Super Postmodern

Master of Architecture Thesis

Princeton University

Instructor: Elizabeth Diller

Advisor: Jesse Reiser

Assistance: John Murphey, Toshiki Hirano, Dana McKinney, Nasra Nimaga, Nushelle de Silva, Jean Choi, Razvan Ghilic-Micu, Erica Nobori, Patrick Tierny, Silan Yip

2011


Constantly alternating from focus to blur, noise is always culturally defined. Architecturally, the two-decades-long tendency to escape signification and narratives has resulted in tectonic visual noises: formal inventions aimed to be devoid of communicative potential through abstraction.

Liberating the repressed desire to communicate through buildings, we are witnessing a recursion to Postmodern intellectual positions; a nascent architectural movement that may be described as Super Postmodern. However, unlike the pre-globalization era of the Postmodernists, contemporary culture is far more complex and contradictory, lending to more than just singular (or at best dualistic) iconic gestures.

The cultural conditions are rife for the discovery of new methods and approaches to exponentially expand the narrative potential of architecture through visual noise. Using its ability to alternate between focus and blur of multiple signs and communicative effects, visual noise is the instrument by which a more nuanced and complex architectonic narrative is developed. Multiple appropriate narratives (focus) in architecture will be applied while the remaining formal qualities will be subjugated to noise (blur).

Surrounded by controversy since its inception, Park51, aka the “Ground Zero Mosque,” in downtown Manhattan cannot escape the public reading of its signification and narratives. The prototypical nature of this thesis will be demonstrated by applying the principles to a reimagined fictional design of this building.