Architecture Theory since 1968 by K. Michael Hays

By K. Michael Hays

Within the dialogue of structure, there's a triumphing sentiment that, on account that 1968, cultural creation in its conventional feel can not be understood to upward thrust spontaneously, as a question of social path, yet needs to now be developed via ever extra self-conscious theoretical tactics. the advance of interpretive modes of varied stripes—post-structuralist, Marxian, phenomenological, psychoanalytic, in addition to others dissenting or eccentric—has given students a variety of instruments for rethinking structure on the subject of different fields and for reasserting architectures normal value in highbrow discourse.

This anthology provides forty-seven of the first texts of structure thought, introducing each one with an explication of the options and different types worthy for its figuring out and review. It additionally offers twelve files of tasks or occasions that had significant theoretical repercussions for the interval. numerous of the essays seem right here in English for the 1st time.

Contributors: Diana Agrest, Stanford Anderson, Archizoom, George Baird, Jennifer Bloomer, Massimo Cacciari, Jean-Louis Cohen, Beatriz Colomina, Alan Colquhoun, Maurice Culot, Jacques Derrida, Ignasi de Solá-Morales, Peter Eisenman, Robin Evans, Michel Foucault, Kenneth Frampton, Mario Gandelsonas, Frank Gehry, Jürgen Habermas, John Hejduk, Denis Hollier, Bernard Huet, Catherine Ingraham, Fredric Jameson, Charles A. Jencks, Jeffrey Kipnis, Fred Koetter, Rem Koolhaas, Leon Krier, Sanford Kwinter, Henri Lefebvre, Daniel Libeskind, Mary McLeod, Alberto Pérez-Gómez, José Quetglas, Aldo Rossi, Colin Rowe, Massimo Scolari, Denise Scott Brown, Robert Segrest, Jorge Silvetti, Robert Somol, Martin Steinmann, Robert A. M. Stern, James Stirling, Manfredo Tafuri, Georges Teyssot, Bernard Tschumi, Anthony Vidler, Paul Virilio, Mark Wigley.

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And for the most part, these contradictions would soon appear more vital than the tools established by the architectural milieu to control them. The architecture of Expressionism succeeded in absorbing the ambiguous vitality of these contradictions. The Viennese Ho¨fe and the public buildings of Poelzig or Mendelsohn were clearly foreign to the new methodologies of urban intervention of the avant-garde movements. These experiences refused in numerous ways to be situated within the new horizons discovered by an art that accepted its own “mechanical reproduction” as a means toward bearing upon human behavior.

He “invented” his commission and made it universal, ever willing to finance his own active and creative role. As a result, his models have all the characteristics of laboratory experiments: and in no case can a laboratory model be translated tout court into reality. But that is not all. In this case, the universal applicability of the hypothesis clashed with the backward structures that it was supposed to stimulate. When what is needed is a revolutionization of architecture in keeping with the most advanced functions of an economic and technological reality still incapable of giving it coherent, organic form, it should hardly come as a surprise if realistic hypotheses are seen as utopian.

In this sense, it is no accident that May, Wagner, and Taut should have assumed political offices in the administrations of social democratic cities. If the entire city was now to assume the structure of an industrial machine, different categories of problems should find their solutions in it: first and foremost the conflict between parasitic mechanisms of ground rent, which impeded the expansion and technological revolutionization of the building market, and the need to organize, comprehensively, the machine-city by giving it a role in stimulating its own functions.

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