Amid the cultural and political ferment of 1960s France, a group of avant-garde architects, artists, writers, theorists, and critics known as "spatial urbanists" envisioned a series of urban utopias, phantom cities of a possible future. The utopian "spatial" city most often took the form of a massive grid or mesh suspended above the ground, all of its parts (and inhabitants) circulating in a smooth, synchronous rhythm, its streets and buildings constituting a gigantic work of plastic art or interactive machine.
In the years immediately following World War II, America embraced modern architecture—not as something imported from Europe, but as an entirely new mode of operation, with original and captivating designs made in the USA. In Domesticity at War, Beatriz Colomina shows how postwar American architecture adapted the techniques and materials that were developed for military applications to domestic use.
From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The Glass State, Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of Francois Mitterrand's program of Grands Projets.
Le Corbusier's Hands offers a poetic and personal portrait of Le Corbusier—a nuanced portrayal that is in contrast to the popular image of Le Corbusier the aloof modernist. The author knew Le Corbusier intimately for thirty years, first as his draftsman and main assistant, later as his colleague and personal friend. In this book, written in the mid-1980s, Wogenscky remembers his mentor in a series of revealing personal statements and evocative reflections unlike anything that exists in the vast literature on Le Corbusier.
The Organizational Complex is a historical and theoretical analysis of corporate architecture in the United States after the Second World War. Its title refers to the aesthetic and technological extension of the military-industrial complex, in which architecture, computers, and corporations formed a network of objects, images, and discourses that realigned social relations and transformed the postwar landscape.
In the 1960s, the architects of Britain's Archigram group and Archigram magazine turned away from conventional architecture to propose cities that move and houses worn like suits of clothes. In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks.
Perspecta, the oldest and most respected student-edited architectural journal in the United States, marks its fiftieth anniversary with this selection of influential and provocative pieces published in its pages from the 1950s through the 1990s. The essays and portfolios in Re-Reading Perspecta trace the development of architectural culture and discourse over the past fifty years and bear witness to the influential role played by Perspecta in a time of crucial debate about the function and future of architecture.
Since Greek antiquity, the human body has been regarded as a microcosm of universal harmony. In this book, an international group of architects, architectural historians, and theorists examines the relation of the human body and architecture. The essays view well-known buildings, texts, paintings, ornaments, and landscapes from the perspective of the body's physical, psychological, and spiritual needs and pleasures.
In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of "the architecture of minimalism" in the contemporary work of John Hejduk and Frank Gehry.
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era.