Celebrating the marvellous surrealism in architecture
By: guest-edited by Neil Spiller
Contributors: Vidler, Anthony, contributor; Pérez Gómez, Alberto, 1949- contributor; Weston, Dagmar Motycka, contributor; Coates, Nigel, contributor; Morris, Mark, 1970- contributor; Russell, Elizabeth Williams, contributor; Gall, Natalie, contributor; Murray, Shaun, contributor; Kulper, Perry, 1953- contributor; Eagle, James, contributor; West, Mark, 1953- contributor; Clear, Nic, contributor; Díaz Alonso, Hernán, contributor
Series: Architectural design -- vol. 88, no. 02; Profile -- no. 252; Architectural design (London, England : 1971) -- v. 88, no. 2.; Profile (Chichester, England) -- no. 252.
Publisher: Wiley; Academy Press
Published: 2018
Language: eng
Number of pages: 136
ISBN-13: 9781119254416
Subjects: Surrealism; Brothers Quay; Modern Architecture
Other titles: Celebrating the marvelous surrealism in architecture; Surrealism in architecture
Description: We are entering a new era of architecture that is technologically enhanced, virtual and synthetic. Contemporary architects operate in a creative environment that is both real and digital; mixed, augmented and hybridised. This world consists of ecstasies, fears, fetishisms and phantoms, processes and spatiality that can best be described as Surrealist. Though too long dormant, Surrealism has been a significant cultural force in modern architecture. Founded by poet Andre Breton in Paris in 1924 as an artistic, intellectual and literary movement, architects such as Le Corbusier, Diller + Scofidio, Bernard Tschumi and John Hejduk realized its evocative powers to propel them to 'starchitect' status. Rem Koolhaas most famously illustrated Delirious New York (1978) with Madelon Vriesendorp's compelling Surrealist images. Architects are now reviving the power of Surrealism to inspire and explore the ramifications of advanced technology. Architects' studios in practices and schools are becoming places where nothing is forbidden. Architectural languages and theories are 'mashed' together, approaches are permissively appropriated, and styles are not mutually exclusive. Projects are polemic, postmodern and surreally media savvy. Today's architects must compose space that operates across the spatial spectrum. Surrealism, with its multiple readings of the city, its collage semiotics, its extruded forms and artificial landscapes, is an ideal source for contemporary architectural inspiration.
Notes: "March/April 2018."

"02:2018"--Spine.

Includes bibliographical references.
Table of contents: title: About the guest-editor Neil Spiller --; title: That was then, this is now and next  -- Neil Spiller; title: Architecture after the rain  -- Anthony Vidler; title: Surrealism and architectural atmosphere  -- Alberto Pérez-Gómez; title: Moody attunement in Giorgio de Chirico's Metaphysical City  -- Dagmar Motycka Weston; title: Alien Ossuary, the HR Giger Museum Bar  -- Neil Spiller; title: Making a spectacle of society (Thoughts on Surreality)  -- Nigel Coates; title: A simply marvellous reaction: autonomous sensory meridian response and the desk tutorial  -- Mark Morris; title: As the levee breaks: entrusting the surreal Mississippi  -- Elizabeth Williams Russell; title: Hearing trumpets, errant furniture and architectural magic: Arch Combinatoria and the Horizontal Forest  -- Natalie Gall; title: The shadowy thickening of space and time with chance: an interview with the Quay Brothers  -- Mark Morris and Neil Spiller; title: Surrealist Thames-side Piers: Tellurian Relics  -- Shaun Murray; title: Silver parrots: mischievous characters and feathered aerialists  -- Perry Kulper; title: Magic crafsmanship: A glimpse into Bryan Cantley's Thirdspace  -- Neil Spiller; title: Architecture in aqueous flux: the CaCO₃ Depositional House  -- James Eagle; title: Transcending geometry: The Longhouse  -- Neil Spiller; title: Directions for getting lost, or, How to change your mind  -- Mark W. West and Mark West; title: Subterranean speculations: The Chthonopolis  -- Nic Clear; title: 'Sur' Realism: after surrealism comes hyperrealism -- Hernan Diaz Alonso.