José Quetglas provides a fascinating and hilarious reading of Mies's iconic Barcelona Pavilion as an irrevocably isolated architectural object, and tells more about Post-Structuralist context than a casual reading my suspect.
An excerpt from Frank Gehry about his house, his interest in fragmentation and materials, and a few notes on the implications for architectural making from this blurb.
Leon Krier laments the rejection of his neo-traditionalist project for the School at St Quentin-en-Yvelines and the shabby state of architectural production.
Culot and Krier present this vision of the postmodern city saved from the ravages of modern industrial capitalism and the cynical architectural exploitation of the Post-Modernists by a return to traditional culture and traditional architectural production.
Alan Colquhoun deploys semiotics and historical mythification to craft an exegesis of Michael Graves's work as both profoundly modern and seriously postmodern.
Koolhaas previews his ironic critique of modernism through the history of the Metropolis, a barbed history relevant to both Modernism and Post-Modernism.
An excerpt from James Stirling about his Neue Staatsgalerie in Stuttgart--what Charles Jencks described as "the epitome of early Post-Modernism."
Charles Jencks gives us the definitive "concept and category" of Post-Modernism, describing the potential of the generation growing up in the 1970s for rich, "Multivalent Architecture."
Georges Teyssot maps Foucault's ideas about heterotopias and epistemic history onto the discourse between architectural autonomy and interdependence.
Vidler explains the modern history of architectural epistemes and the typologies built on them, including that of his own era, and how the City is home to legitimate architectural meaning.