To publish an anthology on critical architecture at this time means that it will be

received in the context of the recent debate about a post-critical architecture. Yet

debates about architectural positions are often short-lived, and the current one already

seems a little exhausted; a laissez-faire attitude seems to have descended upon it; or,

rather, the post-critical promotes the laissez-faire as an architectural position.1 There is

a need to escape this situation, to think outside of it.