Less is a Bore by Dezeen columnist Owen Hopkins reveals the diversity of postmodern architecture from around the world. Here, he spotlights 10 significant structures from the book that come in all shapes, sizes and colours.
Named after the anti-minimalist maxim coined by American architect Robert Venturi, Less is a Bore is a global survey of over 200 buildings that exhibit “postmodern architecture in all its forms”.
It was curated by Hopkins for publisher Phaidon as a celebration of the movement that, despite being one of the 20th century’s most controversial styles, is experiencing newfound popularity.
Dezeen專欄作家歐文·霍普金斯（Owen Hopkins）的作品《少即是孔》揭示了來自世界各地的後現代建築的多樣性。 在這裡，他重點介紹了本書中10種重要的結構，這些結構具有各種形狀，大小和顏色。
以美國建築師羅伯特·文圖裡（Robert Venturi）提出的反極簡主義格言命名，“少了一個洞”是一項全球調查，涉及200多棟展現“各種形式的後現代建築”的建築。
它是由霍普金斯（Hopkins）為出版商Phaidon策劃的，以慶祝這一運動，儘管該運動是20世紀最有爭議的風格之一，卻正在受到新發現的歡迎。
“[Less is a Bore] is about widening the canon and revealing the variety and richness of the movement, and looking beyond architecture to the world in which it operates,” Hopkins told.
“Its goal is to establish postmodernism not as a style but as a sensibility that can be found in all places and all periods,” he continued.
“A sensibility that values complexity over simplicity, decoration over minimalism, colour over the monochrome, fragmentation over singularity, contingency over universality, context over introspection, doubt over certainty, and in which more is always more.”
霍普金斯說：“ [少是一個麻煩]就是要擴大經典，揭示機芯的多樣性和豐富性，並超越建築向它所處的世界看。”
他繼續說：“它的目標是建立後現代主義，而不是將其作為一種風格，而是作為一種在所有地方和所有時期都可以發現的感覺。”
“一種敏感性，其複雜性勝於簡單性，裝飾勝於極簡主義，彩色勝於單色，零碎而不是普遍性，偶然性勝於普遍性，情境勝過內省，對確定性的懷疑，而其中更多的是更多。”
Postmodernist architecture emerged in the 1960s, and thrived from the 1980s through to the 1990s. Alongside Venturi, it was led by architects Denise Scott Brown, Philip Johnson and Michael Graves.
Less is a Bore features photos of buildings ranging from the movement’s most famous, through to lesser known 21st century structures and manifestations in Asia and South America.
Weaved in between are a number quotes that reference postmodern culture, made by architects, designers and artists including musician David Bowie and Andy Warhol.
後現代主義建築出現在1960年代，並從1980年代到1990年代蓬勃發展。 除文丘里外，它由建築師丹尼斯·斯科特·布朗，菲利普·約翰遜和邁克爾·格雷夫斯領導。
“少即是孔”中的照片包括從運動中最著名的建築物到在亞洲和南美洲鮮為人知的21世紀建築物和表現形式。
介於兩者之間的是引用建築師，設計師和藝術家（包括音樂家David Bowie和Andy Warhol）所作的引用後現代文化的數字引號。
According to Hopkins, the publication coincides with the recent rise of postmodernism’s popularity, which has seen the return of ornate designs and expressive forms throughout architecture and design.
However, unlike the recent revival of brutalism, Hopkins argues that this resurgence goes beyond aesthetics and fashion and demonstrates ambition and changing times.
“It’s about new generations of architects and designers looking beyond the normative modes of architectural expression embracing a set of previously marginalised design tactics and aesthetic devices in order to create something new, bold and potentially oppositional,” he explained.
“Its present revival is something of a vindication of postmodernism and an important reminder that architecture should always be eclectic and should allow a range of styles to co-exist,” Hopkins added. “That was the vital lesson of postmodernism in the 1970s and 1980s, and it is one we need reminding of now.”
Read on for Hopkins’ pick of his top 10 buildings from the movement:
根據霍普金斯的說法，該出版物與後現代主義的流行最近興起，後者在整個建築和設計中都看到了華麗的設計和表現形式的回歸。
但是，與最近的野蠻主義復興不同，霍普金斯認為，這種複興不僅僅局限於美學和時尚，而且還展現了雄心和時代的變遷。
他解釋說：“這是關於新一代建築師和設計師的看法，他們超越了建築表達的規範性模式，而接受了一系列先前被邊緣化的設計策略和美學手段，以創造出一些新穎，大膽且可能具有對抗性的東西。”
霍普金斯補充說：“目前的複興是對後現代主義的一種證明，並且強烈提醒人們，建築應該永遠是折衷主義的，應該允許多種風格並存。” “那是1970年代和1980年代後現代主義的重要教訓，這是我們現在需要提醒的一件事。”
繼續閱讀霍普金斯從運動中挑選的前十座建築：
State of Illinois Center, USA, 1985, by Helmut Jahn 美國伊利諾伊州立大學中心，1985年，作者：Helmut Jahn
“As a style or movement, postmodernism is often seen as being mostly concerned with exteriors and the role a building plays in an urban composition – and this is usually the focus of most of its canonical texts, most notably Learning from Las Vegas.
“However, postmodernism’s principles could be applied in incredibly powerful ways to interiors: domestic, commercial and civic. One of the greatest is the sadly under threat State of Illinois Centre by Helmut Jahn, which to my mind exceeds the similarly cavernous and better known hotel lobbies of John C Portman in its bravura blurring of surface and structure, form and void.”
“作為一種風格或運動，後現代主義通常被認為與外觀和建築物在城市結構中的作用有關。這通常是其大多數規範文本的重點，最著名的是向拉斯維加斯學習。
“但是，後現代主義的原理可以以極其強大的方式應用於室內，家庭，商業和市民生活。最大的問題之一是赫爾穆特·賈恩（Helmut Jahn）受到威脅的伊利諾伊中心，在我看來，這已經超出了類似的，臭名昭著的酒店 約翰·C·波特曼（John C Portman）的大廳，其表面和結構，形式和虛空的虛幻化模糊。”
M2 Building, Japan, 1991, by Kengo Kuma｜ 1991年，日本M2樓，K研吾
“Anyone familiar with Kengo Kuma’s more recent work would struggle to believe that this amazing confection of different styles, forms and scales was by the same architect.
“The architect himself no doubt had this project, one of his first major commissions, in mind when he admitted in an interview for Dezeen that ‘to be honest, sometimes I feel a bit embarrassed by some of my buildings’. But I think he should be proud of it.
“It’s an extraordinarily powerful statement, pointing to a very different, and rather more meaningful, direction that the ‘iconic’ building might have taken during the 1990s.”
“熟悉Kengo Kuma的最新作品的任何人都很難相信這種樣式，形式和比例驚人的甜點是同一位建築師設計的。
“建築師本人無疑是這個項目，這是他最初的主要任務之一，當他在接受Dezeen的採訪時承認：’說實話，有時候我對我的一些建築物感到有些尷尬。”但是我認為他 應該為此感到自豪。
“這是一個非常有力的聲明，指出了“標誌性”建築在1990年代可能採取的截然不同的，更有意義的方向。”
Charles Moore House, USA, 1962, Charles Moore｜查爾斯·摩爾莊園，美國，1962年，查爾斯·摩爾
“Charles Moore is an enigmatic figure in the history of postmodernism. His Piazza d’Italia in New Orleans is now rightly celebrated as one of the defining projects of the movement. But his broader work is more difficult place, working with a variety of partners and under a range of practice names.
“At its core, however, are the houses he built or remodelled for himself as his teaching career saw him move from Yale to UCLA and finally to the University of Texas in Austin. Sadly only the latter survives as a a highly personal manifestation of his wonderfully exuberant yet carefully considered approach to architecture and interior decoration.”
“查爾斯·摩爾是後現代主義史上的一個神秘人物。他在新奧爾良的意大利廣場被正確地慶祝為運動的標誌性項目之一。但他的廣泛工作更為艱鉅，與各種合作夥伴一起工作 並使用一系列練習名稱。
“然而，在他的教學生涯中，他從耶魯大學搬到了加州大學洛杉磯分校，最後又搬到了奧斯丁的德克薩斯大學，其核心是他為自己建造或改建的房屋。可悲的是，只有後者能倖存下來，這是他出色表現的高度個人化體現。 茂盛而經過深思熟慮的建築和室內裝飾方法。”
Ordnance Pavilion, UK, 2018, by Studio Mutt｜英國兵器館，2018年，Studio Mutt攝
“This was one of the first built projects by the British practice Studio MUTT. Commissioned by Lakes Ignite in 2018 as part of a celebration of the Lake District as a cultural landscape, it explores the visual language of the iconic Ordnance Survey maps to create a hybrid structure which makes a direct connection to the long history of eye-catchers in the British landscape.
“It also emblematises a ‘do it yourself’ attitude that characterises many of the buildings in this book, being designed, built and installed by the architects themselves.”
“這是英國實踐工作室MUTT建造的首批項目之一。該項目於2018年由萊格斯·伊涅特湖（Lakes Ignite）委託進行，是慶祝湖區文化景觀的一部分，它探索了標誌性軍械測量圖的視覺語言，從而創建了 混合結構與英國景觀中的引人注目的悠久歷史直接相關。
“它也像徵著’自己動手’的態度，這是本書中許多建築物的特徵，由建築師自己設計，建造和安裝。”
Duncan Hall, USA, 1996, by John Outtam｜美國鄧肯·霍爾（Duncan Hall），1996年，約翰·奧特曼（John Outtam）
“John Outram is one of the great, largely unsung heroes of postmodernism. Trained at a time when modernism still carried all before it, Outram actually played an intriguing role in the very early history of what we would later know as high-tech.
“However, for Outram modernism had shorn architecture of its decorative, ornamental and mythic force, which he aimed at re-establishing in his work both as a designer and an incredibly powerful and original thinker. Rarely did Outram find clients who were prepared to go all the way on this extraordinary architectural journey. Duncan Hall is the exception.”
“約翰·歐特蘭（John Outram）是後現代主義的偉大人物，在很大程度上鮮為人知。在受現代主義熏陶的時代，歐特蘭實際上在我們後來稱為高科技的早期歷史中扮演了一個有趣的角色。
“但是，對於歐南來說，現代主義具有其裝飾性，裝飾性和神話般的力量，他的目標是在他的設計師和一位極其強大而原始的思想家的工作中重新建立。歐南很少找到準備去的客戶。 在這個非凡的建築旅程中，鄧肯廳是一個例外。”
Oudhof, Netherlands, 1990, by Mart van Schijndel｜Mart van Schijndel於1990年在荷蘭的Oudhof創作
“Postmodernism wasn’t always about brash forms and stylistic exaggeration. It could also be sensitive and contextual, while still allowing for the possibilities of interpretation and re-working necessary to make an original architectural statement.
“It’s a fine line, but one treaded with corresponding care and bravado by Mart van Schijndel in the Oudhof, which reinterprets the Amsterdam vernacular through the prism of archetypal postmodern tropes and design tactics, to create a building that’s very much of its moment yet not disrupting the rhythms of the historic street.”
“後現代主義並不總是關於粗俗的形式和風格上的誇張。它也可以是敏感的和上下文的，同時仍然允許做出原始建築陳述所必需的解釋和重新設計的可能性。
“這是一條很好的路線，但是在奧德霍夫（Oudhof）的馬丁·範·施恩德爾（Mart van Schijndel）給予了相應的照顧和誇張，它通過原型後現代主題和設計策略的棱鏡重新詮釋了阿姆斯特丹的本土風格，從而創造了一座至今仍未實現的建築 破壞了這條歷史悠久的街道的節奏。”
Best Products Showroom, USA, 1979 by SITE｜SITE 1979年美國最佳產品陳列室
“One of the iconic buildings – or series of buildings – of the postmodern era – and one of my personal favourites. Best was a consumer goods catalogue retailer which wanted to create a series of showrooms and in a move that would be unthinkable for an equivalent client today, commissioned the architect/artist James Wines and his experimental practice SITE to design them.
“Wines literally thought ‘outside the box’ in creating a series of stores where the box-like retail sheds were variously constructed as partially ruined, with facades lifting up or peeling off, or being taken back by nature. Sadly they no longer survive.”
“後現代時代的標誌性建築之一或一系列建築，以及我個人的最愛。最好的是一家消費品目錄零售商，該零售商希望創建一系列陳列室，而此舉對於同等產品來說是無法想像的。 今天的客戶委託建築師/藝術家James Wines及其實驗實踐SITE設計它們。
“溫莎在創建一系列商店時從字面上認為是“在盒子外面”，盒子般的零售棚被部分毀壞，外牆抬起或剝落，或被大自然收回。 ”
Kindergarten Wolfartsweier, Germany, 2002, by Jurgen Mayer H, WORKac, Clavel Arquitectos, Nicolas Buffe and K/R ｜2002年，德國幼稚園Wolfartsweier，作者Jurgen Mayer H，WORKac，Clavel Arquitectos，Nicolas Buffe和K / R
“There is a fascinating genre in postmodern architecture of buildings that look like animals, whether its an elephant, a fish, dog or in this case, a cat. It’s the kind of thing that gets written off by those dreaded words applied to so much postmodern architecture: ‘fun’, ‘quirky’ or ‘playful’.
“Yet this is to do much of it a massive disservice. To my mind, a building like the Wolfartsweier Kindergarten is a serious piece of architecture.”
When the primary users of a building are aged one to three what could be more compelling, appropriate and meaningful than a building designed to look like a cat?”
“在後現代建築中，有一種引人入勝的風格，它們看起來像動物，無論是大象，魚，狗還是貓（在這種情況下都是貓）。那種可怕的詞會把這種東西抹去， 後現代建築：“有趣”，“古怪”或“好玩”。
“然而，這樣做很大程度上是對社會的極大傷害。在我看來，沃爾夫斯維爾幼兒園這樣的建築是很重要的建築。”
當建築物的主要使用者年齡達到一到三歲時，比看起來像貓的建築物更引人注目，更合適，更有意義？”
PPG Place, USA, 1983, by Philip Johnson and John Burgee｜美國PPG廣場，1983年，菲利普·約翰遜（Philip Johnson）和約翰·布爾吉（John Burgee）
“While Philip Johnson’s AT&T building in New York is the iconic postmodern office tower, his and John Burgee’s One PPG Place in Pittsburgh is actually a far more successful example of a typology.
“Rather than look to the classical tradition, as mediated through eighteenth-century furniture as they had done at AT&T, for PPG Place the source was instead the gothic, in particular its late ‘perpendicular’ manifestation, which allowed an thrilling expression of the building’s innovative structure and exaggeration of its verticality.”
“雖然菲利普·約翰遜（Philip Johnson）在紐約的AT＆T大樓是標誌性的後現代辦公大樓，但他和約翰·布爾吉（John Burgee）在匹茲堡的一個PPG廣場實際上是類型學上更為成功的例子。
“對於PPG Place，PPG Place的源頭不是哥特式的，而是特別是其晚期的“垂直”表現形式，它使建築的震撼人心的表情震撼人心，而不是像在AT＆T那樣通過18世紀家具為中介的古典傳統。 創新的結構及其垂直性的誇張。”
Team Disney Building, USA, 1986, by Michael Graves｜邁克爾·格雷夫斯（Michael Graves），1986年，美國迪士尼大廈團隊
“For many critics, this was when postmodernism went too far, when supposedly serious architects like Michael Graves and Arata Isozaki began doing work for that apparently crass purveyor of mass culture, Disney.
“They might have had a point when it came to Graves’ Disney hotels, or his own Team Disney Building in Burbank where the seven dwarfs from Snow White and the Seven Dwarfs are repurposed as caryatids (although I love them). But certainly not with Isozaki’s Team Disney Building in Orlando with its incredibly elegant composition of forms, colour and materials looking out across a lake.”
“對於許多批評家來說，這是後現代主義走得太遠的時候，據說像邁克爾·格雷夫斯（Michael Graves）和磯崎新（Arata Isozaki）這樣的認真的建築師開始為顯然是大眾文化的主要傳播者迪士尼工作。
“當談到格雷夫斯的迪斯尼酒店，或他自己在伯班克的迪斯尼團隊大樓時，他們可能有道理，來自白雪公主和七個小矮人的七個小矮人被重新用作女car女（儘管我很喜歡它們）。 Isozaki位於奧蘭多的迪斯尼大樓團隊，其令人難以置信的優雅組合形式，色彩和材料可以眺望整個湖泊。”
FROM:https://www.dezeen.com/2020/02/14/less-bore-book-celebrates-postmodern-architecture-forms/
