Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The Great Depression, the fall of the Berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect’s portfolio. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.
Architecture can no longer limit itself to the art of making buildings; it must also invent the politics of taking them apart. This is Jill Stoner’s premise for a minor architecture. Her architect’s eye tracks differently from most, drawn not to the lauded and iconic but to what she calls “the landscape of our constructed mistakes”--metropolitan hinterlands rife with failed and foreclosed developments, undersubscribed office parks, chain hotels, and abandoned malls.
Rooted in the British apprenticeship system, the French Beaux-Arts, and the German polytechnical schools, architecture education in North America has had a unique history spanning almost three hundred years. Although architects in the United States and Canada began to identify themselves as professionals by the late eighteenth century, it was not until nearly a century later that North American universities began to offer formal architectural training; the first program was established at MIT in 1865.
The word "architect" is a noun, but Doug Patt uses it as a verb--coining a term and making a point about using parts of speech and parts of buildings in new ways. Changing the function of a word, or a room, can produce surprise and meaning.
Learning from Las Vegas, originally published by the MIT Press in 1972, was one of the most influential and controversial architectural books of its era. Thirty-five years later, it remains a perennial bestseller and a definitive theoretical text. Its authors—architects Robert Venturi, Denise Scott Brown, and Steven Izenour—famously used the Las Vegas Strip to argue the virtues of the "ordinary and ugly" above the "heroic and original" qualities of architectural modernism.
Dirt presents a selection of works that share dirty attitudes: essays, interviews, excavations, and projects that view dirt not as filth but as a medium, a metaphor, a material, a process, a design tool, a narrative, a system. Rooted in the landscape architect’s perspective, Dirt views dirt not as repulsive but endlessly giving, fertile, adaptive, and able to accommodate difference while maintaining cohesion. This dirty perspective sheds light on social connections, working processes, imaginative ideas, physical substrates, and urban networks.
Architecture exists in the public sphere and is the product of collective work and knowledge. Yet the defining boundaries of the discipline are often contested. Architects can and often must embody a spectrum of characters in their practice: politician, artist, physicist, entrepreneur. Likewise, a building is the nexus of multifaceted economies, legislations, and information systems. Since "architecture" has become a metonym for increasingly distributed persons and practices, how--and for whom--do we establish its domain?
Cities speak, and this little book helps us understand their language. Considering the urban landscape not from the abstract perspective of an urban planner but from the viewpoint of an attentive observer, Urban Code offers 100 "lessons”--maxims, observations, and bite-size truths, followed by short essays--that teach us how to read the city. This is a user’s guide to the city, a primer of urban literacy, at the pedestrian level.
The short-lived grouping of architects, sociologists, and urbanists known as Utopie, active in Paris from 1967 to 1978, was the product of several factors: the student protests for the reform of architectural education, the unprecedented expansion and replanning of the Parisian urban fabric carried out by the government of Charles de Gaulle, and the domestication of military and industrial technologies by an emerging consumer society.
Gordon Matta-Clark's Conical Intersect (1975) was a torqued, spiraling "cut" into two derelict seventeenth-century Paris buildings adjacent to the construction site of the controversial Centre Pompidou. With this landmark work of "anarchtecture," Matta-Clark not only opened up these venerable residences to light and air, he also began a dialogue about the nature of urban development and the public role of art.