By K. Michael Hays
Within the dialogue of structure, there's a triumphing sentiment that, for the reason that 1968, cultural construction in its conventional feel can now 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 systems. the advance of interpretive modes of varied stripes—post-structuralist, Marxian, phenomenological, psychoanalytic, in addition to others dissenting or eccentric—has given students quite a number instruments for rethinking structure on the subject of different fields and for reasserting architectures common significance in highbrow discourse.
This anthology provides forty-seven of the first texts of structure concept, introducing every one with an explication of the options and different types important for its realizing and review. It additionally offers twelve files of initiatives or occasions that had significant theoretical repercussions for the interval. numerous of the essays look 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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Additional info for Architecture Theory since 1968
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. But the failure of Algiers, and Le Corbusier’s “failure” in general, cannot only be correctly understood when seen in the context of the international crisis of modern architecture.
The forms and methods of industrial labor became part of the organization of design and were reflected in the proposed use of the object. From the standardized part and the cell to the single block, the Siedlung, and finally to the city: such is the assembly line that architectural culture devised between the wars with exceptional clarity and consistency. Each “piece” in the line is fully resolved and tends to disappear or, better yet, to dissolve formally in the assembly. The result of all this was the revolutionization of the aesthetic experience itself.
Those who may wish to shatter this traditional notion and link architecture with the destiny of the city, can only conceive of the city itself as the specific site of technological production and as a technological product in itself, thereby reducing architecture to a mere moment in the chain of production. And yet in some way, Piranesi’s prophecy of the bourgeois city as an “absurd machine” comes true in the nineteenth-century metropolises, which were organized as primary structures of capitalist economy.
Architecture Theory since 1968 by K. Michael Hays