Fetish or form, popular or erudite, message and language. In every architectural movement, despite the polar efforts of some academics and journalists to have something to write about and force the dichotomy, there is a bit of everything. Without intending to delve deep, the postmodern revision of architecture, critical like any revision, with its predecessor, does not escape the cliché of the hunter becoming the hunted. Its desire for irony has reached extremes beyond parody, but thanks to that risk that, to a large extent, surpasses acceptable bad taste, brilliant results have emerged. The growing interest that these early exercises currently generate is evident. After wanting to kill the father, the grandson almost always saves the grandfather. Posmo is a collection of vases that proposes the reverse architectural exercise. Instead of debating whether a building classified as postmodern owes more to its sculptural idea of inherent language than to its function, it rescues classic examples of the movement and places them in the most mundane and banal objectual predicament possible: that of becoming a vase. James Stirling, Richard Reid, John Hedjuk, or Philip Johnson put through the sieve. If, at first, the journey, apparently and according to the criticism, went from object to building, Posmo uncritically raises the question of what happens when one travels from building to object, in the quintessence of its uselessness. The final result of this abstraction from the original volume, the reduction to its model, and the dematerialization through the production of the vase using 3D printing technology with recycled plastics shows us a set of decontextualized knick-knacks that, side by side, would be fitting for a still life of the 21st century. Or, well, for a posmo still life. For different colours or combinations, please contact us. DESIGNED IN BARCELONA. INSPIRED IN JAMES STIRLING'S SOUTHGATE ESTATE IN RUNCORN.
