I had a bit of difficulty when it came to comprehending this article in its entirety. If the paradoxes don't jumble up your brain, then I'm not sure what will. I sit here trying to understand a "disharmonious harmony" and a "asymmetrical symmetry". Jencks informs us as readers that the idea of paradoxes and oxymorons are postmodernism tropes in themselves. Is postmodernism made to be questioned?
The article then moves to a focus of architecture by discussing the Tate Gallery addition created by James Stirling. His work ties into the idea of eclecticism, "the idea that an eclectic language speaks to a wide and divergent audience -- something of a necessity for a public art gallery". (Jencks 283) Continuing in the direction or architecture, there's then the acknowledgement of "urbane urbanism". All of this art is in favor of the urban way of life and shy's away from the city centralization. This concept was one I tried to understand further, yet was unable to picture what a building of this sort may look like.
I found the section dealing with double coding the most fascinating. "Irony and ambiguity were key concepts in modern literature, and postmodernists have continued using these tropes and methods while extending them to painting and architecture." (Jencks 288) The theme of coexistence is one I've heard many people talk about and is the most understandable for me throughout the article. There's something so beautiful about the past and present in one form.
"Nevertheless, these emerging canons are, in the third, classical phase of postmodernism, beginning to develop a discernible shape and direction, and we can say that this year's version of the ornamental building is likely to be more sophisticated than last year's." (Jencks 293) This was a good way to wrap up the article and talk about the way in which building is headed in future in regards to postmodernism. The excitement of this architecture is in the rules they make and break, ever-changing into new complexes.
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