POSTMODERNISM HAS become a widespre

POSTMODERNISM HAS become a widespread tradition in 1980s with many large offices producing huge works at great speed: Philip Johnson, SOM ( when they eschew modernism ) and KPF (Kohn Pedersen Fox ) . This situation produces its problems. Modernism suffered from over- production and the vulgarization of its language, and there is no reason to suppose that the new tradition will not ultimately succumb to these same pressures. Already there is enough kitsch Post-Modernism for some to declare the movement middle-aged, if not moribund; so the few large-scale buildings that have managed to evade this death sentence are especially relevant. They survive not because of there innovations or personality, but for the quality of their construction and the thoughtfulness with which they carry through the new conventions.
KPF, the most commerically successfull Post-modern firm, have produced thirty or more skycrapers using the conxtextualist arguments of the tradition. For the Procter & Gamble Headquarters in Cincinnati, they have abstracted an Art Deco language of truncated pyramids and stepped octagons. These forms are placed at a key juncture of the city where the expressway meets downtown. To mark this urban gateway , they have designed two rather squat towers sheathed in while and grey masonry. This language continues that of the pre-existing building, and then subtly blends it towards more urban ends, forming a park-like setting on the city side . The interior carries through the grammar of octagons, white marble and stainless steel with a precision and consistency that is rare in large building
For the most part KPF adopts an Art Deco Classicism, coloured by modern production methods and a Gravesian manner, but occasionally they aim at a more revivalist mode and produce an almost canonic Classicism. Such is their New York skyscraper of residences on the upper East Side, a building in brick with white mouldings top and bottom. This could have been built at any time from 1900 to 1935 except that its Classical details are blown up in scale and abstracted. Again mounts straight up to a crown of three arches while the side cascades down to acknowledge an adjacent skyscraper with related stepped forms.

Kết quả (Việt) 1:

HẬU ĐÃ trở thành một truyền thống phổ biến rộng rãi trong thập niên 1980 với nhiều văn phòng lớn, sản xuất các công trình lớn với tốc độ tuyệt vời: Philip Johnson, SOM (khi họ eschew hiện đại) và KPF (Kohn Pedersen Fox). Tình trạng này sản xuất các vấn đề của nó. Chủ nghĩa hiện đại bị hơn sản xuất và vulgarization ngôn ngữ của mình, và không có lý do để nghĩ rằng truyền thống mới sẽ không cuối cùng succumb đến những áp lực tương tự. Đã có đủ kitsch thời hậu hiện đại đối với một số tuyên bố phong trào trung niên, nếu không phải xã; Vì vậy, các tòa nhà lớn vài có quản lý để né tránh câu cái chết này là đặc biệt là có liên quan. Họ tồn tại không phải vì có sáng kiến hoặc cá tính, nhưng về chất lượng xây dựng của họ và chu đáo mà họ thực hiện thông qua công ước mới.KPF, the most commerically successfull Post-modern firm, have produced thirty or more skycrapers using the conxtextualist arguments of the tradition. For the Procter & Gamble Headquarters in Cincinnati, they have abstracted an Art Deco language of truncated pyramids and stepped octagons. These forms are placed at a key juncture of the city where the expressway meets downtown. To mark this urban gateway , they have designed two rather squat towers sheathed in while and grey masonry. This language continues that of the pre-existing building, and then subtly blends it towards more urban ends, forming a park-like setting on the city side . The interior carries through the grammar of octagons, white marble and stainless steel with a precision and consistency that is rare in large buildingFor the most part KPF adopts an Art Deco Classicism, coloured by modern production methods and a Gravesian manner, but occasionally they aim at a more revivalist mode and produce an almost canonic Classicism. Such is their New York skyscraper of residences on the upper East Side, a building in brick with white mouldings top and bottom. This could have been built at any time from 1900 to 1935 except that its Classical details are blown up in scale and abstracted. Again mounts straight up to a crown of three arches while the side cascades down to acknowledge an adjacent skyscraper with related stepped forms.