Abstract
The purpose of this study is to evaluate Aldo Rossi's work as representation or non-representation, for some hold that the works of Aldo Rossi are representative and others say that they are non-representative. According to the three kinds of novelties appearing after Stephen Pepper's concept, "the breaking of reference" happens, and Aldo Rossi's concept, "the sense of deposition" Rossi's work is uncovered as non-representation. In order to clarify Rossi's work as non-representation, we are going to borrow Pepper's terms, intrusive novelty, emergent novelty, and naive novelty. The breaking of reference accompanies intrusive novelty to bring a sense of representation, emergent novelty to intuit a sense of non-representation, and naive novelty to a sense of newness of disorder. We hope to verify a hypothesis that Aldo Rossi's architectural thought and the architecture come from 'emergent novelty' on the basis of his two books, A Scientific Autobiography and Architecture of the City. Also this paper discusses qualitative aspects rather than visual aspects. The main concepts of emergent novelty are applied to Aldo Rossi's works and his thought. Finally this paper verifies 'the hypothesis' through revealing what Aldo Rossi means by the quality of suspension, the sense of deposition, and idea of the unfinished(repetition). Rossi's work is not textural reference of representation appearing after blocking, but qualitative reference of non-representation.