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.
By the end of the twentieth century, America’s suburbs contained more office space than its central cities. Many of these corporate workplaces were surrounded, somewhat incongruously, by verdant vistas of broad lawns and leafy trees. In Pastoral Capitalism, Louise Mozingo describes the evolution of these central (but often ignored) features of postwar urbanism in the context of the modern capitalist enterprise.
A Landscape History of New England takes a view of New England’s landscapes that goes beyond picture postcard-ready vistas of white-steepled churches, open pastures, and tree-covered mountains. Its chapters describe, for example, the Native American presence in the Maine Woods; offer a history of agriculture told through stone walls, woodlands, and farm buildings; report on the fragile ecology of tourist-friendly Cape Cod beaches; and reveal the ethnic stereotypes informing Colonial Revivalism.
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.
Digital technologies have changed architecture—the way it is taught, practiced, managed, and regulated. But if the digital has created a “paradigm shift” for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies.
In The Possibility of an Absolute Architecture, Pier Vittorio Aureli proposes that a sharpened formal consciousness in architecture is a precondition for political, cultural, and social engagement with the city. Aureli uses the term absolute not in the conventional sense of “pure,” but to denote something that is resolutely itself after being separated from its other. In the pursuit of the possibility of an absolute architecture, the other is the space of the city, its extensive organization, and its government.
Japanese architect Arata Isozaki sees buildings not as dead objects but as events that encompass the social and historical context—not to be defined forever by their "everlasting materiality" but as texts to be interpreted and reread continually. In Japan-ness in Architecture, he identifies what is essentially Japanese in architecture from the seventh to the twentieth century. In the opening essay, Isozaki analyzes the struggles of modern Japanese architects, including himself, to create something uniquely Japanese out of modernity.