Craig Buckley

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Assistant Professor History of Art
Modern and Contemporary Architecture
Loria Room 451, 190 York Street, New Haven, CT 06511

B.A., Trent University
M.A., University of Western Ontario
Ph.D., Princeton University

Craig Buckley’s research explores the intersections of modern architecture with avant-garde movements in the visual arts, the entanglement of architectural design with changes in print culture and optical media, as well as the historiography of modern architecture.

His recent book Graphic Assembly: Montage, Media and Experimental Architecture in the 1960s (University of Minnesota Press, 2019) provides a new understanding of the role of montage and collage within architectural culture. Montage, it argues, was a cultural technology that architects used to envision experimental assembly processes at a moment when rapid changes in the industrialization of building was changing the character of the architect’s intellectual work. Looking closely at montage practices, it brings to light how architects responded to changes in technologies of photomechanical reproduction that bound architectural culture to more closely to the technics of optical media.

He is currently at work on two projects. Screen Genealogies: From Optical Device to Environmental Media (University of Amsterdam Press, 2019), co-edited with Francesco Casetti and Rüdiger Campe, stems from a two-year Andrew W. Mellon Foundation Sawyer seminar which explored the current explosion of screens from an interdisciplinary perspective. Asking how the current proliferation and transformation of screens demands a rethinking of their histories, the book advances a genealogical approach that recovers the older, pre-optical meanings of screen in order to rethink how screens are today becoming environmental and infrastructural media.

His second book project excavates the transnational articulation of cinema architecture as one of modernism’s crucial, yet scarcely examined undercurrents, through aesthetic, technical, and social biographies of buildings in New York, London, Paris, Casablanca, Amsterdam, Beirut, Sao Paulo, Shanghai and Berlin from the 1920s to the 1960s.​

Buckley’s would be interested in supervising dissertations including, but not limited to, the following areas: topics in architecture (Europe, the Americas, and trans-nationally) in the twentieth century, modern architecture and political avant-gardes, modern architecture and design fields, modern architecture,  architecture and technologies of the fine arts (drawing, printing, graphic design, painting, sculpture), modern architecture and optical media (photography, cinema, electronic, and digital media), architectural cultural and the emergence of national independence movements post-1945.



Graphic Assembly: Montage, Media and Experimental Architecture in the 1960s (University of Minnesota Press, 2019).

“Face and Screen: Toward a Genealogy of the Media Façade,” in Screen Genealogies: From Optical Device to Environmental Media, (University of Amsterdam Press, 2019).

“Envisioning Assembly: Archigram and the Light/Sound Workshop,” Grey Room 73 (2018), 26-53.

“‘A Positive Void:’ Attila Kotányi and Bureau of Unitary Urbanism,” Critical Topography (Montreal: McGill-Queens University Press, 2020).

“Muriel Cooper: The Architecture of Graphic Design,” chapter in Archival Exhibitions (New York: Columbia University Press, 2019).

“Between Image and Apparatus: Structures Gonflables, April 1968” Exhibiting Architecture: A Paradox? (New Haven: Yale School of Architecture, 2015).

“After the Manifesto,” in After the Manifesto: Writing, Architecture, and Media in a New Century, (New York: Columbia University Press, 2014).

“Never Demolish: Bois-le-Prêtre Regrows in Paris,” Log 24 (Winter/Spring 2012), 43-50.

“The Echo of Utopia,” Utopie: Texts and Projects 1967-1978, (Semiotext(e)/MIT Press 2011), 9-28.

“Landscapes without Cultural Precedent: Tony Smith’s Urban Visions” Perspecta 44 (Fall 2011), 70-85.

“Graphic Constructions: The Experimental Typography of Edward Wright,” October 136 (Spring 2011), 156-181.

“From Absolute to Everything: Taking Possession in Alles ist Architektur,” Grey Room 28 (Summer 2007) 108-122.

Screen Genealogies: From Optical Device to Environmental Media (co-edited with Francesco Casetti and Rudiger Campe) (Amsterdam: Amsterdam University Press, 2019)

After the Manifesto: Writing, Architecture, and Media in a New Century (New York: Columbia University Graduate School of Architecture Books and Columbia University Press, 2014).

Dan Graham’s New Jersey, (Zurich: Lars Müller, 2011) (Co-edited with Mark Wasiuta)

Utopie: Image, Text, Project 1967-1978, (Cambridge: Semiotext(e)/MIT press, 2011) (Co-edited with Jean-Louis Violeau)

Clip/Stamp/Fold: The Radical Architecture of Little Magazines, (Barcelona: ACTAR Press, 2010). (Co-edited with Beatriz Colomina)

HSAR 312      Modern Architecture: From Enlightenment to the Millennium

HSAR 401      Critical Approaches to the History of Art

HSAR 836/ARCH 3285         1968@50: Art, Architecture, and Cultures of Protest (with Eeva-Liisa Pelkonen and Kevin Repp)

HSAR 712/ Film 842  Approaches to the Urban Screen (with Francesco Casetti)

HSAR 739      Concepts of Space: Theory and Historiography  

HSAR 747      Architecture and the Kinetic Image

HSAR 688      Rethinking the Situationist International: Architecture and the City