In the seventh volume of the Critical Spatial Practice series, architectural historian Felicity D. Scott revisits the Viennese émigré architect’s readings of the vernacular both in the United States and Japan, which resonate with his attempts to imagine architecture and cities that refused to communicate in a normative sense. Rudofsky’s unconventional musings take on a heightened resonance in a contemporary world saturated with visual information.

This publication examines the impact of Oskar Hansen within contemporary visual culture and the redefined role of the viewer since the 1960s. The book includes in-depth interviews with some of the most important protagonists of experimental art in Poland, who investigate the historical impact of the open form.

Based on the findings of an interdisciplinary research project, Transcultural Modernisms maps out the network of encounters, transnational influences, and local appropriations of an architectural modernity manifested in various ways in housing projects in India, Israel, Morocco, and China.

Martin Beck’s exhibition “Panel 2—‘Nothing better than a touch of ecology and catastrophe to unite the social classes…’” draws on the events of the 1970 International Design Conference in Aspen and the development of the Aspen Movie Map to form a visual environment that reflects the interrelations between art, architecture, design, ecology, and social movements. The Aspen Complex documents two versions of Beck’s exhibition.

In September 2011, Nikolaus Hirsch and Markus Miessen invited protagonists from the fields of architecture, art, philosophy, and literature to reflect on the single question of what, today, can be understood as a critical modality of spatial practice.