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Reyner Banham and the Paradoxes of High Tech reassesses one of the most influential voices in twentieth-century architectural history through a detailed examination of Banham’s writing on High Tech architecture and its immediate antecedents. Taking as a guide Banham’s habit of structuring his writings around dialectical tensions, Todd Gannon sheds new light on Banham’s early engagement with the New Brutalism of Alison and Peter Smithson, his measured enthusiasm for the “clip-on” approach developed by Cedric Price and the Archigram group, his advocacy of “well-tempered environments” fostered by integrated mechanical and electrical systems, and his late-career assessments of High Tech practitioners such as Norman Foster, Richard Rogers, and Renzo Piano. Gannon devotes significant attention to Banham’s late work, including fresh archival materials related to Making Architecture: The Paradoxes of High Tech, the manuscript he left unfinished at his death in 1988. For the first time, readers will have access to Banham’s previously unpublished draft introduction to that book.
A long-sought reprint of this classic of architectural history and criticism, surveying a movement that would inspire architects, fantasists, and filmmakers alike. It is an architectural concept as alluring as it is elusive, as futuristic as it is primordial. Megastructure is what it sounds like: a vastly scaled edifice that can contain potentially countless uses, contexts, and adaptations. Theorized and briefly experimented with in built form in the 1960s, megastructures almost as quickly went out of fashion in the profession. But Reyner Banham's 1976 book compiled the origin stories and ongoing mythos of this visionary movement, seeking to chart its lively rise, rapid fall, and ongoing meaning. Now back in print after decades and with original editions fetching well over $100 on the secondary market, Megastructure: Urban Futures of the Recent Past is part of the recent surge in attention to this quixotic form, of which some examples were built but to this day remains--decades after its codification--more of a poetic idea than a real architectural type. Banham, among the most gifted and incisive architectural critics and historians of his time, sought connections between theoretical origins in Le Corbusier's more starry-eyed drawings to the flurry of theories by the Japanese Metabolist architects, to less intentional examples in military architecture, industry, infrastructure, and the emerging instances in pop culture and art. Had he written the book a few years later he would find an abundance of examples in speculative art and science fiction cinema, mediums where it continues to provoke wonder to this day. A long-sought study by an author who combined imagination, wit, and pioneering scholarship, the republication of Megastructure is an opportunity for scholars and laypeople alike to return to the origins of this fantastic urban idea.
The basic form of the American sports stadium has not changed much in the last century. But in an unexpected and controversial act of daring, the Arizona Cardinals football team selected awarding-winning architect and intellectual provocateur Peter Eisenman to design their stadium in Glendale, Arizona. Opened in the summer of 2006, Eisenman's latest work rejects all traditional and staid notions of the sports stadium. Inspired by and sectioned like a barrel cactus, its shell is composed of huge, steel paraboloid sections. The domed stadium boasts a steel-and-fabric retractable roof that allows lightto penetrate when closed while maintaining an airy feel inside. The most ground-breaking feature of the design is its grass roll-out field, which remains outside the stadium until game time, when it is rolled in on steel wheel sets powered by small electric motors. Eisenman Architects, the eighth volume in the Source Books in Architecture series, provides a comprehensive look at a contemporary masterpiece and a landmark of excellence in civic and sports architecture.
Some buildings are famous. Others deserve to be, but in their modesty remain satisfied to stand simply as excellent works of architecture. Such is the case with Ohio State University School or Architecture's recently completed Knowlton School of Architecture. Designed by the internationally respected firmMack Scogin Merrill Elam, Knowlton manages to project both a monumental physicality and a sense of subdued elegance. Mack Scogin Merrill Elam Architects/Knowlton Hall provides acomprehensive look at this impressive new work using sketches, models, renderings, working drawings, and photographs. As with all of the books in the Source Books in Architecture series, it is accompanied by commentaries from the architects and critics who explore both the technical andcontextual elements of the work.
"Including an exhaustive presentation of sketches, models, computer renderings, working drawings, and photographs of the construction process and the finished work, this book documents the project at a level of detail that allows complete and careful study from its conception to its completion. This in-depth graphic presentation is accompanied by commentaries from the architect, as well as series editors Jeffery Kipnis and Todd Gannon, that further explore both the cultural and technical significance of this important building."--BOOK JACKET.
Zaha Hadid's highly inventive and seemingly unbuildable designs have defied conventional ideas of architectural space and construction. The BMW Central Building in Leipzig, Germany, is no exception. It is the heart of the BMW factory complexthe dynamic focal point of the entire plant that visually, physically, and experientially sustains a sense of animation and motion. With an audacious and abstracted geometry of forms and lines, the BMW Central Building challenges the notion of building as static and is definitive evidence of architecture as art. Zaha Hadid: BMW Central Building, the seventh volume in the Source Books in Architecture series, provides a comprehensive look at this instant modern masterpiece.
Reyner Banham (1922–88) was a prolific, iconoclastic critic of modern architecture, cities, and mass culture in Britain and the United States, and his provocative writings are inescapable in these areas. His 1971 book on Los Angeles was groundbreaking in what it told Californians about their own metropolis, and architects about what cities might be if freed from tradition. Banham’s obsession with technology, and his talent for thinking the unthinkable, mean his work still resonates now, more than thirty years after his death. This book explores the full breadth of his career and his legacy, dealing not only with his major books, but a wide range of his journalism and media outputs, as well as the singular character of Banham himself.
High-tech Architecture - Preserving the Heritage of Innovative Construction The high-tech architecture of the 1970s–1990s is typically characterized by the use and exhibition of advanced technologies. In terms of appearance, these buildings often have innovative façades, supporting structures accentuated in color, and expressively displayed technology systems. Unfortunately, however, the rapid obsolescence of technology has often led to the complete replacement of the very systems that defined the architectural form. In 2023, an international conference at ETH Zurich in collaboration with Bauhaus-Universität Weimar explored the question of how best to deal with the structural legacy of technologically innovative architecture. This book summarizes the results and provides an overview of the current state of research. Current state of research on high-tech architecture and its conservation Overview of the opportunities and challenges of high-tech buildings New findings on the topic of building within existing structures Also available as a set with the congress volume Denkmal Postmoderne 978-3-0356-2783-1
Summary: The Miller House, completed in 1992 in Lexington, Kentucky, stands as architect José Oubrerie's signal accomplishment in the United States. Oubrerie is among the last members of Le Corbusier's Paris atelier.
Massive modern skyscrapers, obelisks, towers—all are structures that, thanks to their phallic shape, are often associated with sex. But other buildings are more subtly connected, as they provide the frameworks for our sexual lives and act as reminders of our sexual memories. This relationship between sex and buildings mattered more than ever in the United States and Europe during the turbulent twentieth century, when a culture of unprecedented sexual frankness and tolerance emerged and came to dominate many aspects of public life. Part architectural history, part cultural history, and part travelogue, Sex and Buildings explores how progressive sexual attitudes manifest themselves in architecture, asking what progressive sexuality might look like architecturally and exploring the successes and failures of buildings' attempts to reflect it. In search of structures that reflect the sexual mores of their inhabitants, Richard J. Williams visits modernist buildings in Southern California, the Westin Bonaventure Hotel, the Playboy Mansion in Chicago, the Seagram in New York, communes from the 1960s, and more. A fascinating and often funny look at a period of extraordinary social change coupled with aesthetic invention, Sex and Buildings will change the way we look at the buildings around us.