Fredric Jameson rescues architecture from the implacably negative position theorized by Manfredo Tafuri, and in the process teaches us about the idealism of narrative, Marxism, and the materialism of postmodernity.
Jürgen Habermas breaks down the problems of Modernism's preshistory in an evaluation of Post-Modernism's dubious break, ultimately working toward a typology of postmodern movements based on their political agendas.
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.
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."