Abstract
This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.