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It is in disney that the worlds of architecture and entertainment, which have been moving closer together for years, have achieved their most powerful intersection yet becoming so intimately entwined that it is sometimes impossible to tell any longer which is which." brown, cited in ellin, 1998 ; 2 as an architect in today's built environment one is increasingly defined as a purveyor of some populist notion of `style'. one could almost expect to hear a question such as "would you prefer a tuscan, a victorian, a cape cod or a modern?" asked as if the process of design can be boiled down to a menu-option from a fast-food emporium. sadly, it seems that originality is now no longer a requirement for acceptable practice in the homogenised hyper-real environment. the bulk of architectural form, as practiced in commercial terms, is prescribed by popularism. what is popular seems no longer to be the traditional processes of design and discovery, but rather the appropriation of images from other places and times, removing them from their generating context and the ensuing creation of an a-contextual and a-historical landscape. pattern and homogeneity in built and urban form have often been mooted as desirable by architectural critics, like the much admired `coherence' of medieval towns.3 however, this type of consistent shadowchasing seems to have led to another type of coherent pattern the replication of image and the acceptance of muralistic architecture as the desired postmodern `style'. if the modernist manifesto states: "form follows function", postmodernism might state: "form does not follow function". yet the contrariness of postmodernism does not necessarily extend to the nonsensical. perhaps the current environment might rather declare: "form follows finance" or "form follows fiction".4 there is no doubt that in today's environment profit is king whether in the need to produce faster and cheaper or in the need to find methods to cut costs. one of the reasons for the persistent strength of the trend of image-appropriation in the current practice of architecture may be that it is cheaper. why spend money on design skill, when one can simply appropriate images from the past and re-apply them in the present regardless of their original context? some of the best examples of this type of image transfer are the popular palaces of entertainment called casinos that we possess in south africa. montecasino, johannesburg, faithfully modelled on the hill-top towns of tuscany. grandwest casino, cape town, faithfully modelled on significant but demolished buildings and areas of central cape town.5 it is at this point the fundamental difference between these two buildings appears. montecasino takes its scrubbedclean context or `theme' from a real, but distant place. grandwest casino draws on the past of cape town, and exclusively an erased past at that, for its `theme'. what is the meaning of this choice? although more than likely a semi-subconscious choice on the part of the themers, can popular architecture ever completely divorce itself from the subtext of its choice of image?.
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