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Architecture Theory since 1968 by K. Michael Hays

By K. Michael Hays

Within the dialogue of structure, there's a triumphing sentiment that, for the reason that 1968, cultural construction in its conventional feel can now not be understood to upward push spontaneously, as a question of social direction, yet needs to now be built via ever extra self-conscious theoretical systems. the improvement of interpretive modes of assorted stripes—post-structuralist, Marxian, phenomenological, psychoanalytic, in addition to others dissenting or eccentric—has given students quite a number instruments for rethinking structure relating to different fields and for reasserting architectures normal significance in highbrow discourse.

This anthology provides forty-seven of the first texts of structure conception, introducing every one with an explication of the options and different types worthwhile for its realizing and evaluate. It additionally provides twelve records of tasks or occasions that had significant theoretical repercussions for the interval. numerous of the essays seem right here in English for the 1st time.

Contributors: Diana Agrest, Stanford Anderson, Archizoom, George Baird, Jennifer Bloomer, Massimo Cacciari, Jean-Louis Cohen, Beatriz Colomina, Alan Colquhoun, Maurice Culot, Jacques Derrida, Ignasi de Solá-Morales, Peter Eisenman, Robin Evans, Michel Foucault, Kenneth Frampton, Mario Gandelsonas, Frank Gehry, Jürgen Habermas, John Hejduk, Denis Hollier, Bernard Huet, Catherine Ingraham, Fredric Jameson, Charles A. Jencks, Jeffrey Kipnis, Fred Koetter, Rem Koolhaas, Leon Krier, Sanford Kwinter, Henri Lefebvre, Daniel Libeskind, Mary McLeod, Alberto Pérez-Gómez, José Quetglas, Aldo Rossi, Colin Rowe, Massimo Scolari, Denise Scott Brown, Robert Segrest, Jorge Silvetti, Robert Somol, Martin Steinmann, Robert A. M. Stern, James Stirling, Manfredo Tafuri, Georges Teyssot, Bernard Tschumi, Anthony Vidler, Paul Virilio, Mark Wigley.

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Extra resources for Architecture Theory since 1968

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The most general demands for the rationalization of cities and outlying areas remain unmet, continuing to act as indirect stimuli for realizations compatible with the partial goals established along the way by the system. At this point something inexplicable, at least at first glance, occurs. The ideology of form seems to abandon its own vocation to realism, turning to the second pole inherent in the dialectic of bourgeois culture. Although the “utopia of the project” is not abandoned, an attempt is made to counteract the processes that have concretely risen above the ideological level by recuperating Chaos, by contemplating the very same anxiety that Constructivism seemed to have forever overcome, and by sublimating Disorder.

Both use the technique of shock, even though Piranesi’s etching uses preformed historical materials and Picasso’s painting, artificial materials (as later Duchamp, with greater rigor, would also do). Both discover the reality of a machine-universe, even though the eighteenth-century urban project makes that universe abstract and recoils in horror from its discovery, while Picasso’s canvas works entirely within it. More importantly, however, both Piranesi and Picasso “universalize,” through an excess of truth attained with the tools of a profoundly critical elaboration of form, a reality that could still have been considered wholly particular.

The “ready-made” objects introduced in 1912 by Braque and Picasso, and codified as new means of communication by Duchamp, ratify the self-sufficiency of reality and the definitive repudiation, by reality itself, of all representation. The painter can only analyze this reality. His supposed dominion over form merely covers up something that he does not want to accept: that henceforth it is form that dominates the painter. Except that now “form” has to be understood as the logic of subjective reactions within the objective universe of production.

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