Architecture and the Public World by Kenneth Frampton;Miodrag Mitrainovic;

Author:Kenneth Frampton;Miodrag Mitrainovic;
Language: eng
Format: epub
Publisher: Bloomsbury UK

1 Kenneth Frampton, “On Reading Heidegger,” Oppositions, no. 4 (October 1974): Editorial Statement.

2 It was originally published in German in 1954 as “Bauen Wohnen Denken” from a lecture Heidegger presented in 1951 in Germany, and then translated to English in 1971. See Martin Heidegger, Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper Colophon Books, 1971).

3 K. Michael Hays, introductory notes to Kenneth Frampton’s, “Megaform as Urban Landscape,” Senior Loeb Scholar Lecture, Harvard Graduate School of Design, 25 October 2017, YouTube video, https://www.youtube.com/watch?v=USRaFhH7jIw.

4 Kenneth Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance,” in The Anti-Aesthetic: Essays in Postmodern Culture, ed. Hal Foster (Port Townsend, Washington: Bay Press, 1983), 16–30. This essay appeared only three years after Frampton’s Modern Architecture: A Critical History (London: Thames & Hudson, 1980) and a year after Frampton edited Modern Architecture and the Critical Present (London: Architectural Design, 1982).

5 Mary McLeod, “Kenneth Frampton’s Idea of the ‘Critical,’” in Karla Cavarra Britton and Robert McCarter, eds., Modern Architecture and the Lifeworld: Essays in Honor of Kenneth Frampton (London: Thames & Hudson, 2020), 20.

6 K. Michael Hays, introductory notes to Kenneth Frampton’s “Megaform as Urban Landscape,” Senior Loeb Scholar Lecture.

7 The first Architectural Biennale had also prompted Jürgen Habermas to write his seminal essay “Modernity—An Incomplete Project,” which was likewise included in The Anti-Aesthetic and later became critical to Frampton’s scholarship. See Jürgen Habermas, “Modernity—An Incomplete Project,” in The Anti-Aesthetic: Essays in Postmodern Culture, ed. Hal Foster (Port Townsend, Washington: Bay Press, 1983), 3–15. This essay was originally delivered as a talk in September 1980 when Habermas was awarded the Theodor W. Adorno prize. It was subsequently delivered as a James Lecture at the New York Institute for the Humanities at New York University in March 198l, and published as “Modernity versus Postmodernity” in New German Critique (Winter 1981).

8 Kenneth Frampton, “Prospects for a Critical Regionalism,” Perspecta, no. 20 (1983): 147–61.

9 Both texts have their origin in Chapter 4 of Modern Architecture: A Critical History, titled “Place, Production and Architecture.” For a recent critical take on the significance of Frampton’s critical regionalism, see T. Avermaete, V. Patteeuw, H. Teerds, and L. C. Szacka, Critical Regionalism Revisited, OASE no. 103 (2019) Rotterdam: NAi 010 Publishers.

10 Fredric Jameson, The Seeds of Time (New York: Columbia University Press, 1994), 189–90.

11 Foster, The Anti-Aesthetic, xii.

12 Frampton, “Towards a Critical Regionalism,” 29.

13 Kenneth Frampton, “Tadao Ando’s Critical Modernism,” in Tadao Ando: Buildings, Projects, Writings, ed. Kenneth Frampton (New York: Rizzoli, 1984), 6–9.

14 Kenneth Frampton, “Place-Form and Cultural Identity,” in Design After Modernism: Beyond the Object, ed. John Thackara (London: Thames & Hudson, 1988), 51–66.

15 Paul Ricoeur, “Universal Civilization and National Cultures” (1961), in History and Truth, trans. Charles A. Kelbley (Evanston, IL: Northwestern University Press, 1965), 276–77.

16 Stylianos Giamarelos’ research in the Kenneth Frampton archives at the Canadian Center for Architecture reveals an unpublished 1978 manuscript: “The Resistance of Architecture,” a thirty-four-page typescript (CCA IAUS, C1-36 @ C1-83, IAUS files, 57–006, B 50 5 03, C1-42). An essay with

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