Francis anderton wrote an article.
Towards Pop Architecture "The farther west we go, the more pop images we see on the highway ... even pop music is everywhere ... Pop, this is a new art ... once you understand Pop, you will never look at a sign in the same way again. Once you think of Pope, you will never know America in the same way again. " Andy warhol andy warhol made that enlightening trip from new york to LA in 1962. That year, pop music, as an internationally recognized cultural phenomenon, was everywhere in the world. That year, the architect Stephen Canner was still a child growing up in popular Los Angeles, music city. Although he is very young, he has adapted to the interesting business environment around him and is attracted by Warhol. For Stephen, this is a golden age, full of small golf courses, bowling alleys, motels and futuristic coffee shops, all of which are conveyed by cheerful giant advertising signs. In his view, Los Angeles is a vibrant new city. Chrome-plated cars shuttle through clean and wide streets. On both sides of the street, neat houses are arranged on the grass full of sunshine and greenery. Every household has modern facilities, which are used by happy and smiling housewives. In addition, there is Disneyland. "How many cities have pop art and Disneyland? How many cities can have so much color and sunshine? " Stephen asked. This happened before the Vietnam War, the assassinations of President Kennedy and Martin Luther King, and the oil crisis.
At that time, Stephen's father Dick Canner was a successful and prolific architect. He drew inspiration from Frank Lloyd Wright and California modernists Charles, Ray Ames, Richard Nortra and john law Turner, and established some business centers in California, Arizona and Lulu. He also painted some vivid works, such as Pepsi bottles, Leiden Johnson and rocket launch, industrial machinery, TV screens and fair-skinned women with blond hair and curly hair-women who drink ice water, women who eat oysters, women who wear bras, women who walk into shops in high heels and so on. Chuck's paintings come from photos and images in magazines. As a tool, photos helped him, just as photos helped photo realists. His works "blurred the boundary between photo realism and pop art", and he thought that what he showed was not too much potential preference for elegant blondes, but a strong interest in the commercial image at that time. Chuck also draws inspiration from the works of contemporary pop artists James rosenquist (who used to be a trademark painter), Mel Ramos and Roy Lichenstein. He thinks that the works of these photo realists represent the return of handicrafts to modern art. Although they are gifted in painting and deeply influenced by art and culture, Chuck and his son and collaborator Steven choose architecture to express this emotion. In the early 1980s, their company, Canner & Company, created a large number of works in Los Angeles, expressing its admiration for the post-war commercialized modern pop culture in Southern California. The projects they created cover a wide range-from drive-in hamburger fast food restaurants to community gyms to assembly rooms, all of which are bold and abstract expressions of popular architecture and image. These buildings are usually cheap, cheerful and humorous. They show off exaggerated colors and scales and publicize their existence to everyone who drives by. In short, this is the Pop architecture.
Canner's office was not new at the time. This company in Los Angeles was originally founded by Chuck's father Herman in 1946. After three generations, a large number of buildings with different styles have been built, which enjoys a high reputation for its perfect design and design ability suitable for the context. But their common goal is to create a building that can reflect the spirit of postwar Southern California most loudly and accurately. This is an era of pleasant climate, many employment opportunities, prosperity and comfort. Optimism is not only reflected in art and graphics, but also in architecture. Modernism has gained popularity and rapid development in Southern California. In 1930s, it was an international style of confident sunshine advocated by foreign architects Richard Nortra and Rudolf Schindler. After the war, vibrant futuristic designs appeared in 1950s and 1960s, such as the theme buildings designed by Pereira and lochman for the designers of Los Angeles International Airport, john law Turner (whose restaurant name "Gucci" later became synonymous with the modernist brand in Los Angeles), and the restaurants designed by Ahmad and David with dynamic structure and imaginative materials.
Social idealism and technical idealism inherent in modernism are also very popular in housing case study projects. An imaginative large-scale residential project was initiated by John Stanza, editor of Art and Architecture magazine, mainly to test the applicability of structural methods of mass production in residential design. These spacious and elegant houses are composed of steel frames and glass curtain walls designed by architects Charles, Ray Ames, Clark elwood and Raphael soriano respectively. These buildings and the elegant and brisk lifestyle of designers have had a profound impact on many modern architects such as Chuck and Steven.
In addition, there are other influences from around Los Angeles, such as Oscar Niemeyer in Brasilia pouring and twisting concrete as if they were toffee; There are also early European modernists Ludwig ludwig mies van der rohe, walter gropius, Gerrit Park Jung Su Vader, le corbusier and Frank Lloyd Wright, the originator of American organic modernism.
From these rich sources, Chuck developed a more restrained white modernism originated from Pop, and inherited professional guarantee, rigorous layout and construction methods from his father. In the creative architecture and planning, his design is full of creativity and dazzling. Architectural works, such as Baltimore Fashion Plaza, have a plane, a square corner and simplified Wright-style details; Copland headquarters building in Los Angeles has a wooden splint arch structure and concrete block murals. Even in his 1953 project of the School of Architecture of the University of Southern California, synagogues and primary schools used light roofs and dart-shaped columns on the roads. However, in the 1970s and early 1980s, he tended to design a more peaceful international power grid. Chuck said, "I will go on without modernism. I believe this is the right way." In the early 1980s, this firm built a coastal residence, which is an interesting combination of square plane and open layout. The government building is also designed, which is a huge concrete building in the east of Los Angeles. The lighting decoration is deeply influenced by Corbusier. At that time, Stephen also responded to the influence of this architectural style like Chuck, absorbing the experience of his father's pop painting and the pop architecture designed by Zao Si. For this reason, he is more interested in post-futuristic images, such as the headline buildings on the streets of Los Angeles, the Gucci-style post-futuristic cartoon Gjertsen, the Ryan and perris Exposition at Chrysler Exhibition (1939 new york World Expo), the Tomorrow World of Disneyland and the abandoned Pacific Park, a popular entertainment park in Los Angeles in the 1950s. He likes buildings that are mainly commercial and usually don't need them. He thinks that the works of artists who praise ordinary and everyday things, such as andy warhol, Roy Lichenstein, Frank Stella, Crass oldenburg, Ed Rush and their spiritual fathers, such as Fauvism painters, Van Gogh and Monet, have never been properly evaluated. For the same reason, he praised the best exhibition room of deconstruction architecture designed by American Saite, which was famous for its wit and self-mockery in the 1970s. He joined the firm on 1992 and devoted himself to instilling his popular modernist spirit into his works, which was greatly encouraged by Chuck. Chuck thinks that his son's works reflect his early influence and ideas such as genetic inheritance. Together, they created a mixed aesthetics, which mixed the perfect and rigorous layout of early modernism with the joy of "Googie". The result is an extroverted design, which Stephen described as "our own brand of modern pop, which is often interesting and positive".
In the completed works and fantasy plans, the works of 15 years have been continuously improved, and each project has become their ideal model more fully. First of all, let's look at a small-scale renovation project "Sweet 16" supported by big ideas. Here, a row of decadent restaurants and shops built in the 1940s has been transformed into a row of mobile "bulletin boards", which support the shop signs by adding tall glass and huge awnings, and these signs are arranged along the first terrace of the street. On one side of the house, a triangular load-bearing steel frame is exposed, showing bright yellow and red. It makes passers-by stop to watch with a confident and cheerful appearance. In the Harvard apartment project, this "bulletin board" method has developed into a more mature form of modernism and poppyism. This is a complex of 13 low-cost houses in a small Korean town after the tension among residents near Los Angeles. Built in 1992, it can be called "modernist white sandwich bread with ham and Swiss cheese full of Los Angeles rhythm" described by Stephen. The building is a mixture of white and modern interior decoration, and its appearance is a round and square pattern wrapped in red and yellow, jumping. To this end, Harvard apartment was developed from an early work-St. Andrews. St Andrews is a low-cost residential area in a town in North Korea, which was commissioned by the same private developer, but this is a renovation project. Canner's office did not change the existing plane, but simply adjusted the facade of the building, covering the original dilapidated pragmatic facade with soft colored circles and inclined square patterns. These two kinds of works are realized at a very low cost, which shows that pop art is interested in cheap and ordinary buildings and has no scruples on the surface.
The idea of "bulletin board" has been echoed in several projects, such as the exhibition hall of Robbins Car Roof Company, a huge box decorated with a large green and white square mosaic symbolizing motorcycle racing and an enlarged lifelike chunky Campbell vegetable juice can. This "sandwich" style or the mixture of modernization and Gucci is also shown in other works. In the unfinished planning projects, such as Copland residence, the case study is simply integrated with Gucci and its No.3 residence, among which No.3 pedestal residence is the third project in the series of theoretical residential design, which combines the plane of modernism and the form of expressionism. In turn, the pedestal residence is a part of a series of fantasy plans, which are characterized by dynamic structure, towering roads, flowing shapes, blue sky and bold colors. These plans were inspired by Oscar Niemeyer, a master of freestyle concrete design, and appeared in the colored chalk paintings in Stephen's sketchbook. In Stephen's words, they represent buildings that evoke good memories, just to "remind people of good times, when everything was so beautiful." He also designed products and furniture to be arranged in these houses-chairs, recliners, tables and cabinets, all of which are post-futuristic, but strong and easy to process. With the completion of the in-n-out hamburger restaurant, the voice of popular modernism in Kaner's office has recently reached its climax. This restaurant is located at a busy intersection in westwood Village, near the opposite gas station. Its restaurants are piled up, and the drive-in restaurant with usually 50 cars shows an interesting tolerance. The appearance of the building is a mixture of light red, yellow and white, which comes from the colors of the company logo and darts-shaped arrows. This building has a bright roof and a huge sign, which is separated by the huge letters "in-n-out". Crass Oldenberg appreciates this way. This is a building as a billboard and expressionist form. Business people are attracted by the undisputed best hamburgers in California, and they also like this place. One bystander called it "the most beautiful building I have ever seen", another called it "a work of art", and another said to Stephen in music-like sweet language, "It reminds me of the tomorrow world of Disneyland." In order to permanently preserve the mainstream culture in the form of oil painting, pop artists who appeared in the late 1950s and early 1960s responded to new york's narrow and elitist thoughts, who won in the art world rather than the public in the past 20 years because of his painting style of art for art's sake. Now, in the 1990s, Canner's office in Los Angeles has become one of the few architects, such as deconstructionism, seeking entrustment and style that can reflect and support public tastes. It draws inspiration from commercial buildings in 1950s and 1960s, and his works are not as literally explained. Only when Pop is anti-traditional, changes its scale and media, and hangs it on the walls of art galleries, will the "vulgar" Pop become an "elegant" art. Therefore, Kanna Architects is concerned with the abstract explanation of the source of pop art, and implies the negative and distant characteristics of pop art ... They are not interested in the design of small renovation projects. However, they want to build fast food restaurants and low-priced houses full of power, emotion and space drama. Despite avoiding "elegant art architecture", they are still determined to create architecture.
Many architects, including the most famous robert venturi and others, have tried to blur the boundary between elegance and vulgarity, but this has caused the inherent contradiction of pop art. In the words of critic Qi, this phenomenon makes "privileged audience stand among ordinary people, but enjoy a sense of cultural alienation from ordinary people for the same thing".
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