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This book argues that architecture and the city and their processes
can be better understood by drawing categories from disciplines
that exceed the architectural and urban cultural context. It
performs an open intellectual reading that traverses architecture
and architectural theory, but also art theory and history,
cartography, philosophy, literature and cultural studies, to unfold
a series of ‘figures’ that are ambiguously placed between the
representation and the construction of space in architecture and
the city. The paradigm and philosophy, the island and the city, the
map and representation, the model and making and the questioning of
form performed by dust, are explored beyond their definition, as
processes that differently make space between architecture and the
city and are proposed as unorthodox analytic techniques to decipher
contemporary spatial complexity. The book analyses how these
‘figures’ have been employed at different times and in
different creative disciplines, beyond architecture and in relation
to changing notions of space, and traces the role that they have
played in the shift towards the dynamic that has taken place in
contemporary theory and design research. What emerges is the idea
of an ‘architecture of the city’ that is not only physical but
is largely defined by the way in which its physical spaces are
regulated, lived and perceived, but also imagined and projected.
Concerning architecture and the city, built, imagined and narrated,
this book focuses on Manhattan and Venice, but considers
architecture as an intellectual and spatial process rather than a
product. A critical look at the making of Manhattan and Venice
provides a background to addressing the dynamic redefinition and
making of space today. The gradual processes of adjustment, the
making of a constantly changing dense space, the emphasis on
forming rather than on figure, the incorporation of new forms and
languages through their adaptation and transformation, make both
Manhattan and Venice, in different ways, the ideal places to
contextualize and address the issue of an architecture of the
dynamic.
In the age of post-digital architecture and digital materiality,
This Thing Called Theory explores current practices of
architectural theory, their critical and productive role. The book
is organized in sections which explore theory as an open issue in
architecture, as it relates to and borrows from other disciplines,
thus opening up architecture itself and showing how architecture is
inextricably connected to other social and theoretical practices.
The sections move gradually from the specifics of architectural
thought - its history, theory, and criticism - and their ongoing
relation with philosophy, to the critical positions formulated
through architecture's specific forms of expression, and onto more
recent forms of architecture's engagement and self-definition. The
book's thematic sessions are concluded by and interspersed with a
series of shorter critical position texts, which, together, propose
a new vision of the contemporary role of theory in architecture.
What emerges, overall, is a critical and productive role for theory
in architecture today: theory as a proposition, theory as task and
as a 'risk' of architecture.
In the age of post-digital architecture and digital materiality,
This Thing Called Theory explores current practices of
architectural theory, their critical and productive role. The book
is organized in sections which explore theory as an open issue in
architecture, as it relates to and borrows from other disciplines,
thus opening up architecture itself and showing how architecture is
inextricably connected to other social and theoretical practices.
The sections move gradually from the specifics of architectural
thought - its history, theory, and criticism - and their ongoing
relation with philosophy, to the critical positions formulated
through architecture's specific forms of expression, and onto more
recent forms of architecture's engagement and self-definition. The
book's thematic sessions are concluded by and interspersed with a
series of shorter critical position texts, which, together, propose
a new vision of the contemporary role of theory in architecture.
What emerges, overall, is a critical and productive role for theory
in architecture today: theory as a proposition, theory as task and
as a 'risk' of architecture.
Concerning architecture and the city, built, imagined and narrated,
this book focuses on Manhattan and Venice, but considers
architecture as an intellectual and spatial process rather than a
product. A critical look at the making of Manhattan and Venice
provides a background to addressing the dynamic redefinition and
making of space today. The gradual processes of adjustment, the
making of a constantly changing dense space, the emphasis on
forming rather than on figure, the incorporation of new forms and
languages through their adaptation and transformation, make both
Manhattan and Venice, in different ways, the ideal places to
contextualize and address the issue of an architecture of the
dynamic.
This book argues that architecture and the city and their processes
can be better understood by drawing categories from disciplines
that exceed the architectural and urban cultural context. It
performs an open intellectual reading that traverses architecture
and architectural theory, but also art theory and history,
cartography, philosophy, literature and cultural studies, to unfold
a series of 'figures' that are ambiguously placed between the
representation and the construction of space in architecture and
the city. The paradigm and philosophy, the island and the city, the
map and representation, the model and making and the questioning of
form performed by dust, are explored beyond their definition, as
processes that differently make space between architecture and the
city and are proposed as unorthodox analytic techniques to decipher
contemporary spatial complexity. The book analyses how these
'figures' have been employed at different times and in different
creative disciplines, beyond architecture and in relation to
changing notions of space, and traces the role that they have
played in the shift towards the dynamic that has taken place in
contemporary theory and design research. What emerges is the idea
of an 'architecture of the city' that is not only physical but is
largely defined by the way in which its physical spaces are
regulated, lived and perceived, but also imagined and projected.
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