This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture, and the place of surrealist thought in contemporary design.
This book represents current insights into surrealism in the thought and practice of modern architecture. In these essays, the role of the subconscious, the techniques of defamiliarization, aesthetic and social forces affecting the objects, interiors, cities and landscapes of the twentieth century are revealed. The book contains a diversity of voices from across modern art and architecture to bring into focus what is often overlooked in the histories of the modernist avant-garde. This collection examines the practices of writers, artists, architects, and urbanists with emphasis on a critique of the everyday world-view, offering alternative models of subjectivity, artistic effect, and the production of meanings in the built world.

Surrealism and Architecture examines a long overlooked topic: the relationship of surrealist thought to architectural theory and practice. This is a historically informed examination of architecture's perceived absence in surrealist thought, surrealist tendencies in the theories and projects of modern architecture and the place of surrealist thought in contemporary design methods and theories.
This book represents the most current insights into the historical and contemporary relationships of surrealism in the thought and practice of modern architecture. Of all the artistic modernism affecting the design of buildings and cities, only surrealism has remained unexplored, yet the surrealist critiques of rationalism, orthodoxy, and the spatial production of meaning have a place in the history of modernism. In the 20 essays, the role of the subconscious, the techniques of defamiliarization, aesthetic and social forces affecting the objects, interiors, cities and landscapes of the 20th century arerevealed in the works of Breton, Dali, Aragon, Le Corbusier, Neimeyer, Kiefer, Hejduk, Tschumi, and others ranging across the history of modern art and architecture. The book contains a diversity of voices, methodologies, and insights to bring into sharp focus what is often suppressed in the histories of the modernist avant-garde. This comprehensive collection examines the theoretical, visual, and spatial practices of writers, artists, architects, and urbanists with particular emphasis on the critique of the everyday world-view, offering alternative models of subjectivity, artistic effect, and the production of meanings in the built world.
With the renewed interest in the surrealist movement, this timely collection of illustrated essays is the first to look at the architectural possibilities of this distinct modern artistic movement which was interdisciplinary and international. This book offers a model for a new approach to historically rigorous analysis of interdisciplinary artistic practice. It will be of interest to scholars in the histories of modernism, students and practitioners of art and architecture, cultural studies, and urban studies.

Whatever 'ugliness' is, it remains a problematic category in architectural aesthetics - alternately vilified and appropriated, either to shock or to invert conventions of architecture. This book presents eighteen new essays which rethink ugliness in architecture - from brutalism to eclectic postmodern architectural productions - and together offer a diverse reappraisal of the history and theory of postmodern architecture and design. The essays address both broad theoretical questions on ugliness and postmodern aesthetics, as well as more specific analyses of significant architectural examples dating from the last decades of the twentieth century, addressing the relation between the aesthetic register of ugliness and aesthetic concepts such as brutalism, kitsch, the formless, ad hoc-ism, the monstrous, or the grotesque. Architecture and Ugliness not only documents the history of a postmodern anti-aesthetic through a diverse set of case studies, it also sheds valuable light on an aesthetic problem which has been largely overlooked in architectural discourse. It is essential reading for all students and scholars with an interest in postmodern architectural history, architectural theory and aesthetics.

Whatever 'ugliness' is, it remains a problematic category in architectural aesthetics - alternately vilified and appropriated, used either to shock or to invert conventions of architecture. This book presents sixteen new scholarly essays which rethink ugliness in recent architecture - from Brutalism to eclectic postmodern architectural productions - and together offer a diverse reappraisal of the history and theory of postmodern architecture and design. The essays address both broad theoretical questions on ugliness and postmodern aesthetics, as well as more specific analyses of significant architectural examples dating from the last decades of the twentieth century. The book attends to the diverse relations between the aesthetic register of ugliness and closely connected aesthetic concepts such as the monstrous, the ordinary, disgust, the excessive, the grotesque, the interesting, the impure and the sublime. This volume does not simply document the history of a postmodern anti-aesthetic through case studies. Instead, it aims to shed light on aesthetic problems that have been largely overlooked in the agenda of architectural theory. This book answers in detail the questions: How did postmodern architects appropriate troublesome contradictions bound to the raw ugliness of the real? How have the ugly and the antiaesthetic been a productive force in postmodern architecture? How can ugliness be of value to architecture? And how can architecture make good use of ugliness?