This piece addresses the term “Postmodernism” its history, legacy, and use within the discourse of architecture.

  • “I mean I think…it’s like it’s own grand narrative, where the grand narrative is a bit like anything kind of goes.”

  • “it becomes about […] a duplicity […] and sort of uncertainness […] and a […] playing with point of view.”

  • “There’s a part of Post-Modernism that is time-specific, in other words, its description of time. There is also a way of thinking of Post-Modernism as a look, so it’s a style. There is also Post-Modernism as a theory.”

  • “I don’t recognize there being a singular movement to which people are trying to subscribe. I think there are lots of movements or references that people are drawing on from a historical perspective.”

  • “…the discursive ideas that it was working through early on, which I think dealt with issues of part-to-whole, typology, drawing…”

  • “There was an intentional distancing from basic […] architectural history

  • “I wouldn’t call it Post-Modernism, I would call it a kind of influence of all the other things, all the other disciplines like art or art history, architectural history, etc. on digital production.”

  • “Post-Modernism has had such […] an incredible impact on the built environment…it’s strangely everywhere.”



Griffin Ofiesh

Issue Editors

Joseph Bedford and Curt Gambetta

Senior Editors

Joseph Bedford and Curt Gambetta


Hans Tursack, Yshai Yudekovitz and Paul Ruppert.


Trudy Watt


Joseph Bedford, Curt Gambetta, Mark Acciari, Joanna Grant, and Kevin Pazik.


Andrew Atwood, Laurel Broughton, Tomas Klassnik, Andrew Kovacs, Jimenez Lai, Michael Loverich, Anna Neimark, James Tate and Elly Ward.