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.
Martin Stienmann lays out the case for architectural realism, an architecture that is at once populist, traditional, historical, formal, and epistemological.
Robert Stern breaks down the constellation of postmodern movements in 1970s architecture, explaining what will (and did) constitute Post-Modernism, leaving Eisenman's Post-Functionalism and White architecture waiting in the wings for Post-Modernism to die.
Peter Eisenman defines the real nature of the modern sensibility and of the architectural object in a world no longer ruled by the form-function axis. What remains in this post-functionalist world is an architectural object concerned with itself, its own process and its own history--a theoretical object.