Arkitekturteori

The Live Centre of Information: From Pompidou to Beaubourg (1969- 1971) unpacks the history behind one of the most iconic buildings of contemporary architecture. On July 19, 1971, Jean Prouvé presented the winning design of the future Centre Pompidou in Paris to an astonished audience. The project's architects, Renzo Piano, Richard Rogers, and Gianfranco Franchini, were considered "unknowns"; its sponsors, the engineers at Ove Arup & Partners, were simply forgotten; the project's idea of a "Live Centre of Information" was denigrated as a "metallic dam" in the heart of Paris; the jury was presumed to have been dominated by the charismatic Philip Johnson and the man who initiated the competition, President of the Republic Georges Pompidou, to have been forced to bend to the jury's will.Fifty years after those events, it is time to analyze these false certainties through the first chronological and documentary reconstruction of the genesis of the Centre Pompidou.

This book 'deconstructs' a single recently constructed house located in Seattle, WA, in an attempt to recover its backstory. The information is presented along four vectors - atoms, labors, sources and ingredients. Though remarkably detailed, the A House Deconstructed contends that a huge proportion of what we 'know' about the house is unknowable, not because our epistemological instruments aren't strong enough or calibrated precisely enough, but because things themselves are indeterminate, uncertain.This begs the question about agency. If we are to critique our profession and even improve some of its claims about Sustainability, then we must develop a more robust understanding of the building industry and the sourcing and making of materials. We must even develop a stronger awareness of the history of atoms and how architecture brings that history into a remarkable focus.

Architectural Affects after Deleuze and Guattari is the first sustained survey into ways of theorising affect in architecture. It reflects on the legacy and influence of Gilles Deleuze and Félix Guattari in the uptake of affect in architectural discourse and practice, and stresses the importance of the political in discussions of affect. It is a timely antidote to an enduring fixation on architectural phenomenology in the field.The contributors offer a variety of approaches to the challenges presented in discussing the relation between affect and architecture, and how this is contextualised in the broader field of affect studies. Ranging from evaluations of architectural and urban productions and practices, to inquiries into architectural experience, to modes of affective inquiry in education, to experimental affective writing, each contribution to this seminal volume suggests ways of developing a more sustained approach to a crucial thematic domain.The volume will be of use to students at both undergraduate and postgraduate levels; researchers, theorists and historians of architecture and related urban and spatial disciplines; the fields of social science and cultural theory; and to philosophy, in particular the studies of Deleuze and Guattari, and Baruch Spinoza.

The kinds of architectural worlds children are exposed to in picture books during their formative years may influence how they regard such architecture as adults. This book reveals what stories are told about modern architecture and shows how those stories affect future attitudes towards and expectations of the built environment.

Architecture, Film, and the In-Between: Spatio-Cinematic Betwixt brings together some of the most prominent thinkers in contemporary architectural discourses with an investigation of the filmic imagination of architectural in-betweenness, as well as the in-between spaces within the architectural structure of filmic expression. 32 col illus.

By the time the computer arrived on the architectural scene, its place had been prepared by decades of avant-gardist experimentation. The modernist program of rationalizing creative practice took a decidedly bureaucratic turn between two generations of constructivists in the 1930s and 1960s. From Paris to Cambridge, painters, poets, designers, and architects poured their energy into cracking the code of artistic genius in hopes of democratizing the creation of better environments, thus stimulating a nascent repertoire of algorithmic techniques. The motivation to use these new techniques emerged from attempts to understand art and architecture through serial effects. By reformulating their disciplines in terms of flowcharting procedures developed in the field of scientific management, artists and architects enacted a paradigm shift that had long been a cherished dream of modernism, replacing composition with organization as the basis of design.

The changes in history and the spread of global culture and economics have brought about significant and frightening risks worldwide. These range from the destruction of cities through violent conflict to the impact of climate change and an increase in natural disasters. Additionally, there's been a vast widening of economic and social inequality. Venice is in danger of sinking, many cities around the world are facing earthquakes, and the gap between poverty and wealth is becoming increasingly visible in many cities. Today, humanity faces monumental challenges that demand a complete transformation of our living spaces. Cities Under Pressure presents a new approach to design - a flexible system that aims to establish a dynamic balance, constantly adapting to change. This innovative concept imagines new urban environments that move away from rigid design principles and instead embrace evolving mechanisms. These mechanisms support a sustainable transition, ensuring a resilient and peaceful future for our cities.

This book's central argument is that plug-ins, situated design outcomes that aim to enrich the complex system of the city and expand its potentialities, are a solid yet supple conceptual framework for rethinking how design can be a key agent in city making. This book showcases some of the projects developed by Elisava's Design for City Making Research Lab, a research institute that investigates the role of design in the material and social construction of our habitats, focusing on spatiality, temporality, interactions, meaning, citizen engagement and social impact. Projects by students, professors and researchers, in collaboration with multiple partners including the public administration, NGOs, industry and academy, articulate the concept of design as plug-ins as the core idea of this book. This notion of plug-ins results from a renewed approach to how design can be a key agent in city making. Given that the city is a system of relationships, design for city making means understanding, reinforcing and articulating this network. We posit plug-ins as situated design outcomes that aim to enrich the complex system of the city and expand its potentialities. This book's central argument is that plug-ins are a solid yet supple conceptual framework for rethinking design's agency in the city - the main aim of Elisava's Design for City Making Research Lab.>With Contributions of Ruedi Baur, Julia Benini, Josep Bohigas, David Bravo, Adrià Carbonell, Tomás Díez, Danae Esparza, Ramon Faura, Tona Monjo, Salvador Rueda, Oscar Tomico, Lluís Torrens, Manuela Valtchanova

Vitruvius's De architectura, written in the first century BCE, has been revered as the first treatise on architectural theory. Since its resurrection during the Renaissance, its enigmatic text has been adjusted, refined, and redefined in subsequent iterations. The book at hand bypasses exegeses of the text to focus on the material history of the printed editions disseminated throughout Europe. It surveys overa hundred editions of Vitruvius from 1486 to the present, tracing the power of the printed page in establishing the Roman author as an authority. Focusing on the impact of the physical objects that embody the Vitruvian canon highlights how book history and architectural history cross paths and how a symbiotic relationship between the printed and the built emerges. The resulting picture is that of a zigzagging thread between practice and theory, an elusive network of fruitful carelessness in architecture.

Designing with living materials: thoughts on the paradigm shift and an overview of the state of research What is "Bioprotopia"? It is a vision of a world with buildings that grow, self-heal and create virtuous cycles where waste from one process feeds another. A vision where the spaces that we inhabit are attuned to both the human occupants and non-human microbial ecologies. This is the first book to ground the concept of biotechnology in the built environment in tangible, large-scale prototypes. With rich visuals, it presents materials and processes that bring to life the many possibilities of shaping the built environment with micro-organisms. In addition to considering scientific and technical challenges, the book also discusses the need for a shift in thinking and culture to realise this vision. First comprehensive publication on the state of research Demonstrates the use of renewable materials in design Illustrative, scientific documentation for design professions and researchers

Schreibende Architekt*innen sind eine bedrohte Spezies. Doch wo käme der Berufsstand hin, wenn er das Nachdenken über die Architektur einstellen wollte? Arno Lederer ist ein Architekt, der schreiben kann: ironisch, frei von ideologischen Verhärtungen, kontrovers zur Fortschrittsgläubigkeit der Moderne. Von sich selbst sagt er, er sei ein "Amateur und Liebhaber der Theorie". Bei ihm ist Diskussions- und Denkstoff drin, alle Theorie eben nicht grau und die Maus Frederick so zitierfähig wie Friedrich Schiller. Drinnen ist anders als draußen ist ein Buch, das nicht von A bis Z durchgeackert werden will, sondern in dem man sich vor- und zurückblätternd auf Lesereise begibt. "Arno Lederers Betrachtungen über Architektur lesen, heißt Architektur in ihrer Komplexität lesen, deuten und bewerten lernen", schreibt die Architekturkritikerin Amber Sayah. Zusammen mit Jórunn Ragnarsdóttir hat sie die Texte aus Lederers großem Fundus ausgewählt.

Urbanizing Suburbia considers three current and related processes underway in global cities: the hyper-gentrification of inner cities, the financialization of housing, and the structural changes occurring in the outer city. Rocketing housing prices have displaced residents from inner cities and created a rent gap in outer cities. Increasingly, municipalities, developers, and displaced residents search for opportunities in the suburban belts. Changes in demographics, densities, live/work ratios, and tenures are remaking outer cities, rendering them less and less suburban. The book examines these changes by looking at four key European cities: Amsterdam, Berlin, London, and Stockholm. It is a first attempt at understanding the three processes discussed here within one comprehensive explanatory framework.

Zweisprachige Ausgabe (deutsch/englisch) / Bilingual edition (English/German) Forschendes Entwerfen und entwerfendes Forschen in Architektur, Städtebau und Landschaftsarchitektur befördern, strukturieren und generieren Produkte spezifischer Figuration und Qualität. Die Beiträge dieses Buches loten anhand von vielfältigen Beispielen diverse, ineinander übergehende Modi des Wissens und Gestaltens von Produkten und ihrer Hervorbringung im entwurflichen und forschenden Tun erkenntnisreich aus, setzen sie in Relation zum Reflexiven Entwerfen und geben Impulse für zukunftsweisendes Handeln. Mit Beiträgen von Tom Bieling, Margitta Buchert, Andrea Canclini, Diana Gouveia Amaral, Valerie Hoberg, Susan Jebrini, Andreas Lechner, Gennaro Postiglione, Martin Prominski, Sarah Wehmeyer.

Portrait of Studio Hani Rashid Building on the previous volume Re: Futures (2017), Re: Action presents a selection of innovative designs by Studio Hani Rashid at the University of Applied Arts Vienna's Institute of Architecture. The selected projects address architectural strategies for ensuring vitality in cities and ecosystems as well as sustainable urban growth. In his studio, Hani Rashid, co-founder of the visionary New York firm Asymptote Architecture, focuses on architecture that responds to current and future ecological changes. Bringing together projects, texts, and conversations, the book highlights creative ways in which architecture can contribute to the development of a sustainable, progressive, and livable urban future. Innovative experimental architectural designs for vibrant cities and ecosystems Explores how architecture can respond to ecological changes With contributions by Hani Rashid, Anab Jain, Greg Lynn, Timothy Morton, Claudia Pasquero, and others

New Belgrade represented a material and social experiment for a new society in post-war Yugoslavia. As the city and the country were being simultaneously built, the philosophy of praxis was developing in both the Yugoslavian and the international scene. Praxis of Collective Building deals with the interactions between this school of thought and the histories of architectural construction sites. By closely studying the microhistories of construction, the author considers the theoretical problems of collective production through different narratives: voluntary youth actions in the construction of New Belgrade through the lens of Marxian praxis, participative prefabrication as a way of addressing housing shortages in Yugoslavia, and the transfer and adaptation of the Yugoslavian prefabricated system to the Cuban context by the microbrigade movement.

In a world of change we cling to constants that comfort us while catastrophes lure behind cut corners. We compartmentalize and channel our focus into cones of concentration when confronted with choices. Many might decide to do so with intention while others simply try to cope with the complexities. While we are no strangers to change, this current historical conjuncture presents extremities and emergencies that invite conjecture on normalcy and its fragility, challenges to status quos and rapid adaptation to revised realities.As everyday life is turned on its head, the home remains a physical and metaphorical locus of our greatest aspirations and deepest anxieties. A performative and pervasive space where fictions become realities and rearranging furniture and fixtures constitutes political acts with planetary consequences. Today's dense time offers us glimpses of a myriad of hybridized and alternative modes of domesticity that demand our shared attention and careful critical inquiry before they are once again lost to routine.I, Like Many Things is a story of contemporary life and architecture that begins with everyday domestic practices and the notion of "home" as a literal (and literary) space--a space which simultaneously structures and is structured by our relationship to each other and the world. To tell this story, twenty-six authors from far-flung fields and geographies collectively narrate four fluid chapters of a thick history of the present.Across four chapters and three visual catalogs, I, Like Many Things presents anecdotal stories, fictions, academic research, poetry, and visual essays. One chapter explores nascent and invasive virtual worlds. Another hones in on ongoing ecological collapse and climate disaster. A third chapter finds ground in social movements and political organizing, while a fourth ponders selfhood, imagination, and the possibilities of "off-time." As timely distractions between chapters, catalogs present past inquiries by us and open call participants.I, Like Many Things is for those to whom the pandemic was an exercise in spatial design. Those who consider themselves architects or designers and those who do not. Those of us who engage with, push back on, and negotiate the spaces we inhabit, consciously or unaware, expanding our collective field of action. I, Like Many Things insists on the critical interdependencies of all social, political, and environmental struggles, and attempts to maneuver ambiguities, complexities, imaginaries, and chaos as stepping stones toward more integrative and sensitive spatial practices. It can be read as an unreliable guide to alternative ways in many directions.With contributions by Kyriacos Christofides, Meera Badran, Francesco Casetti, Stefano Masserini, Raqs Media Collective, Rachael Marie Scicluna, Michelle Millar Fisher, Lee Scrivner, Kathryn-kay Johnson, Nathalie Frankowski, Cruz García, Zachariah A. Michielli, Adonis Archontides, Jennifer C. Nash, Simone C Niquille, Simon Strøyer, Patricia Domínguez, Athar Mufreh, Joshua Tan, Luísa Sol, Nikolaj Schultz, Ellen Blumenstein, Markus Miessen, Pinar Yoldas, Deirdre Barrett, Oxana Timofeeva, Martina Potlach, Shahla Alharthi, Leidy Karina Gomez Montoya, Andrea Sanchez Moctezuma, Rachel Ghindea, Athiba Balasubramanian, Konstantinos Ballis, Abhishek Ambekar, Katie Colford, William Beck, David Bruce, Dhruv Gulabchande, Edgar Papazian, Andrew Economos Miller, Chase Ireland, Anthony Iovino, Giada Puccinelli, Pete Pham, Sofia Guzman, Nick Massarelli, Sangji Han, Ethan Lethander, Helen Farley, Megan Panzano, Drew Doyle, Alondra Correa, Renata Cesar, Michelle Nguyen, Christina Zhang, Michelle Bunch, Rukshan Vathupola, Matthew Liu, Anishwar Tirupathur, Mari Kroin, Montgomery Balding, Jessica Jie Zhou, Miguel Astete, Hoby Horak, Benjamin Tan, Tarranum Akhter, Jonathan Bolch, André Caetano, Katie Lau, Elias Vera Carrion, Nathan Garcia, Morgan Anna Kerber, Yanara Formandoy, Rhea Schmid, Olivia Epstein, Abby Sandler, Shreya Suman, Robbin Juris, Viet Nguyen, Katharine Blackman, Rachel Skof, Christina Anastase, Kaitlin Baker, Deirdre Plaus, Tyler Krebs, Aaron Payne, Lisann Mahnke, Sofia Alfaro Pailacura, Araceli Lopez

From cathedrals to cubicles, people go to great lengths and expense to design their living and working environments. They want their spaces to be places where they enjoy being, reflecting who they are and what they care about. The resultant environments in turn become loud, albeit unvocal, leaders for people occupying those corresponding spaces. The design and use of work and living spaces typifies and thematizes expectations for the group. Essentially, the architecture of rooms, buildings and cities creates cultures by conveying explicit and implicit messages. This is evident when people approach and walk into St. Basil's Cathedral in Moscow, the Forbidden City in Beijing, the Sydney Opera House in Sydney, Australia, the Jewish Museum in Berlin, or the Rothko Chapel in Houston, to name some examples.While leaders oftentimes lack the resources to have their spaces mirror the greatest architectural achievements of the world, they are in a position to use the art and science of architecture, at whatever scale is available, to their advantage. The creative and intentional use of space and place advances and promotes cherished values and enhances organizational effectiveness. This book explores the essence of good architecture and establishes relevant connections for leaders and managers to strategically design and use the organizational workplace and space to support their mission and purpose, and create aesthetically meaningful work environments. It equips leaders to be culturally astute on what defines good architecture and to incorporate principles of beauty in their leadership practices accordingly and will be of interest to researchers, academics, professionals, and students in the fields of leadership, organizational studies, and architecture theory and practice.

¿Nach Rom Architekturstudenten zu schicken heißt, sie für ihr ganzes Leben zu ruinieren.¿ (Le Corbusier 1922). Im Sinne dieses Verdikts hat sich die Architekturmoderne radikal von der klassizistischen Tradition abgewandt, in der die antike Baukunst als Schulung, Folie und Muster galt, indem man ihre Formen, Strukturen und Proportionen formalästhetisch analysierte und nachahmte. Doch gab es bereits in der Antike ein anderes Konzept von Architekturverständnis: das sinnliche Erleben von Raumsequenzen und die Gestaltung von Atmosphären. Vorgeführt wird uns ein solches Verständnis in Bauten wie der Villa Hadriana aber auch in den ¿Villenbriefen¿ des römischen Senators Plinius d. J. (um 100 n. Chr.). Von Architekten wurden Letztere lebhaft diskutiert, bis die Moderne jede Beschäftigung mit der Antike ¿untersagte¿.Der Band ¿Architektur, Atmosphäre, Wahrnehmung¿ versammelt nun zehn Beiträge, die wieder alle ¿mehr oder weniger intensiv ¿ als Ausgangsbasis die Villenbriefe nutzen, allerdings nicht, um mit ihnen einen formalästhetischen Zugriff auf die Antike wiederzubeleben, sondern, weil der von Plinius vorgeführte und in der Forschung bis dato vernachlässigte Blick auf die römische Villa unter dem Aspekt einer sequentiellen Sinnlichkeit eine ¿Chance für das Bauen heute¿ ist.Im Ergebnis kann man festhalten: Egal ob man Architekturstudenten nach Rom schickt oder nicht ¿ in jedem Fall sollte man sie Plinius lesen lassen.

Building Practice features interviews with architects, designers, educators, curators, fabricators, strategists, critics, and activists who are advancing speculative design through the culture and politics of building, capturing critical and formative moments associated with building a practice. Each interview reveals strategies for linking practical and theoretical forms of knowledge and evidences the active creation of unique approaches to contributing positively to both architectural culture and the built environment. Collectively, an introduction, twelve short texts on topics that are pertinent to architecture today, and thirty-two interviews convey how architects claim conceptual territory regarding form, space, order, materiality, and aesthetics, and push for design to have meaning and value in relation to cultural, environmental, political, and social concerns. The individuals and practices profiled in this book collectively partition themselves from previous generations of experimentally motivated practices while individually exemplifying their own inimitable affinities, techniques, and sensibilities. Building Practice shares the first acts of an emerging generation of practices and identifies the peripheral yet pivotal aspects of building a practice today.

How can design be used to challenge the status quo, to interrupt the jargon, to disrupt and redirect ecological and socio-economic flows? LA+ Journal's fourth international design ideas competition invited designers to take an established place and design something to productively interrupt both its cultural and spatial context. What does this mean? It means injecting something different into a given context to effect new meanings and new functions. It means questioning what design does, who it's designed for, what it looks like, and what it means. Issue #17 brings you the results of the LA+ INTERRUPTION design competition. As well as showcasing the award-winning designs and a comprehensive Salon des Refusés, LA+ INTERRUPTION features interviews with jurors Fiona Raby, Martin Rein-Cano, Mark Raggatt, Rania Ghosn, and Jason Zhisen Ho, and an essay by Katya Crawford, coauthor of the The Design Competition in Landscape Architecture(forthcoming).

This study illuminates the complex interplay between Deleuze and Guattari's philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it.Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari's philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.