By David Goodman, Harry Francis Mallgrave

ISBN-10: 1405180625

ISBN-13: 9781405180627

A pointy and energetic textual content that covers matters extensive yet to not the purpose that they turn into inaccessible to starting scholars, An creation to Architectural Theory is the 1st narrative historical past of this era, charting the veritable revolution in architectural pondering that has taken position, in addition to the consequences of this highbrow upheaval. * the 1st complete and demanding background of architectural concept over the past fifty years
* surveys the highbrow historical past of structure considering the fact that 1968, together with criticisms of excessive modernism, the increase of postmodern and poststructural concept, serious regionalism and tectonics
* bargains a finished evaluate of the numerous alterations that architectural pondering has gone through long ago fifteen years
* contains an research of the place structure stands and the place it is going to most probably circulation within the coming years

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37 Eisenman, in turn, sets out to devise a theory deriving entirely from the analytical properties of form itself. These properties include such things as volume (where space resides), mass, surface, and movement. Notions such as “syntax” and “grammar” also play heavily into his discussion, and it marks the start of his long-standing aversion to everything related to symbolism. Terragni’s Casa del Fascio features prominently in his analysis, as the cube’s abstract laying of planes becomes central to his conceptual diagramming of hidden axes, recessed planes, and vectors.

52 The earlier issues display an alliance along a critical front with Rossi and Tafuri – no doubt in part due to the New York Five’s participation in the Milan exhibition in 1973. 53 Here Tafuri characterized the reductive experiments of Rossi and Eisenman as an “architecture of cruelty” – that is, an approach to design that, in its retreat from the functional and social concerns of the real world, could be equated with the libertine sadism of Marquis de Sade. Among others connected with the Milan–Venice axis to contribute articles were Francesco Dal Co, Giorgio Ciucci, Massimo Scolari, and Georges Teyssot.

Here he brings the problem of architecture’s false consciousness into sharper political focus, because – in his “psychoanalysis” of the previous two centuries – he rejects the slightest possibility of modernist optimism or utopian salvation. The analysis begins with the eighteenth-century theorists Laugier and Giovanni Battista Piranesi, both of whom, Tafuri insists, set the current crisis in motion: the latter with his celebration of the “fragment” that displaced the baroque insistence on the whole.

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