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."
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.
"11 Weeks of Michael Hays" : Colin Rowe : "Introduction" to Five Architects, 1972.
Colin Rowe, like others, is fighting to restore architecture's autonomy from ideology and 'content,' making a way for architecture to proceed, after modernism, as a formal art.
"11 Weeks of Michael Hays" : Aldo Rossi : Cemetery of San Cataldo, 1971
A brief look at a paragraph of pure post-modern bullshit, uncovering its basic truth: architecture is meant to find and communicate the references we all inherently possess.
Just a few dozen brilliant collages, from Lisbon-based artist Hugo Barros, that strongly evoke the theory-heavy collage work of the post-mods as well as the brilliant Stanley Kubrick (!!).