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In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world's largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We've based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor's satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor's satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, complexity and ingenious character, bringing down its original taste.

In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world's largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We've based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor's satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor's satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, complexity and ingenious character, bringing down its original taste.Read Complete Article at ijSciences: V62017071364 AND DOI: http://dx.doi.org/10.18483/ijSci.1364

The World's Theatre (Teatro del Mondo) was a floating building designed by Italian architect Aldo Rossi for the opening of the Venice Architectural Biennial of 1980. It was an ephemeral structure at the borderline of art and architecture and one of Rossi's most eloquent examples of architecture parlante exemplifying his use of archetypes and symbolic culture to evoke the genius loci through local mythology and elements of collective memory. Rossi's World Theatre paved the way for a particular approach to postmodern architectural production that defined the cultural landscapeof the 1980s, and its enigmatic display was almost a prediction of the onset of the postCold War era's 'new world order.' The essay proposed herein centres on the investigation of the political meaning of the 'World Theatre' in reference to the 1980s' venetian Biennial of Architecture on Postmodernism and to texts by Rossi's contemporaries, Manlio Brusatin, Francesco Dal Co, Daniel Libeskind, Paolo Portoghesi, Vittorio Savi, and Manfredo Tafuri. It also proposes to explain Rossi's understanding of the notion of genius loci and his reinterpretation of the technique of architecture parlante, intended as the architectural tradition used by architects of the enlightenment to respond to emotional inner states through the application of conventional forms and images, and to research the sensation of body-movement, disembodied forms of abstraction, and mental states of Einstein's geometry of space-time as a form of architectural experience. In this context, Rossi's project presents itself as an expression of the late twentieth century architects' return to the parlante tradition through a renewed interest in semiotics, ultimately reinterpreted in terms of the meaning of, in Jean La Marche's words 'architectural object[s] […as] signs of life, of the collective, of the present, and of the timeless. ; info:eu-repo/semantics/published

This work proposes to pose the question of postmodernity in architecture, by reopening the file of the postmodern investigation already copiously instructed by several generations of philosophers and architects. It is a question of posing another definition of this architecture, by making it less of the stylistic and aesthetic analyzes to which we have been accustomed of whole chapters of the file, than of a moment of rupture, at the beginning of the 1960s, which manifests itself symptomatically in two issues of Casabella Continuità (1963) and Perspecta (1966). This rupture is reflected by a feeling, among the American architects who are presented in these texts, to be in default in relation to the aesthetic legislation that modernity has called for and that the CIAM have contributed little to codify and legitimize. The architects in question would be outlawed. This relation to the law, to the rule is in fact less literal than metaphorical. At least, this is what this thesis aims to demonstrate by studying a whole range of notions that seem to have been working on the field of architecture for over a century now, if we want to fit into the perspective of this report. the legality of the distant figure of the criminal Loos imagines in Ornament and crime in 1908. To understand and redefine postmodern architecture, to reopen this file far from being definitively classified, this work postulates the interest of unfolding the metaphor of crime, which, from the beginning of the twentieth century, combines motives (ornamental) with motives (criminals), and that too much of what will be called in the context of this search for gangs of architects It is for them, from the 1960s, to fight with modernism and reconnect with the collective. While unfolding this metaphor, which leads straight to the American architectural groups of the 1960s and 1970s, more theoretical than practical, reflective, critical and deeply engaged in controversies, it is the research itself that marks a certain inflection and which is necessarily ...

This article offers a contribution to ongoing philosophical, sociological, and feminist debates about osmetic surgery 1 and is part of a larger project that examines the spatial and temporal aims and effects of cosmetic surgery, using media analysis and interviews with recipients and surgeons. The mother project argues that cosmetic surgery is part of a suite of anti-aging tools—medical, lifestyle, and beauty technologies— that, contrary to popular belief, do not aim to recreate youth but rather are deployed to create a new phase of life identified as the "stretched middle age." However, this article diverts to theorize—experimentally and heuristically—about cosmetic surgery in relation to postmodern architecture. Re-reading Fredric Jameson's 1984 piece about Los Angeles' Westin Bonaventura Hotel while immersed in the larger project led to speculation about how his description might be adopted as an analytical template for an alternative way of approaching cosmetic surgery. Furthermore, criticisms he makes of the Bonaventura as user-unfriendly and superficial are adapted to describe cosmetic surgery as it is currently enacted. This analogy is then extended in regard to another (later) postmodern structure, Melbourne's Federation Square.2 Analysis and description of the site are projected onto cosmetic surgery with the aim of showing that the technology has the possibility of a developmental trajectory similar to the one between the Bonaventura and Federation Square. Rather than snag on the wholly literal—which might attempt to practically describe the experiences of cosmetic surgically–altered has the potential to altered women in various postmodern spaces—this exercise is mainly speculative and metaphoric. The standpoint is intertwined with that of Kathryn Pauly Morgan, arguing that cosmetic surgery could contribute to a celebration of the fully participatory grotesque body as defined by Mary Russo. Some "extreme practitioners" of cosmetic surgery are used as examples of how it has the opportunity to progress in interesting and diverse directions, and these ideas are married with Federation Square's aesthetics in order to imagine a future, possibly utopic, cosmetic surgery.

Technology of the 21st century is changing rapidly in the postmodern world of consumerism. As we move from industrial toward information epoch, built environment become precisely augmented with the trends of commercialization. The breakout of modernism brings up the Postmodernism in late 1970`s where urban space and architecture were faced with signs and symbols once again. Consumerism society was become a debatable issue in the 21st century. Changing trends in world by the means of globalization shaped society and public territory with the improvements in media and technology. Brand new dimension has been brought into urban zones with commercialization. Commercialization began to develop in physical and computerized ways and have begun to contribute disorderly in the built environment. Expansion of working with media causes to have cyberspaces with the utilization of media elements, for example, advertisements, board. Technological developments, and improvement of media and visual arts cause change in the direction of contemporary architecture with the globalization and domination of capitalism. Facades gain new media integrated skin to its external skins of buildings; and society who are the main user of the public space gained a new way of interaction through the media integrated cutting edge technology. Channing technological trends shape the formation of building façade. The main motivation of this thesis is to investigate essential ideas behind the utilization of advanced media facade on buildings. Extraordinary emphasis on innovation and visual media, it is intended to see how architecture is influenced and its advancement in postmodernism. Theoretical section is supported with cases from developed countries where media architecture is popular trend, other case is "1001 Airport Mall" selected from Nicosia, North Cyprus which is from 3rd world country with too many political problems. After theoretical examination, end of the study will create understanding towards the integration of media and architecture through its evolution and how building form and spatial organization is affected in architectural scale. Finally, changing urban space with the media architecture will be discussed. Keywords: Postmodernism, Media Architecture, Consumer Society, Augmented Surface & Hybrid Space, Visual Media ; ÖZ : 21. yüzyılın teknolojisi, Postmodern tüketim dünyasında hızla değişiyor. Endüstriyel çağında bilgi çağına geçerken, ticarileştirme trendleri ile yapılı çevre alanı tamamen artırılmış yüzeylerle donatıldı. Modernismin çöküşü ile 1970li yıllarda Postodernisimi gündeme getirerek, kamusal alan ve mimari bir kez daha simge ve semboller ile donandı. Tüketici toplumu 21. yüzyılda tartışılması gereken konu haline geldi. Globalleşme ile dünyada değişen trendler, medya ve teknolojinin gelişmesi ile birlikte toplumu ve kamusal alanı şekillendirdi. Kentsel alanın ticarileşmesi ile, yepyeni bir boyut kazanıldı. Ticarileşme, fiziksel ve bilgisayarlı ortamlarda gelişmeye başladı ve yapılı çevreye düzensizce katkı koymaya başladı. Medya alanında çalışmaların gelişmesi reklam, panolar gibi medya elemanları ile sanal gerçekliğin oluşması yol açtı. Teknolojik gelişmeler ve medya ve görsel sanat alanında ilerlemeler, globalleşme ve kapitalizmin baskınlığı ile çağdaş mimarinin yönünü değiştirmiştir. Bina dış cephesine yeni bütünleşmiş medya yüzeyi kazandırıldı ve kamusal alanın ana kullanıcıları olan toplum, yeni entegre edilmiş son teknoloji ile yeni bir etkileşim kazandı. Değişen teknolojik trendler bina cephesini şekillendirdi. Bu tezin ana motivasyonu, bina cephesinde kullanılan medya cephesinin ardındaki önemli düşünceleri araştırmaktır. Yenilikler ve görsel medya vurgusu ile, postmodern zamanında nasıl etkilenmiş olduğunu görmeyi amaçlar. Teorik bölüm, medya mimarisinin popular olduğu gelişmiş ülkelerden örnekler ile desteklenirken, diğer örnek bina ise 3. Dünya ülkesi olan ve politik problem yaşanan Kuzey Kıbrıs, Lefkoşa ilinde bulunan "1001 Airport Mall" binasıdır. Teorik incelemeler sonrasında, çalışmanın sonunda, medya ve mimarinin entegrasyonu ve gelişimi ile ilgili kavrayış sağlanacak ve mimari ölçekde bina formu ve mekânsal organizasyonuna olan etkileri tartışılacaktır. Son olarak, medya mimarisi ile değişen kamusal mekan tartışılacaktır. Anahtar Kelimeler: Postmodernism, Medya Mimarisi, Tüketici Toplum, Artırılmış Yüzey & Mekânlar, Görsel Medya ; Master of Science in Architecture. Thesis (M.S.)--Eastern Mediterranean University, Faculty of Architecture, Dept. of Architecture, 2016. Supervisor: Prof. Dr. Hıfsiye Pulhan.

The goal of Master thesis is to investigate expression and features of postmodern style of private dwelling-houses of Lithuania, from the middle of the 9th decade to the 10th decade of the twentieth century. In order to reveal the characteristics, features and cultural significance of the style in Lithuania, the private dwelling-houses of postmodern style of the Western world (the U.S., Western Europe, Japan) are analyzed, as well as conditions which prompted their development. The paper discusses that the social, political and economic factors of Lithuania at that time, led to the suspicion and critical evaluation of postmodern architecture in general.It is assumed that due to the political-economical factors, the Western magazines were one of the main tools for Lithuanian architects to get to know postmodern architecture. Therefore, a comparative analysis between private dwelling-houses published in foreign periodicals, and of Lithuania, is conducted. Consequently the most common features of private dwelling-houses of postmodern style in Lithuania and their links with Western architecture are determined. Houses of Lithuania of high quality postmodern architecture are named, their valuable properties are defined. Thesis consists of: 92 p. text without extras, 57 pictures., 9 schemes, 99 bibliographical entries, 3 appendixes included.

The goal of Master thesis is to investigate expression and features of postmodern style of private dwelling-houses of Lithuania, from the middle of the 9th decade to the 10th decade of the twentieth century. In order to reveal the characteristics, features and cultural significance of the style in Lithuania, the private dwelling-houses of postmodern style of the Western world (the U.S., Western Europe, Japan) are analyzed, as well as conditions which prompted their development. The paper discusses that the social, political and economic factors of Lithuania at that time, led to the suspicion and critical evaluation of postmodern architecture in general.It is assumed that due to the political-economical factors, the Western magazines were one of the main tools for Lithuanian architects to get to know postmodern architecture. Therefore, a comparative analysis between private dwelling-houses published in foreign periodicals, and of Lithuania, is conducted. Consequently the most common features of private dwelling-houses of postmodern style in Lithuania and their links with Western architecture are determined. Houses of Lithuania of high quality postmodern architecture are named, their valuable properties are defined. Thesis consists of: 92 p. text without extras, 57 pictures., 9 schemes, 99 bibliographical entries, 3 appendixes included.

"Political Postmodernisms shows how sites outside of Western Europe and North America undermine an established narrative of architecture theory and history. It focuses specifically on postmodern architecture, which is traditionally understood as embodying the flippant and apolitical aesthetics of capitalist affluence. By investigating postmodern architecture's manifestations in the unlikely settings of Chile during the neoliberal dictatorship of Augusto Pinochet and Poland during the late socialist Polish People's Republic, the book argues for a new account that incorporates the political roles it plays when seen in a global perspective. Political Postmodernisms has three goals. First, it challenges the familiar narrative regarding postmodern architecture as following the "cultural logic of late capitalism" (Fredric Jameson) or as a socially conservative project (Jürgen Habermas). Second, it fills in portions of Chilean and Polish architectural history that have been neglected by Chilean and Polish architectural historians themselves. Third, Political Postmodernisms shows how architecture can work as a political form - serving propagandistic purposes and functioning as part of oppositional projects. The book is projected to be of use to students and scholars in global modern and contemporary architecture history, history of urban planning, East European Studies, and Latin American Studies"--