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This book focuses on the first edition of Kenneth Frampton’s Modern Architecture: A Critical History, published in 1980. It searches for clues and positions that will provide the reader with an unprecedented insight into the significance of Frampton's historiography of modern architecture. It explores selected themes in line with Frampton's many-faceted contribution, certain aspects of which can be noted between the lines of his ongoing criticism of the present-day architecture, which inevitably lead us to a critical understanding of the past, the modernity of architecture's contemporaneity.
The compiled chapters attempt to open a window onto the constellation of themes that allowed Frampton to hold on to his anteroom view of history even amidst the flow of time and flood of temporalities spanning 1980–2020. The book elucidates how Frampton's critical presentation of the history of modern movement architecture and the book's classificatory mode contribute to our understanding of the contemporaneity of architecture today.
This article uses writings of the French traveler François Bernier (d. 1688) on race as an inroad into the question of locating race in Mughal India. I explore Mughal discourses of alterity through an examination of Persian writings from various genres composed during the long seventeenth century. In contrast to Bernier, these writings do not offer concepts equivalent to that of race. However, by invoking narratives of descent from Noah's son Ham, ideas of climatic and physiognomic humoralism, and the attribution of physical qualities or character traits to social groups, these works engage in practices of racialization while also at times undermining them.
This article reflects on the visual, spatial, and textual devices deployed by the Architettura Radicale in the 1960s and 1970s through a discussion of a pedagogical project developed for undergraduate architecture students from Monash University, Australia, as part of a travelling intensive based in Prato, Italy. At the time, Prato became the subject of debate about the rapid expansion of consumer culture in Italy, as underscored in Claudio Greppi’s graduating project, ‘Territorial City-Factory’ (1964-5). This architectural proposal rendered the area between Prato and Florence as a totalising city-factory, a proposition that was later developed under Archizoom as ‘No-Stop City’ (1968-70). Greppi’s recasting of Prato as a site for political and architectural experimentation became the catalyst for a teaching-led research project, re-examining the work of the Radical movement in Tuscany. In collaboration with architect and artist Gianni Pettena, the intensive sought to draw out the performative and embodied approaches implicit in his own work and that of his peers including UFO and 9999, as well as the rhetorical devices embedded within the critical fictions of Superstudio and Archizoom. By first dissecting and then redeploying these techniques in response to a site-specific brief, the ultimate pedagogical aim was to expose the students to an expanded range of architectural approaches and to re-evaluate the nature of radical practices ‘within and against’ the omnipresent struggles of late capitalism, and the contemporary cultural and educational context of neoliberalism and the university.