However, it was the rise of postmodern architecture during the late 1970s and early 1980s that gave rise to the idea that star status in the architectural profession was about an avant-gardism linked to popular culture—which, it was argued by postmodern critics such as Charles Jencks, had been derided by the guardians of a modernist architecture. In response, Jencks argued for "double coding"; i.e., that postmodernism could be understood and enjoyed by the general public and yet command "critical approval". The star architects from that period often built little or their best-known works were "paper architecture"—unbuilt or even unbuildable schemes, yet known through frequent reproduction in architectural magazines, such as the work of Léon Krier, Michael Graves, Aldo Rossi, Robert A. M. Stern, Hans Hollein, and James Stirling. As postmodernism went into decline, its avant-gardist credentials suffered due to its associations with vernacular and traditionalism, and celebrity shifted back towards modernist avant-gardism.