Jencks defined postmodern architecture as stylistic double-coding of old and new, high and low

Evidence

Within a year Jencks had changed his mind, fully adopting the idea of the postmodern and now theorizing its eclecticism as a style of ‘double-coding’: that is, an architecture employing a hybrid of modern and historicist syntax, and appealing both to educated taste and popular sensibility. It was this liberating, mixture of new and old, high and low, which defined postmodernism as a movement, and assured it the future. — Perry Anderson, The Origins of Postmodernity, 61

Categorization

• DEFINE: Double-coding is a load-bearing concept for the whole postmodernism debate — this is the canonical definition.
• XREF: Double-coding maps directly onto Jameson’s later emphasis on pastiche and the collapse of high/low distinction — the core of his postmodernism thesis. — connects to: Jencks’ ‘double-coding’ criterion fails because montage already defines Modernism — Alex Callinicos, Against Postmodernism: A Marxist…, 81; Late modern and postmodern architecture differ on allusion to the past — Perry Anderson, The Origins of Postmodernity, 61; Postmodern space emerges only from the dialectical collision of old and new architectural forms — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 311 (+3 more)

Broader Connections

• Postmodern space emerges only from the dialectical collision of old and new architectural forms #corroborates (0.80) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 311
• Postmodern architecture deliberately packages an older structure inside a new, alien skin #exemplifies (0.80) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 286
• Postmodern architecture’s surface fascination masks underlying conflicts between place-rootedness and cosmopolitan style. #expands (0.75) — David Harvey, The Condition of Postmodernity, 548
• Postmodernism fuses changes in the arts with poststructuralist philosophy #expands (0.72) — Alex Callinicos, Against Postmodernism, 27