DOCSLIB.ORG

Art and Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art and Architecture College of Engineering Department of Architecture History of Architecture 4th year – 1st Semester M.S.C. Madyan Rashan Academic Year 2018-2019 Lecture Information Course name History of Architecture Lecture’s title Post Modernism Lecturer Madyan Rashan Lecturer’s Information [email protected] [email protected] +9647703315409 The objective This lecture explains the idea of post-modernism, and how it shaped the 2nd part of the 20th century’s architecture. Previous Lecture Oscar Niemeyar Critiques of Modernism Postmodernism The Modernist Architectural aesthetic was based on the principle of “Form follows Function.” Instead of designing a structure around some pre-existing meaning or form, the function of the building should have priority. For instance, as those who worshiped in traditional (cross-shaped) churches were always reminded, worship is a matter of being gathered into his cross. The modernist approach to church design would first ascertain the practical functions the building needed to fulfil – accommodate a certain number of worshippers, classrooms for Sunday school, etc. Postmodernism Postmodernism was a wide architectural movement that started in the 1960s. It was a reaction against the modernism or the modern creeds. It started as reaction against the international style (the style without a specific identity) and called for a bigger role for “the place”. It also wanted to give more attention to symbolic function of architecture, trying to give meaning to buildings; something that adds value to the building beyond its physical appearance. The international style, according to the postmodernists produced lifeless rigid buildings without identity. Postmodernism So, postmodernism can be defined as a challenge to (or rejection of) modern truth claims about language, culture, history and identity, even truth itself. In Architecture, the idea of post modernism began as a response to the perceived flatness and failed utopianism of the modern movement. Definitive postmodern architecture rejects the notion of a pure form or perfect architectonic detail, instead evidently drawing from all methods, materials, forms and colors available to architects. Postmodernism The postmodernists, by adding the cultural factor and the semiotic component to a building would give it life, and help the architecture survive longer. The postmodern movement aimed to strengthen the connection between the building and its context. The movement was wide and contained various styles within it. In postmodern we started to see colors again after decades ruled by concrete elevations, and neutral colors. Robert Venturi, Michael Graves, Aldo Russi, Frank Grave, Charles Moore, James string and Ricardo Bafil consider as the most prominent faces among designers and architects of postmodern architecture. Postmodernism Disillusioned with the modernist dogma that the present is always the best, architects and the public they serve rediscovered the value and beauty of the past. They started restoring old buildings, whereas modern architecture is abstract, postmodern architecture is referential. Two of the earliest advocates of Postmodernism, Robert Venturi and Aldo Rossi, each offered a different “solution” to the shortcomings of Modernism in their books, Complexity and Contradiction in Architecture (1966) and The Architecture of the City (1966). Postmodernism While Venturi’s solution was about the revival and repurpose of past architectural styles, Rossi’s solution was about designing based on the surroundings, accounting for the history and traditions of the local city context. Robert Venturi Robert Venturi is an American architect. He is one of the lead architects to start the postmodernism movement. He triggered the movement by publishing his famous book: “Complexity and Contradiction in Architecture”. He is also known for his famous maxim: “Less is bore”. Robert Venturi In his revolutionary book, Venturi suggested the new complex system in architecture, where the structure of the systems is not easily understood. The complexity does not necessarily mean that the shapes are complex, but the design principles that arrange them must be complex. His designs are simple in their outer appearance. He also sometimes used some impure forms, irregular shapes and elements, or altered regular ones. Robert Venturi vision “I like elements which are hybrid rather than ‘pure’, compromising rather than ‘clean’, distorted rather than ‘straightforward’, ambiguous rather than ‘articulated’, boring as well as ‘interesting’, conventional rather than ‘designed’, accommodating rather than excluding, redundant rather than simple, vestigial as well as innovating, inconsistent and equivocal rather than direct and clear”. Robert Venturi vision In 1972, Venturi and his wife began a study of Las Vegas architecture-their effort was to categorize and classify architecture. Learning from Las Vegas was a criticism of orthodox modernism and its elite style. The project studied Las Vegas architecture and the role its signs played in creating the urban landscape. It became a call to reintroduce symbolism into architectural design. Robert Venturi Vanna house, USA It is one of the earliest postmodern buildings. Here Venturi exposed his ideas of complex system with simple shapes, and contradiction in architecture by using altered classical elements. Robert Venturi The five room house stands only about 30 feet (9 m) tall at the top the chimney, but has a monumental front façade. A non-structural applique arch and "hole in the wall" windows, other elements, were challenge to modernist orthodoxy. The house is designed around a chimney that is centralised and goes all the way to the top of the house. Externally, they house is built symmetrical. Venturi has distorted this idea of symmetry. There is also a basement underneath the house that is often not covered by people. Robert Venturi THE BASIC ELEMENTS OF THE HOUSE ARE A REACTION AGAINST STANDARD MODERNIST ARCHITECTURAL ELEMENTS: PITCHED ROOF RATHER THAN FLAT ROOF, EMPHASIS ON CENTRAL HEARTH & CHIMNEY, CLOSED GROUND FLOOR Robert Venturi Sainsbury Wing, National Gallery, London. North Penn Visiting Nurses Association, USA. .
Load more

Recommended publications
  • Remembering Robert Venturi, a Modern Mannerist
    The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966).
    [Show full text]
  • Allen Memorial Art Museum Teacher Resource Packet - AMAM 1977 Addition
    Allen Memorial Art Museum Teacher Resource Packet - AMAM 1977 Addition Robert Venturi (American, 1925 – 2018) Allen Memorial Art Museum Addition¸ 1977 Sandstone façade, glass, brick. Robert Venturi was an American architect born in 1925. Best known for being an innovator of postmodern architecture, he and his wife Denise Scott Brown worked on a number of notable museum projects including the 1977 Oberlin addition, the Seattle Museum of Art, and the Sainsbury addition to the National Gallery in London. His architecture is characterized by a sensitive and thoughtful attempt to reconcile the work to its surroundings and function. Biography Robert Venturi was born in 1925 in Philadelphia, PA, and was considered to be one of the foremost postmodern architects of his time. He attended Princeton University in the 1940s, graduating in 1950 summa cum laude. His early experiences were under Eero Saarinen, who designed the famous Gateway Arch in St. Louis, and Louis Kahn, famous for his museum design at the Kimbell Art Museum in Texas and at Yale University. The AMAM addition represents one of Venturi’s first forays into museum design, and was intended to serve as a functional addition to increase gallery and classroom space. Allen Memorial Art Museum, Oberlin College For Educational Use Only 1 Venturi was also very well known for his theoretical work in architecture, including Complexity and Contradictions in Architecture (1966), and Learning from Las Vegas (1972). The second book presented the idea of the “decorated shed” and the “duck” as opposing forms of architecture. The Vanna Venturi house was designed for Venturi’s mother in Philadelphia, and is considered one of his masterworks.
    [Show full text]
  • Seven to Receive Honorary Degrees UM Sweeps CASE Awards
    VERITAFor the Faculty and Staff of the University of Mi: March-April 1997 VolumSe 39 Number 6 Seven to receive honorary degrees oted architects Denise Scott sy-nthesis of nucleic acids. He is the Bethune-Cookman College and Florida affiliated with a number of the great Brown and Robert Venturi. a recipient of numerous other awards, Memorial College, chairman emeritus medical institutions in the United Nhusband-wife team, will be including the Max Berg Award for Pro­ of the United Protestant Appeal, and States, including Cornell Medical Col­ honored at this year's Commencement longing Human Life and the Scientific vice president of the Black Archives lege, the Mayo Clinic, and the Univer­ on May- 9, along with a host of famous Achievement Award of the American Research Foundation. Among his many- sity of Pittsburgh. His books and achievers including Sarah Caldwell; Medical Association. honors are the Greater Miami Urban teachings have influenced the way mil­ William H. Gray III; a\rthur Romberg; Garth C. Reeves, reporter, editor, League's Distinguished Service Award, lions of children were raised. Garth C. Reeves, Sr.; and Benjamin publisher, banker, entrepreneur, and the American Jew-ish Committee's Robert Venturi. a Philadelphia McLane Spock. In addition to receiving community activist, attended Dade Human Relations Award, the Boy- native, graduated from Princeton Uni­ an honorary- doctorate. Reeves will County Public Schools and received Scouts Silver Beaver award and the Sil­ versity. His firm. Venturi, Scott Brown deliver the Commencement address. his bachelor's degree from Florida ver Medallion of the National Confer­ and Associates, Inc., has made its mark Denise Scott Brow-n, a principal A&M College.
    [Show full text]
  • 31295018689751.Pdf (8.512Mb)
    ^M'-^Ki'm-r- --' •« >i^'?fi O^t LQG The Design for a School of Art 'mi The Depot District Lubbock, Texas Robyn Giuiro^a '^^mX'> m KfiB^i?»5!^ppii|M^|(!f|?s Fall 1999 I^^^S-"* • . .M by Robyn Qulroqa A Thesis Architecture Submitted to the Architecture faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for The Degree of MASTERS OF ARCHITECTURE Jarfcesl White, Dean. College of Architecture December 1999 ii 5 2 a037cQ.L'J> /9 <^ r- •] ^r.^^ wt\' ~^Kitlft ii^ A^^m oj ii N (iW/!>«n#»ij%) 11 J IAB »? s; of IINSSI^ ' 04 THEORY 05 THEORY GOALS AND OBJECTIVES oe BACI^GROUND INFORMATION ON COLLAGE 24 THEORY ISSUES 25 THEORY ISSUE NUMBER ONE 26 THEORY ISSUE NUMBER TWO 27 THEORY ISSUE NUMBER THREE 26 THEORY CASE STUDIES 29 THEORY CASE STUDY NUMBER ONE: THE ANTHENEUM BY RICHARD MEIER THEORY CASE STUDY NUMBER TWO: ADDISON CONFERENCE AND THEATRE CENTRE 33 FACILITY TYPE 34 MISSION STATEMENT 35 ACTIVITY ANALYSIS 37 FACILITY PERFORMANCE REQUIREMENTS 40 SPATIAL ANALYSIS 56 SPATIAL SUMMARY 60 FACILITY TYPE CASE STUDIES 61 FACILITY TYPE CASE STUDY NUMBER ONE: CENTRE FOR THE VISUAL ARTS BY FRANK GEHRY 67) FAr:il ITY TYPE CASE STUDY NUMBER TWO: ART SCHOOL BY KUOVO & PARTANEN ARCHITECTS 111 OS i|Nii9D^ DESIGN PROCESS SCHEMATIC REVIEW DESIGN DEVELOPMENT COHCEFTONE CONCEPT TWO COHCEFTTHREE DESIGN RESPONSE RESPONSE TO THEORY ISSUES RESPONSE TO FACILITY TYPE PERFORMANCE REQUIREMENTS RESPONSE TO CONTEXT ISSUES IV -"" IABIH OJ ilNiSSiip 102 DOCUMENTATION 103 Overall Presentation Layout 104 Courtyard Level Plan if: 105 First Floor Plan 106 East and North Elevations 107 West and South Elevations 106 Transverse and Longitudinal Sections 109 Structural Axon 110 Site Plan and Mechanical Flans 111 Interior Perspective 112 Exterior Perspective 113 Mode! Photos 114 Conclusion 115 LIST OF ILLUTRATIONS 125 BIBLIOGRAPHY l£s iHaAgT 'AK I£s fiQABT The theory of artistic collage as an architectural design tool will be used in the design process.
    [Show full text]
  • The Art of Architecture
    LEARNING TO LOOK AT ARCHITECTURE LOOK: Allow yourself to take the time to slow down and look carefully. OBSERVE: Observation is an active process, requiring both time and attention. It is here that the viewer begins to build up a mental catalogue of the building’s You spend time in buildings every day. But how often visual elements. do you really look at or think about their design, their details, and the spaces they create? What did the SEE: Looking is a physical act; seeing is a mental process of perception. Seeing involves recognizing or connecting the information the eyes take in architect want you to feel or think once inside the with your previous knowledge and experiences in order to create meaning. structure? Following the steps in TMA’s Art of Seeing Art™* process can help you explore architecture on DESCRIBE: Describing can help you to identify and organize your thoughts about what you have seen. It may be helpful to think of describing as taking a deeper level through close looking. a careful inventory. ANALYZE: Analysis uses the details you identified in your descriptions and LOOK INTERPRET applies reason to make meaning. Once details have been absorbed, you’re ready to analyze what you’re seeing through these four lenses: OBSERVE ANALYZE FORM SYMBOLS IDEAS MEANING SEE DESCRIBE INTERPRET: Interpretation, the final step in the Art of Seeing Art™ process, combines our descriptions and analysis with our previous knowledge and any information we have about the artist and the work—or in this case, * For more information on the Art of Seeing Art and visual literacy, the architect and the building.
    [Show full text]
  • 2015 West Coast Championships June 16-20 2015 by 19Turkeys
    Volume 26 ~ Issue 6 ~ July 2015 Steve Parsons T/C: 300 Whisper 36 0 24 ML 2015 West Coast Championships Doug Hockinson T/C: 7 TC/U 23 0 15 June 16-20 2015 A T SO CO Notes Marvin Wahl T/C: 357 Mag. 8 0 5 By 19Turkeys U INT T SO CO Notes Russell Mowles XP-100: 7 BR 60 4 40 First and Foremost, a big thank you goes out to those folks that made this match possible. Bret Stuntebeck Rampro: 6.5 BR 60 3 40 Mike & Tyler Abel and Rick Redd worked diligently on Sunday before the match getting the Joe Cullison XP-100: 7 BR 60 2 40 range ready. Mike (Boomer) Aber was ever faithful every day checking guns, and Paul Tyler Abel Rampro: 6 BR 60 1 40 Hoadley was Super Welder keeping us in targets. And a special thanks goes out to Bret Stun- Dan Hagerty XP-100: 6.5 BR 59 0 39 tebeck for being the consummate brew master and fisherman and to Steve Parsons for cook- Russell Plakke T/C: 7 BR 59 0 39 ing the fish and all the shooters & significant others that contributed side dishes and desserts Mike Abel XP-100: 6.5 BR 59 0 39 for the Wednesday night fish fry. Richard Redd T/C: 6 BR 58 0 38 Jim Kesser T/C: 7 TC/U 58 0 38 Also, thanks to all our travelers from around the US, Canada and Australia because we just Steve Parsons XP-100R: 6 B 56 0 37 could not put this match on without the dedication you make coming and supporting us.
    [Show full text]
  • 40 Anni Di Memphis in Mostra Al Vitra Design Museum
    https://living.corriere.it/tendenze/design/40-anni-di-memphis-in-mostra-al-vitra-design-museum/ 40 anni di Memphis in mostra al Vitra Design Museum Il museo tedesco celebra il gruppo fondato da Ettore Sottsass che ha rivoluzionato l'estetica Anni 80. E influenza ancora generazioni di creativi. Dal 6 febbraio 2021 al 23 gennaio 2022 Testo di Luca Trombetta – Foto Studio Azzurro / Memphis Che stagione formidabile quella del gruppo Memphis. In soli sette anni – dal 1980/81 al 1987, circa – rivoluzionò il modo di vedere e di pensare il design dei decenni successivi e ancora oggi il suo influsso si ritrova nelle collezioni di diversi designer in una sorta di revival Anni 80, tra citazioni nostalgiche e coraggiosi omaggi. Collettivo italiano di design e architettura radunatosi a Milano attorno alla figura magnetica di Ettore Sottsass, Memphis fu l’espressione più alta del movimento Postmoderno in Italia e, con la sua forza dirompente, si affrancò dagli stereotipi del funzionalismo che avevano caratterizzato il design nostrano fino agli Anni 70, ricorrendo a colori sgargianti, forme geometriche, pattern optical, nonché una rilettura ironica e intelligente del kitsch. A quarant’anni dalla sua fondazione, il Vitra Design Museum di Weil am Rhein celebra l’anniversario del gruppo con la mostra Memphis: 40 Years of Kitsch and Elegance curata da Mateo Kries e in calendario dal 6 febbraio 2021 al 23 gennaio 2022. Attraverso una selezione di arredi, lampade, oggetti, disegni, fotografie e materiali d’archivio racconta la portata di una rivoluzione estetica che celebrava il Pop, il banale e il quotidiano e rompeva i tabù del buon gusto e del minimalismo.
    [Show full text]
  • Forumjournal Fall 2011 | Vol
    ForumJournal FALL 2011 | VOL. 26 NO. 1 Protecting the Place ForumJournal Contents NATIONAL TRUST FOR HISTORIC PRESERVATION FALL 2011 | VOL. 26 NO. 1 STEPHANIE K. MEEKS President DAVID J. BROWN Executive Vice President Preservation Heroes’ Ongoing Fight and Chief Preservation Officer TABITHA ALMQUIST to Protect Mount Taylor Chief of Staff JERRY ROGERS ........................................ 3 DAVID COOPER Chief Development Officer PAUL EDMONDSON Interview: How the Wilderness Battlefield Chief Legal Officer and General Counsel Coalition Faced Down Walmart ROSEMARIE RAE KERRI RUBMAN ........................................ 11 Chief Financial and Administrative Officer TERRY RICHEY Thinking about Shrinking Chief Marketing Officer ROYCE YEATER . .21 NATIONAL TRUST FORUM VALECIA CRISAFULLI Vice President, Partnerships “Moving Modern”: Modern Architecture SUSAN WEST MONTGOMERY as “Moveable” Heritage Director, Information and Technology MARY KAY JUDY ...................................... 27 ELIZABETH BYRD WOOD Content Manager KERRI RUBMAN Assistant Editor Miami Marine Stadium: Making MARY BUTLER Creative Director the Case for Exceptional Significance AMY VAINIERI JORGE L. HERNANDEZ ................................. 36 Graphic Designer Protecting the Neighborhood: Historic Preservation and Community Development TRENT NICHOLS ....................................... 41 The National Trust for Historic Preservation ON THE COVER: Miami Marine Stadium, Miami, Fla. works to save America’s historic places for the next generation. We take direct, on-
    [Show full text]
  • Houses Undergoing Psychoanalysis: Gehry's Residence, Venturi's Mother's House and Johnson's Glass House
    Houses Undergoing Psychoanalysis: Gehry's Residence, Venturi's Mother's House and Johnson's Glass House Ruth Palmon Bachelor of Architecture Bezalel Academy of Art and Design Jerusalem, Israel, 1997 - Submitted to the Department of Architecture in Partial Fulfillment of the requirements for the degree of Master of Science in Architecture Studies At the Massachusetts Institute of Technology June 2002 © 2002 Ruth Palmon. All Rights Reserved The Author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author: Department of Architecture May 23, 2002 Certified by: Julian Beinart Professor of Architecture Thesis Supervisor Accepted by: Julian Beinart Professor of Architecture MASSACHUSETTS INSTITUTE Chairman ,Department Committee on Graduate Students OF TECHNOLOGY JUN 2 4 2002 ROTCH LIBRARIES Mark M. Jarzombek, Associate Professor of History and Architecture, Reader. Beatriz Colomina, Professor of History and Theory of Architecture, Princeton University, Reader. 2 Houses Undergoing Psychoanalysis: Johnson's Glass House, Venturi's Mother's House, and Gehry's Residence. By Ruth Palmon Submitted to the Department of Architecture on May 23, 2002 in Partial Fulfillment of the requirements for the degree of Master of Science in Architecture Studies ABSTRACT The objective of this thesis is to explore the relationship between the self and the house. In approaching the subject, my assumptions were that the basic condition of the house-self relationship is of tension and animosity and that architectural design, following a psychoanalytical tendency to reduce tension, is used to improve this condition. When great amounts of energy and care are invested in this process, the narrative of tension and its resolution is brought to the surface through architectural drawings.
    [Show full text]
  • Letter Supporting the Designation of Philip Johnson and John Burgee's
    H 20 November 2017 Ms. Meenakshi Srinivasan, Chair New York City Landmarks Preservation Commission Municipal Building 1 Centre Street, 9th Floor, North New York, NY 10007 [email protected] Re: Support for designation of Philip Johnson and John Burgee’s AT&T Building, 550 Madison, Avenue, New York, as an individual landmark Dear Ms. Srinivasan, The Society of Architectural Historians (SAH) expresses strong support for the prompt calendaring and designation of the AT&T Building as an individual and interior landmark by the New York City Landmarks Preservation Commission. The AT&T Building, designed by Philip Johnson and John Burgee, was constructed between 1978 and 1984 and is rightly recognized as a landmark of postmodern American architecture. When completed, it joined Michael Graves’ Portland Municipal Services Building in Portland Oregon (1980-82) as the most visible expressions of postmodern architecture in the United States. The building is significant not only for its iconic Chippendale-inspired pediment, but for the soaring seven- story lobby entered through a distinctive Palladian arch and arcade, which lobby is the subject of the proposed inappropriate alteration. This lobby is of particular significance; of 119 interior landmarks in New York, only eight were completed after 1950. Few publically accessible postmodern interiors survive, and this is undoubtedly one of the finest. We strongly urge the New York City Landmarks Preservation Commission to move expeditiously towards Landmarks Commission listing of the AT&T Building, including designation as both an individual and an interior landmark. We believe that Johnson and Burge’s design is of international significance, and the listing of both would insure the preservation of one of the most noteworthy postmodern buildings and interiors produced in the United States.
    [Show full text]
  • Complexity and Contradiction in Architecture
    1 The Museum of Modern Art Papers on Architecture only. Complexity and purposes distribution.Contradiction reviewwide for or in Architecture Robert Venturi released publication with an introduction by Vincent Scully PDF for Not The Museum of Modern Art, New York in association with the Graham Foundation for Advanced Studies in The Fine Arts, Chicago Distributed by Doubleday & Company, Garden City, New York Acknowledgments Chapter Acknowledgments 6 Foreword 9 Introduction 11 Most of this book was written in 1962 under a grant from the Graham Foundation. I am also indebted to Preface 18 the American Academy in Rome for the Fellowship, ten 1. Nonstraightforward Architecture: 22 years ago, which enabled me to live in Italy. A Gentle Manifesto The following people helped me: Vincent Scully, through his crucial appreciation and criticism when I really 2. Complexity and Contradiction vs. 23 needed them; Marion Scully, through her skill, patience and Simplification or Picturesqueness understanding in making the text clearer; Philip Finkel- 3. Ambiguity 27 pearl, through his talking with me over the years; Denise 30 Scott Brown, by sharing her insights into architecture and 4. Contradictory Levels: city planning; Robert Stern, through concrete enrichments The Phenomenon of “Both-And” in Architecture to the argument; Mrs. Henry Ottmann and Miss Ellen 5.only. Contradictory Levels Continued: 38 Marsh of the staff of The Museum of Modern Art, through The Double-Functioning Element their cooperation in collecting illustrations. 6. Accommodation and the Limitations of 46 R. V. Order: The Conventional Element purposes 7. Contradiction Adapted 53 distribution. 8. Contradiction Juxtaposed 60 reviewwide 9. The Inside and the Outside 71 for or 10.
    [Show full text]
  • Jewish Dimensions in Modern Visual Culture: Antisemitism, Assimilation, Affirmation
    Fairfield University DigitalCommons@Fairfield History Faculty Book Gallery History Department 2009 Jewish Dimensions in Modern Visual Culture: Antisemitism, Assimilation, Affirmation Rose-Carol Washton Long Matthew Baigell Milly Heyd Gavriel D. Rosenfeld Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/history-books Copyright 2009 Brandeis University Press Content archived her with permission from the copyright holder. Recommended Citation Washton Long, Rose-Carol; Baigell, Matthew; Heyd, Milly; and Rosenfeld, Gavriel D., "Jewish Dimensions in Modern Visual Culture: Antisemitism, Assimilation, Affirmation" (2009). History Faculty Book Gallery. 14. https://digitalcommons.fairfield.edu/history-books/14 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 12 Gavriel D. Rosenfeld Postwar Jewish Architecture and the Memory of the Holocaust When Daniel Libeskind was named in early 2003 as the mas- ter planner in charge of redeveloping the former World Trade Center site in lower Manhattan, most observers saw it as a personal triumph that tes- tifi ed to his newfound status as one of the world’s most respected architects.
    [Show full text]