Signifying practices

In recent views, architectural postmodernism is rejected as a facile historicism, archaic both in its image and its concern with the image--but such a dismissive conception obscures the multiple trajectories of its formation. This dissertation reexamines the early manifestations of postmodern architecture, in a series of publications, polemics and practices in the late 1970s that are both constitutive of, and alternatives to, the eventual definition of the movement. These signifying practices--the bricolage design strategies (as architectural expediency) of Colin Rowe, the billboards (as emblems of a Pop architecture) of Robert Venturi, et al., the Supergraphics (as hands-on approach to building renovation) of C. Ray Smith, and Post-Modernism itself (as the naming of the movement) in Charles Jencks' development of the term--each addressed the status of architecture in the midst of a reevaluation of modernism. Common to each is an engagement with the performative (as opposed to the representational) use of the sign. Taken as a set, the relations within and among these practices have formal, conceptual and discursive resonance, and together represent a historical field seemingly obscure in its obviousness. Their study illuminates continuing problematics regarding the relationships of representation to performance in both architectural design and criticism, and provides a vocabulary to re-imagine the possibilities of these relationships.