In this latest issue of Architectural Design the guest editors are drawn, like the content, from contrasting tastes and generations. Charles Jencks, the definer of Post-Modernism for thirty years, discusses some issues that have re-emerged today, while the young group of British architects, FAT, argues for a particular version of RPM. An interview between Rem Koohaas and Charles Jencks discusses the influence of Post-Modernism while investigations of street art, graffiti and the 1980 Venice Biennale show that communication is at the heart of this radical strain of architecture.
Charles Jencks is an American architectural theorist, author and landscape architect. He has a BA in English Lit, BA and MA in Architecture and a PhD in Architectural History. He guest lectures on architecture in cultural institutions across the world.
TABLE OF CONTENTS
Editorial: Helen Castle
About the guest-editors: Charles Jencks, Sean Griffiths, Charles Holland and Sam Jacob
Visual highlights of the issue
Introduction: What is Radical Post-Modernism?
Post-Modernism: An Incomplete Project
Beyond the Flatline
Radical Post-Modernism and Content
Charles Jencks and Rem Koolhaas debate the issue
A Field Guide to Radical Post-Modernism
Virtual Corpses, Figural Sections and Resonant Fields
FAT Projects: Manifesting Radical Post-Modernism
Questions of Taste
Too Good to Be True: The Survival of English Everyday PoMo
The True Counterfeits of Banksy: Radical Walls of Complicity and Subversion
Counterpoint - Not So Radical: An American Perspective
Historicism versus Communication: The Basic Debate of the 1980 Biennale