General Characteristics of the

Aim of Post-Modernism (6)

1.  Stylistic Diversity

2.  Multitude

3.  The Particular

4.  Decentralization

5.  Self-Reference

6.  Eclecticism

History

Meaning

    - form and content in function and tectonics

    - questions of representation and language

    - scenography

Place

    - Man/Woman

    - Architecture, Nature

    - Existence/Regionalist/Dwelling as Ontological Act

Urban Theory

    - contextualism

    - image of the city

    - typology and neo-rationalism (europe)

    - Edge Cities

    - New American Urbanism (Neo-Traditionalism)

- Venturi

- architecture is ambivalent and interesting

    - either/or = modernism

    - both/and = post-modernism

- create a more popular architecture

- Venturi and Brown

- the Duck vs. the Decorated Shed

    - duck = iconic sign; form has certain things in common

      with the content

    - decorated shed = symbolic signs; depends on learned

      meanings; communicate effectively

- Aldo Rossi

- timeless typology and morphology of the city

- city = expression of culture and its collective memory

- contextualism - ??

- polysemic nature of architecture - how buildings can be

   transformed and re-used over time

- Peter Eisenman

- liberate architectural form from extra-architectural meaning

- syntax instead of semantics

- sign = self-referential to itself

- understand form as sign

- Wexner Center for the Visual Arts

- idea over object

- transformation of form:  materiality vs. transformation

- contextualism - deals with what is present at the site and what is

  missing

- Peter Zumthor

- "culturally innocent"

- intrinsic essence of materials

- 

consistencies and tendencies

in Associative Form (4)

1.  "art objects" and "everyday objects"

2.  "combines" of two things into something new

3.  scalar displacement of common objects

4.  unexpected material combinations

Frank Gehry

Guggenheim Museum

Bilbao, Spain

1991-97

Herzog & de Meuron

Goetz Gallery

Munich

1992

Peter Zumthor

Chapel

Sogn Benedegt

1986

Peter Eisenman

Wexner Center for the Visual Arts

 Columbus

1983-89

Bernard Tschumi

Parc de la Vilette

Paris

1985

Rem Koolhaas

Public Library

Seattle

2004

Robert Venturi

Vanna Venturi House

Chestnut Hill

1962

Daniel Libeskind

Jewish Museum

Berlin

1989-98

Aldo Rossi

Cemetry of San Cataldo

Modena

1971

Generic Form

architects generate "artificial world" with theatrical qualities

generic form

unexpected functions in rooms

specific form

simply exists

superimposed form

Berndard Tschumi

innocent form

Peter Zumthor

liberate architectural form from

extra-architectural meaning

syntactic form

scenographic form