ABSTRACT
In the initial chapter, the text explores how the reputation of Hans Hollein as Austria’s foremost Postmodernist architect can be linked to his media activities (i.e. his exposure through the books of Charles Jencks, his participation in the 1980 Venice Biennale and the exposure from Heinrich Klotz’s writings and exhibitions). To what extent, then, was Postmodernism essentially a media project into which Hollein was enrolled, or did his work help to shape the movement? Austria’s post-war condition, with its often-fatalistic outlook and its complicated reception of American culture, is brought into the analysis to provide a wider context.
