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Cedric Price Works 1952-2003: A Forward-Minded Retrospective by Samantha Hardingham is a two-volume anthology, co-published by the Architectural Association (AA) and the Canadian Centre for Architecture (CCA), and is supported by the Graham Foundation and the Cedric Price Estate. The books bring together for the first time all of the projects, articles and talks of British architect Cedric Price, aiming to present his munificence as thinker, philosopher and designer. A student at the AA in the 1950s, Price established his office in London in 1960 and went on to produce some of architecture's most intensely imaginative and experimental projects of the latter half of the 20th century. His work is central in defining architectural discourse around the emerging postwar themes of mobility and indeterminacy in design.
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The book pulls together a collection of utterly unique and singular worlds that together argue for a positioning of architecture: not geographically, but rather set within its rich cultural context shaped by real histories and imagined futures. Ultimately, Little Worlds addresses a question all architects face at the beginning of their bright futures - how to shape an identity.
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No architectural category is more fickle or more artificial than 'context'. This collection of 60 large drawings produced over five years by AA Diploma 15 addresses the construction of context by architecture for its own very particular purposes. A self-declared 'render-free zone', the unit's interrogations of architecture's seminal sites (antiquity, technology, the future and its proxies) examine the role of figuration and the exclusion of indeterminacy in the always already mediated question of context. Through the quiet business of counting, these line drawings - against the double ascendancy of parametricisation and the glossy rendered perspective - question architecture's ambivalent relations to the artifice it installs between itself and the outside world.
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The theme of the book derives from the urgency with which the idea of energy has been raised in recent years in political, economic and scientific debates. The book charts the efforts of architects to reappropriate this theme and to address the debate in a wider cultural sphere.
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51N4E is a Brussels-based architectural practice led by Johan Anrys, Freek Persyn and Peter Swinnen. Founded in 1998, it has drawn increasing attention and renown through projects for the C-mine cultural centre in Genk, the Groeningemuseum and the TID Tower and Skanderbeg Square both in Tirana, Albania. This book, accompanying an exhibition on the practice at the Architectural Association, features these and 17 other projects alongside essays by Lars Lerup, Dominique Boudet and Stefan Devoldere.
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Dallegret's own life and work denies anything so predictable as a neat synopsis, but in essence his work, beginning in Paris in the late 1950s and early 60s, and later taking in New York and Montreal, absorbs everything from intricate line drawings for a series of astrological vehicles and designs for a number of machines (from those that assist in cooking a meal to others that generate literature) to the 'A Home Is Not a House' collaboration with the critic Reyner Banham; a drugstore/gallery in Montreal; proposals for a new Montreal Palais Metro; designs for chairs, more cars and yet more machines; a film collaborative set up to shoot a western; contributions to the Montreal 67 Expo; engraved bars of soap; subversive credit cards; 'ironique' villas and light installations. The book will illustrate a great many of these works and contains essays on Dallegret's life and legacy by the historians Alessandra Ponte and Laurent Stalder.
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In 2002 Jason Griffiths and Alex Gino set out to explore the American suburbs. Over 178 days they drove 22,383 miles, made 134 suburban house calls and took 2,593 photographs. In Manifest Destiny, Griffiths reveals the results of this exploration. Structured through 58 short chapters, the anthology offers an architectural pattern book of suburban conditions all focused not on the unique or specific but the placeless. These chapters are complemented by an introduction by Griffiths and an afterword by Swiss architectural historian Martino Stierli.
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• 7 Preface by Brett Steele 11 Introduction by Aaron Levy Interviews with Vittorio Gregotti, Paolo Portoghesi, Francesco Dal Co, Hans Hollein, Massimiliano Fuksas, Deyan Sudjic, Kurt W. Forster, Richard Burdett, Aaron Betsky, Kazuyo Sejima, Paolo Barratta 203 Afterword by William Menking.
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The origins of the architecture biennale are generally traced to the 1970s, when it emerged from under the umbrella of the larger Venice Biennale, which was itself established in 1895. Since then it has become one of the most prestigious forums for architectural discourse today, and has served as a model for a range of international exhibitions. The book explores the biennale through the directors who established its particular discourse, including Vittorio Gregotti, Paolo Portoghesi, Francesco Dal Co, Kurt W Forster, Massimiliano Fuksas, Hans Hollein, Richard Burdett, Deyan Sudjic, Aaron Betsky and Kazuyo Sejima, as well as the current president of the Venice Biennale, Paolo Barrata. These conversations do not seek to recapitulate the exhibitions themselves but rather explore the questions that these exhibitions raise, with the hope of offering a model for future curatorial endeavours.
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The book features recent work developed in collaboration with Krzysztof Wodiczko (a vehicle for veterans), a pavilion produced with the performance of Stelarc, a video piece with Warp recording artist Mira Calix and Minimaforms' critically acclaimed light installation in Trafalgar Square, Memory Cloud. Accompanying the projects are texts by Archigram's David Greene, Stelarc and Krzysztof Wodiczko.
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Max Bill (1904-1994) - a product of the Bauhaus at Dessau, pupil of Walter Gropius, Vasily Kandinsky and Paul Klee - was a virtuoso designer whose work overleaped disciplinary boundaries, encompassing architecture, painting, sculpture, industrial and graphic design, as well as education. What unites all the work is a clarity and precision of expression. Through both his designs and his writings Max Bill has long been a major figure of reference in the German-speaking world.
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The dialogue of the evening is the centrepiece of "Supercritical". Each architect states his own views about the terms of architecture, including its theories and relationship to the city and other forms of critical and cultural practice. A number of responses from the audience follow these statements. The book is introduced with an essay from AA Director Brett Steele, and includes responses from Jeffrey Kipnis and Robert Somol.
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The construction of a mental habit that systematically confronts the complexities and the contradiction of the architectural profession is what characterises the work of Serie. Serie searches for a level of coherence that goes beyond iconic recognition. Its method is an attempt to coincide and negotiate the two extremes of architecture: the commitment to the city and its project, and the definition of an architectural method discernible in its own disciplinary terms. Serie works in the direction of reconciling the disputatio between city and design, and the framework of this reconciliation is the idea of type. According to Serie, type is in itself a form of conflict between the idea of the project, its 'why do' and the praxis of the project, its 'how to'. In the intentions of Serie, this modus operandi aims not only for a coherent production, but also for a conceptual intelligibility of the method itself towards the production of generic design knowledge. - Pier Vittorio Aureli.
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Exercising a recurring, almost obsessional process, Hebbelinck creates a personal universe of ephemera populated by a mass of different taxonomies - photographs of shadows and tables after a meal, chalk drawings, notebooks with sketches, texts and collages. Similar methodologies accompany the production of the studio's architectural work, illustrated through eight architectural projects, each examined through a specific lens - a collaboration with a photographer or an artist, for example, an unexpected construction detail or the exploration of an original sketch. The presentation of this material in the exhibition, highly systemised and catalogued, is reflected in the book, so that its structure offers a mirror to the works on display.
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During a tumultuous period in the 1960s and 70s, a new generation of architects began their careers amidst a period of profound social change, new conditions for architecture and the city and lasting changes to popular and critical forms of cultural production. "First Works" tells the story of this period and reassesses the conditions of architecture and the beginnings of architectural careers through a selection of projects undertaken during the 60s and 70s. The book presents a single key early project, in the form of models, sketches, photographs and drawings, by 20 young architectural practices: Archigram, Archizoom, Aldo Rossi, Alvaro Siza, Cedric Price, Robert Venturi, Norman Foster and Richard Rogers, Paul Virilio and Claude Parent, Rafael Moneo, Renzo Piano, Peter Eisenman, Coop Himmelb(l)au, Toyo Ito, Rem Koolhaas, Daniel Libeskind, Tom Mayne and Michael Rotondi, Morphosis, Bernard Tschumi, Herzog & de Meuron and Zaha Hadid. Alongside these 'first works', 20 invited critics, including Kenneth Frampton, Sylvia Lavin and Pier Vittorio Aureli, offer contemporary commentaries on these projects and their place within the architects' subsequent careers.
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Originally published in German in 1985 as "Die Poetik eines Mauervorsprung", Jan Turnovsky's "The Poetics of a Wall Projection" is ostensibly a description of a corner within the breakfast room of the Villa Stonborough in Vienna, designed by Ludwig Wittgenstein and Paul Engelmann. But it is also much more. Working from within an established Viennese tradition (practised most famously by Krauss, Freud, Loos and Wittgenstein himself), Turnovsky's study elucidates a complex set of ideas from something seemingly trivial - in this case, an analysis of the villa's corner detail expands into a wider exploration of the logics of architectural syntax and his belief that good and poetic architecture is always also practical. Jan Turnovsky (1941-1995) at various times worked as a carpenter, graphic designer, tenor saxophonist, poet and architectural researcher at the Architectural Association in London and the Technical University in Vienna.
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An 'object' is a work of architecture that is expressly cut off from its environment. Objects are not exclusive to any particular architectural style, but objectification has long been central to western architecture. Indeed, it might even be said to be the very strategy by which modernism succeeded in conquering the world. It is all-pervasive because it is consistent with the aim of the prevailing economic system: to transform virtually everything into a commodity. In "Anti-Object", Kengo Kuma argues that this mindset prevents us from establishing a healthy relationship with the external world and suggests that an alternative form of architecture is not only desirable but possible as well.His approach is illustrated with a discussion of works by his office in which he has sought, by various tactics, to avoid objectification. The ideas embodied in these diverse projects have much in common with the Japanese tradition, not of 'monuments', but of 'weaker' buildings characterised by their use of natural light and natural materials.
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Since 1997 the programme has championed a project-based and research-driven approach to design, continually reinventing itself across successive design research agendas. The book will reflect upon the DRL's collaborative teaching and learning methods, which have contributed to the wholesale re-formulation of contemporary architectural practice during a decade in which digital communication, information, design and production technologies have gone from being nascent and emerging to being embedded in new forms of networked architectural education and practice.Understanding this (r)evolution is fundamental to the DRL's pursuit of innovation and the role design research plays in contemporary design culture. The structure of this book elaborates on how the programme has evolved the terms of design as a form of research over the last decade, with chapters focusing on the DRL's research agendas, topics, curricula, documents, media, methods and tools as well as a selection of work by its 350+ graduates.
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