Abstract
Photography was instrumental in conceiving representation as the effort to grasp the variable rather than the objective appraisal of reality. This paper explores how avant-garde practitioners in the mid-1960s harnessed reproductive technology for its momentary meanings. Using the confluence of the Economist complex, the film Blow-Up, and Archigram 7, the phenomenon is examined in the context of London-based architectural discourse. While the embrace of unstable signification would present further challenges, possibility still dominated over loss at this critical juncture. The allusiveness of representation intimated the potentials of a milieu where nothing stagnated and images, in and of themselves, constituted architectural practice.
Original language | English (US) |
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Pages (from-to) | 15-27 |
Number of pages | 13 |
Journal | Journal of Architectural Education |
Volume | 59 |
Issue number | 3 |
DOIs | |
State | Published - 2006 |
All Science Journal Classification (ASJC) codes
- Architecture
- Education
- Visual Arts and Performing Arts