ABSTRACT
NO OTHER ARCHITECTURAL FORM seems to carry as much cultural conceit as
the house, poised as it is between psychology and artifact. Conceit – whether
through its overly self-conscious life-stylism, a form of late-capitalist anxi-
ety, or as an overwrought conceptual experimentation by ‘design’ architects
– seems, between these, to implicate all architectural strategy. Such that the
concept of ‘house’, identifi ed as the crucial interface of self-consciousness
and the world, itself seems to have become subjected as an anxious form of
contemporary identity.
