I, like you, drive too much. I buy too much—of which I keep too much and also throw too much away. I overindulge my children, and myself. Directly as well as indirectly I use too much water, energy, air and space. My existence, in short, costs the planet more than it can afford. This is not some handed-down moral stricture, nor any sort of guilty self-flagellation, but a simple recognition of fact. The consequences are obvious, and near enough now to see the warts on their noses. For my own future, as well as my children's, I must change. And yet—this is what's weird—I, like you, can't.
This edition of Perspecta, the oldest and most distinguished student-edited architectural journal in America, investigates the transformation of capital cities in the era of globalization. This redevelopment, renewal, and recycling of the urban landscape--termed by the editors as “Re_Urbanism”--takes place as capital cities try both to cater to an influx of global capital and to reassert their roles as symbols of national sovereignty. Re_Urbanism investigates this process from an architectural perspective.
In Enduring Innocence, Keller Easterling tells the stories of outlaw "spatial products"—resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions, in difficult political situations around the world. These spaces—familiar commercial formulas of retail, business, and trade—aspire to be worlds unto themselves, self-reflexive and innocent of politics. But as Easterling shows, these enclaves can become political pawns and objects of contention.
This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation—from the basics of "How to Draw a Line" to the complexities of color theory—provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum.
Confronted with the intricate construction details of Italian architect Carlo Scarpa's Querini Stampalia Gallery—steel joined at odd intervals, concrete spilled out of concatenated forms, stone cut in labyrinthine patterns—Michael Cadwell abandoned his attempts to categorize them theoretically and resolved instead to appreciate their idiosyncrasies and evoke their all-embracing affects. What he had dismissed as a collection of fetishes he came to understand as a coherently constructed world that was nonetheless persistently strange.
In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space—a screen of vital cultural memory—has come to shape our visual culture.
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.
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.
In this long-awaited work, Dalibor Vesely proposes an alternative to the narrow vision of contemporary architecture as a discipline that can be treated as an instrument or commodity. In doing so, he offers nothing less than an account of the ontological and cultural foundations of modern architecture and, consequently, of the nature and cultural role of architecture through history. Vesely's argument, structured as a critical dialogue, discovers the first plausible anticipation of modernity in the formation of Renaissance perspective.