Since the late 1960s, a pioneering design approach gradually emerged that is referred to now as the postmodern approach. Design, architecture and in general terms, post-modern art (similar to other cultural forms of post-modernism) have so many complexities that it is actually quite difficult to define a set criteria for recognition, classification and differentiation of post-modern from modern art.
This paper, using semiotic theories as analytical tools, attempts to define various concepts and indicators which it then uses to study famous works designed by well-known designers and architects with a post-modern approach. The findings suggest that the signs in post-modern works have gone through major changes compared to their modern counterparts. The best example is the re-employment of iconic signs in post-modern designs. Post-modern works have enormous connotations and their process of semiosis and signification are endless. Moreover, the post-modern designer employs syntagmatic and paradigmatic approaches, allowing viewers to interact with the artwork. Finally, post-modern designs address sensual perceptions. In fact, the greatest function of post-modern designs in terms of communication is their ability to relate emotionally with viewers.
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