The combination of terms proposed in the title of this issue of The Journal of Architecture is almost familiar, or, rather, it addresses a familiar taste for juxtaposition. An unlikely assemblage of terms such as these, where modern artistic comportment clashes with period styles, is itself a kind of trope. The formal corollary of this taste is perhaps even more familiar, as in those pages of Space, Time and Architecture (1941) where Sigfried Giedion puts Vladimir Tatlin's tower for the Third International alongside Francesco Borromini's spire for Sant Ivo alia Sapienza. We might be over-familiar with the game of putting the baroque on the table of the avant-garde along with the sewing machine and the umbrella. The papers presented here do not repeat this formula per se but rather look to specific moments in twentieth-century architectural discourse where the baroque has been put on the table.
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