Académique Documents
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Freshmen
University of Oradea
Postmodernism raises questions about the appetite for architecture which it then
virtually at once re-directs. (…); …and as for built space, there too a protective
narcosis has long reigned, a ‘don’t-want-to-see-it’, ‘don’t-want –to-know-about-it’
attitude that may, on the whole, have been the most sensible relationship to
develop with the older city. (Postmodernism would then be the date on which all
that changed.) The immediate post-war heritage of this virtually natural or
biological species protection has been the diversion of such aesthetic instincts (a
very doubtful thing to call them) into instant commodification – fast foods, on the
one hand, and, on the other hand, the kitsch interior decoration and furniture for
which the United States is famous and which has been explained as a kind of
security blanket – chintz of the first postwar domestic production – designed to ward
off memories of the Depression and its stark physical deprivations. (…) As though it
had studied under hegel, therefore, the postmodern lifts up, and cancels, all that
junk (Aufhebung), including the hamburger within the diremption of its gourmet
meals and Las vegas within the rainbow-flavour landscape of its psychedelic
corporate monuments.
The appetite for architecture (…) means the city, certainly, and it means the free-
standing building, preferably blocks of stone, whose shape in space does you some
good to see, if that’s the right verb. What is in question here is the monumental ; it
does not need contemporary rhetorics of the body and its trajectories, nor is it
basely visual in any of the colour-coded postmodern senses. You don’t have to walk
up the grand staircase personally, but it is not some mannerist parabola, either,
that you can miniaturize with a quick look and carry home in your pocket. (…)
In Praise of Cities
(Thom Gunn)