It is a major challenge to write the history of post-WWII architectural theory without boiling it down to a few defining paradigms. An impressive anthologising effort during the 1990s charted architectural theory mostly via the various theoretical frameworks employed, such as critical theory, critical regionalism, deconstructivism, and pragmatism. Yet the intellectual contours of what constitutes architectural theory have been constantly in flux. It is therefore paramount to ask what kind of knowledge has become important in the recent history of architectural theory and how the resulting figure of knowledge sets the conditions for the actual arguments made. The contributions in this volume focus on institutional, geographical, rhetorical, and other conditioning factors. They thus screen the unspoken rules of engagement that postwar architectural theory ascribed to.

Catalonia's leading contemporary visual artist reflects on his life and times

This volume has been designed, not as a linear narrative, nor as one with a singular voice. Rather it is presented as a mesh of interwoven essays, images, notes, and voices, which aims to reflect the complexity of artist Antoni T pies and his work, which masterfully internalizes and interprets its time and the evolving role of the artist. Together with essays from authors Robert Caillois, Georges Bataille, Anthonin Artaud, and others, particular works of T pies's are discussed in depth. Included as well is a round table discussion (Xavier Antich, Antoni Llena, Antoni Mercader, Pedro G, Romero, and Charles Guerra) that explores T pies's reception in Catalan society, the significance of his work for successive generations of artists, and the influence that this reception might have exerted on the work itself.

Footmarks and handprints, sand, wood, earth, rope, words and letters: Tapies, repertoire is infinite. Miro encouraged him to use forms and materials of every kind, all the more so in an environment devoid of meaning-Spain in the post-war years-in which official reality bore no relation to the situation as it really was. Imperceptibly, true reality asserted its pre-eminence and the expressiveness of increasingly organic materials, endowing his painting with greater materiality than signification. 130 illustrations