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The Unknown City: Contesting Architecture and Social Space

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<strong>The</strong> <strong>Unknown</strong> <strong>City</strong> is part of an ongoing program of activities organized under<br />

the rubric of the “Strangely Familiar” group. We are indebted to a large<br />

number of people who generously offered up not only their ideas <strong>and</strong> criticisms<br />

but also much time <strong>and</strong> effort. For the exhibition <strong>and</strong> symposium program<br />

that formed the catalyst for Strangely Familiar, we wish to thank the<br />

Royal Institute of British Architects (RIBA) <strong>Architecture</strong> Centre in London.<br />

For the other venues around the United Kingdom, we also wish to<br />

thank the Cornerhouse in Manchester, the Angle Gallery in Birmingham,<br />

<strong>and</strong> the Matthew Gallery in Edinburgh for their kind invitations <strong>and</strong> enthusiasm<br />

for the project.<br />

For the design <strong>and</strong> creation of the exhibition, <strong>and</strong> for the accompanying<br />

Strangely Familiar publication (Routledge, 1996), we are deeply indebted<br />

to Ceri Davies <strong>and</strong> Paul Monaghan of Allford Hall Monaghan Morris<br />

Architects; Kate Last, Vladimir M<strong>and</strong>ic, Pom Martin, Ralph Sagar, <strong>and</strong><br />

Jane Placca of ARTEC; Gary Monaghan; <strong>and</strong> Elizabeth Ismail <strong>and</strong> Jesse<br />

Swash of St. Martin’s School of Art. Naomi House provided invaluable help<br />

with the database. Above all, Belinda Moore <strong>and</strong> Morag Myerscough of Studio<br />

Myerscough did more than could ever possibly be expected of anyone.<br />

Funding <strong>and</strong> support for the exhibition <strong>and</strong> symposium was generously<br />

provided by the Arts Council of Engl<strong>and</strong>, the British Academy, the<br />

Institute of Contemporary Arts, Marlin Lighting, RIBA <strong>Architecture</strong> Centre,<br />

University College London Graduate School, <strong>and</strong> the School of <strong>Architecture</strong>,<br />

<strong>and</strong> Interior Design at the University of North London.<br />

<strong>The</strong> Arts Council of Engl<strong>and</strong> additionally provided financial support<br />

for the production of the current volume. And we also are grateful to<br />

<strong>The</strong> MIT Press, Roger Conover, <strong>and</strong> anonymous reviewers for their suggestions<br />

<strong>and</strong> encouragement.<br />

A large number of other people <strong>and</strong> groups have helped along the<br />

way. We wish to record our gratitude here to Clive Alberts, John Allan, Anderson<br />

Fraser, the Architects’ Journal, Enrico Ariis, Christopher Ash, Ceri<br />

Barnes, Roz Barr, Larry Barth, Inge de Beer, Rafe Bertram, Chris Bird, Blueprint,<br />

Anthony Borden, Building Design, Bob Colmac, Colourpath, Steven<br />

Connor, Peter Cook, Nicole Crockett, Peter Culley, Nick Delo, James Donald,<br />

Tom Duncan, Marion Duursema, Tom Dyckhoff, Miles English, Sue<br />

Evans, Hamish Fallside, Daniel Faust, Paul Finch, Mike Fordham, Adrian<br />

Forty, Nick Franchini, Fraser, Anna Frisch, Kate Gaylor, Amelia Gibson,<br />

Paul Goodwin, Jennifer Graham, Phil Grey, Peter Hall, Lee Harris, Elizabeth<br />

Hess, Ian Hill, Holdens Computer Services, Julian Holder, Andy<br />

Horsley, Richard Ings, Steve Johnson, Ruben Kenig, Lily Kerr Scott, Nicola<br />

Kirkham, Nelson Kon, Richard Learoyd, Katharina von Ledersteger, Alec<br />

Leggart, Living Marxism, Mark Logue, Sasha Lubetkin, Eleanna Makridou,

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