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WEEK 9, POST-MODERNISM R.Venturi . “Complexity and Contradictions in Architecture.” Guild House.

WEEK 9, POST-MODERNISM R.Venturi . “Complexity and Contradictions in Architecture.” Guild House. Deconstructivist Movement. Reaction to Modernism dogma : Anti-Design and High-Tech 4. Ettore Sottsass . 5. Emotional design. Mies van der Rohe . Seagram Building , 1958.

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WEEK 9, POST-MODERNISM R.Venturi . “Complexity and Contradictions in Architecture.” Guild House.

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  1. WEEK 9, POST-MODERNISM R.Venturi. “Complexity and Contradictions in Architecture.” Guild House. Deconstructivist Movement. Reaction to Modernism dogma : Anti-Design and High-Tech 4. EttoreSottsass. 5. Emotional design

  2. Mies van derRohe. Seagram Building , 1958

  3. Portland Building by Michael Graves 1982, C City of Portland

  4. Venturi Guild House, Philadelphia, 1963

  5. Charles Moore Piazza d'Italia, New Orleans, 1978

  6. Ron Herron .Walking City project. 1964

  7. Centre Georges Pompidou. commonly shortened to Centre Pompidou; Renzo Piano and Richard Rogers, 1977, Paris.

  8. Crystals at City Center, Las Vegas, Nevada, by Daniel Libeskind

  9. Park and Plaza in Seoul by ZahaHadid http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

  10. Do you believe designers can influence emotional content of products directly by evoking targeted emotions through their design?

  11. http://www.youtube.com/watch?v=iMDwp03xDvI

  12. personalization will become more and more important. We are getting closer to designing (fully) personalized products, especially now the focus is turning towards emotional design

  13. Emotional Design is both the title of a book by Donald Norman and of the concept it represents. The main issue is that emotions have a crucial role in the human ability to understand the world, and how they learn new things. For example: aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. This is due to the affinity the user feels for an object that appeals to him, due to the formation of an emotional connection [with the object] Norman shows that design of most objects are perceived on all three levels (dimensions). Therefore a good design should address all three levels. The front cover of Emotional Design showcases Philippe Stark’s Juicy Salif, an icon of industrial design that Norman heralds as an "item of seduction" and the manifestation of his thesis. Visceral design –present appearance Behavioral –has to do with pleasure and effectiveness of use Reflective-considers rationalization and intellectualization

  14. Since some time now research is being done on emotions that are evoked by products (appearance, interaction, etc.). The brand position is what counts, and brand goes back to the emotional content of products. What does exactly refer to with the emotional content of products in this context?

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