MEANING AND METAPHOR IN POSTMODERN ARCHITECTURE IN REFRENCE TO THE CENTRE POMPIDOU
An Analysis into the Aesthetics of the postmodern architecture is by nature; inspired and, intrinsically, and quintessentiallyrepresentativewithreferenceto the Pompidou centre
If one were to look at some characteristics of postmodern architecture, or just postmodernism in general, a common component would be part of declining - by rejection, I mean, the rejection of thecorrectmindset which modernist thinkers, or in this case, modernist architects employed and/or attempted to convey.
I will examine the Pompidou system in terms of the abandonment of traditional building styles and its various typical characteristics, in order to prove that it is extremely, an indication of postmodern, as opposed to de-constructivist architecture. I will examine the rejection of modernist mindsets in such ahumoristmethodology in the design of the Pompidou centre.1 Postmodernarchitecturehas become associated with stylistic introduction andrespect. This thesis attempts toestablishmeaningand signification, whichis understoodto be inherent. Asanconsequence of visual metaphor which is certainly‘read' as interpretative expressions involving a move from the visual to the linguistic, the model attempts to provide a basis for the semantic interpretation ofpostmodern architecture.
Let us now consider the nature of postmodern structure as well as that of the constructivist movement in architecture.Postmodern Architecture, such as the Nakagin Capsule structure built by Kiso Kurokawa, for example, can be as wildly eclectic and almost ended in order - rebellious, in terms of the Modernistic process of building solely according to functionality and severe structural parameters.
The Nakagin Capsule is a shining example of the concept of the “local history”, incorporated by postmodernists - as opposed to the modernist “master narrative”. The buildingwas designedto resemble birds' nests, which areaessential part of Asian culture, yet have no excuse for Westerners - this incorporation of local tradition and “spiritual” artistic symbolism is a trademark of postmodernist architecture. Another facet of postmodern architecture is thelivelyatmosphere whichis manifestedin different postmodern buildings.
Now, de-constructivism may in many ways seem to be similar to postmodernism in terms of a similar intrinsic value of abandonment to order and rationalism, which often results in a delightful end, product - humorous at least in its distinctive disregard for “authority”.
But, the crucial difference lies within the source of inspiration and the mindset of both postmodernism and deconstructionism. Where postmodernism drew inspiration from history and is full, de-constructivism was a more exclusive, pretentious context of design, influenced by Russian constructivism.
De-constructivism was a rejection of both postmodernism as well as modernism and can be in de-constructivist make such as that by Bernard Tschumi. Deconstructivism focuses more on highlighting fragmentation and the critical nature of perceiving and dramatizing architectural style. It is in many ways, a much more “serious” use of architecture/design than postmodernism.4
Let us consider The Centre Georges Pompidou, in terms of its physical characteristics, subsequently, we may discover the symbolism behind these characteristics and then proceed to a conclusion as to whether it is certainly,in fact, a statement of postmodernism or de constructivism. The Centrewas designedby the Italian architect Renzo Piano, the British architect. The Centre Georges Pompidouwas builtin such a way that all of its piping, ventilation and compositionwere placedoutside of the building, resulting in the building seeming to be “inside out” - resulting in quite a frightening sight. To improve its piping and steel frame surrounding it, which is exactly what makes it postmodern in nature, because of the humorous rejection of modernist ideology and the total disregard for the notion of functionality and logic.
The propertyhas been describedas “an oil refinery inthecentre of the city“ because of its unsightly appearance - which is particularly ironic seeing that it houses beautiful facility within its rough exterior. Although the pipes in the building are all systematically colour coded, within certain structural parameters, the fact remains that the entire property is essentially “inside out”. To build this architectural style, which is postmodern in principle because of the way in which modernistic architectural theory and formalismis rejected, would be partially true, but it does not concretely determine whether it is postmodern or de-constructivist seeing that both reject modernism - In order to obtain anauthorization, one must delve deeper.
The Pompidou possesses a degree of ironic cracks in its design, and the notion of institutional design and control is unquestionably questioned, almost in a chaotic way, but although thedeconstructionisttheory could be thought to be involved here. The agony and spirits leans toward the postmodern the fact that something so visually unappealing could be used tohousethat which should be “beautiful” is most certainly a curious postmodern approach.
How much more inclusive could a company be than to keep its heart on its exterior? All of its “inner workings” and essentially, its intestines (excuse my appropriation) are visible to fully everyone. This is a member of the things that practically screams postmodernism.
Although the building is in a way, “deconstructed”, its physical form as in, the actual shape of the building, is still fairly neutral in terms of its architecture. Postmodern design and construction celebrates ornamentation and decorative elements, whereas the de-constructivist planning and design rejects ornamentation that is not part of the structure of a building or a desire. Also, de-constructivist systemis characterizedby fragmented and fragmented forms and chaotic interactions - a perfect example of which being the Hysolar Institute building.
If one were to look at the Pompidou centre, in a totally objective manner and ask oneself the following question: Is thisbuildingfragmented, disjointed and/or chaotic? Is it strange?Yes, Are there ornamentation and a celebration of decorative elements?Well, the fact that all of the piping is colour coded serves as evidence for some form of ornament in my view. The piping itselfhas been transformedin a way.The accepted linear way of thinking about what a building should beis questionedand the notion of aestheticism is also challenged.
Perhaps it could be argued that de-constructivist ideals are available in the design of this building, seeing that, it is in a sense, “Deconstructed” and chief modernist parametersare questionedin an irrational manner.But, ultimately, if one were to weigh up the various elements discussed above, would they collectively create anorganizationthat serves as a rejection of postmodernism - a trademark of de-constructivist architecture? Does this information represent the passing means of implementation in terms of differing viewpoints? Does it highlight the structure of the building in the same exact advances that are critical to de-constructivist work? Never mind the rhetoric, I think the answer is no. The Pompidou Centre is “merely” a structure built with the purpose of questioning social standards and norms in a distinctly postmodern condition.
Where de-constructivism strayed from any social practices, primarily on the “essence” of a building or artwork, postmodernism incorporated and questioned these social practices, and is that not what the Centre Georges Pompidou does? The strict parameters of constructivism, such as its programme of urgent praxis production and fragmentation are not available in the Pompidou centre. The power of this property lies more in the statement it makes by using its piping as a variety of artistic ornamentation - another postmodern element - in incorporating that whichis consideredto be “low” into “high art” in an intricate dance of symbolism and irrationality.
The rejection of modernist mindsets such as functionalism in such ahumoristmethodology incorporated in the design of the Pompidou centre is a testament to the postmodern approach of the architects involved in the design and of the centre.The Pompidou Centre is truly a testament to the era of postmodernism in architecture, as a result of itshumoristrejection of modernistic architectural mindsets and its quirky aesthetic quality. Even though the Pompidou centre is perhaps not aesthetically pleasing, it does concern itself with appearances and not only concern, which in essence is a rejection of modernistic principles, making it a postmodern expression.
In what emerges the art form is usually the “happening or recurring” and is usually characterized by a distinctive sarcasm, with its chief philosophical theory of knowledge as and expressed in self-consciously rhetorical, ways which often affect the seriousness of philosophical speculation.Butfor now, Purposes, the crucially defining features of postmodernism are secular and semantic.Since it denies the possibility of originality, and all its products used in some, way, the postmodern authorization, must be one.
If allegory is aninherentdesire or imperative of postmodernism, then itssignificancewill be realisedby its level of infant language, because allegory always involves the coming into vogue from the image. The process of the visual art-object, such as an architectural form, coming into vogue from metaphors involve acts of readership andavariety.10
The Problem of Language
There is no discussion of construction which, briefly, would require a building conforming to a structural morphology of combined elements and elements which conform to the functions of
wordsthemselves.Howeveritis acknowledgedpostmodern architecture is “binary coded” and signifies through its figural inflections, in reference to Charles Jencks's; the language of Postmodern Architecture.11
“ It is one of the paradoxes of the modern/postmodern relation that the concept of multivalence can then be transferred to the proposed postmodernism architectural style, where itis modulatedby asenseof binary coding: “A post-modern building is...one which speaksat least two levels at once: to otherarchitects and acaringminority who care about specifically architectural significance,and to the public atlarge, or the local inhabitants, who care aboutotherissues concernedwithcomfort, traditional building and a way of life”11,12
Chomsky argues that we need to distinguish between peoples languageinterpretation, what they say at a given moment (which may be influenced and explained by an enormous factor), and their ability, what they know about the language.13
Indeed In understanding the tropic inscription of the postmodern “double-code”, the viewer must take two texts, which are layered, palimpsest-like.For example; Libeskind's Berlin Jewish Museumcontainsvoids and ‘bad spaces' which are an empiricalfact but whichcalculate aterribleabsence, thus invoking tragic.For example theJewishmuseum onewould expect thebuildingto be felicitous inthe sense that itsimportwould be optimisticallyencouraging. The Museum'sexquisitesurfaceskin initiallyseems to indicate this.Butthe ‘perfect skin'is slashedand gouged by the building's fenestration which symbolically connotes with wounding and pain.In an act of allegorises,the building says onething, but means another,
Equivalent coming to mind when confronting a property is the dialogue between spectators Andart-object which moves from top toorder, and in which the figural signification of The tropic autograph comes to mind The flawed ‘coming to view'instantiates the building's visual metaphors, and the emergenceofevidence fromvisualtrope is not, it is necessary to re-emphasize ‘the school of architecture' but instead, words from building.The shift away from art-object towards its inverse is not to replace design with field, and to reduce the objects of art solely to instances of concepts; the relationship posited here is always ‘conversational',illogicaland reflexive.14
The reader, far frombeing a recipient spectator, becomes an active participantwho theorizes aboutbusiness and hermeneutically tests the theories against their current body of knowledge. Asreader,including guesses, hunches, and implicit connections, gap-fillingand constantly, flicking between prediction and the anteriorityof the text.Postmodern aesthetics are strictlyhistoricistin the sense that the progressive forward-movementofradicalmodernismwas supersededin the secondhalf of the twentieth century, and that theart-work was revisiting the past in theface of an emasculated modernismimplicated here because it relates some background to some present for that information and that todayare embodiedin language.14
Interpretation of Postmodernism
These buildings dally with metaphor but have nomaterial, so thatthere References remain literalist similes: the exoskeleton and the amoeba, and without the Temporal palimpsest they do not allegories. If the postmodern art-object such as the installation or the property come into being in Heidegger's understanding of Dasein both as observed concentration andevidencecentric imperative, imputing meaning, then the tendency to the textual, such as metaphor, will always involve both a wealth ofanalysisand insight.
Heidegger's contentionthatthrough language, the art-object must be allowedtopublish, or unconcealeditself, demands a collaborativecompliance on the part of the reader toremain open to the underlyingMetaphoric transference, which is typical, of the art-work itself.
Thisallows for a multiplicity of interpretations, but sincethere is oneway Meaning - Practical Criticism's highest quality -those interpretations are but variations on a theme, suggesting that they represent ‘significance' rather than‘meaning'
The real meaning of a provisionis foundin the invisible and, this allows a piece of architecture to become part of a City and its inhabitants. The author plays a crucial role since his understanding of a given society allows him to convey meaning and put his powerful message. This is an intensely personal course since there are no fixed formulas that will help the Architect.
We concluded that these works caused such an impact in their communities because many aspectswere combined. Among these, the author's opinion, the moment and even the wise capacity of people that live among these works of Architecture.
The individuals make buildings their own in the way in which they perceive them because there is nopre-establishedform that will allow us to determine the nature of a Masterpiece.We can only say that if an idea prevails over substance, the image is hard to replace. Theyrequirea bump in a community when the most fundamental aspects of a groupare projectedin a work. Therefore, apieceofbuildinginserts itself in the urban space, becoming a device beyond its physical presence In building the device may occur,long after those who have commissioned or designedit have ceased to exist. Architecture canremain. This isacrucialimportancethat can affect the motivations of architects, their clients and community.The things that affect this attribute should beunderstood,