Eisenman has always been deeply interested in the problem of form in architecture and has constantly challenged the classical concept of it. He tried to connect his own work with the cultural manifestations of the time: firstly under the influence of Colin Rowe and his formalist studies; secondly, by re-interpreting Chomsky’s linguistic theories; in the 80’s, by collaborating with Derrida and his de-constructivist approach; more recently by discovering Henri Bergson's idea of Time. Taking a multi-disciplinary approach based on the intersections between architecture and philosophy, this book investigates all these definitions and, in doing so, provides new insights into and a deeper understanding of the complexity of Eisenman’s work.
Brussels, a complex city with a turbulent architectural and urban past, forms a compelling case for examining the tensions between urban politics, architectural imaginations, society’s needs and desires, and the city’s history and fabric. Inspired by pragmatist-relational philosophies, this book tests the potential of criticality through-practice. It studies a series of critical actions and tools, which occurred in Brussels’ architectural and urban culture after 1968. In addition, by showing how pragmatist-relational philosophies can be made relevant for architectural theory, the book opens hopeful potentials for how architectural theory can better contribute to the formulation of a critical agenda for architecture.
This book argues that design drawings should be recognised as intermediaries, mediating between the world of ideas and the world of things, spanning the intangible and tangible. The book argues that this ‘in-between’ quality to architectural drawing is essential and that it is critical to perceive drawings as subtle bodies that hold physical attributes (e.g. form, proportion, colour), highly evocative, yet with no matter. Focusing on Islamic geometric architectural drawings, both historical and contemporary, it draws on key philosophical and conceptual notions of imagination from the Islamic tradition as these relate to the creative act. It also adds to debates on philosophies of the imagination, linking both Western and Islamic traditions.
Frascari is best-known for his extraordinary texts, which explore the intellectual, theoretical and practical substance of the architectural discipline. Throughout his academic career, he continued to work on numerous architectural projects, including exhibitions, competition entries, and designs for approximately 35 buildings. Sam Ridgway draws on a wide selection of Frascari’s texts, including his richly poetic book Monsters of Architecture, to explore the themes of representation, demonstration, and anthropomorphism. Three of Frascari’s delightful buildings are then brought to light and interpreted, revealing a sophisticated and interwoven relationship between texts and buildings.
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