Charles Jencks’ former home in London is an icon of postmodern interior design. It has been open to visitors as a museum since 2021. It represents the finest flowering of what Jencks playfully dubbed Adhocism and places improvisation and heterogeneity at the centre of all the design work. The building is a series of symbols, humour and comic elements, replete with hidden quotes, visual relationships that suggest spatial connections but without directly providing them, that play with the theme of “revealing and concealing”, hiding and discovering. The rooms in the house offer a humorously ironic take on the drama of upper middle class domestic interior design from the previous century. In a nutshell Bettina Köhler identifies the richly symbolic humour of postmodernism, the owner’s individuality and rejection of norms in a light-hearted form that, without much ado, the client, architect and historian called after himself.