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page007from Building IdeasK. Michael Hays(ed.), Architecture Theory Since 1968, MIT Press, Cambridge, MA, 1998.
Charles Jencks and Karl Kropf(eds), Theories and Manifestoes of Contemporary Architecture, Academy Editions, London, 1997.
Neil Leach (ed.), Theorising a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, Princeton Architectural Press, New York, 1996.
Joan Ockman(ed.), Architecture Culture 1943-1968: A Documentary Anthology, Rizzoli, New York, 1993.
Readings
K. Michael Hays, “Introduction”, in Architecture Theory since 1968, MIT Press, Cambridge, MA, 1998, pp x-xv.
Alberto Perez-Gomez, “Introduction to Architecture and the Crisis of Modern Science”, in K. Michael Hays(ed.), Architecture Theory Since 1968, MIT Press, Cambridge, MA,... more ...
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page006from Building IdeasJohn Lechte, Fifty Key Contemporary Thinkers: From Structuralism to Postmodernity, Routledge, London, 1994
Foreground
Ulrich Conrads(ed.), Programmes and Manifestoes on 20th Century Architecture, Lund Humphries, London, 1970.
Mark Gelernter, Sources of Architectural Form: A Critical History of Western Design Theory, Manchester University Press, Manchester, 1995.
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page006from Building Ideasbasically subjective experience, in order to reach a level of shared understanding and communication, is addressed in different ways in Chapters 4 and 5, which look at other more objective factors that might structure our experience. Both of these look at forces – beyond the individual’s control – that affect how we perceive things and ultimately, how we communicate. Structuralism, in Chapter 4, considers the deep structures of language and Chapter 5 looks at Marxism, the “invisible” influence of ideology. All three themes offer possibilities as conceptual frameworks for understanding architecture and the conclusion suggests their integration as part of a broader hermeneutic project.
In order to use this book as an introduction to the exploration of theoretical issues, I have incl... more ...
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page005from Building Ideasarchitectural production of the twentieth century is shown to result from a particular ideology based on the myth of progress in the philosophy of history. Chapter 2 sets out an opposing view, by presenting architecture as a fine art – the emphasis now being on expression rather than functional considerations. This time, in its pure form, the approach tends towards an “autonomous” practice, where the designer takes the role of protagonist in a critical dialogue with the conditions of society. The artist as entertainer, critic, or social conscience are all potential models for the role of theorist or designer using architectural ideas as a means of expression. The philosophical background to this “critical” and expressive approach to architecture is shown to be part of the wider debate conc... more ...
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