Constructing Identity in Contemporary Architecture. Who are the actors feeling compelled to "construct" new identities? How are these new identities in architecture created in various parts of the world?
And, whi. Time, History and Architecture. Time, History and Architecture presents a series of essays on critical historiography, each addressing a different topic, to elucidate the importance of two inf. And now they congratulate themselves on having created the style of the twentieth century. But that is not the style of the twentieth century.
There are many objects which show the style of the twentieth century in its pure form, and these are the objects produced by craftsmen who were not working under the tutelage of one of the warped graduates of the schools. First and foremost they are the tailors, they are the shoemakers, the makers of bags and saddles, carriages and instruments and all those who avoided the fate of being uprooted from culture because their craft seemed too ordinary to the false prophets to be worth reforming.
What good fortune! From such scraps as architects left me I was able, twelve years ago, to reconstruct modern joinery work, the joinery we would have if architects had never stuck their noses in a joiner's workshop. I did not approach the task like an artist, giving free rein to his creative imagination as they doubtless put it in artistic circles.
I went to the workshops, as a timid as an apprentice, looked up respectively to the man in the blue apron and, and asked him to share his secrets with me. For many a piece of workshop tradition still lay there, bashfully hidden from the eyes of the architects. And when they realised what I wanted, when they saw I was not one of those who would deface their beloved wood with his drawing-board fantasies, when they saw I had no intention of defiling the noble colour of their revered material with green or violet stains, they glowed with craftsman's pride, revealed their carefully concealed tradition and gave vent to their hatred of their oppressors.
I found modern panelling in the cladding of the old lavatory water tanks, I found a modern solution for the problem of corners in the chests for silver cutlery, I found locks and metal fittings on suitcases and pianos. And I found out the most important thing, namely that the style of differs from that of to the same extent as the tail coat of differs from that of It considers architectural theory in social context.
It is the essay version of In my opinion it is of the utmost importance that the ontological and representational aspects of architecture be maintained as a dialogical interaction. I think that the attempt to isolate atomized elements such as morphemes is in the end a kind of reductive pseudo-scientific project, which just leaves you with the banality of pieces such as 'a door is a sign of a door' rather than with any notion as to the socio-cultural, complex desire of the species-being to realise itself, collectively.
In a collection of Frampton's writings over a period of 35 years was collated and published under the title Labour, Work and Architecture. In addition to his own scholarly research and criticism, Frampton has frequently furthered the intellectual reach of his work through writing introductions, prefaces and forewords for other authors and publications on allied themes. It is a very truthful book. Even if one doesn't agree with some of the author's views, it is impossible not to be astounded by the amount of work put into this book.
I rate it this high because this book has successfully achieved existence. A topic this broad wrapped up effectively in about pages is definitely a feat in itself. Also, this is the first book on architecture that I have read from the first word to the last, and I am glad I did.
Definitely a classic. Frampton tends towards the verbose in some of his 'critical' evaluations, but overall I gained much from reading this at least compared to the agitprop tomes of Tafuri and Benevolo.
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