Postwar's critic imagery - 2005

"[I]n the post-war period ... others, more powerful, emerged, like the Situationists or Cedric Price who remained marked by a ... mechanic imaginery ... . Among the most important cartographies of the postwar's Critic imagery, we could find the Gilman collection, which contain visionary drawings from the 1957-1978 period [See: Terence Riley, Introduction, in: Terence Riley (ed.), The Changing of the Avant-garde: Visionary Architectural Drawings from the Howard Gilman Collection, New York: MoMA, 2002] ... the contents of this collection were exhibited and published under the significant title ´The Changing of the Avant-garde'. ...[I]f one observes the core of Mega-structuralist drawings in the MoMA Archive, one may recognize ... the notion of flexibility ... on Price's flexible University drawings ....
The way we see it, in the precise socio-economic context in which contemporary construction moves, the practice of Critical Project seems to be the remaining place of architectural reflection. The ultimate contemporary."
(in: Gonçalo Furtado, Behind the Pencil: The construction of the Critical Project, Bogota: PEI, 2005,pp. 28, 30, 33 and 45.)

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