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"Welcome to Issue #3 of Sociotype Journal, the type specimen for designers who like to read. Our theme this time is Home. What makes a home? Or a home away from home? And how does power (or a lack of it) change the concept and the reality of what ‘home’ means? Join us for a top-down and bottom-up tour of domesticity, from geometrically pristine masterplanned utopias, to(...)
Sociotype Journal, issue 3 : Home
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"Welcome to Issue #3 of Sociotype Journal, the type specimen for designers who like to read. Our theme this time is Home. What makes a home? Or a home away from home? And how does power (or a lack of it) change the concept and the reality of what ‘home’ means? Join us for a top-down and bottom-up tour of domesticity, from geometrically pristine masterplanned utopias, to an altogether more DIY approach: unplanned and off-grid, into the margins, into ruin, and into hiding in plain sight. We’ll look at Potemkin villages and replica cities, McMansions and sham castles, cube farms and hot desks; spite fences, coffin homes, hippie communes, suburban malls, Cold War-era radar stations and more."
Magazines
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SlaveCity - Interview with Joep van Lieshout Potential Nation States by STAR Global Islands in North Korea by Simone Cartier and Katrin Gimmel Operation Desert by Peter Mörtenböck and Helge Mooshammer Kaliningrad by Ines Lüder, Dominique Hurth and Ciarán Walsh Segregated Istanbul by Pelin Tan Crisscrossing Lives by Horng-Chang Hsieh and Vittaya Ruangrit A(...)
MONU - magazine on urbanism no 8 Border Urbanism
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SlaveCity - Interview with Joep van Lieshout Potential Nation States by STAR Global Islands in North Korea by Simone Cartier and Katrin Gimmel Operation Desert by Peter Mörtenböck and Helge Mooshammer Kaliningrad by Ines Lüder, Dominique Hurth and Ciarán Walsh Segregated Istanbul by Pelin Tan Crisscrossing Lives by Horng-Chang Hsieh and Vittaya Ruangrit A Fictional Dialogue between two Curators by Umi Cross - Border Suburbias by Teddy Cruz Reciprocal Developments by Arjan Harbers and Kristin Jensen Tijuana - Vernacular by Federico Diaz de Leon Orraca Border Models by Annemarie Strihan Bohemian Cheapness - Interview with Jaroslav Kubera Sin City by Daan Roggeveen On a Trip Down Memory Lane by Lukas Feireiss Windsor: The American Sector by Justin A. Langlois Westberlin - My Cold War Heroine by Vesta Nele Zareh
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Gyorgy Kepes (1906–2001) was the last disciple of Bauhaus modernism, an acolyte of László Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to(...)
June 2019
Gyorgy Kepes: undreaming the Bauhaus
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Gyorgy Kepes (1906–2001) was the last disciple of Bauhaus modernism, an acolyte of László Moholy-Nagy and a self-styled revolutionary artist. But by midcentury, transplanted to America, Kepes found he was trapped in the military-industrial-aesthetic complex. In this first book-length study of Kepes, John Blakinger argues that Kepes, by opening the research laboratory to the arts, established a new paradigm for creative practice: the artist as technocrat. First at Chicago's New Bauhaus and then for many years at MIT, Kepes pioneered interdisciplinary collaboration between the arts and sciences- what he termed “interthinking” and “interseeing.” Kepes and his colleagues, ranging from metallurgists to mathematicians, became part of an important but little-explored constellation: the Cold War avant-garde.
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Bearing witness to the changing economic landscape amid the Cold War, artists in the 1960s created works that critiqued, reshaped, and sometimes reinforced the spirit of capitalism. At a time when currency and finance were becoming ever more abstracted—and the art market increasingly an arena for speculation—artists on both sides of the Atlantic turned to economic themes,(...)
The artist as economist: art and capitalism in the 1960s
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Bearing witness to the changing economic landscape amid the Cold War, artists in the 1960s created works that critiqued, reshaped, and sometimes reinforced the spirit of capitalism. At a time when currency and finance were becoming ever more abstracted—and the art market increasingly an arena for speculation—artists on both sides of the Atlantic turned to economic themes, often grounded in a human context. ''The artist as economist'' examines artists who approached these issues in critical, imaginative, and humorous ways. Such examples, which author Sophie Cras insightfully situates within their historic economic context, reveal capitalism’s visual dimension. As art and economics grow more entangled, this volume offers a timely consideration of art’s capacity to reflect on and reimagine economic systems.
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Du gazon "américain"?! Une pelouse en guerre?! De Pearl Harbor à la Crise des missiles cubains?! Pour Beatriz Colomina, historienne de l'architecture à l'université de Princeton, le mythe patriotique du carré de pelouse (lawn) et le combat jardinier quotidien pour le maintien et l'embellissement de cette interface domestique de la famille et de la communauté reflètent une(...)
La pelouse américaine en guerre de Pearl Harbour à la Crise des Missiles, 1941-1961
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Du gazon "américain"?! Une pelouse en guerre?! De Pearl Harbor à la Crise des missiles cubains?! Pour Beatriz Colomina, historienne de l'architecture à l'université de Princeton, le mythe patriotique du carré de pelouse (lawn) et le combat jardinier quotidien pour le maintien et l'embellissement de cette interface domestique de la famille et de la communauté reflètent une certaine conception du sol américain et de son paysage. Mais ils révèlent surtout une conception de la démocratie et de ses valeurs associées : libertés fondamentales, propriété privée et poursuite du bonheur, trilogie littéralement boostée durant la phase d'émergence de l'Americain Way of Life et de la Cold War. En menant une enquête visuelle et culturelle aussi serrée que passionnante, l'historienne répond à ces trois questions.
Architectural Theory
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration(...)
Dreamworld and catastrophe : the passing of mass utopia in East and West
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to political cynicism. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. She shows how dreamworlds became dangerous when their energy was used by the structures of power as an instrument of force against the masses. Stressing the similarities between the East and West and using the end of the Cold War as her point of departure, she examines both extremes of mass utopia, dreamworld and catastrophe. The book is in four parts. "Dreamworlds of Democracy" asks whether collective sovereignty can ever be democratic. "Dreamworlds of History" calls for a rethinking of revolution by political and artistic avant-gardes. "Dreamworlds of Mass Culture" explores the affinities between mass culture's socialist and capitalist forms. An "Afterward" places the book in the historical context of the author's collaboration with a group of Moscow philosophers and artists over the past two tumultuous decades. The book is an experiment in visual culture, using images as philosophy, presenting, literally, a way of seeing the past. Its pictorial narratives rescue historical data that with the end of the Cold War are threatened with oblivion and challenge common conceptions of what this century was all about.
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January 1900, Cambridge
Architectural Theory
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Throughout the twentieth century, housing displays have proven to be a singular genre of architectural and design exhibitions. By crossing geographies and adopting multiple scales of observation – from domestic space to urban visions – this volume investigates a set of unexplored events devoted to housing and dwelling, organised by technical, professional, cultural or(...)
The housing project: discourses, ideals, models and politics in 20th century exhibitions
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Throughout the twentieth century, housing displays have proven to be a singular genre of architectural and design exhibitions. By crossing geographies and adopting multiple scales of observation – from domestic space to urban visions – this volume investigates a set of unexplored events devoted to housing and dwelling, organised by technical, professional, cultural or governmental institutions from the interwar years to the Cold War. The book offers a first critical assessment of twentieth-century housing exhibits and explores the role of exhibitions in the codification of notions of domesticity, social models, policies, and architectural and urban discourse. At the intersection of housing studies and the history of exhibitions, ''The Housing Project'' not only offers a novel angle on architectural history but also enriches scholarly perspectives in urban studies, cultural and media history, design, and consumption studies.
Collective Housing
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Sverre Fehn’s Nordic Pavilion in Venice is a masterpiece of postwar architecture. The young Norwegian architect won the competition in 1958; the building was inaugurated in 1962. In minute detail, this book presents the history of the origins and making of the Nordic pavilion, covering everything from the geopolitical context in an increasingly tense cold-war atmosphere(...)
Sverre Fehn: Nordic Pavilion, Venice
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Sverre Fehn’s Nordic Pavilion in Venice is a masterpiece of postwar architecture. The young Norwegian architect won the competition in 1958; the building was inaugurated in 1962. In minute detail, this book presents the history of the origins and making of the Nordic pavilion, covering everything from the geopolitical context in an increasingly tense cold-war atmosphere to the aggregates in the concrete of the audacious roof construction. ''Sverre Fehn : Nordic Pavilion, Venice'' also documents the vast cast involved in the making of the Nordic Pavilion, from kings, prime ministers, bureaucrats, ambassadors, museum directors, architects and a myriad of artists’ associations to Venetian dignitaries, engineers, gardeners, lawyers and plumbers. Illustrated with previously unpublished images, the archival evidence also sheds new light on one of the great Nordic architects of the recent past.
Architecture Monographs
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Architecture is a constant presence in the study of human interaction- acting as both the ground on which human social behavior is performed and a means of shaping subjectivity itself. ''Proxemics'' was an attempt to visualize and instrumentalize these dynamics, appealing to both the social sciences and the emerging field of environmental design. Founded by anthropologist(...)
Proxemics and the architecture of social interaction
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Architecture is a constant presence in the study of human interaction- acting as both the ground on which human social behavior is performed and a means of shaping subjectivity itself. ''Proxemics'' was an attempt to visualize and instrumentalize these dynamics, appealing to both the social sciences and the emerging field of environmental design. Founded by anthropologist Edward T. Hall and taking shape between the departments of architecture and anthropology at the Illinois Institute of Technology, proxemics developed amidst cold war political tensions and intense social and civil unrest. ''Proxemics and the Architecture of Social Interaction'' presents selections from Hall’s extensive archive of visual materials alongside a critical analysis that traces transformations in the fields of design and science. Together these materials illuminate a moment in American history when new spatial practices arose to challenge the environmental conditions of cultural, political, and racial identity.
Architecture ecologies
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Filled with drawings, collages, and models, this book examines how each firm’s utopian vision was shaped by the times in which it was conceived. The designs by Archigram, a Londonbased firm headed by Peter Cook, Ron Herron and Dennis Crompton, date back to the moon landing and an era filled with hope for new beginnings. By contrast, the latter project, the work of Future(...)
Yesterday's future: visionary designs by Future Systems and Archigram
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Filled with drawings, collages, and models, this book examines how each firm’s utopian vision was shaped by the times in which it was conceived. The designs by Archigram, a Londonbased firm headed by Peter Cook, Ron Herron and Dennis Crompton, date back to the moon landing and an era filled with hope for new beginnings. By contrast, the latter project, the work of Future Systems, headed by Czech architect Jan Kaplický and David Nixon, was conceptualized at the height of the Cold War, when the future appeared gloomy. While Archigram conceived organic architectures to ensure survival in inhospitable environments, the technical looking designs by Future Systems are intended for use in more friendly climes. Although the majority of these utopian designs were never realized, their plans offer a fascinating look at how architects prepare for a world they can only imagine.
Architecture Monographs