Abstract
Charles Moore's 1960s writings craft a theory of architecture and landscape jammed with the insights of the theme park, roadside attraction, and freeway. Moore dismissed formal architectural languages, like the Beaux Arts or International Style, but didn't seek alternative inspiration in either sci-fi technology or low-fi agrarian crafts. Presaging the postmodern, he sought out buildings and landscapes that resounded the swagger of pop culture. Reading his texts, we bear witness to a sensual groping for particulars, and, quite often, peculiarities, in a California culture obsessed with the end of continent and containment.
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