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Cedric Price proposed radically new concepts of architecture and redefined the ways in which the architect might enhance human life, extend human potential and promote social change. Price perceived architectural possibilities amidst the apparent cultural anarchy of post-war Britain where many pundits and social critics saw only the waning of an old order. Forsaking tradition, he dealt with variable structures, firmly believing in impermanent constructions designed for continual change; that architecture should "enable people to think the unthinkable". From Agit-Prop to Free Space: The Architecture of Cedric Price tells the story of Price's architecture, how his thinking expressed the changing character of life and society, and how his work has shaped architectural discourse today. It focuses specifically on two of Price's major unrealised works. The Fun Palace and The Potteries Thinkbelt. Not buildings in any conventional sense, these two projects were instead socially interactive machines, highly adaptable to the shifting conditions of their time and place. From Agit-Prop to Free Space is the result of extensive research based on vast quantities of unpublished archive material, including letters, memos, notes, drawings and interviews. It paints a portrait of an architect who was a true radical, and who overturned conventional ideas of what architecture means, having a major impact on architecture across the world from Japanese Metabolism to High-Tech.
During the twentieth century, an increasingly diverse range of buildings and spaces was used for theatre. Theatre architecture was re-formed by new approaches to staging and performance, while theatre was often thought to have a reforming role in society. Innovation was accompanied by the revival and reinterpretation of older ideas. The contributors to this volume explore these ideas in a variety of contexts, from detailed discussions of key architects’ work (including Denys Lasdun, Peter Moro, Cedric Price and Heinrich Tessenow) to broader surveys of theatre in West Germany and Japan. Other contributions examine the Malmö Stadsteater, ’ideal’ theatres in post-war North America, ’found space’ in 1960s New York, and Postmodernity in 1980s East Germany. Together these essays shed new light on this complex building type and also contribute to the wider architectural history of the twentieth century.
Architecture and Adaptation discusses architectural projects that use computational technology to adapt to changing conditions and human needs. Topics include kinetic and transformable structures, digitally driven building parts, interactive installations, intelligent environments, early precedents and their historical context, socio-cultural aspects of adaptive architecture, the history and theory of artificial life, the theory of human-computer interaction, tangible computing, and the social studies of technology. Author Socrates Yiannoudes proposes tools and frameworks for researchers to evaluate examples and tendencies in adaptive architecture. Illustrated with more than 50 black and white images.
Architects who engaged with cybernetics, artificial intelligence, and other technologies poured the foundation for digital interactivity. In Architectural Intelligence, Molly Wright Steenson explores the work of four architects in the 1960s and 1970s who incorporated elements of interactivity into their work. Christopher Alexander, Richard Saul Wurman, Cedric Price, and Nicholas Negroponte and the MIT Architecture Machine Group all incorporated technologies—including cybernetics and artificial intelligence—into their work and influenced digital design practices from the late 1980s to the present day. Alexander, long before his famous 1977 book A Pattern Language, used computation and structure to visualize design problems; Wurman popularized the notion of “information architecture”; Price designed some of the first intelligent buildings; and Negroponte experimented with the ways people experience artificial intelligence, even at architectural scale. Steenson investigates how these architects pushed the boundaries of architecture—and how their technological experiments pushed the boundaries of technology. What did computational, cybernetic, and artificial intelligence researchers have to gain by engaging with architects and architectural problems? And what was this new space that emerged within these collaborations? At times, Steenson writes, the architects in this book characterized themselves as anti-architects and their work as anti-architecture. The projects Steenson examines mostly did not result in constructed buildings, but rather in design processes and tools, computer programs, interfaces, digital environments. Alexander, Wurman, Price, and Negroponte laid the foundation for many of our contemporary interactive practices, from information architecture to interaction design, from machine learning to smart cities.
As architects and designers, we struggle to reconcile ever increasing environmental, humanitarian, and technological demands placed on our projects. Our new geological era, the Anthropocene, marks humans as the largest environmental force on the planet and suggests that conventional anthropocentric approaches to design must accommodate a more complex understanding of the interrelationship between architecture and environment Here, for the first time, editor Ariane Lourie Harrison collects the essays of architects, theorists, and sustainable designers that together provide a framework for a posthuman understanding of the design environment. An introductory essay defines the key terms, concepts, and precedents for a posthuman approach to architecture, and nine fully illustrated case studies of buildings from around the globe demonstrate how issues raised in posthuman theory provide rich terrain for contemporary architecture, making theory concrete. By assembling a range of voices across different fields, from urban geography to critical theory to design practitioners, this anthology offers a resource for design professionals, educators, and students seeking to grapple the ecological mandate of our current period. Case studies include work by Arakawa and Gins, Arons en Gelauff, Casagrande, The Living, Minifie van Schaik, R & Sie (n), SCAPE, Studio Gang, and xDesign. Essayists include Gilles Clément, Matthew Gandy, Francesco Gonzáles de Canales, Elizabeth Grosz, Simon Guy, Seth Harrison, N. Katherine Hayles, Ursula Heise, Catherine Ingraham, Bruno Latour, William J. Mitchell, Matteo Pasquinelli, Erik Swyngedouw, Sarah Whatmore, Jennifer Wolch, Cary Wolfe, and Albena Yaneva
This book is a useful reference in the field of urbanism. It explains how the contemporary city and landscape have been shaped by certain twentieth century visions that have carried over into the twenty-first century. Aimed at both students and professionals, this collection of essays on diverse subjects and cases does not attempt to establish universal interpretations; it rather highlights some outstanding episodes that help us understand why the planning culture has given way to other forms of urbanism, from urban design to strategic urbanism or landscape urbanism. Compared with global interpretations of urbanism based on socioeconomic history or architectural historiography, Urban Visions. From Planning Culture to Landscape Urbanism, aims to present the discipline couched in international contemporary debate and adopt a historic and comparative perspective. The book’s contents pertain equally to other related disciplines, such as architecture, urban history, urban design, landscape architecture and geography. Foreword by Rafael Moneo.
Over 60 years on from its inception, the celebrated Fun Palace civic project – developed in the 1960s by the radical theatre director Joan Littlewood and the architect Cedric Price – continues to capture the architectural imagination. Despite the building itself never being realized, much of the previous analysis of the Fun Palace has been devoted to Price and his drawings. The critical role that Littlewood played, however, remains largely unrecognized by architectural scholarship, and a whole area of the project's cultural agenda remains overlooked. Architecture, Media, Archives is the first serious study of the complex relations between Littlewood and Price, reframing the Fun Palace as an extended media project and positioning Littlewood more clearly as co-designer. Drawing on extensive archival material, the book considers how, due to a lack of institutional support, the aims of the Fun Palace – to transform the passive mass-audiences of post-war consumer society into active citizens, through forms of self-directed, pleasure-led and open exchange – were realized through different 'sites of information' throughout the 1960s. From broadsheets, pamphlets and journals to films and press news, the book addresses the conditions of production, circulation, storage and reception of these 'sites' and reveals how they not only recorded the transformation of the project, but also fundamentally enhanced and informed its meaning in specific ways. The book also raises important questions about the agency of the Fun Palace archive in shaping the reception of the project in the decades since its inception, presenting its analysis through a novel 'Fun Palace Reception Index and Chart', fundamentally altering our view of the project itself and transforming the way in which we understand the technological and cultural production of the 1960s.
How a built environment that is robotic and interactive becomes an apt home to our restless, dynamic, and increasingly digital society. The relationship of humans to computers can no longer be represented as one person in a chair and one computer on a desk. Today computing finds its way into our pockets, our cars, our appliances; it is ubiquitous—an inescapable part of our everyday lives. Computing is even expanding beyond our devices; sensors, microcontrollers, and actuators are increasingly embedded into the built environment. In Architectural Robotics, Keith Evan Green looks toward the next frontier in computing: interactive, partly intelligent, meticulously designed physical environments. Green examines how these “architectural robotic” systems will support and augment us at work, school, and home, as we roam, interconnect, and age. Green tells the stories of three projects from his research lab that exemplify the reconfigurable, distributed, and transfigurable environments of architectural robotics. The Animated Work Environment is a robotic work environment of shape-shifting physical space that responds dynamically to the working life of the people within it; home+ is a suite of networked, distributed “robotic furnishings” integrated into existing domestic and healthcare environments; and LIT ROOM offers a simulated environment in which the physical space of a room merges with the imaginary space of a book, becoming “a portal to elsewhere.” How far beyond workstations, furniture, and rooms can the environments of architectural robotics stretch? Green imagines scaled-up neighborhoods, villages, and metropolises composed of physical bits, digital bytes, living things, and their hybrids. Not global but local, architectural robotics grounds computing in a capacious cyber-physical home.
Governing by Design offers a unique perspective on twentieth-century architectural history. It disputes the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves. In these chapters, historians offer their analysis on design as a vehicle for power and as a mediator of social currents. Power is defined through a variety of forms: modernization, obsolescence, technology, capital, ergonomics, biopolitics, and others. The chapters explore the diffusion of power through the establishment of norms and networks that frame human conduct, action, identity, and design. They follow design as it functions through the body, in the home, and at the state and international level. Overall, Aggregate views the intersection of architecture with the human need for what Foucault termed "governmentality"—societal rules, structures, repetition, and protocols—as a way to provide security and tame risk. Here, the conjunction of power and the power of design reinforces governmentality and infuses a sense of social permanence despite the exceedingly fluid nature of societies and the disintegration of cultural memory in the modern era.
Introduction -- Planned order versus spontaneous order -- New brutalism and the critique of socialism : non-design and the new visual order -- The borax debates : from modern design to non-design -- Spontaneous city : Jane Jacobs and the critique of planned order -- Chaos or control : non-design and the American city -- The indeterminate city -- Conclusion.