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Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.
A pioneering major survey on the rich relationship between the imagery and concepts of Surrealist art and the architecture of the twentieth and twenty-first centuries In a world where “smart” objects can talk to each other and a gun can be printed with a desktop 3D printer, the conditions for contemporary design are nothing if not surreal. The long-standing interaction between architecture and Surrealism is being reinvigorated by the new technology that makes the protocols and concepts of otherworldly Surrealism more relevant to architects than the dogmas of architectural modernism. This book charts the development of this fertile relationship, revealing how Surrealist ideas are being put to use by contemporary architects in extraordinary ways. Architecture and Surrealism opens with an introduction on the precursors of Surrealism in the Baroque and Rococo periods, moving into the twentieth century through the Symbolists and Dadaists. The four main chapters present the interplay between architecture and Surrealism through the key concepts of the body, the interior space, the house, alternative realities, and the environment. In an era of wearable technology and big data, the fascinating possibilities for new worlds, new buildings, and new spaces are creating the most exciting futures for contemporary architects. Written by Neil Spiller, a leading academic and architect known for his own Surrealist-influenced work, this book is a breathtaking resource of spatial ideas and visionary buildings for architects, students, lovers of Surrealism, and all creative types.
"This multi-disciplinary and cross-generational project explores the central importance of the house within surrealism and its legacies. It brings the first surrealists together with contemporary artists, film-makers and architects. Through a strategy of accumulation and poetic contamination, each informs the other."--Back cover.
A fantastic showcase of the cutting-edge designs by visionary architect Hernán Díaz Alonso, whose creations are revered by the design world. Hernán Díaz Alonso, one of today’s most influential and innovative architects, heads a multidisciplinary design practice, based in Los Angeles, called HDA-X (formerly Xefirotarch). Praised for its work at the intersection of design, animation, interactive environments, and radical architectural explorations, HDA- X combines these disciplines to create plans for sculptures, architectural ventures, and various objects. Featuring plans for the Helsinki Central Library, a Budapest Museum, and major architectural projects in Barcelona, this book is a spectacular survey of Díaz Alonso’s cutting-edge designs. With an essay by Benjamin H. Bratton and an interview with Díaz Alonso, The Surreal Visions of Hernán Díaz Alonso/HDA-X is perfect for architecture students, teachers, and practitioners, as well as anyone with a passion for design.
Surrealism expanded our reality by drawing upon myths, dreams, and the subconscious as sources of artistic inspiration. Beginning in the 1930s, the movement made a crucial impact on design, and it continues to inspire designers to this day. »Objects of Desire: Surrealism and Design« is the first book to document this fascinating conversation. It includes numerous essays and a comprehensive selection of images which traces these reciprocal exchanges by juxtaposing exemplary artworks and design objects. Among the featured artists and designers are Gae Aulenti, Achille Castiglioni, Giorgio de Chirico, Le Corbusier, Salvador Dalí, Marcel Duchamp, ntoni Gaudí, Frederick Kiesler, René Magritte, Carlo Mollino, Meret Oppenheim, and many others. The book is rounded off with historical text material as well as short texts and statements by contemporary designers. This in- depth examination makes one thing abundantly clear: form does not always follow function -- it can also follow our obsessions, our fantasies, and our hidden desires.
Striking a balance between theoretical investigations and case studies, this book addresses the collection, representation and exhibition of architecture and the built environment. International in scope, this collection investigates curation, architecture and the city across the world, opening up new possibilities for exploring the urban fabric.
Drawing, often considered a minor art form, was central to surrealism from its very beginnings. Automatic drawing, exquisite corpses, and frottage are just a few of the techniques invented by surrealists to tap into the subconscious realm. Drawing Surrealism recognizes the medium as a fundamental form of surrealist expression and explores its impact on other media. Works of collage, photography, and even painting are presented in the context of drawing as a metaphor for innovation and experimentation. This volume, in addition to brilliant reproductions of drawings and other works by approximately one hundred artists, includes a substantial historical essay and illustrated chronology by the exhibition's curator, Leslie Jones, as well as informative essays by leading scholars Isabelle Dervaux and Susan Laxton. It also encompasses the contributions of a wide array of artists on a global scale - from the great figures in surrealist history to lesser-known surrealists from Japan, central Europe, and the Americas, where the movement had profound and lasting effects on the arts. Drawing Surrealism, which will become a definitive resource on the subject, offers a deep understanding of the techniques and concerns that made surrealism such an intimate perceptual revolution.
Despite surrealism's celebration of the subconscious and eschewal of reason, the movement was nevertheless concerned with definitions. Andre Breton included a dictionary-style entry for surrealisme in his 1924 Manifeste du surrealisme and later explored juxtapositions of the absurd and the mundane in the 1938 Dictionnaire abrege du surrealisme. To the mountain of literature that seeks to organize the far-reaching intellectual movement, Aspley (honorary fellow, Univ. of Edinburgh) adds this handy volume that organizes the breadth of surrealism into concise entries on artists, writers, artworks, and themes. A chronology highlights events that sparked the surrealist imagination, activities of formal surrealist groups, and exhibitions. An introductory essay and extensive bibliography are included. One of the few English-language reference sources about surrealism published in the last decade, Aspley's dictionary is useful for quick access to key terms and biographies. For a book devoted to a movement characterized by arresting visual imagery, the lack of illustrations is annoying. Even Rene Passeron's 1978 Phaidon Encyclopedia of Surrealism (CH, May'79) reprints artworks in color. For a richly illustrated and comprehensive history, see Gerard Durozi's History of the Surrealist Movement (CH, Nov'02, 40-1316). Summing Up: Recommended. Lower-level undergraduates through graduate students. Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students. Reviewed by A. H. Simmons.
During the last 30 years, Advanced Architecture has consolidated an interactive and informational logic that differs from that of Modernity and Postmodernity. This logic is threefold; it is modulated through three coexisting protocols -modes of action- whose peaks of intensity occur in three different decades: Conformative Protocols (1990-2000), Distributive Protocols (2000-2010) and Expansive Protocols (2010-2020). This work proposes a threefold cultural narrative whose interactive and informational logic differs from that of modernity and postmodernity. It positions three different ethos by critically approaching the architectural side of a cultural mutation that has been affecting the Western experimental areas of knowledge and practice since the end of the last century. A transformative process constituted by a constellation of transdisciplinary manifestations, accelerations, turns, shortcuts and clusterizations that by no means can be read under one single epistemological umbrella. In this sense, rather than approaching the practice of architecture focusing on its disciplinary inner specificity, this book approaches the research of experimental architecture focusing on its extra-disciplinary entanglements. It argues that a vast multiplicity of fields of knowledge participates in a cultural endeavour modulated through three protocols -forms of action- that singularize three decades: Conformative Protocols (1990-2000), Distributive Protocols (2000-2010) and Expansive Protocols (2010-2020). These three periods shouldn’t be read as three hermetic and concatenated monades, but as three different modulations of the same narrative, that is, as three overlapping and coexisting systems whose peaks of intensity occur in three different decades. However, the main purpose of this book is not limited to unveiling the ethos of these three conjugations. It also aims at using this framework as a “time-field”, a narrative map that moves from the classificatory to the cartographical in order to vectorize the last 30 years of experimental architecture. In this sense, this book argues that this threefold set of protocols represents the progressive attempt to constitute critical interiorities “looking for” and “produced through” interactions that are increasingly more intimate and whose agents are increasingly more diverse. A tendency oriented towards the consolidation of an “intimacy between strangers” that highly resonates with the cultural and technological landscape in which experimental architecture operates.
Reprint. Paperback edition originally published: 2010.