In this latest issue of Architectural Design the guest editors are drawn, like the content, from contrasting tastes and generations. Charles Jencks, the definer of Post-Modernism for thirty years, discusses some issues that have re-emerged today, while the young group of British architects, FAT, argues for a particular version of RPM. An interview between Rem Koohaas and Charles Jencks discusses the influence of Post-Modernism while investigations of street art, graffiti and the 1980 Venice Biennale show that communication is at the heart of this radical strain of architecture.
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GUEST-EDITED BY CHARLES JENCKS AND FAT
Radical Post-Modernism (RPM) marks the resurgence of a critical architecture that engages in a far-reaching way with issues of taste, space, character and ornament. Bridging high and low cultures, it immerses itself in the age of information, embracing meaning and communication, embroiling itself in the dirty politics of taste by drawing ideas from beyond the narrow confines of architecture. It is a multi-dimensional, amorphous category, which is heavily influenced by contemporary art, cultural theory, modern literature and everyday life. This title of AD demonstrates how, in the age of late capitalism, Radical Post-Modernism can provide an architecture of resistance and contemporary relevance, forming a much needed antidote to the prevailing cult of anodyne Modernism and the vacuous spatial gymnastics of the so-called digital 'avant-garde'.
Charles Jencks is an American architectural theorist, author and landscape architect. He has a BA in English Lit, BA and MA in Architecture and a PhD in Architectural History. He guest lectures on architecture in cultural institutions across the world.
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