Vidler explains the modern history of architectural epistemes and the typologies built on them, including that of his own era, and how the City is home to legitimate architectural meaning.
Jorge Silvetti's essay, "The Beauty of the Shadows," investigates the theoretical and ideological architecture of Tafuri, Agrest, and Gandelsonas in order to find a middle ground for the architectural process.
Bernard Huet's essay presents the history of realism and formalism, from Soviet Russia to the Italian Tendeza, accompanied by the most significant and dangerous antinomies of architectural realism.
Martin Stienmann lays out the case for architectural realism, an architecture that is at once populist, traditional, historical, formal, and epistemological.
Robert Stern breaks down the constellation of postmodern movements in 1970s architecture, explaining what will (and did) constitute Post-Modernism, leaving Eisenman's Post-Functionalism and White architecture waiting in the wings for Post-Modernism to die.
Peter Eisenman defines the real nature of the modern sensibility and of the architectural object in a world no longer ruled by the form-function axis. What remains in this post-functionalist world is an architectural object concerned with itself, its own process and its own history--a theoretical object.
Seven reviews of MoMA's Ecole des Beaux-Arts exhibit that recap the situation of multiple theoretical issues in the mid 1970s with humor, candor, and shade. If you read any of these 11 Weeks posts, read this one.
Tschumi provides a history of architectural theory and space, setting up the inseparable and necessary paradox of conceptual v. experiential architecture.
Diana Agrest describes the framework of the built world, made up of Design and Non-Design, how cultural systems communicate, and how to productively read meaning from the built environment.
Denise Hollier on why architecture prefigures everything else, and why "omniscience is the architect's greatest virtue."