If, in great classic modernism, a building was supposed to obey one all-encompassing great Code, in postmodernism we get a multiplicity of codes. This multiplicity can be either the multiplicity (ambiguity) of meanings – what Charles Jencks called “alluded metaphor” (is the Sydney opera the growth of a blossom or a series of turtles copulating?) – or the multiplicity of functions, from performances to shopping and cafeterias (the National Opera House in Oslo, designed to appeal to a younger generation, tries to appear “cool” by imitating sleek stealth-bomber lines; furthermore, the roof inclines into the fjord and doubles as a swimming platform).
As it was often remarked, icism where, in a globalized pastiche, everything possible, anything goes. Pastiche works like “empty parody”: a radical historicism where all the past is equalized in synchronicity of eternal present