If the dream becomes a nightmare postmodern
There is little to be done, postmodernism has won. Not all the temples of art and architecture, more perhaps. But he won on the road, in kitsch objects stored in the stores of a West as a crisis, the more consumerist. Dominates in the architecture popular in large commercial buildings, design and fashion in an eclecticism without complexes. To make progress on this show is a triumph of the Centre Pompidou: Dreamlands, from the carnival city of the future (until August 9). The dispute has its roots in the postwar period, with the debate on the legacy of the Bauhaus that since the mid-twenties had proposed unification of the arts, pursuing 
passing of beauty in the name of perfect forms as fully functional. Rationalism, however, that rather than being universal and ahistorical had finally result in an aesthetic like the others, coupled with precise time, and most unfortunate, that of war and totalitarianism. For almost twenty years the West has tried itself, practice tests flavor uncertain until the boom would confidence returned, reopening the dispute where the war had left her. The two currents of modernity, thus, active since the nineteenth century, would return to face: features or beauty? Aesthetic emotion or rationality? Modernism or postmodernism? That is, the symbolic and emotional component is also an essential function that establishes the autonomy of aesthetics, functionality, or an obstacle? the early seventies,
focuses more on which the exhibition would be a workshop led by Peter Eisenman and Robert Venturi.Il first, drawing lessons from the mistakes of the modern masters, the approach would create deconstructionist, if there is no purely rational and universal form, as experience gives it significant, however, symbolic values, the only salvation is to deconstruct the existing forms emostrare their conventionality, the rhetorical use 
which lends their emotional dimension, a possible advantage of power. It would be deconstructed and asymmetric born architectures such as those of Frank O. Gehry and his famous Guggenheim Bilbao. Venturi would instead become the most visible theorist of postmodernism, a supporter of the complexity of humans and the limits of reason. Convinced that the symbolic dimension as one of the essential functions of understanding and art. Postmodernism in architecture - such as Pop art very close to the exuberance of capitalism - would play with the symbols of the tradition known to all, with their charm and their history, as in the case of Aldo Rossi and Ricardo Bofill. From then to now, the lights, the facades of contemporary icons of consumption charges, so exalted by Venturi in Learning from Las Vegas, would become become the prototypes of the global landscape. False antiquities in the middle of roundabouts, neo-Renaissance fountains, angels in plaster villas overlooking gardens eclectic classical porches of temples on the facades of new resort for the rich. 
Not to mention new cities conceived as symbolic of the giant machines. Shanghai or Dubai, a city where there is no square meter that does not seem an amusement park and lead the imagination into a few elsewhere. As demonstrated by the ambiguous architecture of Richard Meier, even the fathers of modernism has become a world historical context, merit citation. For the rest, artificial islands shaped like palm trees, which seem skyline of paper, 
towers that do to the history of architecture. Dubai, a destination of choice of the exhibition is a perfect illustration of his title: Dreamland, which was originally the name of a New York amusement park destroyed by fire in 1911. Miniature metropolis of junk made of the most famous cities in the world. Here we are, thus, theoretically investigated by the editors at heart, Quentin Bajac and Didier Ottinger. The link between eclecticism, postmodernism and capitalism. Among the hedonism of the consumer society and the preference for the symbolic key of pop culture aesthetics. The exhibition, moreover, opens with the memorabilia of world's fairs of the nineteenth century, suggesting their affiliation with the present. In the name of the industrial revolution, enabling wealth and prosperity as never before in history, would have created a consumer paradise on earth, intent on interpreting the basic needs of anthropology and sweep away forever any culture or spirituality competitor.
Hence the victory of postmodernism on any other alternative, however, obliged to compete with it spectacular. Small problem, however, a progressive hypertrophy of the symbolic to the detriment of other functions, of which the exhibition does not take into account. Buildings uncomfortable, poorly designed, expensive and unsustainable from an environmental perspective. Scenography designed only for the appearance, become disproportionate propaganda machines that well describe the evolution of contemporary society and the fate
promises of democratic industrialization. A postmodernism are allergic to any rational project now threatened by ecological design, which in all its sophistication has become the official aesthetic of neo-liberalism. Faced with the risk that the paradise on earth left to itself becomes a hell of nature and society out of control, that of the postmodern hours could prove a Pyrrhic victory? 
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