Buch, Englisch, 144 Seiten, Format (B × H): 210 mm x 277 mm, Gewicht: 566 g
Buch, Englisch, 144 Seiten, Format (B × H): 210 mm x 277 mm, Gewicht: 566 g
ISBN: 978-0-470-66988-4
Verlag: Wiley
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. - This issue brings together an unlikely and exciting pairing of guest-editors: internationally acclaimed critic Charles Jencks, whose name became synonymous with Post-modernism in the 80s, and the dynamic architectural group, FAT.
- Features work by: ARM, Atelier Bow Wow, Édouard François, FOA, Rem Koolhaas, John and Valerio Olgiati.
Fachgebiete
Weitere Infos & Material
5 Editorial
Helen Castle
6 About the Guest-Editors
Charles Jencks, Sean Griffiths, Charles Holland and Sam Jacob
8 Spotlight
Visual highlights of the issue
14 Introduction
What is Radical Post-Modernism?
Charles Jencks
Post-Modernism: An Incomplete Project
Fat
24 Beyond the Flatline
Sam Jacob
32 Radical Post-Modernism and Content: Charles Jencks and Rem Koolhaas debate the issue
Jencks and Koolhaas exchange on Post-Modernism, preservation, the evil aura of the word ‘iconic’ and the Big Mac sandwich diagram.
46 A Field Guide to Radical Post-Modernism
Fat
62 Contextual Counterpoint
Charles Jencks
68 Virtual Corpses, Figural Sections and Resonant Fields
Sean Griffiths
78 FAT Projects: Manifesting Radical Post-Modernism
Fat
90 Questions of Taste
Charles Holland
98 Historicism versus Communication: The Basic Debate of the 1980 Biennale
Léa-Catherine Szacka The 1980 Venice Architecture Biennale brought Post-Modernism to the world’s attention, but also highlighted the tensions between historicism and communication.
106 Too Good to Be True: The Survival of English Everyday PoMo
Kester Rattenbury
114 The True Counterfeits of Banksy: Radical Walls of Complicity and Subversion
Eva Branscome
122 Re-Radicalising Post-Modernism
Fat
128 Counterpoint Not So Radical: An American Perspective
Jayne Merkel
