This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into "how" dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida's writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships. In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas. Crucial to the undermining of their respective enemies is the friends' collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. It also appears that through the making of these projects, the unrecognised architects are able to convert themselves to being recognised as new figureheads. This thesis contends that as a consequence of the power within each of the three friendship partnerships, the architects are enabled to collaborate against the dominant ideology of their respective enemies and gain status. It also contends that a cycle of friendship and warring is the political system by which the institution of modern architecture has historically reengineered itself to suit the times.

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[EN] Exhibitions are a cornerstone of Alison and Peter Smithsons' multifaceted approach to their work. A powerful medium for conveying and materialising their ideas which provided them, throughout their career, with the opportunity to freely create experimental constructions to relay their thoughts. The exhibitions they staged in the 1950s and 60s, such as 'Parallel of Life and Art', 'House of the Future', and 'Patio & Pavilion' were, and still are, at least as important to architectural critics as their few built works or many writings. However, from the 1970s onwards little is known about their prolific work in the realm of exhibitions. In his lecture 'The Masque and the Exhibition: Stages Towards the Real' in 1980, Peter Smithson mentioned the importance of exhibitions in shaping the Smithsons' architecture as places of opportunity in which to experiment with reality. This comment makes it logical to think that if the exhibitions held before then had always been a powerful tool - a tool used, furthermore, by the Smithsons to create some of their most intense productions - then those staged after said lecture, which acknowledged and highlighted this aspect of their work might, despite being little known, be at least as intense as the previous exhibitions with greater media visibility. This idea, together with the expectations raised by the 'Christmas-Hogmanay' exhibition - not only because it was staged whilst said lecture was being drafted but also because of the ideas that sprang from the analysis of a related collage mentioned in the prelude to this doctoral thesis - channelled the research towards this final period of the Smithsons' exhibition architecture. The research herein focuses specifically on two groups of exhibitions that stand out amongst the Smithsons' wide range of documented exhibitions on account of their inherent intellectual cohesion enabling the concepts staged by Alison and Peter Smithson to be seen more clearly. This doctoral thesis consists of four chapters. It begins with an introductory chapter which firstly analyses and contextualises architecture in the shape of exhibitions; then outlines the importance of exhibitions in Alison and Peter Smithson's work; and finally puts the specific period under study into context in terms of both their career and the discourse of architecture in general. The two main chapters in this thesis are entitled 'Christmas Exhibitions' and 'Tecta Exhibitions', each organised in a similar fashion: a short introduction to the group of exhibitions followed by an in-depth analysis of each exhibition in the group based mainly on the unpublished documentation to which the author had access in the three main archives devoted to Alison and Peter Smithson: The Alison and Peter Smithson Archive in the Special Collections Department of the Frances Loeb Library at Harvard Design School (USA); the Alison and Peter Smithson Archive / Tecta Archive at Lauenförde (Germany); and the Smithson Family Archive in Stamford (United Kingdom). Finally, each chapter ends with an essay which analyses and links up the different concepts conveyed by each individual exhibition and the exhibitions in the group as a whole. The last chapter is a short epilogue that gathers up all the concepts set out previously in relation to the Christmas and Tecta exhibitions, and shows how they all tie in together in the Smithsons' most experimental work: the Hexenhaus at Bad Karlshafen. / [ES] Dentro del enfoque polifácetico del trabajo de Alison and Peter Smithson, las exposiciones son pieza fundamental. Un medio poderoso para comunicar y materializar sus ideas que les brindó a lo largo de toda su trayectoria la oportunidad de abordar con libertad la construcción experimental de su pensamiento. Sus propuestas expositivas de la década de los cincuenta y sesenta, como Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sido y son tanto o más relevantes para la crítica arquitectónica como sus escasas obras construidas o sus abundantes escritos. Sin embargo, a partir de la década de los setenta, poco se conoce de su prolífica producción expositiva. Peter Smithson en la conferencia "The Masque and the Exhibition: Stages Towards the Real" en 1980 expresaba el importante significado que tenían las exposiciones para la conformación de su arquitectura como lugares de oportunidad para experimentar con la realidad. A partir de esta reflexión, parece lógico pensar que si hasta ese momento dichas instalaciones siempre fueron una herramienta con la que los Smithson han ofrecido algunos de sus momentos más intensos, las realizadas a partir de ese momento de reconocimiento consciente y puesta en valor de esta faceta de su trabajo, pese a su poca difusión, podrían entrañar una intensidad al menos similar a las que ya han destacado hasta el momento en los medios. Esta consideración, unida a las expectativas generadas en torno a la exposición Christmas-Hogmanay, tanto por ser simultánea a la elaboración de dicha conferencia, como por las ideas que se desprenden del análisis de un collage vinculado a la misma que aparece como preludio de esta tesis doctoral, ha dirigido la investigación hacia este último periodo de su arquitectura expositiva. En concreto, el estudio se centra en dos grupos que, dentro del amplio abanico de montajes expositivos realizados, destacan por poseer una cohesión intelectual propia que permitirá descubrir con mayor claridad las reflexiones que Alison y Peter Smithson ponen en escena. La tesis doctoral se estructura en cuatro grandes apartados. Arranca con un capítulo de introducción dedicado a enmarcar el tema de estudio en el que primero se analiza y contextualiza la arquitectura hecha exposición; después, se presenta la relevancia que tiene la obra expositiva en el trabajo de Alison y Peter Smithson; y finalmente se contextualiza el periodo concreto en el que se centra el estudio atendiendo tanto a su propia trayectoria como al discurso arquitectónico general. Los dos grandes apartados de la disertación son las exposiciones de Navidad y las realizadas junto a TECTA, estructurándose ambos de manera similar. Tras una breve introducción al grupo de exposiciones que se va a analizar, aparecen ampliamente documentadas cada una de las exposiciones que conforma el grupo a partir, principalmente, de la documentación inédita a la que se ha tenido acceso en los tres principales archivos dedicados a Alison and Peter Smithson: The Alison and Peter Smithson Archive en el Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estados Unidos); The Alison and Peter Smithson Archiv / TECTA Archiv en Lauenförde (Alemania); y The Smithson Family Archive en Stamford (Inglaterra). Finalmente, cada capítulo se cierra con un ensayo en el que se analizan y relacionan las diferentes reflexiones que las exposiciones ofrecen, de manera individual y en su conjunto. El último capítulo es un breve epílogo que reúne y entrelaza todo lo anteriormente expuesto, a través de las exposiciones de Navidad y TECTA, en su obra más experimental, la Hexenhaus en Bad Karlshafen. / [CA] Dins de l'enfocament polifacètic del treball d'Alison i Peter Smithson, les exposicions en són una peça fonamental. Un mitjà poderós per a comunicar i materialitzar les idees que, al llarg de tota la seua trajectòria, els van brindar l'oportunitat d'abordar amb llibertat la construcció experimental del seu pensament. Les seues propostes expositives de la dècada dels cinquanta i seixanta, com ara Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sigut i són tant o més rellevants per a la crítica arquitectònica com les seues escasses obres construïdes o els seus abundants escrits. No obstant això, a partir de la dècada dels setanta, poc es coneix de la seua prolífica producció expositiva. Peter Smithson, en la conferència "The Masque and the Exhibition: Stages Towards the Real" al 1980, expressava l'important significat que tenien les exposicions per a la conformació de la seua arquitectura com a llocs d'oportunitat per a experimentar amb la realitat. A partir d'aquesta reflexió, sembla lògic pensar que, si fins a eixe moment les dites instal·lacions sempre van ser una eina amb la qual els Smithson han ofert alguns dels seus moments més intensos, les que van realitzar a partir d'aquest moment de reconeixement conscient i posada en valor d'aquesta faceta del seu treball, tot i la poca difusió, podrien contenir una intensitat com a mínim similar a la d'aquelles que ja han destacat fins al moment en els mitjans. Aquesta consideració, unida a les expectatives generades entorn a l'exposició Christmas-Hogmanay, tant per ser simultània a l'elaboració de la dita conferència, com per les idees que es desprenen de l'anàlisi d'un collage vinculat a la mateixa que apareix com a preludi d'aquesta tesi doctoral, ha dirigit la investigació cap a aquest últim període de la seua arquitectura expositiva. En concret, l'estudi se centra en dos grups que, dins de l'ampli ventall de muntatges expositius realitzats, destaquen per posseir una cohesió intel·lectual pròpia que permetrà descobrir amb una major claredat les reflexions que Alison i Peter Smithson posen en escena. La tesi doctoral s'estructura en quatre grans capítols. Arrenca amb un apartat d'introducció dedicat a emmarcar el tema d'estudi, en què primer s'analitza i contextualitza l'arquitectura feta exposició; després, es presenta la rellevància que té l'obra expositiva en el treball d'Alison i Peter Smithson; i finalment es contextualitza el període concret en què se centra l'estudi, atenent tant a la seua pròpia trajectòria com al discurs arquitectònic general. Els dos grans capítols de la dissertació són les exposicions de Nadal i les realitzades junt amb TECTA, i s'estructuren tots dos de manera similar. Després d'una breu introducció al grup d'exposicions que s'analitzarà, apareixen amplament documentades cadascuna de les exposicions que conforma el grup, a partir principalment de la documentació inèdita a la qual s'ha tingut accés en els tres principals arxius dedicats a Alison i Peter Smithson: The Alison and Peter Smithson Archive a l'Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estats Units d'Amèrica); The Alison and Peter Smithson Archiv / TECTA Archiv a Lauenförde (Alemanya); i The Smithson Family Archive a Stamford (Anglaterra). Finalment, cada capítol es tanca amb un assaig en què s'analitzen i relacionen les diferents reflexions que les exposicions ofereixen, de manera individual i en conjunt. L'últim capítol és un breu epíleg que reuneix i entrellaça tot allò exposat anteriorment, a través de les exposicions de Nadal i TECTA, en la seua obra més experimental, la Hexenhausen Bad Karlshafen. / Ábalos Ramos, A. (2016). ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62223

本篇論文企圖探討史蒂芬‧佛瑞爾斯 ( Stephen Frears ) 的電影《美麗壞東西》( Dirty Pretty Things ) 中的公民權與人權之議題。片中描述從奈及利亞非法入境的奧奎 (Okwe) 與來自土耳其申請政治庇護的桑娜 (Senay) 因其游移的身分，遭逢英國政府監控與資本主義社會剝削，並揭露倫敦城市中非法難民販賣器官以求生存的黑暗面。本篇論文著重分析政治庇護者的矛盾身分如何擾亂民族國家的監視、暴露僅以公民權利保障境內人民的缺失，並主張唯有透過跨種族、階級，與性別的聯合 ( solidarity ) 才能對抗國家機制裡的矛盾與全球資本主義的剝削。論文第二章以德希達 ( Jacques Derrida ) 的制約款待 ( conditional hospitality )，與傅柯 ( Michel Foucault ) 的監視 ( Panopticon ) 概念，探討片中監控 ( surveillance ) 機制的形成。第三章引進布斯克與夏弗 (Alison Brysk and Gershon Shafir ) 提出公民權 (citizenship) 與人權 ( human rights ) 的差距，來揭發片中政治庇護者與外籍勞工在地主國 ( host countries ) 因為缺乏公民權而導致人權被忽視的困境。第四章從傅柯 ( Michel Foucault ) 的反抗 ( resistance ) 與拉克勞 ( Ernesto Laclau ) 與穆芙 ( Chantal Mouffe ) 的激進多元民主 ( radical plural democracy ) 的概念，探討以跨種族、階級，與性別的聯合 ( solidarity ) 來對抗國家制度本身的裂縫與經濟全球化的無情剝削。最後總結在全球化時代，唯有檢視國家制度的缺失，並揚棄封閉排他的意識形態，才能體現種族與文化的差異與多元性，並促進跨界聯合之實現。 / This thesis aims to explore the issue of citizenship and human rights in Stephen Frears’s Dirty Pretty Things. Dirty Pretty Things describes the British government’s surveillance on asylum seekers, such as Okwe, an illegal refugee from Nigeria, and Senay, the Turkish asylum applicant, and unveils illegal refugees’ organ trade in exchange for passports in London. The thesis attempts to decipher how the ambivalent status of asylum seekers disturbs the surveillance of nation-states, exposes the defect of the citizenship gap and argues only through solidarity among different ethnicity, class and gender, could the subordinated fight against deficiencies in the mechanism of nation-states and exploitation of global capitalism. Through the perspectives of Derrida’s conditional hospitality and Foucault’s Panopticon, Chapter Two examines the surveillance of nation-states on asylum seekers in Dirty Pretty Things. In Chapter Three, I adopt Brysk and Shafir’s analysis to explore the citizenship gap between citizenship and human rights in the film, which reflects the difficulty in handling the cases of legal and illegal asylum seekers in nation-states on the basis of citizenship in the era of globalization. In Chapter Four, I will utilize the perceptive of Foucault’s resistance and Laclau and Mouffe’s radical plural democracy to suggest how counter strategies and solidarity could rebel against fissures in nation-states’ apparatuses and reveal a new possibility of alliance beyond borders in the era of globalization. The last chapter concludes by summing up the gaps in the system of nation-states and rejecting any enclosed ideology so as to articulate multiplicities and differences beyond limitations of ethnicity, class and gender across borders in the era of globalization.

The philosophical literature on akrasia and/or weakness of the will tends to focus on individual actions, removed from their wider socio-political context. This is problematic because actions, when removed from their wider context, can seem absurd or irrational when they may, in fact, be completely rational or, at least, coherent. Much of akrasia's apparent mystery or absurdity is eliminated when people's behaviours are considered within their cultural and political context. I apply theories from the social and behavioural sciences to a particular behaviour in order to show where the philosophical literature on akrasia and/or weakness of the will is insightful and where it is lacking. The problem used as the basis for my analysis is obesity caused by overeating. On the whole, I conclude that our intuitions about agency are unreliable, that we may have good reasons to overeat and/or neglect our health, and that willpower is, to some degree, a matter of luck. / Graduate / 0630 / 0573 / 0422 / felshereeno@aol.com

This item contains the agenda, minutes, and attachments for the Faculty Senate meeting on this date. There may be additional materials from the meeting available at the Faculty Center.