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SURREALISM<ENTER> COMMAND NOT FOUND

Lucas Losada Gomendio. 06088403 - U30025

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“Thebeautywillbeconvulsiveorwillbenotatall” (AndréBreton)1

Thetermsurrealism,ortoconsidersome-thingsurreal,hasbecomeacommonwordinoureverydaylifetodescribeimagesortenetsthatdoesn’tarenotrecognizabletooneormoreofourlogic’sstandards.Wehavedeviated,vulgarized,thewordfromitsoriginalintention.Ithasbeenturnedaround.Shockinglywehavecomebacktotheideaofsurrealismbeingjustaseriesofsemi-ra-tionalprovocativemethodsortechniques,amosaicofrevelationstoaltertheprevailingstateofthingsofthatlackingpracticaluse.ForthepurposeofclarifyingIwilldividetheessayintoindividualtopics.Rationalizedworld Architecturehasbeenusedtolureatten-tionfromitsmorearchaicandprimalforms,tocaptiveandrepresentacertainidea.Throughtheanalysisofarchitecturewefindthatits‘role’gener-ally‘istoprojectonthegroundtheimageofsocialinstitutions,translatingtheeconomicorpoliticalstructureofsocietyintobuildingorgroupofbuild-ings’andsothatitsadaptationrespondstotheex-ternaleventssociety,‘itwouldservethepowersinplace’andtrytoshieldandprotectitsframeworkthoughtaretinalvisualizationofit2.Evenacrossthegreatestandmostrebellioustimesinhistory,architecturehashelpedthe‘prevalentviewsfortheexistingsocioeconomic’power,‘adapting‘thespace.Sinceitsbeginninginthatofthevernacu-larandsurvivalduty,architecturehasbeen–andcontinuoustobe-affectedfromoutsideitsowndisciplinarypractice3.Aswithmanyotherthings,onlytheprivilegedonesthatcanlookfurtherintotheirgeneration’sperspectivewouldachieveabet-terunderstandingofthefuture.Modernistattempts Modernismandrationalismwasthedominatingmainstreaminthesocioeconomicframeworkformostofthepastcenturyandhassurviveddeeplyrootedintoourdays.TheSiècledesLumieresandtheprevalenceofreasonuponallthingsaswellasitsaffinitieswiththebourgeoi-sies’valuesthatprecededtheindustrialrevolutionsubmergedthesparkofgenuineintentionsiniti-atedwithFuturismandtheavant-gardemomentinthelatentstateitisfoundtoday.Neverthelesssomeoftheideaspersistedandscratchedmodern-

Cover FIG.GIOGIO DE CHIRICO Montparnasse

FIG.1. MAX ERNST

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isminanalmostinvisibleway.Allofthemweremereattemptstoredeemtheirownself-reproachesfromexterminatingthedelightsofspatialexpres-sions.WellknownexamplesfortheseattemptsaretheevocativesolariumLeCorbusierdesignedforhisfriendCarlosBeisteguiinParis(1930-1)couldrelatestoCorbu’sapproachesof‘objectsareac-tionpoetique’orthesemi-metaphysicalperspec-tivethatcanbefoundinOscarNiemeyer’sworkinBrasilia,almostresemblingChirico’svisionofthedesolatedspace4.Acelebrationofeveryday’smetaphysicalphenomena,onlythatthereisnoonethere.Rationalitygivessurrealismthebackgroundtoliberatethemindfromtherepressivesocietalaspects.

Surrealismintentions

AndreBretonwrotetheSurrealistManifes-toin1924toformulatethepurposesofthemove-ment,butsurrealismappearedalongwithDada-ism–andnotasaconsequence-astheambitionderivedfromtheearlyactivitiesofpre-andpost-waravant-gardemovementasmeanstocreateasupremereconciliationofdreamandrealityandthephilosophicalGrandOeuvre.Itderivesfromatotalrejectionofcurrentlogicsandcultureandtriesto‘revoltagainstthehyper-logicalofreality’5.Surrealistslongtoreturntothearchaicformsandfeel‘nostalgiaforthepoeticthoughtandthepowersofthearchaicmen’,the‘pouvirperdú,andthustheyputforthintothetaskoftransformingsocietytroughthe‘alchemyofwordsandimages’6.Thesearchaicmenandtherelationshipwithnaturetakeusbacktothearchaicsocietyanditsoneiricphilosophyandrituals.Theyareconcernedwitharchetypicalsymbolscapableofcreatingageneraladherenceofhumanitytoreplacelogi-calrepressionswhichthatcanonlyresolveirrel-evantmatters.Thenatureoftheirideasconducttofindingakeythatwouldopenthehiddenside,asideofwhichtheyaresureofitsexistence.Thefocusistransportedintothecreativeproductive-nessofdreams,anditsrealizationthroughaseriesoftechniquessuchasautomatismandobjectivechance.Thefirstimpliestheuseofpsychoanalyti-calmethodsemanatedfromFreudiantheoriesoffreeassociation,buttheysoonrealizedthatitwasartistdependantanddidnotshedanylightonthecommonunconsciousness’mystery.Objectivechancetriestosparkoffyourmindintothesurrealbyenvisioningdifferentobjectsjuxtaposedfromtheircontext.Theyweretoolforanewlycreatedsupra-reality.Themovementchasedafterdesireas

FIG.2.

FIG.3.XILITLA’S GARDENS

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thewaytochangerealityandcreateanewmyth–‘thereisnosocietywithoutamyth’7.Throughitsveryconvulsivelife,surrealismwentthroughvarioustransformations,andbythesecondmani-festoin1929,Bretontriestotackleamoreuniver-salapproachintothecollectiveunconsciousness,thecreationofthenewmyththroughanalogiescapableofcreationanewcosmogonythatdefa-miliarizeourselvesfromeverydayreality.Theseanalogiescanbringustoacommonplace,theonethatforcesorproductionhaveturnedtorubble,aplacewheretheunexpectedistoappear,welookintoourchildhoodandtheemotionsofdream-likeimaginationthatfollowedthedisintegrationofthecommonlogics. Surrealismtendtohaveanimmers-ingobsessionwiththequalitiesofcrystal,asasupremepointforcreation,thebelievedinitsritualandesotericconnexionasspontaneity’andimagination’sorigin.Theyuseditwithintentionstounderminerealityandprovethefragilegraspthathaveonreality.Inpuresurrealism,artwoulddespairasbeinginferiortoreality.Intellectually,itwasaveryproductivemovementsstartedasartandliteratureandmovingfastintosculptureandthebuiltsphere,incorporating,mostlybyBreton,scienceintheformofpsychology,philosophyandanthropology.Artaud,forinstance,concludedthat‘itwasamistaketoequateallconsciousnesswithwhatevercouldbeexpressedonwords’andafterbeingexcludedbyBretonaseditoroflarevolutionsurrealisteforhisviolentspeechendeduppushingtheboundariesoftheatricalpsychologyuntilitsclosedestruction8. Returningtotheliberatingexercisesofanalogies,itisalsoimportanttorememberthatourbrainsarehard-wiredandthat‘oursenseshavesurvivalvalue,symbolismisconnectedtotheprimitiveemotionalbrainanditdoesnotdiscernbetweenthreatsandpromises’andthatmightbeapossiblereasonwhythearchaicmendidnotpursuematerializethecityasarepresentationbeyondthesenses9.Ontheotherhand,machinesandultimatereasonmightmakeourintelligenceredundanttheaestheticsapracticaldecisionmoreinthewaytoDadaismintentiontodestroyarttosavethesubject. Surrealismhadtheabilitytofusetodistantimagestoproduce‘uninterruptedsuccessionsoflatenciesfromthehiddenrealoftheirorigins’,acommonarchitecturetechnique10.Creatingathresholdintotheimaginarykingdom,thekeytoourlostworld.Thisisthereasonway,surreal-ismshouldengagewithsocialvaluesasmeansof

FIG.4.DALI. PREMONITIONOF CIVIL WAR

FIG.5.MAGRITTE.HUMAN CONDITION IIIV

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changeasforthetotaldislocateoftraditions,tobeabletousethe‘experienceofmarvellous’asasteptowardsabettersociety,notjustanaestheticdreamforprivilegedplayer’11.

Noreasonforexisting‘Utopiaisthemagiclampofthosewhorefusetoleavethemselvescrushedbythenight’(Rene-GuyDourmayrou,AndreBretonetl’artmagiqueaSaint-Cirq-la-Popie)12

Therelationshipsbetweenarchitectureandsurrealismcomesalogicalextensionofpoeticanalogiesofthephysicalobject,whatinsurreal-isttermscanbereadasafoundobjectorobjecttrouvé.ThesurrealistswerefirstinterestedinArtNouveauandmorespecificallyinGaudi’swork.Forinstance,CasaBattlocanbeseenasthereali-sationoftheoriginalbuilding,tacklingthecrisisoftheobjectsinindustrializedsocieties,itlooksforbuiltanalogies,andCasaMiatriestoreducethedistancebetweenthespontaneityofvisionandthespontaneityofnature–dreamedreal-ity.Creationinarchitecturebecomesadramaofdesireandrepresentation,whenformostartforms,surrealismisabeholdingtheoreticalframework,inarchitecture,formsarealwaysreal.AdolfLooswasthefirsttochallengethelimitsofillusionandrealityfromaDadaismperspectiveforbourgeoi-siedetachmentfromwhattheysee,uncommittedanduninvolved.Thetranspositionofrealanditsmirrorimage.OtherstyleshavealsoderivedfromsurrealistpracticeslikeDeconstructivismandthefragmentedbuilding,whichinfersfrom(remotely)it.MoreimportantlywasDuchamp’sconceptofready-madeart,whichwhentranslatedintoarchitectureitbecomesevidentitstremendoussuccess.Surrealismencouragedtheuseofsurreal-isttechniquestoexploretheunconsciousnessanditsanalogiestotheobjecttrouvébutithadnouseforanyofthegivenstyles,narrowingdownthespectrumofintervention.Itratherencouragedtheuseoftheirrationalityofconcrete,itflux,‘thedailytransformationofobjectstoconstructthebuildersunconscious’13.BretonhimselfattemptedirrationalbeautifyingofPariswithjuxtapositionofdistantrealitiesincompatibleofscaleorshapeinplacesthat‘reallyhadnoreasonforexisting’,hetriedthe‘unisonofunconsciousofthecitywiththeunconsciousofthemen’and‘destroytheoldantinomybetweendreamandaction’14.Symbolizingwasthekeyconductorarchitectureasthispointsinceobjectscouldbevoidanded-

FIG.6.LE CORBUSIERFire-place and Arc de triomphe

FIG.7.DALI.YOUNG VIRGIN AUTO-SODOMIZED BY HER OWN CHASTITY

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ibleandspacesarenot.Duchampcreatedtheglassinbetween1915and1930-hehadinmindthealchemicalqualitiesthatareattributedtocrystal-andthebox,withrandomthoughtsandnotestobereadwhileinsidetheglasstotryandgetridoftheretinalaspectofobjects.Hewastryingtoachieveaspecialrelationshipmadeupofrefer-encesandwitsandputtinginpeopleasthemainalchemicalingredientandliveactionsasspecialattitudes.Thejunctionofimageandidea.Sur-realisminarchitecturehasbeenreferredastheblindobject,thepossibilityto‘encodedesires’15,butdefamiliarizingourselvesiscriticaltorestorethe(un)consciousexperience.Homeisutmostrepresentativeofrepressivestability,aplaceofbourgeoismoralsandpolitics,ideologicallyrottenandconstricting,thoughamidourroomlaysourchildhood,thesurrealistpalaceofimagination,thecastle,thatlaterbecomesrubbleandthathasbeendepictedinnumeroussurrealpaintings. Architectureisavitalpartofeverydaylife.Surrealistpoeticsaredriftinginourneedtobringthemdowntotryandcasttogetherfamiliarobjectwhilstlookingforthestrangenewobjecttoarise.Builtexamples Onlyafewexampleshavebeenmadeofac-tualarchitectureforwhatitrelatestoinhabitancy.EventhoughGaudiwasareferenceandastartingpointforthefoundobjectinsurrealism,hewasneverasurrealist,norintimenorinspirit.GaudiandArtNouveauwereprivilegedbythesurrealistsfortheirmediumisticarchitecture,andtheiror-ganicanalogieslikethefluidityofwateroverearthandthepreoccupationofthesoftformsandthe‘time-spacecontinuum’16.AnothercharacteristicofGaudi’sarchitectureisthetrulymythicalandritualisticinspirationinhisworks,thestructurescelebratewhattheysupports,butafterallChris-tianityandhisowndismalsandself-reproachwasattherootofhisneedsfordelvingintoanewsetofexternalretinalexperience.Theonlytruesur-realistarchitectofallwasFrederickKiesler,whoseorganicapproachintheEndlessHouseexpressedasmetabolicprocessesanddeliveryofcompleteseclusionandphysicalseparationencapsulatethedesiretopfindakeyandcrossthethresholdinthehollowsoftheearth17.WalterBenjamindescribedits‘prenatalcomfort’asbeingthe‘imageoftheabodeofthehumanbeinginthematernalwomb’.This‘womb’isexposedto,accordingtothearchitect,twoforcesintrinsicineveryobject,theintegratingandthedisintegratingforce.Hewantedto‘envelopthedwellingwithinmobile-flexible’formstocreateamoredesirableand

FIG.8. RENE MAGRITE L’ATTENTANT

FIG.9.KIESLER ENDELESSHOUSE

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FIG.9.DALI-THE SUBURBS OF PARAINOIC CRITICAL TOWN

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passionateplacethatcoulderodetheoutside/in-sideboundariesofinnerconsciousness18.Thelastarchitect–notbyprofession-thatIwanttomen-tionisFerdinandCheval,aFrenchpostmanwhogathered,single-handed,rocksfromtheregionandconstructedhisownfairytailoverthirty-threeyears,hisownunconsciouspassionateexpression,hisownPalaisIdeal.Bretonusedtomentionitinhislecturesandlovedthe‘lackofutility’andthe‘individual’suntutoredandimaginativevision’19.ForthattopayhomagetoDaliIwouldliketorefertohispaintingTheSuburbsoftheParanoi-ac-CriticalTown(1931),whichshowsthewholearrayofarchitecturaltrickswhiletheextremelyemotionalrhetoricofthepaintingevokesonaflatsurfacewhatneverhaseverdoneonthreedimen-sions.Allphasesofarchitectureareincludedonthevergeofcollapse,thearchitectureoftheforgot-tenplaces,masks,and‘wherepeoplecommunicateinsmotheredwhispers,actingouttheirlivesinatheatreoftorture’20.

Criticism

Noonemakesuphisheadovernight,andespeciallyBreton,whoserejectionandcontemptforarchitecturewaspalpablewhenhestatedthat‘modern-andallarchitecturesavefewexamples-architecturewasthemostunhappydreamofcollectiveunconscious’,a‘solidificationofdesireinamostcruelandviolentautomatism’.GeorgeBatailleagreesandassertsthat‘architecturewassimplyauthoritariananditsformsnowthetruemastersacrosstheland,gatheringtheservilemul-titudesintheirshadow,enforcingadministrationandorderandconstraint’21.AnothercriticismonthelimitationsofsurrealismintheendeavouroftransformingthefoundobjectswerewrittenbythelandscapearchitectLaurieOlinwho‘expressedambivalenceabouttheuseofsurrealismforthedesignofeverydayenvironments,wonderingifsurrealdesigncanonlyexpressalienation,andahallucinatoryandobsessivepreoccupationwithloneliness,self,andunfulfilledyearning’22.An-otherissuethatsurrealismpurelyaddressesistheneedforplanificationongrowthandthedisper-sionoftheoriginalprincipalofsurrealismbeforementionedinKiesler’sEndlessHouse.Landscapearchitectureisoneoftheonlyareas–probablytheonlyone-wheresurrealismisstillquitefertile,itopensthe‘doorforasympatheticrelationshipwiththebuiltandnaturalland-scape’23.Paintersandwriterswereinspiredbylandscapes.Anamplespectrumofsurrealland-

FIG.10.RENE MAGRITTE TIME TRANSFIXED

FIG.11.FACTEUR CHEVALTHE IDEAL PALACE

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scapescanbefoundintheirpaintingorwritings.Theywere‘seekingforspontaneousadventuresandescapeboredom’24.Ithasallthedesireofthearchaicsocietalmyths,ritualsandalchemylatentinitsimagery,itsbizarre(potential)juxtapositionandrhetoricoflegibleobjecttrouvé.Landscape,asitappearsinitscontexthastheadvantagethatitisalreadyachangingperceptivethatcantrans-formconfrontedfeelingswiththejuxtapositionofeverydayobjectsquickerthanotherenvironments,simplybecausewearepsychologicallywiredtorecognizethoseinrawnature,itbringusdowntoourprimitive‘universalsocietalvalues’andignitetheenigmaofclarityandambiguity25.

Wakingup

Criticismisnothingnewinsurrealism,itwascriticizedbackinthe1930sandisstilltodayifyoutrytoapplyitoutsideitssocial“coolness”(ofthelikesofOHMYGODTHAT’SSOSUR-REAL),butarenotallthistopicsalreadypartoftoday’sissues?.Fragmentationoccursinsocietynowadaysendlesslyinallaspects,infactwesearchforitmostofthetime.Alienationhasbecomethenew’sbackground.Andlastcomeshallucination,whatcanIsaythatitwasnotdoneinthe60s?.Thequestionnowchangesto:wouldwebeabletorecognizealegibleobjecttrouvéwithtoday’samoralordouble-moralsociety?.ItmighthavebeenamatterofheightontheladderofhumanevolutionandasusingMarxideas,nowweseefurtherdownintothefuture’spossibilities.Nottoforgetsurrealismeroticdiscourseevolvedfromthearchaicritualthataccordingtomythologyoccurredinnaturewithmenstrippedofallcon-straintsandcommonlogic,aDionysianventureintothewilderness.AndasTschumipointsoutinhisintroductiontoArchitectureandDisjunction,ourirreverentsocietyhasthe‘ability‘to‘generateunexpectedsocialorculturalmanifestation’ofanyshort26.

Thereisaway

Needlesstosaythatwithtoday’stechnol-ogyandaccesstothevirtualenvironments,anen-tirenewrealmofpossibilitiesandelectronicfoundobjectsareavailable.Acompletenewworldofalgorithmicgeneratedimagesbasedontimelinesofoddvariablesodistantfromoneanotherthatthebizarreideaofjuxtapositionofobjectsorim-agesisobsolete.Thespeedofchange,whichwasRobertoMatta’sdefinitionofautomatismquantity,

FIG.13.RIVERSLAPPERSLAMHOUNDS

FIG.12.YVES TANGY-ENNUI ET TRANQUILITE

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issogreattheevenwhenBretonwrotethatthe‘merveilleuxisnotthesameforeveryperiodoftime’27,hisvisionwasnotlookingfurtherenough,perhapshewasnothigherenoughuptheladder.ThevelocityanddexterityofcreatingsemiobjectstrouvéproposedbyNeilSpillerinhisarticleen-titled“AProvisionalTaxonomyofSlamhounds”reflectstheaccelerationthathasgotintothevirtualspecialexperience.Nowthattheprevailingandomnipotentlogicisgreenandglobalizestheworldthroughwiretransfers,theabilityofourlethargicmindtotryandreadanewobjectfoundhasnorelevancebecausewhileourneuronalconnectorweresendingelectricimpulsetosparktheawaitedsurrealenvision,thisspatialmonstrosityhasdoneafewhundredmoreofthem.Thesespace-timegeometriesarecapabletobulkproducethousandofsemielectronicconvulsiveobjectstrouvéoutofthealgorithmicofthemovementpatternofoureyeoveroneminute.AccordingtoSpiller,‘theSlamhoundistopressurepadwhatnanotech-nologyistoabrick–awholedifferentleagueofsensitivityandmorphicsurface’28.Whatwouldnotbepossiblewhenthefluctuatingparameterofthealgorithmsrelatetothephysicalspaceofthedweller?

Conclusion ThroughoutthisessayIhavetriedtoemphasisedifferentaspectsthatrelatearchitec-tureandsurrealismfromtheearlystagesofthemovementintoourdaysandbeyond.Bornonthevergeofchangebetweenthe19thandthe20thcentury,surrealismhavesurvived,latenttheimpetuousattacksofmoralityandsociety’slogic,whichhavealsosurvived.Bothchanged,morphedandderivedintosomethingdifferentofwhattheywere,orwhatwethoughttheyrepresented.Itisclearknowthatsurrealismdoesnotreadrational-ismssoobjecttoandsubvert,ithasitsownwaysomehowembeddedintoourmind’shiddenside,wherealldesiresstart.WalterBenjaminstatedthat‘theinconspicuousspotwhereintheimmediacyofthatlongforgottenmomentthefuturesubsistssoeloquentlythatwe,lookingback,mayredis-coverit’29.Thismeansthatwhatitsofthefuture,wemightbecapabletorecognizeaswell.Thenewboundlessvirtualrealityseemscompetentofcreatingasupremesetofaestheticsthatmightrelatebettertotheunconscious.Adreamfriendlysoftwarecapableofuploadingnewinformationwheneveritsneededtoofferournewlycreatedavataraneternalenjoyment,aperpetuallyyoung

FIG.14.SPACE-TIME GATE.SLAMHOUNDS

FIG.15.BREAD-BURDENED DALIAN LEG.SLAMHOUNDS

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avatardriftingawayformrestrictedemotions.Theonlyrestrictions–asusual-areourhumanbasicphysicalneedsthatcouldkeepusnotcompletelyunplugged.LikeJohnGoodbunandDavidCun-ningham,Iaswell‘nowannouncethecontinua-tionofthisboldenterprise’calledsurrealismandarchitecture30. Architecturewillbeconvulsive,oritwillnotbeatall.

NotesandBibliography.

1Breton,A,Nadja,NRF,Paris,1963,lastsentenceofthenovel.p155.quotedonArchitectureandDesignProfiles11,1978.LondonP.812Tschimi,B.(1944),ArchitectureandDisjunc-tion,MITPress,CambridgeMass,p.53Mical,T(2005),SurrealismandArchitecture,NewYork,London,Routledge.p44Veseley,D(1978)ArchitectureandDesignPro-files11,1978.LondonP.875Veseley,D(1978)ArchitectureandDesignPro-files11,1978.LondonP.886Veseley,D(1978)ArchitectureandDesignPro-files11,1978.LondonP.887Breton,A(1974)ManifestosofSurrealism,TheUniversityofMichiganPress.ArchitectureandDesignProfiles11,1978.Londonp.888Tschumi,B,(1978)ArchitectureandDesignProfiles11,1978.Londonp114.9Smith,P.(1978)ArchitectureandDesignPro-files11,1978.Londonp150.10Mical,T(2005),SurrealismandArchitecture,NewYork,London,Routledge.p511Magallanes,F,(2005),SurrealismandArchitec-ture,NewYork,London,Routledge.p23012DoumayronR.-G.,(1991),catalogueAndreBretonetl’artmagiqueaSaint-Cirq-la-Popie.QuotedonMical,T(2005),SurrealismandArchi-tecture,NewYork,London,Routledgep20913Knight,S.(1978)ArchitectureandDesignPro-files11,.Londonp10914Tschumi,B,(1978)ArchitectureandDesignProfiles11,1978.Londonp11215Mical,T(2005),SurrealismandArchitecture,NewYork,London,Routledge.p216Veseley,D(1978)ArchitectureandDesignPro-files11,1978.LondonP13817Benjamin,W,Mital,T(eds.)(2005),SurrealismandArchitecture,NewYork,London,Routledgep14018Phillips,S,Mital,T(eds.)(2005),SurrealismandArchitecture,NewYork,London,Routledgep142

FIG.16.SLAMHOUNDS. PAR-TIAL LANDSCAPE

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19Lahji,N,Mital,T(eds.)(2005),SurrealismandArchitecture,NewYork,London,Routledgep12420Fawcett,C,(1978)ArchitectureandDesignProfiles11,1978.LondonP12221Vidler,A(1992),ThearchitecturalUncanny,MITPress,Cambridge,Mass,p150,quotedonArchitectureandDesignProfiles11,1978.LondonP.23422Olin,L(fall1998),“Form,Meaning,andEx-pressioninLandscapeArchitecture”,inLandscapejournal,Volume7,Number2.P.154.quotedonArchitectureandDesignProfiles11,1978.LondonP.23023Magallanes,F,(2005),SurrealismandArchi-tecture,NewYork,London,Routledge.p22124Magallanes,F,(2005),SurrealismandArchi-tecture,NewYork,London,Routledge.p22225Magallanes,F,(2005),SurrealismandArchi-tecture,NewYork,London,Routledge.p22426Tschimi,B.(1944),ArchitectureandDisjunc-tion,MITPress,CambridgeMass,p.727Magallanes,F,(2005),SurrealismandArchi-tecture,NewYork,London,Routledge.p23128Spiller,N(2002),“AprovisionalTaxonomyofSlamhounds”inArchitectureandDesignjournal,Volume72,No.3p2429Benjamin,W.(19719)Surrealism:thelastsnap-shotoftheEuropeanintellignetsia,OnewayStreetandotherWritings,NewLeftBook,London.30ArchitectureandDesign(2005)Mar-Apr,Vol-ume76no.2p.68ExtendedBibliography.- Blueprints2007,Junen.225,p.111- Architect’sJournal200,June29,Volume211,no.25,p35-39,42,44.- ArchitectureReview1997.JulyAug,Vol-ume166.No.245p.58-60- Coates,N,(2003),GuidetoEcstasy,Lau-renceKing,London.