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In a move toward a more vulnerable, ethical and empowering culture of architecture, the project aims to displace the culture of critique, by questioning and undermining relationships of power and privilege through practices that are explicitly critical, queer feminist, and Campy. In other words, it takes seriously, in an uncertain, improper and playful way, what is usually deemed unserious within the architectural discipline, in order to undermine the usual order of things. All of the (love) storeys take place on March 21st, the spring equinox, in and around a 1977 collaborative row house project called Case Unifamiliari in Mozzo, Italy, designed by Aldo Rossi and Attilio Pizzigoni. Beda Ring, PhD researcher, constructs a Campy renovation of one of these row houses, full of theatricality, humor, and significant otherness; while architectural pedagogue, Brady Burroughs, guides a student group from KTH in an Architecture and Gender course; and Henri T. Beall, practicing architect, attends to the details upstairs.
At a time of unprecedented levels of change in the production of building materials and their deployment in construction, better theoretical and historical tools are needed to understand these new developments and how they are altering the practices and concepts of architecture. Building Materials offers a radical rethink of how materials, as they are constituted in architectural practice, are themselves constructed and, in turn, uncovers a vast and neglected resource of architectural writing about materials as they are mobilized in architecture. The book is unique in conceiving architectural specification as a starting point for architectural theory, arguing that how materials are prescribed - through a range of practices from the literal processes of procurement and manufacture to epistemological, contractual, social and economic frameworks - radically alters their potential in architecture. Drawing on the work of French philosopher Gilbert Simondon, as well as close readings of everyday specifications from the 18th to 21st centuries, the book reveals that materials do not pre-exist their shaping or use in the world, but come into being through the processes that constitute them. The book addresses three distinct methods of specification each through the lens of a different material – 'naming' through timber, 'process-based' through concrete, and 'performance specification' through glass – in turn revealing how the process of architectural specification (or 'Preliminary Operations' as Simondon puts it) allows for the development of specific relationships between material and function.
Dirty theory follows the dirt of material and conceptual relations from the midst of complex milieus. It messes with mixed disciplines, showing up in ethnography, in geography, in philosophy, and discovering a suitable habitat in architecture, design and the creative arts. Dirty theory disrupts a comfortable status quo, including our everyday modes of inhabitation and our habits of thinking. This small book argues that we must work with the dirt to develop an ethics of care and mainte- nance for our precarious environment-worlds.
After the Second World War, a divided Europe was much affected by a period of reconstruction. This was influenced by the different political systems – in the socialist East and in the capitalist West, the focus was on cohesion in society and its cultural and architectural expression. In parallel to the rapidly progressing industrialization of the building industry, debates on the humanization of the built environment were led on both sides with great intensity. The volume shows how, on the back of existentialism, new monumentality, and socialist realism, quite similar concepts and strategies were developed in order to find answers to questions relating to adequate structures for new forms of community and identity.
Essays, photo-essays, interviews, manifestos, diagrams, and a play explore the varied legacies, influences, and futures of the Bauhaus. What would keep the Bauhaus up at night if it were practicing today? A century after its founding by Walter Gropius in Weimar, Germany, as an “experimental laboratory of the future,” who are the pioneering experimentalists who reinscribe or resist Bauhaus traditions? This book explores the varied legacies, influences, and futures of the Bauhaus. Many of the animating issues of the Bauhaus—its integration of research, teaching, and practice; its experimentation with materials; its democratization of design; its open-minded, heterogeneous approach to ideas, theories, methods, and styles—remain relevant. The contributors to Bauhaus Futures address these but go further, considering issues that design has largely ignored for the last hundred years: gender, race, ethnicity, class, sexuality, and disability. Their contributions take the form of essays, photo-essays, interviews, manifestos, diagrams, and even a play. They discuss, among other things, the Bauhaus curriculum and its contemporary offshoots; Bauhaus legacies at the MIT Media Lab, Black Mountain College, and elsewhere; the conflict between the Bauhaus ideal of humanist universalism and current approaches to design concerned with race and justice; designed objects, from the iconic to the precarious; textile and weaving work by women in the Bauhaus and the present day; and design and technology. Contributors Alice Arnold, Jeffrey Bardzell, Shaowen Bardzell, Karen Kornblum Berntsen, Marshall Brown, Stuart Candy, Jessica Charlesworth, Elizabeth J. Chin, Taeyoon Choi, B. Coleman, Carl DiSalvo, Michael J. Golec, Kate Hennessy, Matthew Hockenberry, Joi Ito, Denisa Kera, N. Adriana Knouf, Silvia Lindtner, Shannon Mattern, Ramia Mazé, V. Mitch McEwen, Oliver Neumann, Paul Pangaro, Tim Parsons, Nassim Parvin, Joanne Pouzenc, Luiza Prado de O. Martin, Daniela K. Rosner, Natalie Saltiel, Trudi Lynn Smith, Carol Strohecker, Alex Taylor, Martin Thaler, Fred Turner, Andre Uhl, Jeff Watson, Robert Wiesenberger
During the Georgian period there was a remarkable proliferation of seductive visual imagery and written accounts of female performers. Focusing on the close relationship between the dramatic and visual arts at this time, this beautiful and stimulating book explores popular ideas of the actress as coquette, whore, celebrity, muse, and creative agent, charting her important symbolic role in contemporary attempts to professionalize both the theatre and the practice of fine art. Gill Perry shows how artists such as Gainsborough, Reynolds, Hoppner or Lawrence produced complex images of female performers as fashion icons, coquettes, dignified queens or creative artists. The result is a rich interdisciplinary study of the Georgian actress. Published for the Paul Mellon Centre for Studies in British Art
An account of prefabricated architecture around the world, from McDonalds drive-through restaurants to Ikea's flat-pack house.
In order to function, architectural theory and practice must be shaped to suit current cultural, economic, and political forces. Thus, architecture embodies reductive logic that conditions the treatment of human and social processes – which raises the question of how to define objectivity for architectural mentalities that must conform to a set of immediate conditions. This book focuses on meaning, and on the physical and mental processes that define life in built environments. The potential to draw knowledge from aesthetics, psychology, political economy, philosophy, geography, and sociology is offset by the fact that architectural logic is inevitably reductive, cultural, socio-economic, and political. However, despite the duty to conform, it is argued that the treatment of human processes, and the understanding of architectural mentalities, can benefit from interdisciplinary linkages, small freedoms, and cracks in a system of imperatives that can yield the means of greater objectivity. This is valuable reading for students and researchers interested in architectural theory as a working reality, and in the relationships between architecture and other fields.
Edited by Jane Desmarais and David Weir.