Surrealism and Architecture

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SURREALISM COMMAND NOT FOUND

Lucas Losada Gomendio. 06088403 - U30025

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“The beauty will be convulsive or will be notatall”        (AndréBreton)1

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The term surrealism, or to consider somethingsurreal,hasbecomeacommonwordinour everydaylifetodescribeimagesortenetsthat doesn’tarenotrecognizabletooneormoreofour logic’sstandards.Wehavedeviated, logic’sstandards. Wehavedeviated,vulgarized, vulgarized, thewordfromitsoriginalintention.Ithasbeen turnedaround.Shockinglywehavecomebackto theideaofsurrealismbeingjusta theideaofsurrea lismbeingjustaseriesofsemi-raseriesofsemi-rationalprovocativemethodsortechniques,amosaic ofrevelationstoaltertheprevailingstateofthings ofthatlackingpracticaluse. ForthepurposeofclarifyingIwilldi Forthepurposeofcla rifyingIwilldividetheessay videtheessay intoindividualtopics. Rationalizedworld Architecture has been used to lure attentionfromitsmorearchaicandprimalforms,to captiveandrepresentacertain captiveandrepr esentacertainidea.Throughthe idea.Throughthe analysisofarchitecturewefindtha analysisofarchi tecturewefindthatits‘role’genertits‘role’generally‘istoprojectonthegroundthei ally‘istoprojec tonthegroundtheimageofsocial mageofsocial institutions,translatingtheeconomicorpolitical structureofsocietyintobuildingorgroupofbuildings’andsothatitsadaptationrespondstotheexternaleventssociety,‘itwouldserve ternaleventssoci ety,‘itwouldservethepowersin thepowersin place’andtrytoshieldandprotectitsframework thoughtaretinalvisualizationofit2.Evenacross thegreatestandmostrebellioustimesinhistory, architecturehashelpedthe‘pre architectureha shelpedthe‘prevalentviewsfor valentviewsfor theexistingsocioeconomic’power,‘a theexistingsocioec onomic’power,‘adapting‘the dapting‘the space.Sinceitsbeginningin space.Since itsbeginninginthatofthevernacuthatofthevernacularandsurvivalduty,architecture larandsurvival duty,architecturehasbeen–and hasbeen–and continuoustobe-affectedfromoutsideitsown disciplinarypractice3.Aswith disciplinarypra ctice3.Aswithmanyotherthings, manyotherthings, onlytheprivilegedonesthatcanlookfurtherinto theirgeneration’sperspectivewould theirgeneration’s perspectivewouldachieveabe achieveabettterunderstandingofthefuture. Modernistattempts Modernism and rationalism was the dominatingmainstreaminthesocioeconomic frameworkformostofthepastcenturyandhas surviveddeeplyrootedintoourdays.TheSiècle

Cover FIG.GIOGIO DE CHIRICO Montparnasse







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isminanalmostinvisibleway.Allofthemwere isminanalmostinvisibleway.A llofthemwere mereattemptstoredeemtheirownself-reproaches fromexterminatingthedelightsofspatialexpressions.Wellknownexamplesfortheseattemptsare theevocativesolariumLeCorbusierdesignedfor hisfriendCarlosBeisteguiinParis(1930-1)could relatestoCorbu’sapproachesof‘objectsareactionpoetique’orthesemi-metaphysicalperspectivethatcanbefoundinOscarNi tivethatcanbe foundinOscarNiemeyer’swork emeyer’swork inBrasilia,almostresemblingCh inBrasilia,a lmostresemblingChirico’svisionof irico’svisionof thedesolatedspace4.Acelebrationofeveryday’s metaphysicalphenomena,onlythatthe metaphysicalphe nomena,onlythatthereisnoone reisnoone there.Rationalitygivessurrealism there.Rationali tygivessurrealismthebackground thebackground toliberatethemindfromtherepressivesocietal aspects. Surrealismintentions Andre Breton wrote the Surrealist Manife fesstoin1924toformulatethepurposesofthemovement,butsurrealismappearedalongwithDadaism–andnotasaconsequence-a ism–andnotasa consequence-astheambition stheambition derivedfromtheearlyactivitiesofpre-andpostwaravant-gardemovementasmeanstocreatea supremereconciliationofdreamand supremereconcil iationofdreamandrealityand realityand thephilosophicalGrandOeuvre.Itderivesfrom atotalrejectionofcurrentlogicsa atotalrejection ofcurrentlogicsandcultureand ndcultureand triesto‘revoltagainstthehyper-logica triesto‘revoltagai nstthehyper-logicalofreality’5. lofreality’5. Surrealistslongtoreturntothearchaicforms andfeel‘nostalgiaforthepoeticthoughtandthe powersofthearchaicmen’,the‘pou powersofthearcha icmen’,the‘pouvirperdú,and virperdú,and thustheyputforthintothetaskoftransforming societytroughthe‘alchemyofwordsandimages’6. Thesearchaicmenandtherel Thesearchaic menandtherelationshipwith ationshipwith naturetakeusbacktothearchaic naturetakeusba cktothearchaicsocietyandits societyandits oneiricphilosophyandrituals.The oneiricphilosophy andrituals.Theyareconcerned yareconcerned witharchetypicalsymbolscapable witharchetypica lsymbolscapableofcreatinga ofcreatinga generaladherenceofhumanitytoreplacelogicalrepressionswhichthatcan calrepressions whichthatcanonlyresolveirrelonlyresolveirrelevantmatters.Thenatureoftheirideasconduct tofindingakeythatwouldopenthehiddenside, asideofwhichtheyaresureofits asideofwhich theyaresureofitsexistence.The existence.The focusistransportedintothecreativeproductivenessofdreams,anditsrealization nessofdreams,and itsrealizationthroughaseries throughaseries oftechniquessuchasautomatismandobjective chance.Thefirstimpliestheuse chance.Thefi rstimpliestheuseofpsychoanalytiofpsychoanalyticalmethodsemanatedfromFreudiantheoriesof

FIG.2.







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FIG.4.DALI. PREMONITION OF CIVIL CI VIL WAR

thewaytochangerealityandcreateanewmyth thewaytochangerealityandcre ateanewmyth –‘thereisnosocietywithoutamyth’7.Through itsveryconvulsivelife,surrealismwentthrough varioustransformations,andbythesecondmanifestoin1929,Bretontriestotackleamoreuniversalapproachintothecollective salapproachi ntothecollectiveunconsciousness, unconsciousness, thecreationofthenewmyththroughanalogies capableofcreationanewcosmogonythatdefamiliarizeourselvesfromeverydayre miliarizeours elvesfromeverydayreality.These ality.These analogiescanbringustoacommon analogiescan bringustoacommonplace,theone place,theone thatforcesorproductionhaveturnedtorubble,a placewheretheunexpectedi placewhere theunexpectedistoappear,wel stoappear,welook ook intoourchildhoodandtheemotionsofdream-like imaginationthatfollowedthedisintegrationofthe commonlogics. Surrealism tend to have an immersingobsessionwiththequalitiesofc ingobsessionwith thequalitiesofcrystal,asa rystal,asa supremepointforcreation,thebelievedinits ritualandesotericconnexionas ritualandesote ricconnexionasspontaneity’and spontaneity’and imagination’sorigin.Theyuseditw imagination’sorigi n.Theyuseditwithintentions ithintentions tounderminerealityandprovethefragilegrasp thathaveonreality.Inpuresurre thathaveonreal ity.Inpuresurrealism,artwould alism,artwould despairasbeinginferiortoreali despairasbei nginferiortoreality.Intellectual ty.Intellectually, ly, itwasaveryproductivemovementsstartedasart andliteratureandmovingfastintosculptureand thebuiltsphere,incorporating,mostlybyBreton, scienceintheformofpsychology,philosophyand anthropology.Artaud,forinstance,concludedthat ‘itwasamistaketoequateall ‘itwasamistak etoequateallconsciousnesswith consciousnesswith whatevercouldbeexpressedonwords’andafter beingexcludedbyBretonaseditoroflarevolution surrealisteforhisviolentspeech surrealisteforhi sviolentspeechendeduppushing endeduppushing theboundariesoftheatricalpsychologyuntilits closedestruction8. Returning to the liberating exercises of analogies,itisalsoimportanttorememberthat ourbrainsarehard-wiredandtha ourbrainsareh ard-wiredandthat‘oursenses t‘oursenses havesurvivalvalue,symbolismisc havesurvivalval ue,symbolismisconnectedtothe onnectedtothe primitiveemotionalbrainanditdoe primitiveemotional brainanditdoesnotdiscern snotdiscern betweenthreatsandpromises’andthatmightbe apossiblereasonwhythearchai apossiblereas onwhythearchaicmendidnot cmendidnot pursuematerializethecityas pursuematerial izethecityasarepresentation arepresentation beyondthesenses9.Ontheotherhand beyondthesenses9. Ontheotherhand,machines ,machines andultimatereasonmightmakeouri andultimatere asonmightmakeourintelligence ntelligence redundanttheaestheticsapracti redundanttheae stheticsapracticaldecisionm caldecisionmore ore inthewaytoDadaismintentiontodestroyartto savethesubject.







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changeasforthetotaldislocateoftraditions,to beabletousethe‘experience beabletouseth e‘experienceofmarvellous’asa ofmarvellous’asa steptowardsabettersociety,notjustanaesthetic dreamforprivilegedplayer’11.

Noreasonforexisting ‘Utopiaisthemagiclampofthosewhorefuseto leavethemselvescrushedbythenight’ (Rene-GuyDourmayrou,AndreBretonetl’art magiqueaSaint-Cirq-la-Popie)12 The relationships between architecture andsurrealismcomesalogical andsurrealismc omesalogicalextensionofpoetic extensionofpoetic analogiesofthephysicalobject,w analogiesoftheph ysicalobject,whatinsurrealhatinsurrealisttermscanbereadasafoundobj isttermscanbe readasafoundobjectorobject ectorobject trouvé.Thesurrealistswerefirstinte trouvé.Thesurreal istswerefirstinterestedinArt restedinArt Nouveauandmorespecificallyin Nouveauandmore specificallyinGaudi’swork. Gaudi’swork. Forinstance,CasaBattlocanbese Forinstance,Casa Battlocanbeseenasthereal enastherealiisationoftheoriginalbuilding,tac sationoftheoriginal building,tacklingthecrisis klingthecrisis oftheobjectsinindustrializedsoc oftheobjectsinin dustrializedsocieties,itlooks ieties,itlooks forbuiltanalogies,andCasaMia forbuiltanalogies, andCasaMiatriestoreduce triestoreduce thedistancebetweenthespontaneityofvision andthespontaneityofnature–dreamedreality.Creationinarchitecturebec ity.Creationina rchitecturebecomesadramaof omesadramaof desireandrepresentation,whenformostartforms, surrealismisabeholdingtheoretic surrealismisa beholdingtheoreticalframework, alframework, inarchitecture,formsarealways inarchitecture ,formsarealwaysreal.AdolfLoos real.AdolfLoos wasthefirsttochallengethelimi wasthefirsttocha llengethelimitsofillusionand tsofillusionand realityfromaDadaismperspectiveforbourgeoisiedetachmentfromwhattheysee,uncommitted anduninvolved.Thetranspositionofrealandits mirrorimage.Otherstyleshavealsoderivedfrom surrealistpracticeslikeDeconstru surrealistpracti ceslikeDeconstructivismandthe ctivismandthe fragmentedbuilding,whichinfersfrom(remotely) it.MoreimportantlywasDuchamp’sconcept ofready-madeart,whichwhentranslatedinto architectureitbecomesevidentitstremendous success.Surrealismencouraged success.Surrea lismencouragedtheuseofsurrealtheuseofsurrealisttechniquestoexploretheunconsciousnessand itsanalogiestotheobjecttrouvébutithadnouse foranyofthegivenstyles,narrowingdownthe spectrumofintervention.Itratherencouraged theuseoftheirrationalityofconcrete,itflux,‘the dailytransformationofobjectstoconstructthe buildersunconscious’13.Bretonhimselfattempted irrationalbeautifyingofPariswithjuxtaposition

FIG.6.LE CORBUSIERFireplace and Arc de triomphe







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FIG.8. RENE MAGRITE L’ATTENTANT

ibleandspacesarenot.Duchampcreatedthegl ibleandspacesarenot.Ducha mpcreatedtheglass ass inbetween1915and1930-hehad inbetween191 5and1930-hehadinmindthe inmindthe alchemicalqualitiesthatar alchemical qualitiesthatareattributedtocrystal eattributedtocrystal -andthebox,withrandomthoughtsandnotes tobereadwhileinsidethegl tobereadwhil einsidetheglasstotryandgetrid asstotryandgetrid oftheretinalaspectofobjects.Hewastryingto achieveaspecialrelations achieveaspe cialrelationshipmadeupofreferhipmadeupofreferencesandwitsandputtinginpe encesandwi tsandputtinginpeopleasthemain opleasthemain alchemicalingredientandl alchemical ingredientandliveactionsassp iveactionsasspecial ecial attitudes.Thejunctionofimageandidea.Surrealisminarchitecturehasbe realisminar chitecturehasbeenreferredasth enreferredasthe e blindobject,thepossibilityto‘enc blindobject,the possibilityto‘encodedesires’15, odedesires’15, butdefamiliarizingourselvesisc butdefamiliariz ingourselvesiscriticaltorestore riticaltorestore the(un)consciousexperience.Homeisutmost representativeofrepressivestability, representativeofre pressivestability,aplaceof aplaceof bourgeoismoralsandpolitics,ideologicallyrotten andconstricting,thoughamidourroomlaysour childhood,thesurrealistpalace childhood,thesur realistpalaceofimagination,the ofimagination,the castle,thatlaterbecomesrubble castle,thatla terbecomesrubbleandthathasbee andthathasbeen n depictedinnumeroussurrealpaintings. Arc rch hit iteect ctu ure is isa av viita tallp paart of ev eveery ryda day yllif ife. e. Surrealistpoeticsaredriftingin Surrealistpoetic saredriftinginourneedtobring ourneedtobring themdowntotryandcasttogetherfamiliarobject whilstlookingforthestrangenewobjecttoarise. Builtexamples Only a few examples have been made of actualarchitectureforwhatitrela tualarchitectu reforwhatitrelatestoinhabitancy. testoinhabitancy. EventhoughGaudiwasareference EventhoughGaudi wasareferenceandastarting andastarting pointforthefoundobjectinsurrealism,hewas neverasurrealist,norintimen neverasurreal ist,norintimenorinspirit.Gau orinspirit.Gaudi di andArtNouveauwereprivileged andArtNouveauw ereprivilegedbythesurrealists bythesurrealists fortheirmediumisticarchitecture,andtheirorganicanalogieslikethefluidi ganicanalogie slikethefluidityofwateroverearth tyofwateroverearth andthepreoccupationofthesoftformsandthe ‘time-spacecontinuum’16.Anotherch ‘time-spaceconti nuum’16.Anothercharacteristic aracteristic ofGaudi’sarchitectureisthetrul ofGaudi’sarchi tectureisthetrulymythicaland ymythicaland ritualisticinspirationinhisw ritualisticins pirationinhisworks,thestructures orks,thestructures celebratewhattheysupports,butafterallChristianityandhisowndismalsandse tianityandhisow ndismalsandself-reproachwas lf-reproachwas attherootofhisneedsfordelvingintoanewset ofexternalretinalexperience. ofexternalretinal experience.TheonlytruesurTheonlytruesurrealistarchitectofallwasFre realistarchite ctofallwasFrederickKiesle derickKiesler,whose r,whose organicapproachintheEndlessHou organicapproach intheEndlessHouseexpressed seexpressed asmetabolicprocessesanddeliveryofcomplete seclusionandphysicalseparati seclusionandp hysicalseparationencapsulate onencapsulate thedesiretopfindakeyandcrossthethreshold inthehollowsoftheearth17.WalterBenjamin









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passionateplacethatcoulderodetheoutside/insideboundariesofinnerconsciousne sideboundaries ofinnerconsciousness18.Thelast ss18.Thelast architect–notbyprofession-thatIwanttomentionisFerdinandCheval,aFrenchpostmanwho gathered,single-handed,rocksfromtheregion andconstructedhisownfairytailoverthirty-three years,hisownunconsciouspassionateexpression, hisownPalaisIdeal.Bretonused hisownPalaisI deal.Bretonusedtomentionitin tomentionitin hislecturesandlovedthe‘lac hislecturesan dlovedthe‘lackofutility’andthe kofutility’andthe ‘individual’suntutoredandimagina ‘individual’sun tutoredandimaginativevision’19. tivevision’19. ForthattopayhomagetoDaliIwouldliketo refertohispaintingTheSuburbsoftheParanoiac-CriticalTown(1931),whichshow ac-CriticalTow n(1931),whichshowsthewhole sthewhole arrayofarchitecturaltrickswhile arrayofarchitectur altrickswhiletheextremely theextremely emotionalrhetoricofthepaintingevokesonaflat surfacewhatneverhaseverdoneon surfacewhatneve rhaseverdoneonthreedimenthreedimensions.Allphasesofarchitecturea sions.Allphase sofarchitectureareincludedon reincludedon thevergeofcollapse,thearchitectureoftheforgottenplaces,masks,and‘wherep tenplaces,mas ks,and‘wherepeoplecommunicate eoplecommunicate insmotheredwhispers,actingoutthei insmotheredwhispe rs,actingouttheirlivesina rlivesina theatreoftorture’20. Criticism No one makes up his head overnight, and especiallyBreton,whoserejecti especiallyBre ton,whoserejectionandcontempt onandcontempt forarchitecturewaspalpablewh forarchitecturewa spalpablewhenhestatedthat enhestatedthat ‘modern-andallarchitecturesa ‘modern-andall architecturesavefewexamples vefewexamples -architecturewasthemostunhappydreamof collectiveunconscious’,a‘solid collectiveuncon scious’,a‘solidificationofdesire ificationofdesire inamostcruelandviolentautomatism’.George Batailleagreesandassertsthat Batailleagree sandassertsthat‘architecturewa ‘architecturewas s simplyauthoritariananditsformsnowthetrue mastersacrosstheland,gatheringthe mastersacrossthel and,gatheringtheservilemulservilemultitudesintheirshadow,enforcingadministration andorderandconstraint’21.Anothercriticismon thelimitationsofsurrealismintheendeavourof transformingthefoundobjectswerewrittenbythe

FIG.10.RENE MAGRITTE TIME TRANSFIXED







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scapescanbefoundintheirpaintingorwritings. scapescanbefoundintheirpai ntingorwritings. Theywere‘seekingforspontaneousadventures andescapeboredom’24.Ithasall andescapebore dom’24.Ithasallthedesireofthe thedesireofthe archaicsocietalmyths,rituals archaicsocie talmyths,ritualsandalchemyla andalchemylatent tent initsimagery,itsbizarre(potentia initsimagery,i tsbizarre(potential)juxtaposition l)juxtaposition andrhetoricoflegibleobjecttrouvé. andrhetoricofle gibleobjecttrouvé.Landscape, Landscape, asitappearsinitscontexthasthe asitappearsi nitscontexthastheadvantagethat advantagethat itisalreadyachangingperce itisalreadya changingperceptivethatcantra ptivethatcantransnsformconfrontedfeelingswiththejuxtapositionof everydayobjectsquickerthanotherenvironments, simplybecausewearepsychologic simplybecause wearepsychologicallywiredto allywiredto recognizethoseinrawnature,i recognizethosei nrawnature,itbringusdownto tbringusdownto ourprimitive‘universalsocietal ourprimitive‘uni versalsocietalvalues’andigni values’andignite te theenigmaofclarityandambiguity25. Wakingup

FIG.12.YVES TANGY-ENNUI ET TRANQUILITE

Cri riti tici cism sm is no noth thiing ne new win ins su urr rreeal alis ism, m,i it t wascriticizedbackinthe1 wascriticize dbackinthe1930sandisstill 930sandisstilltodayif todayif youtrytoapplyitoutsideitssocial“coolness”(of thelikesofOHMYGODTHAT’SSOSURREAL),butarenotallthistopicsalreadypartof today’sissues?.Fragmentationoccursinsociety nowadaysendlesslyinallaspe nowadaysendless lyinallaspects,infactwes cts,infactwesearch earch foritmostofthetime.Alienationhasbecomethe new’sbackground.Andlastcomesha new’sbackground. Andlastcomeshallucination, llucination, whatcanIsaythatitwasnotdoneinthe60s?. Thequestionnowchangesto:wouldw Thequestionnowc hangesto:wouldwebeable ebeable torecognizealegibleobjecttrouvéwithtoday’s amoralordouble-moralsociety?.Itmighthave beenamatterofheightontheladderofhuman evolutionandasusingMarxideas, evolutionandasu singMarxideas,nowwesee nowwesee furtherdownintothefuture’spossibilities.Not toforgetsurrealismeroticdiscourseevolvedfrom thearchaicritualthataccordingtomythology occurredinnaturewithmenstripp occurredinna turewithmenstrippedofallconedofallconstraintsandcommonlogic,aDionysianventure intothewilderness.AndasTsch intothewilderne ss.AndasTschumipointsoutin umipointsoutin







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issogreattheevenwhenBretonwrotethatthe ‘merveilleuxisnotthesameforeveryperiodof time’27,hisvisionwasnotlookingfurtherenough, perhapshewasnothigherenoughup perhapshewas nothigherenoughuptheladder. theladder. Thevelocityanddexterityofcreatingsemiobjects trouvéproposedbyNeilSpillerin trouvéproposedbyNei lSpillerinhisarticleen hisarticleen-titled“AProvisionalTaxonomyofSlamhounds” reflectstheaccelerationthatha reflectstheacc elerationthathasgotintothevirtual sgotintothevirtual specialexperience.Nowthatth specialexperi ence.Nowthattheprevailingan eprevailingand d omnipotentlogicisgreenandglobali omnipotentlogicisgr eenandglobalizestheworld zestheworld throughwiretransfers,theabilityofourlethargic mindtotryandreadanewobjectfoundhasno relevancebecausewhileour relevancebec ausewhileourneuronalconnec neuronalconnector tor weresendingelectricimpulse weresendingel ectricimpulsetosparktheawai tosparktheawaited ted surrealenvision,thisspatialmonstrosityhasdone afewhundredmoreofthem.Thesespace-time geometriesarecapabletobulkproducethousand ofsemielectronicconvulsiveobjectstrouvéoutof thealgorithmicofthemovementpatternofour eyeoveroneminute.AccordingtoSpiller,‘the Slamhoundistopressurepadwhatnanotechnologyistoabrick–awholedifferentleagueof sensitivityandmorphicsurface’28.Whatwould notbepossiblewhenthefluctuatingparameterof thealgorithmsrelatetothephysicalspaceofthe dweller? Conclusion Throughout this essay I have tried to emphasisedifferentaspectsthatrela emphasisedifferen taspectsthatrelatearchitectearchitectureandsurrealismfromtheearlystagesofthe movementintoourdaysandbeyond.Bornon thevergeofchangebetweenthe19thandthe 20thcentury,surrealismhavesurvived,latentthe impetuousattacksofmoralityandsociety’slogic, whichhavealsosurvived.Bothchanged,morphed andderivedintosomethingdifferentofwhatthey

FIG.14.SPACE-TIME GATE. SLAMHOUNDS







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avatardriftingawayformrestrictedemotions.The onlyrestrictions–asusual-areour onlyrestrictions–a susual-areourhumanbasic humanbasic physicalneedsthatcouldkeepu physicalneeds thatcouldkeepusnotcompletely snotcompletely unplugged.LikeJohnGoodbunandDavidCunningham,Iaswell‘nowannounc ningham,Iasw ell‘nowannouncethecontinuaethecontinuationofthisboldenterprise’called tionofthisboldente rprise’calledsurrealismand surrealismand architecture30. Arcchi Ar hite tecctu ture rew wil illlb beec con onvu vullsi sive ve,,o or rit it wi will ll notbeatall. NotesandBibliography.

FIG.16.SLAMHOUNDS. PAR TIAL LANDSCAPE

1Breton,A,Nadja,NRF,Paris,1963,lastsentence 1Breton,A,Nadja,NRF,Paris, 1963,lastsentence ofthenovel.p155.quotedonArchitectureand DesignProfiles11,1978.LondonP.81 2Tschimi,B.(1944),ArchitectureandDisjunction,MITPress,CambridgeMass,p.5 3Mical,T(2005),Surrealismand 3Mical,T(2005), SurrealismandArchitecture, Architecture, NewYork,London,Routledge.p4 4Veseley,D(1978)ArchitectureandDesignProfiles11,1978.LondonP.87 5Veseley,D(1978)ArchitectureandDesignProfiles11,1978.LondonP.88 6Veseley,D(1978)ArchitectureandDesignProfiles11,1978.LondonP.88 7Breton,A(1974)ManifestosofSurrealism,The UniversityofMichiganPress.Architectureand DesignProfiles11,1978.Londonp.88 8Tschumi,B,(1978)ArchitectureandDesign Profiles11,1978.Londonp114. 9Smith,P.(1978)ArchitectureandDesignProfiles11,1978.Londonp150. 10Mical,T(2005),Surrealismand 10Mical,T(2005), SurrealismandArchitecture, Architecture, NewYork,London,Routledge.p5 11Magallanes,F,(2005),Surreali 11Magallane s,F,(2005),SurrealismandArchitecsmandArchitecture,NewYork,London,Routledge.p230 12DoumayronR.-G.,(1991),catalogueAndre Bretonetl’artmagiqueaSaint-Cirq-la-Popie.









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19Lahji,N,Mital,T(eds.)(2005),Surrealismand 19Lahji,N,Mital,T(eds.)(2005),S urrealismand Architecture,NewYork,London,Routledgep124 20Fawcett,C,(1978)ArchitectureandDesign Profiles11,1978.LondonP122 21Vidler,A(1992),Thearchitectura 21Vidler,A(1992), ThearchitecturalUncanny, lUncanny, MITPress,Cambridge,Mass,p150,quotedon ArchitectureandDesignProfiles11,1978.London P.234 22Olin,L(fall1998),“Form,Meaning,andExpressioninLandscapeArchite pressioninLan dscapeArchitecture”,inLan cture”,inLandscape dscape journal,Volume7,Number2.P.154.quotedon ArchitectureandDesignProfiles11,1978.London P.230 23Magallanes,F,(2005),SurrealismandArchitecture,NewYork,London,Routledge.p221 24Magallanes,F,(2005),SurrealismandArchitecture,NewYork,London,Routledge.p222 25Magallanes,F,(2005),SurrealismandArchitecture,NewYork,London,Routledge.p224 26Tschimi,B.(1944),ArchitectureandDisjunction,MITPress,CambridgeMass,p.7 27Magallanes,F,(2005),SurrealismandArchitecture,NewYork,London,Routledge.p231 28Spiller,N(2002),“AprovisionalTaxonomyof Slamhounds”inArchitectureandDe Slamhounds”inArc hitectureandDesignjournal, signjournal, Volume72,No.3p24 29Benjamin,W.(19719)Surrealism:thelastsnapshotoftheEuropeanintellignetsia, shotoftheEuropean intellignetsia,OnewayStre OnewayStreet et andotherWritings,NewLeftBook,London. 30ArchitectureandDesign(2005)Mar-Apr,Vol-

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