Cooper & Pratt House   2246

Mayor's House   2269

Eugene J. Johnson, What Remains of Man--Aldo Rossi's Modena Cemetery (Journal of the Society of Architectural Historians, March 1982).

Alfred Frazer on, Das Gartenstadion in der Villa Hadriana (Journal of the Society of Architectural Historians, March 1982).

Pierre de la Ruffinière du Prey on, A.D. Profile 23: Neo-Classicism (Journal of the Society of Architectural Historians, March 1982).

Peter Eisenman, et al, Oppositions 24 (Cambridge, MA: The MIT Press, 1982).
Christian Bonnefoi:
Louis Kahn and Minimalism
Leon Krier:
Vorwärts, Kameraden, Wir Müssen Zurück
Joan Ockman:
The Most Interesting Form of Life
Elmar Holenstein:
Excursus: Monofunctionalism in Architecture Between the Wars (Le Corbusier and the Bauhaus)
Werner Oechslin:
Critical Note to Elmar Holenstein's Criticism of Le Corbusier's Monofunctionalism
Bernhard Schneider:
Non-functionalist Functionalism
Giorgio Ciucci:
The Invention of the Modern Movement
Kenneth Frampton:
Casabella and the Reading of History
Alan Colquhoun:
Review of Stuart Wrede, The Architecture of Gunnar Asplund

Peter Eisenman, et al, Oppositions 25 (Cambridge, MA: The MIT Press, 1982).
Kurt W. Forster:
Monument/Memory and the Mortality of Architecture
Alois Riegl:
The Modern Cult of Monuments: Its Character and it Origin
Anthony Vidler:
The "Art" of History: Monumental Aesthetics from Winckelmann to Quatremère de Quincy
Ignasi de Solà-Morales:
Toward a Modern Museum: From Riegl to Giedion
Alan Colquhoun:
Thoughts on Riegl

André Corboz:
Walks Around Horses
O. K. Werckmeister:
Walter Benjamin, Paul Klee, and the Angel of History
William H. Gass:

Pierluigi Nicolin, 33 Lotus International (Milan: Gruppo Editoriale Electa, 1982).
Imitating the city
Marco De Michelis:
The myth of the phoenix
John Hejduk:
Berlin Masque
Giorgio Grassi:
Single building
Mairice Culot:
A stimulating return to the past
Pierluigi Nicolin:
Innenhof & Innengarten
Emilio Battisti:
A block in three sections
Emilio Battisti:
The architect Livio Vacchini
Rafael Moneo:
The Logroño Town Hall
Daniele Vitale:
Rafael Moneo, Architect
State housing in Mantua
Francesco Venezia:
Transfer of a fragment
Diana Agrest, Mario Gandelsonas:
New York, Historical District
Vittorio Magnago Lampugnani:
Building in a lineal series
Demetri Porphyrios:
Classicism is not a style
Piero Derossi:
Density and rerefaction
Piero Derossi:
New relations
Anthony Vidler:
The hut and the body
Ignasi de Solà Morales:
From memory to abstraction
Christian Borngräber:
Georgy Gol'c

Pierluigi Nicolin, 35 Lotus International (Milan: Gruppo Editoriale Electa, 1982).
The museum of architecture
Hubert Damisch:
The museum device
O.M. Ungers:
Planimetric transformations
Pierluigi Nicolin:
Paris: The Museum d'Orsay
Dominique Poulot:
Architectural models
Stephen Bann:
Historical text and historical object
Gae Aulenti, Italo Rota:
King's court
Alessandra Ponte:
Thinking machines
Franco Rella:
The Vertigo of the Mélange
John Summerson:
Union of the arts
Licisco Magagnato:
Scarpa's museum
Ignasi de Solà Morales:
Support, Surface
Adolfo Natalini/Superstudio with David Palterer:
Access to the Wailing Wall
Barbara Weiss:
American museums: three examples
James Stirling::
Museum expansion
Mary MacLeod:
Private museums and public virtue
Francesco Dal Co:
The house of dreams and memories

Leon Krier, Pliny's Villa Laurentum (virtual realm, 1982).
This villa is not a closed world, it is not a monastery, or a royal palace. It is an ensemble of buildings which serve very diverse functions; sometimes strictly private, sometimes very public. There appearance, their scale and their construction necessarily reflect their respective heirarchies. Through his text, Pliny encouraged me to conceive his villa as a great number of separate buildings. This villa-ge does not have to ward off pirates. That is the reason why only the sun, the wind, the great perspectives and the sea dictate the disposition -- sometimes open, sometimes closed -- of the ensemble.
Leon Krier, "Leon Krier - Houses, Palaces, Cities" in Architectural Design 54 (London: Architectural Design, 1979).
[K]rier has taken on the large-scale reconstruction of the European city as a critical project. In fact, he has argued forcefully that the unbuilt project is the most responsible way to engage architectural thinking given the current socio-economic conditions: "architectural reflection can at this precise moment only be undertaken through the practical exercise in the form of a critique or in the form of a critical project." The possibility for utopian, visionary work remains open in his opinion, and is required by the degradation of contemporary urbanism.
Kate Nesbitt (ed.), "Introduction" in Theorizing a New Agenda for Architecture (New York, Princeton Architectural Press, 1996), p.56.
With the turn of the century close at hand, it is safe to say that Leon Krier will very likely remain the 20th century's foremost "virtual" architect. Largely through drawings alone, he has managed to bring into being a world of architecture that is familiar in form, yet paradoxically foreign in concept to the modern psyche. Krier's "critical projects" are always well appreciated for the dexterity of their graphic execution. Likewise, they are happily imagined, but they are destined to remain in the imagination, thus existing forever in the domain of virtuality.
seeking precedents... ...finding inspiration

Frank O. Gehry, Tract House (1982).

OMA, Parc de La Villette (Paris, 1982).




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