Architecture's Historical Turn: Phenomenology and the Rise of the Postmodern

Plates

Plate 1. Charles Moore, proposal for a new fountain in the plaza of Mies van der Rohe’s Seagram Building, New York, 1954–57. Courtesy of Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library. Plate 2. Charles Moore, proposal for a new fountain in the plaza of SOM’s Lever House Building, New York, 1951–52. Courtesy of Princeton University Archives, Department of Rare Books and Special Collections, Princeton University Library. FACING PAGE: Plate 3. Charles Moore’s unit at Sea Ranch Condominiums, showing early experiments in supergraphics. The kitchen is painted in bold geometric fields of red and white against a blue background. Photograph by Morley Baer, copyright 2008 by the Morley Baer Photography Trust, Santa Fe, N.M. All reproduction rights reserved. ABOVE: Plate 4. Barbara Stauffacher, supergraphics in the locker room of the Sea Ranch Athletic Club, ca. 1965. Photograph by Morley Baer, copyright 2008 by the Morley Baer Photography Trust, Santa Fe, N.M. All reproduction rights reserved. Plate 5. View up the central aedicula in Charles Moore’s house in New Haven, Connecticut. A disco ball hangs from the ceiling, reflecting psychedelic lights. Interiors like this earned Moore’s work the label LSDesign. Plate 6. Charles Moore sits with students in the backyard of his New Haven house. The supergraphic painted on the garden fence used a trompe l’oeil technique to make the number 3 appear when viewed from the interior. Copyright Norman McGrath. ABOVE: Plate 7. Supergraphic aedicule encloses Moore’s bed in his New Haven house, 1966. Copyright Norman McGrath. FACING PAGE: Plate 8. Supergraphics in the guest room of Moore’s house, New Haven, 1966. Copyright Norman McGrath. Plate 9. Supergraphics in the aedicule above the kitchen of Moore’s house, New Haven, 1966. Copyright Norman McGrath. Plate 10. Cover of the journal The Structurist, no. 5 (1965). Plate 11. Kenneth Frampton, Berlin Grafik! 1967. Mixed media on cardboard. Courtesy of Kenneth Frampton. Plate 12. Kenneth Frampton and Anthony Stockbridge, structurist graphic abstraction of the crossover scissors staircase system used in Craven Hills Gardens building. Cover of Architectural Design 34, no. 9 (September 1964). ...