This thesis explores Postmodern architecture and narrative representations of the city as an emblem for the presence of the past in a contemporary environment. The architectural theory of Aldo Rossi is a model for this perception of the city as a locus of memory. Berlin, London and Paris are the places I will consider. Part I presents examples of architectural practice of the 1980s. A project for a museum of German history in Berlin, the Sainsbury Wing of the National Gallery in London and the Place de Stalingrad in Paris re-work urban historical traces. Chapter 4 outlines the theories behind each project and how they develop notions of memory within the city. Part II pursues this thread by focusing on examples of narrative representations of cities. In relation to Germany and Berlin, Wim Wenders' film Per Himmel über Berlin, Walter Abish's novel How German Is It. Christa Wolf's Kindheitsmuster and Hugo Hamilton's Surrogate City are my main sources. I discuss London through Peter Ackroyd's novel Hawksmoor and Paris through examples of Patrick Modiano's writing. A fourth and more theoretical chapter outlines how Postmodern narrative represents history and problematises memory. Two images direct this discussion: the detective and the palimpsest. My sources rely on the model of urban inquests and portray the city as a space shaped by a lamination of traces from superimposed eras. Part III connects architecture and narrative through examples of recent developments in Postmodern museology, mainly the Holocaust Museum. They construe historical narratives by endowing building and contents with a communicative function. As a conclusion, I establish that Postmodern concerns with history focus on the importance of bearing witness to the past, however problematic its representation has become. As the city houses memory, it is a priviledged location for historical traces which define contemporary identity.

The aim of this dissertation is the study of postmodern aesthetic theory, as it relates to architecture. Because it was not clear at the outset if the postmodern discourse were relevant to architecture in South Africa, examples in this country will he discussed. Dealing, as it does, with the study of aesthetic theory, the discussion of buildings and the criticism of buildings are not the primary' objectives of this study, although the importance of making arguments applicable to actual buildings as examples is acknowledged. Broad principles in the theory of postmodernism are dealt with first, namely the shifts that have occurred on economic and cultural levels in Western societies during the last three decades. The re-evaluation of Western-culture is discussed, as it relates to the criticism of the Enlightenment tradition and positivism by pragmatist philosophy and the Frankfurt School. In chapter four, which deals with 'culture industry*, then observation that cultural goods are becoming consumer commodities, and the diminishing gap between 'high art' and popular culture, are discussed.

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 308-319). Also available for download via the World Wide Web; free to University of Oregon users.

The concept of iconic architecture has been around for thousands of years. It has taken the form of great structures that have portrayed powerful messages, to impress and to intimidate society, from the pyramids and tombs of Egypt to the great Gothic cathedrals in Italy. It is by these structures that individuals have been exonerated and great nations have been identified. This concept is still very much prevalent today. Great structures and monuments fill the landscape, providing local and national identity and power to many communities and cities across the world. Today, icons bear the responsibility to represent more than just individuals and corporate structures but rather to provide an identity for every part of society. This document aims to understand this new role that icons have to play in society and how iconic architecture can facilitate the representation of a group of people through capturing their identity. This is an important opportunity for communities and nations to uplift and develop themselves as units of strength, on a local and international scale. To understand the purpose of icons, it is necessary to also understand the various characteristics of iconic architecture and how icons are made. These range from the physical identity to more representational characteristics. Both of these aspects begin to breakdown the essential ingredients that make up the powerful image of an icon. It is this image that provides identity for society. The theories of Semiology and Place Theory, as well as the concepts of Identity, Critical Regionalism, and Psychological Perception, are also used to discuss and highlight the various issues surrounding iconism and aids in the defining of icons as entities that establish and represent social identity. Throughout this document, the discussions into the various purposes of icons, portrayed through precedent studies and case studies, defines iconism for the present day. In so doing, the ways in which iconism can bring identity to a group of people, to a community and to society, is ultimately understood, and strives for a more empowered society, such as that of Durban. The outcome of the document proves the hypothesis to be true. Iconsim is a tool for social identity through its ability to portray the representation of communities as a unified whole. The redefined role of iconism to take on this responsibility is achieved through the theories of Semiotics, Place Theory and Psychological Perception. The physical presence of an icon is proved to be an important characteristic of iconism as it celebrates unique forms and the use of technology. The selected case studies are used to interpret icons in Durban, the location of the study, as well as discover the ways in which they benefit or fail the community with regards to their new defined role within society. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2012.

No description available.

Thesis (M.A.Geo.)--Texas State University--San Marcos, 2009. / Vita. Includes bibliographical references (leaves 48-51). Also available on microfilm.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 242-248). Also available in electronic format on the Internet.

Abstract not available

The Transmittance Device was an architectural installation, constructed as an imposition upon a public evergreen hedge row. The premise behind this exploration was to exploit architecture as a sequence of dynamic human experiences, creating an event or incident. The intention was to initiate a human transfer or violation from one side of a presumed boundary or barrier, to the opposite side. The boundary or barrier metaphorically represented the inherent characteristics human's possess, concerning abidement and conformity, within their normalities of regulated habit.The evolution process included theoretical conception, analysis of past installations, development of objectives, and four proposed projects. The final proposed Device was constructed in September, 1992, adjacent to the Fine Arts Building, on the campus of Ball State University. The Transmittance Device stood for over three weeks, instigating human engagement. The thesis document presents my collection of information gained, questions posed, and aspirations evoked, throughout the process of this exploration.This workbook documents the evolution process of the Transmittance Device. The Transmittance Device is an installation which exploits architecture as an event or incident, occurring as a human participates. Also, it is a construction which attempts to fuse the separation between architecture and sculpture. The document is not to be read as a conclusive narrative, but rather, a working text. The information is compiled in three general sections: architecture, installations, and the Transmittance Device, respectively chronological. The majority of the information presented was collected as scribbled notes, sketches, and study models produced throughout the nine month process (February to November, 1992.) The presentation of the constructed Device IV is presented with process sketches, scaled drawings, and photographs of the built construction. My aspirations are to continue this exploration, building upon the workbook, to never reach an end. / Department of Architecture

9H ; edited by Richard Burdett and Wilfried Wang. / Includes English translation of Heinrich Tessenow's Hausbau und dergleich. / Includes bibliographical references.