PRINT Summer 1988


THE RELATIONSHIP OF FACT and fiction in architecture is not as clear as it once was. At one time, these two realms were seen in radical opposition: the form-givers were the fact-makers; the architects of the imagined, the visionary, the speculative—however allegorical or delightful their propositions might be—offered fantasies. Much work has served to befuddle this dichotomy, to locate a new meaning in the overlapping, rather than the disjunction, between what architects can conceive and what they can construct. And our century has been a period of enthusiastic endorsement for the notion that “fictions,” too, are bearers of veracity. In the 1960s particularly, “paper” architecture flourished—offering representations of new ways of thinking and responding to space and structure. But ironically, the publication in 1980 of Kenneth Frampton’s Modern Architecture: A Critical History, one of

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