flimsy roadside commercial buildings are regarded as significant folk design, for instance, and turn-of-the-century housing styles are now being absorbed into the postmodernist aesthetic. When Conservative Columnist George Will calls Rock-'n'-Roller Bruce Springsteen (Born in the U.S.A.) an exemplar of bedrock American values, as he did in a column last week, who will deny that the country has become infatuated with itself...
...Raphaelitism never quite went away. It acquired an armor-plated niche in the English imagination. Its present triumph, symbolized by the Tate show, has nothing to do with dubious cultural cliches like "postmodernist irony." There is no irony in Pre-Raphaelitism. Everything there, from the pale, swooning damozels down to the last grass stem, is the product of unutterable sincerity. Those painters would rather have died of lockjaw than paint anything that was not direct, heartfelt and didactic...