Architecture Theory since 1968 by K. Michael Hays

By K. Michael Hays

Within the dialogue of structure, there's a triumphing sentiment that, considering the fact that 1968, cultural construction in its conventional experience can not be understood to upward thrust spontaneously, as an issue of social direction, yet needs to now be developed via ever extra self-conscious theoretical methods. the improvement 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 relating to different fields and for reasserting architectures basic significance in highbrow discourse.

This anthology offers forty-seven of the first texts of structure thought, introducing each one with an explication of the ideas and different types useful for its knowing and assessment. It additionally offers twelve records of initiatives or occasions that had significant theoretical repercussions for the interval. numerous of the essays look the following 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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Extra resources for Architecture Theory since 1968

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The regression and anxious struggles of the modern movement from 1935 to the present day can be read in this light. The most general demands for the rationalization of cities and outlying areas remain unmet, continuing to act as indirect stimuli for realizations compatible with the partial goals established along the way by the system. At this point something inexplicable, at least at first glance, occurs. The ideology of form seems to abandon its own vocation to realism, turning to the second pole inherent in the dialectic of bourgeois culture.

Ernst May’s plan for Frankfurt, Martin Wagner’s Berlin, Fritz Schumacher’s Hamburg, and Cornelis van Eesteren’s Amsterdam are the most important chapters in the history of modern urban planning. Yet beside the oases of order that were the Siedlungen— true constructed utopias, on the margins of an urban reality little affected by them—the old cities continued to accumulate and multiply their contradictions. And for the most part, these contradictions would soon appear more vital than the tools established by the architectural milieu to control them.

The new dimensions presented by the problems of the industrial city over the course of the nineteenth century would only aggravate the crisis, in the face of which art struggled to find the proper paths by which it might follow the developments of urban reality. On the other hand, the fragmentation of organic form occurred predominantly in architectural activity, without managing to find an outlet in the urban dimension. When, looking at a “piece” of Victorian architecture, we are struck by the exasperation of the “object” there before us, we rarely take into consideration that eclecticism and linguistic pluralism, for nineteenth-century architects, represented the proper response to the multiple disruptive stimuli produced by the new environment that technology’s “universe of precision” had created.

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