Category Archives: Theory

Buy female pink viagra without prescription, Beatriz Colomina and Craig Buckley, Editors (Actar, 2011)

A certain kind of nostalgia for Sixties has permeated academic circles within architecture for some time now.  Wistful and watery eyes look hopefully to that blurry, radicalized space between the death of International Style Modernism and the Post-modern period that followed.  We’ve come to love the notion of architecture in the Sixties and Seventies because it seemed so optimistic.  Like the popular culture of the time, you had your “hot” and your “cool”, or in architecture’s case, your Bundshafts and your Chip Lords, all ready to either help “the man” or resist consumerism's charms by unplugging completely.  The latter days of PoMo have not been so kind with capitalism having so saturated the Avant-garde that form itself- that one-time life raft of radicalism, has been thoroughly co-opted by the likes of Lexus and Nike.  What’s a designer to do but turn on, tune in, and drop out. Domes be damned, female pink viagra. Buy female pink viagra from india,

Subsequently, a Post-War generation of architecture’s radicals graduated into thoroughly globalized practitioners, buy female pink viagra low price, Female pink viagra medication, became the heads of schools, and in doing so, buy generic female pink viagra, Order female pink viagra, became THE MAN.  But if you want a recap and or wish to sample the terrain before the fall, then you’ll enjoy Actar’s newest offering, buy female pink viagra on line, Buy generic female pink viagra online, Clip Stamp Fold:  The Radical Architecture of Little Magazines 196X to 197X.  Assembled by historian and theorist Beatriz Colomina, Craig Buckley, female pink viagra online, Buy female pink viagra, and their students at Princeton University as a traveling exhibition, this hefty book curates and exposes an exhaustive collection of radical viewpoints and the “little magazines” that birthed them.  What you get here is a visual performance, find female pink viagra on internet, Cost female pink viagra, one that is embodied by a clever collage of small talks, interviews, low cost female pink viagra, Order female pink viagra in canada, rare archival images, and historical excerpts, female pink viagra india, Female pink viagra drug, all of which thankfully seek to halt any further nostalgic pangs that the 60’s and 70’s might evoke in the tender doctoral student’s heart, through shear indexical production alone, cost of female pink viagra. Female pink viagra free delivery,

“Each of the magazines I saw was part of, as you said, female pink viagra tablet, Tablet female pink viagra, a network.  Actually if you looked at these smaller magazines, they were linking up with people around either the country of the world, buy discount female pink viagra online, Female pink viagra approved, [people] who had similar views and ideas.”- Peter Murray

Having been fond of the polemical projects of Ant Farm, Archigram, female pink viagra without prescription, Online pharmacy female pink viagra, Superstudio and Archizoom since I was a student in the late Nineties, I was delighted to read the collection of interviews (sectioned in the book into smaller, where to order female pink viagra, Cheap female pink viagra from uk, zine-like missives) which included chats with Chip Lord, Peter Cook, female pink viagra sale, Order female pink viagra in us, and Andrea Branzi.   There’s nothing new here that a scholar of the period wouldn’t have already intercepted, though the interviews with Jean Aubert of Utope:  Sociologie De L’Urban, female pink viagra online without a prescription, Purchase female pink viagra overnight delivery, Lucia Licitra Ponti of Domus, and Peter Crump's Street Farmer, female pink viagra without rx, Female pink viagra professional, to name a few, were welcome additions to my own mental cartography of the projects produced at the time (Domus seems obvious, female pink viagra buy online, Purchase female pink viagra online, but I’d always thought it too obsessed with being Italian to take it seriously before I read Lucia’s interview).  The casual nature of the transcripted talks and visual material is what makes Clip Stamp Fold intriguing as a project.  You’d expect Colomina, a hardened academic with massive chops, find discount female pink viagra, Female pink viagra discount, to collapse the vast archive into a readymade text to be trotted out in survey courses everywhere.  However, she and her team allow the trajectory of the material to overlap, cheap female pink viagra no prescription, Order discount female pink viagra, to flow, and ooze from project to project, female pink viagra from india, Buying female pink viagra, demonstrating that while the theme of radicality certainly applies to the perpetrators of the little magazines,  the shear conceptual drift and lack of a cohesive identity amongst the publications make taxonomy irrelevant.

“The architecture magazine was a way of communicating, a way of keeping up-to-date.  We pointed out talent, Italian talent or worldwide talent.  We had to point that out mainly through images.  We weren’t a dictionary, an encyclopedia, or a movement.”- Lisa Licitra Ponti (editor at Domus 1948-1986)

Clip Stamp Fold catalogues the front resisting an architectural culture under the duress of designing itself into a permanent state of complacency. The “Generation of 68’” and those who followed closely behind had an axe to grind, and one that couldn’t simply be branded by MoMA or the cool-hunters of the day for consumptive purposes (Though Italy: The New Domestic Landscape certainly tried).  Much like the indie musicians who would take the piss out of the early 1980’s and Reagan’s money-grubbing yuppies by clambering into vans, and developing a loose network of moldering outposts of anti-corporate music culture and edgy zines in their wake, the instigators of the little magazines in Clip Stamp Fold cobbled together their own infrastructural network of sorts.  It was one not bent on regurgitating the sub-cultural fads of the day into empty hipsterish jargon, or kowtowing to whims of trade vendors, but rather they were intent on proliferating alternative frequencies of information, so as to strengthen architectures critical voice as a subcultural message, giving it a resonating timbre that questioned the very notions of professional practice and the role of the architect in the Post-fordist world.

“…The school was enormous.  We had no control; we simply did what we wanted.  We suggested things to those who wanted to listen, to follow, to do things, but we didn’t have control.  There was no control possible.  Melp. set off terrible polemics.”- Pierre Clement (editor of Melpomene 1962-66)

Clip Stamp Fold communicates that, when pressed, architecture can critically expose itself to satirical parody and refreshingly innocent or creatively introspective production.  That many of the publications in the book resulted in the cohesive idea of a critical movement, a rumor that staggered on till the end of the late-Twentieth Century, might be saying too much, for many of the little magazines were dead-set on staking out their own unique and fertile ground in order to free themselves from the tired notion of architectural practice itself.  However, by committing words and images to paper, they forced the rudder of design on an imperceptibly different course, and tasted what it’s like to promote a revolution, the flags of which have found their comfortable resting place in history with the release of this not-so-little book.

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