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.
Jorge Silvetti's essay, "The Beauty of the Shadows," investigates the theoretical and ideological architecture of Tafuri, Agrest, and Gandelsonas in order to find a middle ground for the architectural process.
Bernard Huet's essay presents the history of realism and formalism, from Soviet Russia to the Italian Tendeza, accompanied by the most significant and dangerous antinomies of architectural realism.