MODERNITY VERSUS POSTMODERNITY - Essay Example

? MODERNITY VERSUS POSTMODERNITY By Lecturer: of Affiliation: and Modernity Versus Postmodernity Introduction The history of structural design has evolved for the past decades; thus the 20th century marked the beginning of the modern building designs some of which have the construction shapes of postmodern features while others different. The evolution of modern concrete and certain other building technologies have contributed to varied changes; thus design building has been and continues to be practiced in a more or less similar form in many states globally. Modernism architectures have become more coherent, a structured field containing a variety of equivalent strains and more pluralistic array of formal practices. Among the modern building design of the 20th century includes the MNCARS (Museo Nacional Centro de Arte Reina Sofia), the Sistine chapel, St Andrew's Cathedral, Sydney, which is a revival of gothic architecture, mosques, parliamentary building and many others. The idea of the avant-garde is considered as the hallmark and the beginning for novelty, which was distinctive from postmodernism architecture. The avant-garde comprehends itself as attacking indefinite territory, exposing itself to the threats of sudden, shocking encounters; conquering and as yet unoccupied future; thus the avant-garde must find away in a scene into which no one seems to have yet ventured. Sistine Chapel One of the structural buildings of the 20th century is Sistine chapel, which is among the best and advanced acknowledged structural buildings for the apostolic fortress. This Sistine chapel building is one of the famous architectures that have similar designs of the postmodernism era. The Sistine chapel was established by Pope Sixtus in the Vatican municipality instantaneously after the completion of Saint Peters Basilica (Raizman, 2011, p. 56). The structural building was further improved during the time of Pope Julius II; thus the upper parts of the ceiling were painted using a painting style used by Michelangelo in the mid 1508 to 1512. The tapestries, which is on the lower part of the building has painting designs of postmodernism era; thus the paintings makes up the greatest picturesque design of the renaissance. Some of the painting styles employed by Michelangelo, which are on the ceiling, are among the utmost and notable works of the modern creative style ever created (Norberg-Schulz, 2000, p. 81). The frescoes of the Sistine chapel, which are mainly on the upper parts of the buildings especially on the ceiling and accompanying lunettes by Michelangelo, have been the issue for varied aspect of refurbishments. Sistine chapel has created spontaneous and shocking encounters to most people because of varied features and paintings, as well as, decorations of the buildings. The mystery that was gathered to reveal the contemporary issue was at formerly viewed as timely and timeless. For the aspect of timely, scholars explain that the faithful have higher complexity in accomplishing prayerful reminiscence and a sense of the existence of God. This is seen as a complex issue and a predicament that surrounds the holy or sacred structural designs. For the case of timeless, God never ceased to call humanity to himself; thus he interceded through human history. There are varied realistic and grounded guiding doctrines that reflects upon the concerning aspect of vocation and mission of the structural designers in the church history. The sacred or holy scripture confirms that the purpose of architects and artists arose from the very aspect of God’s plan during the creation of the world; therefore, scholars beliefs that from the very beginning, the talents of architectures and artists have been shaped through a distinctive relation to the plan of God. From the sacred scriptures, God is seen as the divine architect and the first mission of God was to create a suitable place for man to dwell in or live and that was the Garden of Eden. Therefore, Sistine chapel is one of the sacred architectures that were built with an aim of fulfilling the demanding aspect of God. The avant-garde of Sistine chapel creates spaces that enhance sensual experiences because the building has a gothic style structure of the medieval era. Sistine chapel building is one of the finest examples of gothic revival architectures; thus it was created for the purpose of holding daily services including Easter services, prayer meetings, bible studies, choral services and many other religious functions. This building is of national significance to the Italian people and it is among the best known chapels of the apostolic palaces. The building is famous because of its structural design and the inclusion of the decorations and paintings by renaissance artists including Domenico Ghirlandaio, Michelangelo and many others. The works of the avant-garde and other artists are considered as the ultimate achievements of western painting styles. The rising of modernism was sometimes linked with past and cultural aspects but it is still being discussed. Modernism is perceived as an event itself and is positioned as a present-day process in the lives of people. Most of modern architectures are connected with traditional techniques and beliefs of the earlier artists and this was the first attraction and appealing designs of the commencement of modernism. Modernism is perceived as a totality of novelties but other scholars perceive it as the degradation of classic life style. Many people thought that modernism was degradation of traditional values and classical accumulation but is generated or created a revolutionary against unacceptable institutions and approaches employed. Structural designs of modernism have even become a buoyant way of reformists and innovators in the contemporary epoch. Sklair argues that the shocking innovation should be both clear and uncomplicated; thus this is the dilemma that every artist has to tackle to grow with the flow as advocated by the trans-avant-garde and apostles of postmodernism (Sklair, 2010, p. 397). The advocates of postmodernism mainly targeted those contentedly over-institutionalized theorists and avant-garde whose work provides postmodernism a shocking reputation. Leach strictly concludes that “the prostitution of architecture in postmodern buildings, the prostitution of art in trans-avant-garde painting, and the virtual ethical and aesthetic abdication of postmodernist thought leaves a kind of black stain upon history (Leach, 1997, p. 78). In case avant-garde trends may be differentiated from contemporary typical trends in terms of what Habermas defined as their characteristic aspiration toward “effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form”; therefore, electro-acoustic literature might be defined as an avant-garde postmodernism (Habermas, 2000, p. 91). The theoretical and historical work of modernism in architecture, from its precursors or initial codification through its contemporary manifestations views modernism as having been and being more complex, flexible and plurified than it has been treated (Habermas, 2000, p. 51). Modernism has been called into question of the soulless container architecture; thus Habermas detects two varied strains that appear as polar opposites but share a common platform in their opposition to postmodernism. Leach attempted to illustrate the two fundamentally varied strains of this questioning pact as a postmodernism of reaction and a postmodernism of resistance (Leach, 1997, p. 4). The former seeks expatriate in the form of ancient times and the latter remains committed to the innovative projects and also seeks to amend it through a critical reassessment process (Leach, 1997, p. 5). The Sofia Building. Another building is the MNCARS or the Sofia building, which is one the modern buildings of the 20th century. MNCARS is ranked among the 15th leading architectures of the 20th century across the globe. MNCARS is one of the 20th century national museum art located in Madrid, Spain and the museum art was named after death of Queen Sofia of Spain; thus it is also known as merely the Sofia; the architecture is mainly dedicated to the Spanish art and it includes two utmost 20th century master including the Salvador Dali and Pablo Picasso. The most prominent masterpieces within the museum art is painting Guernica of Picasso; thus the museum provides a mixture of varied national and international exhibitions in its numerous galleries. The concept of modernism is viewed as the central theme and it started gaining popularity after the WWW II and most of the modern structural designs were adopted by numerous influential avant-garde and architectural educators. Most of the contemporary structural designs are distinguished by nonexistence of applied decorations and generalization of form; thus modernism is an overarching progress. Earlier modern structural designs began during the awake of 20th century with efforts for reconciling the philosophy underlying structural designs. This took place because of rapid technological advancement and increased modernization in the society, as well as, increased knowledge, modernism finally generated reactions and notably postmodernism that attempted to preserve pre-modern elements but neo-modernism emerged as a reaction to postmodernism (Goldhagen and Legault, 2000, p. 123).  In addition, the modern movement, which began during the turn of the 20th century, marked the beginning of new structural designs that became common in the contemporary society. This was also the first time when the terminology of avant-garde, which the movement branded until the term modernism prevailed, became commonly used in the informative work of earlier artists (Habermas, 2000, p. 89). Modernism entered a popular culture and increased urbanization aided by rapid technological advancement contributed to varied changes in many structural designs. One of the most notable changes in the modernism era was the adoption of new technologies in architectural work; thus those who involved in modern architecture had pragmatic views arguing that new technology rendered old styles of structural designs obsolete (Castello and Rands, 2010, p. 61). The MNCARS structural design has created sudden and shocking encounters in varied ways. One of the sudden and shocking encounters is the dilemmas which results from the historical avant-gardes especially the way the museum art is designed. The museum was created with an aim of attracting people from varied social backgrounds across the globe; thus it has been one of the main sources for income generation in Spain. The avant-gardes were constitutionally against museums; thus they felt a need to suspend this art into its independent decree. However, the excellent collection artistic features in the galley have become the centre of attraction for many tourists. Despite this, the modern structural buildings have its roots in late 19th century construction management practices. The art galleys allegedly have new structural designs, which are perceived as having been introduced in Spain into the late 1970s. The notion of structural designs in the 20th century as written by art historians attributes to normative status to structural designs of modernism era. Goldhagen (2005, p. 154) argues that industrial revolution has contributed to varied changes including new architecture or structural designs across the globe. The concept of modern art has contributed to increased debates because of its impacts; thus the society approach modernism through varied dimensions. Modernism is a based on the movement of enlightenment, which has contributed to varied alterations in many facets in the contemporary world. The notion of modernization as being chiefly a concept of time has been conveyed out against the past and ancient times. Modernism can be defined as a post-traditional and post-medieval chronological era, which its foundation can be based on industrialization process, feudalism, capitalism or entrepreneurship and secularization (Goldhagen, 2005, p. 147). The mentality of modernization can be attributed to secularism but its inventive factor is the sense of unrepeatable time and the perception of modernism can be dated back to Christian middle ages. Modernity is linked to modernism, which includes fundamental alterations in terms of structural designs, daily life and some of the dissimilarities in real sense of theories and historicity. Many innovations such as Sistine chapel, Saint Andrew cathedral and many other structural designs arose as a consequence of modernism. This period is defined as the result of varied alterations and innovations, but the era is reorganized as postmodernism, which is still being discussed by many scholars. Additionally, the phenomenon of postmodernism have attempted to deal with varied cultural discipline such as architecture, history and arts but it can be assumed that it seems like a shapeless entity. This is because it has varied meanings for diverse cultures but postmodernism rebuts methodological reconciliations and rejects epistemological assumptions. Postmodernism can be equated to a summit of evolution period in which there is austerely no other option for deficiencies occurred by loss of functionality and ideology of modernism in philosophy, social and cultural history (Mirzoeff, 2002, p. 69). Postmodernism is not a movement that is directed by rules which contains principles with certain limits in the sense that is expresses the transition period but it stands against principled attitude and practices of modernism. Although the first effects of postmodernism emerged in the United States, the French theorists have been the pioneers who specified the speculative, hypothetical and significance of postmodernism. The MNCARS structural design has varied meaning but the building may lend a sense of identity to what is being enclosed within its boundaries. The structural wall of the building creates a sense of exclusion that is both physical and social; thus MNCARS is viewed as the cultural holdings but in such a way that allows contemplation and also holds temporary exhibitions of modern art. Robbers, Papapetros, Boyer, Neumann and Princeton University (2012, p. 62) argue that the modern century has witnessed many social and cultural movements, as well as, varied progresses in technology. The MNCARS building is a centre for cultural aspects because it has varied and excellent collections of the 20th century masterpiece within the museum. Although the building has a design of modernism structure, some of its features date back to postmodern era; thus an argument that modern structural designs are just a refurbishment or the novelty of the postmodernism structural designs. Conclusion In conclusion, the avant-garde comprehends itself as attacking indefinite territory, exposing itself to the threats of sudden, shocking encounters; conquering and as yet unoccupied future; thus the avant-garde must find away in a scene into which no one seems to have yet ventured. The modern movement, which began during the turn of the 20th century, marked the beginning of new structural designs that became common in the contemporary society. One of the structural buildings of the 20th century is Sistine chapel, which is among the best and advanced acknowledged structural buildings for the apostolic fortress. Sistine chapel building is one of the finest examples of gothic revival architectures; thus it was created for the purpose of holding daily services including prayer meetings, bible studies and many other religious functions. Sistine chapel has created spontaneous and shocking encounters to most people because of varied features and paintings, as well as, decorations of the buildings. Another building is the MNCARS or the Sofia building, which is one the modern buildings of the 20th century. The MNCARS structural design has created shocking encounters and one of them is the dilemmas which resulted from the historical avant-gardes especially the way the museum art is designed. However, both structural designs have varied meanings and they have become the centre for tourism and other varied activities. References Castello, L., & Rands, N. (2010). Rethinking the Meaning Of Place: Conceiving Place In Architecture-Urbanism. Farnham, England: Ashgate Pub. Co. Goldhagen, S. W. (June 01, 2005). Something to Talk about: Modernism, Discourse, Style. Journal of the Society of Architectural Historians, 64, 2, 144-167. Goldhagen, S. W., & Legault, R. (2000). Anxious Modernisms: Experimentation in Postwar Architectural Culture. Montreal: Canadian Centre for Architecture. Habermas, J. (January 01, 2000). Modern and Postmodern Architecture. Rethinking Architecture, 227-235. Leach, N. (1997). Rethinking Architecture: A Reader in Cultural Theory. New York: Routledge. Mirzoeff, N. (2002). The Visual Culture Reader. London: Routledge. Norberg-Schulz, C. (2000). Architecture: Presence, Language, And Place. Milan: Skira. Raizman, D. S. (2011). History of Modern Design. Upper Saddle River, N.J: Pearson Prentice Hall. Robbers, L., Papapetros, S., Boyer, M. C., Neumann, D., & Princeton University. (2012). Modern Architecture In The Age Of Cinema: Mies van der Rohe and The Moving Image. (Dissertation Abstracts International, 73-7.) Sklair, L. (June 01, 2010). Architecture: Between Spectacle and Use - Edited by A. Vidler. The British Journal of Sociology, 61, 2, 397-399. Read More