Alicia Imperiale

Alicia Imperiale’s scholarly work examines the interplay between technology and art, architecture, representation, and fabrication in postwar Italian art and architecture. She is the author of New Flatness: Surface Tension in Digital Architecture (Birkhauser, 2000); Seminal Space: Getting under the Digital Skin, in RE:SKIN (MIT, 2006); Organic Italy? The Troubling Case of Rinaldo Semino, in Perspecta 43 (2010); Stupid Little Automata in Architecture Culture (2014); Post 1965 Italy: The Metaprogetto si`e no in Industries of Architecture (Routledge, 2015); Organic Architecture as an Open Work, in Zevi’s Architects: History and Counter-History from Postwar to the End of the 20th Century (Quodlibet, 2018); a prehistory of parametric architecture (Log 44, 2018); and Paolo Soleri’s Teilhard de Chardin Cloister, in Modern Architecture and Religious Communities: Building the Kingdom (Routledge, 2018). Her book manuscript Organic Architecture as an Open Work: The aesthetics of experimentation in art, technology & architecture in postwar Italy is based upon her dissertation at Princeton University. In 2016-17 she was a Cornell University Society for the Humanities Fellow, where she conducted research for a new book Machine Consequences: Origins of Output. Her work has been supported by a Graham Foundation for Advanced Studies in the Fine Arts Research Grant.

Ph.D., Princeton University, Architectural History & Theory
M.A., Princeton University
M.F.A., Hunter College, City University of New York
B.Arch., Pratt Institute, with Highest Honors