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post-­‐modernism     and  the  REMIX


less  is  more  


   less  is  more  


less  is  a bore


Postmodern  Chairs:   Robert  Venturi  and  Denise  Sco:  Brown,  1977  


Levi:own,  Pennsylvania,  1959   Father  Knows  Best,  TV  Guide  Cover,  1956  


Bob  Dylan     Milton  Glaser,  1966  


complexity  and  contradic7on     [Venturi,  1966]  

[We]  can  no  longer  afford  to  be  inOmidated  by  the   puritanically  moral  language  of  orthodox  Modern   architecture.  I  like  elements  which  are  hybrid  rather  than   “pure,”  compromising  rather  than  “clean,”  distorted  rather   than  “straighWorward,”  ambiguous  rather  than  “arOculated,”   perverse  as  well  as  impersonal,  boring  as  well  as   “interesOng,”  conven4onal  rather  than  “designed,”   accommoda4ng  rather  than  excluding,  redundant  rather   than  simple,  ves4gial  as  well  as  innovaOng,  inconsistent  and   equivocal  rather  than  direct  and  clear.  I  am  for  messy  vitality   over  obvious  unity.    


15  minutes  and  the  Factory  


Andy  Warhol,  Electric  Chair,  1967  


Andy  Warhol,  Brillo  Boxes,  1968  


Roy  Lichtenstein,  In  the  Car,  1963  


Independent  Group:  1952-­‐55  


MARY  QUANT   The  Age  of  the  Mini  Skirt,   1960s  


Alexander  Girard,  blanket  and  ashtray,  ca.1967  

   Braniff  Air  


Braniff  Stewardess  in  Pucci   “Jellybean  Jets”  by  Girard  


Girard,  interior  design  for  Braniff  Air,  c.1970  


Verner  Panton,  Visiona  II,  Cologne  Furniture  Fair,  1970  


“Phantasy  Landscape”     Verner  Panton,  Visiona  II,  Cologne  Furniture  Fair,   1970  


Victor  Vasarely,  Op  Art  PainOngs,  Hungarian,  c.1969  


Verner  Panton,  Spiegel  Headquarters,  cafeteria,  Hamburg,  1969  


Verner  Panton,  Astoria  Hotel  and  Restaurant,  Norway,  1960  


Alex  MacIntyre,  “ Trip  Box”  installed  at  Maples  Department  Store,  London,  1970-­‐1    


Staffan  Berglund   Villa  Spies,  Stockholm,   Sweden,  1969    


Staffan  Berglund,  Motorized  Elevated  Dining  Area,  Villa  Spies,  Sweden,  1969  


Eero  Aarnio,  Ball  Chair+  PasOl  Chair   1966-­‐68  


Joe  Colombo,  1967-­‐69    “Living  Systems”  Flexible  SeaOng  Systems  +  Tube  Chair    


Habitat  of  the  Future   Joe  Colombo,  Visiona  I,  Cologne  Furniture  Fair,  1969  


Stanley  Kubrick,  2001:  A  Space  Odyssey,  1969    


postmodernism   AT&T  building  (aka  Sony  Building)   Philip  Johnson   New  York,  1984  


Charles  W.  Moore,  Piazza  d'Italia,  New  Orleans,  1979  


Stanley  Federman,  Café  du  Triangle,  Los  Angeles,  CA,  1984  


Memphis   E:ore  So:sass   1981  


Learning  from  Las  Vegas   Robert  Venturi  and  Denise  Sco:  Brown   1972  


Robert  Venturi  and  Denise  Sco:  Brown,  Sainsbury  Wing,  NaOonal  Gallery,  London,  1991  


Paula  Scher   Swatch  Watch  Poster   USA,  1985  


Historical  reprise  has  been  a  mixed  blessing.  At  once  it  serves   to  educate  designers  about  history,  making  them  more  open   to  learn  about  past  eras  and  epochs,  but  also  sancOons  easy   formal  soluOons  devoid  of  originality.  While  some  criOcs   argue  that  overt  borrowing  from  the  past  tends  to  trivialize   both  past  and  present  by  promoOng  rote  design,  others  argue   that  the  introducOon  of  these  reprises  serves  to  enliven  the   field  by  offering  more  creaOve  opOons.  Where  history  is   intelligently  absorbed  the  results  are  invisible.  Where  history   is  used  effecOvely  as  a  model,  a  sense  of  appropriateness  is   usually  apparent.  But  where  history  is  just  a  cut-­‐and-­‐paste   procedure,  the  result  is  almost  always  a  cliché.   Steven  Heller,  Design  Literacy  


Week 12: Pop, Postmodernism, and the Remix  

from pop to postmodern remix culture

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