1. Two Postmodernists Charles W. Moore & Robert Venturi

2. Moore & Venturi Both Postmodernists Contemporary In the Gray Group (Historic Oriented) Educators Published Theorists Practicing Architects

3. Postmodern Architect Charles W. Moore

4. Charles W. Moore (1925-1993) Background Written Works Selected Design Works

5. Charles Willard Moore (1925-1993) Architect Theorist and Author Educator Received many awards for Contribution and Building Design

6. Bibliography 1947: graduated from the University of Michigan with a degree in architecture Worked in San Francisco, served two years in the Army Corps of Engineers Received Master’s Degree and a Ph.D in architectural history from Princeton University Taught at Princeton, University of California at Berkeley, Yale, University of California Los Angeles and University of Texas, Austin Practiced architecture under the firm identification "MLTW" – Moore, Lyndon, Turnbull, Whitaker; Centerbrook; Urban Innovations Group; Moore, Ruble, Yudell; Moore/Anderson Architects

7. Moore’s Books 12 Co-authored Books including: (1974) The Place of Houses (with Gerald Allen and Donlyn Lyndon) (1976) Dimensions. Space, Shape and Scale in Architecture (with Gerald Allen) (1977) Body, Memory and Architecture (with Kent C. Bloomer) (1988) The Poetics of Gardens (with William J. Mitchell and William Turnbull, Jr.) (1994) Chambers for a Memory Palace (with Donlyn Lyndon) You Have to Pay for the Public Life: Selected Essays of Charles W. Moore (2001)

8. Moore’s Roles and Interests Post-Modernist Architect (one of the Gray) Knowledgeable in Architectural History Inclusive Design (like Venturi) Public Life and Public Spaces Pop Architecture (reject pure Modern) Prefers Wonder and Excitement of Everyday Environments

9. “Santa Barbara” in The Place of Houses (1974) Sense of place –Relaxed air of Mediterranean dream –The common imagery  give a sense of “being in the same place” The application and preservation of Mediterranean style architecture

10. Santa Barbara

11. Santa Barbara as a Unique Place Relationships between people and enclosures (white stucco walls, tile roofs, iron grills, arcades, columns, balconies, hedges, trees and mountain) Public realm to live in as much as the private Encouraging and dramatizing the act of public habitation  a stage for daily action So much cares and agreements were spent on it Physical embodiment of the shared dream

13. Body Memory and Architecture (1977) Introductory lecture on basic problem in architecture About how buildings are experienced before [more than] how they are built Anthropological conception of architecture Architecture is measured by the way it is experienced by the human body in space Basic elements as objects of human perception– space, site, walls, roof, etc., especially orders

14. Body Memory and Architecture (1977) Architecture as the projection of human experience (house or city) Architecture is physical and psychological, possession of place by inhabitant who confirms his own identity in the symbols of individual and historic memory ( สถาปัตยกรรมเป็นการยึด ครองสถานที่ทางกายภาพและทางจิตวิทยา ของผู้อยู่ ที่ได้ยืนยันอัตลักษณ์ของตนเอง ด้วยสัญลักษณ์ส่วนตัว และความทรงจำต่อ ประวัติศาสตร์ )

15. Problems with Modernism Architectural beliefs became severely “rational” Architecture as a highly specialized system with a set of prescribed technical goals rather than a sensual social art responsive to real human desires and feeling Relied more on 2D diagram and quantifiable features than colorful 3D qualities of the whole architectural experience Cartesian notion of space and measurement Human body has not been a central concern in the understanding of architectural form

16. Moore’s Intentions Re-examine the significance of the human body in architecture Examine some post-Cartesian philosophical and psychological thoughts as they pertain to changing views of architecture Review some models of perception that have been influential in the 20 th century Discuss vocabulary of architectural forms and their relationships

17. Beyond the Body Boundary We used to measure and order the world out from our own bodies (we don’t anymore) Cartesian spatial relationship of thing and coordinates (x, y, z) No connection with the body-centered, value charged sense of space Except single-family house

18. Cartesian Coordinates and Order

19. Single Family House Free standing Based on our sense of ourselves extended beyond the boundaries of our bodies to the world around With a face and a back – up and down With a hearth (a heart) Looks like face (door like a mouth, windows like eyes, a roof like forehead) Detail outside tells a story about the interior This house fa ç ade is not a billboard, a simple sign, but rather the complex intimation of much more within The lawn as personal envelop or personal space

20. Single Family House

21. The Lawn

22. Extensions from the Body Basic enclosure (womb) Toward the public

23. Identity of the Body

24. Body of Christ, Body of Politic

25. Body of the King

26. The Sense of Beauty Laws and priorities governing our sense of beauty Aesthetics comes from the Greek aesthetikos = of sense perception Reason and Thought vs. Sense and Emotion

27. Different Philosophical Standpoints

28. Beauty, Sense and Thought “One must deduce the meaning of buildings, not sense them” (Descartes) “Sensible knowledge is of course inferior to knowledge developed by the mind alone” (Baumgarten)

29. The Aesthetic Feeling Compared with Measurement Mechanical measurement (actual bigness) Visual measurement (the bigness it appears to have) Bodily measurement (the feeling of bigness) Only the last has aesthetic value

30. Sense Perception Five Basic Senses as Perceptual Systems, aggressively seeking information (J. J. Gibson) –Visual system –Auditory system –Taste-smell system –Basic-orienting system –Haptic system The last two contribute the most to our understanding of 3Ds and architectural experience

31. The Sense of Dwelling We do not aggressively seek architectural form We experience satisfaction in architecture by desiring it and dwelling in it, not seeking it We require a measure of possession and surrounding to feel the impact and the beauty of a building

32. The Sense of Dwelling

33. Body-Image Theory We have unconscious and changing images of our bodies (separate from our knowledge) We unconsciously locate our bodies inside a 3- dimensional boundary (changing according to internal and external events and strength) The body boundary can be modified by clothes, badges, weapons, an automobile or an airplane that connect directly to the body and is subject to body-reflex actions

34. Body Movement The Spatiality of Movement –Awareness of gravity and maintenance of a center –Directions (up, down, left, right) The Building as a Stimulus for Movement –Architecture functions as a potential stimulus for movement, real or imagined The Building as a Stage for Movement –Awareness of our own movements in relation to the boundaries as well as our spatial relationship to one another

35. The Stage for Movement

37. Vocabulary of Architectural Forms The inhabited world within boundaries that can be identify as a syntax of: Place: distinguishable from the world around them Path: limited variety, going one point to another or returning to the same point again Pattern: composed mostly with paths and places (with recognizable system as bounded space) Edge: the end of domain with walls, façades, parapets, walls, face out, and the fold in the system or face out from it

38. Place

39. Path

40. Pattern

41. Edge

42. Human Identity in Memorable Places What missing from our dwellings are the potential transactions between body, imagination and environment We will care increasingly for our buildings if: –There is some meaningful order in them –There is definite boundaries to contain our concerns –We can inhabit them –We can establish connection with what we know, believe and think –We can share with others –Some sense of human drama, of transport, of tension, or of collision of forces

43. The Real [memorable] Place They are memorable because They are unique They affect our bodies and generate enough associations to hold it in our personal worlds They are susceptible to continuous readings– complex and ambiguous ones Changeability

44. Moore’s Preferences and Styles Neo-Vernacular Historic References Pseudo Public Space and Historic Elements Movements Analogy of Water (flexible arrangement– out of, go in pass through, up and down, etc.) Dramatic Experiences/ Choreographic Work

45. Examples of Architectural Design: Moore and Others

46. Moore House (1962) "Its forms admittedly derive from primitive huts and from Mayan or Hindu temples…and Moore makes it clear that he was thinking in broad and recollective terms when he made the design." Gerald Allen

47. Sea Ranch Condominium (1965) California

48. Kresge College, University of California (1973) Promote feeling of community Shopping mall concept Paths Bodies moving through planes or stage Trivial monuments

49. Kresge College (1973)

51. Burns House (1974) California "The Burns House was designed for an urban planner...and he brought at least two specific requirements to it. The building should reflect the patterns and traditions of life in southern California, and it also had to house a fine baroque pipe organ... The result is a series of sheds and towers,… but here clothed in more regionally apposite stucco in many shades of ochre, orange, and mauve…” Gerald Allen

52. Burns House (1974)

53. Piazza d’Italia (1977) New Orleans

54. Hood Museum of Art (1983) New Hampshire

55. Hood Museum of Art

56. Beverly Hills Civic Center (1988-90) California Urban architecture, which enriches public lifeOld City Hall from 1939

57. Beverly Hills Civic Center Plaza

58. Beverly Hills Civic Center Movements

59. Beverly Hills Civic Center Details

60. Afterwards There are no schemes for multifamily housing or large- scale urban reconstruction that satisfy all the senses of the body and nurture the memory as well The design of the environment is a choreography of the familiar and the surprising, in which the familiar has the central role, and a major function of the surprising is to render the familiar afresh

61. Comparison: Venturi and Moore ( both apply historic elements—the grey ) Venturi Emphasize message Symbol in the environment View from outside Ambiguity More superficial Use historic elements unconventionally Moore Emphasize body sense Body experience extended View (feel) from within Dramatic More philosophical Use unconventional elements to achieve historic memory

62. Architecture as… Venturi: SymbolMoore: Experience