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Buildings are not benign; rather, they commonly manipulate and abuse their human users. Architectural Agents makes the case that buildings act in the world independently of their makers, patrons, owners, or occupants. And often they act badly. Treating buildings as bodies, Annabel Jane Wharton writes biographies of symptomatic structures in order to diagnose their pathologies. The violence of some sites is rooted in historical trauma; the unhealthy spatial behaviors of other spaces stem from political and economic ruthlessness. The places examined range from the Cloisters Museum in New York City and the Palestine Archaeological Museum (renamed the Rockefeller Museum) in Jerusalem to the grand Hostal de los Reyes Católicos in Santiago de Compostela, Spain, and Las Vegas casino resorts. Recognizing that a study of pathological spaces would not be complete without an investigation of digital structures, Wharton integrates into her argument an original consideration of the powerful architectures of video games and immersive worlds. Her work mounts a persuasive critique of popular phenomenological treatments of architecture. Architectural Agents advances an alternative theorization of buildings’ agency—one rooted in buildings’ essential materiality and historical formation—as the basis for this significant intervention in current debates over the boundaries separating humans, animals, and machines.

This book aims to give equal attention to Western and non-Western structures and built landscapes. From Tenochtitlan’s Great Pyramid in Mexico City and the Duomo in Florence to Levittown’s suburban tract housing and the Bird’s Nest Stadium in Beijing, its coverage includes the world’s most celebrated structures and spaces along with many examples of more humble vernacular buildings. The book presents key moments and innovations in architectural modernity around the globe. Integrating architectural and social history, this book pays particular attention to the motivations of client and architect in the design and construction of environments both sacred and secular: palaces and places of worship as well as such characteristically modern structures as the skyscraper, the department store, and the cinema. It also focuses on the role of patrons and addresses to an unparalleled degree the impact of women in commissioning, creating, and inhabiting the built environment, with Gertrude Jekyll, Lina Bo Bardi, and ZahaHadid taking their place beside Brunelleschi, Sinan, and Le Corbusier.

Architecture’s Historical Turn traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question. This book shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. The book discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, the book contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism’s historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theory—especially the theory of architectural history—a new importance over practice. However, as this text makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory.

This book examines architecture’s fascination with autonomic design methods during the 1960s and 1970s. Influenced by broader postwar developments—the expansion of science, the emergence of structuralism, the development of serial music and art, and, most importantly, the appearance of electronic computing—the architects considered here proposed radical reformulations of design methods. Condemning both intuition and historical precedent as inadequate to the postwar condition, automatic architecture argued for design processes that were rational, systematic, and transparent. Through these methods architecture would be connected to mathematics and science. This book provides an account of the development of such automatic design processes, a historical shift that both extended selective principals of modernism and presaged the expanding role of computational methods in contemporary architecture. It concludes by expanding our understanding of the automatic through Stanley Cavell’s concept of “automatism,” which recommends the motivated deployment of the automatic as a technique of cultural production. The core of the book offers intensive treatment of three cases. First, the mathematically-grounded “design methods” research initiated by Christopher Alexander and extended by Lionel March at Cambridge University’s Centre for Land Use and Built Form Study. Second, the early work of Peter Eisenman, who posited a neo-Platonic logic of form, with ties to the contemporaneous work of the linguist Noam Chomsky and to Conceptual and Minimal art. Third, Frei Otto’s research into form finding and natural models for design, with a particular focus on the West German Pavilion for Expo 67 and the 1975 Multihalle in Mannheim.

Building Access investigates twentieth-century strategies for designing the world with disability in mind. Illustrated with a wealth of rare archival materials, this book brings together scientific, social, and political histories in what is not only the pioneering critical account of Universal Design but also a deep engagement with the politics of knowing, making, and belonging in twentieth-century United States.

Like the medieval English cathedrals that inspired it, the Princeton University Chapel is an architectural achievement designed to evoke wonder, awe, and reflection. This book is the essential illustrated guide to this magnificent architectural and cultural landmark. Now with new color photos throughout, the book traces the history of the chapel and describes its architecture, sculpture, woodwork, and furnishings. The author knew the building from its planning stages through its construction, dedication, and long use. This book offers unique insights into the vision of architect Ralph Adams Cram and the artistry of Charles J. Connick, who designed the chapel's breathtaking cycle of stained-glass windows. The book gives readers an opportunity to enjoy the chapel as both an aesthetically beautiful structure and a moving religious statement. It reveals how the building's composition is meant to provide spiritual access to as many seekers as possible and instill in them an extraordinary message of hope. The book is a guided tour of an inspiring structure that has served as the spiritual home to one of America's leading universities.

For more than a century, Chicago's skyline has included some of the world's most distinctive and inspiring buildings. This history of the Windy City's skyscrapers begins in the key period of reconstruction after the Great Fire of 1871 and concludes in 1934 with the onset of the Great Depression, which brought architectural progress to a standstill. During this time, such iconic landmarks as the Chicago Tribune Tower, the Wrigley Building, the Marshall Field and Company Building, the Chicago Stock Exchange, the Palmolive Building, the Masonic Temple, the City Opera, Merchandise Mart, and many others rose to impressive new heights, thanks to innovations in building methods and materials. Solid, earthbound edifices of iron, brick, and stone made way for towers of steel and plate glass, imparting a striking new look to Chicago's growing urban landscape. This book reveals the daily struggles, technical breakthroughs, and negotiations that produced these magnificent buildings. It also considers how the city's infamous political climate contributed to its architecture, as building and zoning codes were often disputed by shifting networks of rivals, labor unions, professional organizations, and municipal bodies. Featuring more than a hundred photographs and illustrations of the city's physically impressive and beautifully diverse architecture, the book highlights an exceptionally dynamic, energetic period of architectural progress in Chicago.

Lawrence Halprin (1916-2009) was one of the most influential landscape architects of the 20th-century. Though he is most widely known for the FDR Memorial in Washington DC and the Sea Ranch in California, his creative process – derived in the 1960s from experiments in choreographic scoring – represents an overlooked antecedent to today’s approach to landscape and urban design, which emphasizes infrastructural networks, ecological processes, multidisciplinary collaboration, as well as public participation. Emerging from exhaustive study of his vast archive of drawings and documents (housed at the University of Pennsylvania’s Architectural Archives), the book critically interprets Halprin’s participatory design process and argues for the applicability of aspects of that process in city-shaping today. As an urban pioneer, Halprin’s most noteworthy frontier became the nation’s densely settled metropolitan areas during a time of urban “crisis” and “renewal.” Paralleling and responding to a broader public demand for social and political participation in the 1960s, he formulated this creative process, which he called “The RSVP Cycles,” to stimulate a participatory environmental experience. He did not work alone, however. His success depended on collaboration, and particularly the artistic symbiosis that existed between him and his wife, the avant-garde dancer and choreographer Anna Halprin.

The vision of Utopia obsessed the nineteenth-century mind, shaping art, literature, and especially town planning. This book takes readers across centuries and continents to show how Utopian town planning produced a distinctive type of settlement characterized by its square plan, collective ownership of properties, and communal dormitories. Some of these settlements were sanctuaries from religious persecution, while others were sanctuaries from the Industrial Revolution. Because of their differences in ideology and theology, these settlements have traditionally been viewed separately, but this book shows how they are part of a continuous intellectual tradition that stretches from the early Protestant Reformation into modern times. Through close readings of architectural plans and archival documents, many previously unpublished, this book shows the network of connections between these seemingly disparate Utopian settlements—including even such well-known town plans as those of New Haven and Philadelphia. The most remarkable aspect of the city of refuge is the inventive way it fused its eclectic sources, ranging from the encampments of the ancient Israelites as described in the Bible to the detailed social program of Thomas More's Utopia to modern thought about education, science, and technology. Delving into the historical evolution and antecedents of Utopian towns and cities, this book alters notions of what a Utopian community can and should be.

The end of apartheid and the transition to parliamentary democracy brought to the surface a host of tensions that were long suppressed under white minority rule. Yet as the ‘new nation’ struggled to establish a firm footing, the lingering ghosts of the past continued to haunt the present. The primary aim of this book is to explore how collective memory works, that is, how the historical past is made to matter in the ‘new South Africa’. A central concern is the question of representation, that is, how the historical past is made to appear in the present. How is the history of white minority rule represented, and thereby mediated, after the end of apartheid and the transition to parliamentary democracy? Addressing this question requires a critical examination of how the practice of commemoration inscribes collective memory in places, objects, and words, and conversely, how the stories attached to these mnemonic devices selectively recount the past in ways that sometimes sanitize, distort, embellish, compress, and even fabricate history in the service of ‘nation-building’. It begins with the premise that such seemingly disconnected are all vehicles for the storage and dissemination of collective memory. Far from operating as passive receptacles or neutral storehouses for holding onto the remembered past, these mnemonic devices are active agents in shaping the construction of a tenuous collective identity and shared meaning in the everyday lives of the South African citizenry.

This biography of Clarence Samuel Stein comprehensively examines his built and unbuilt projects and his intellectual legacy as a proponent of the “Garden City” for a modern age. This examination of Stein's life and legacy focuses on four critical themes: his collaborative ethic in envisioning policy, design, and development solutions; promotion and implementation of “investment housing;” his revolutionary approach to community design, as epitomized in the Radburn Idea; and his advocacy of communitarian regionalism. His cutting-edge projects such as Sunnyside Gardens in New York City; Baldwin Hills Village in Los Angeles; and Radburn, New Jersey, his “town for the motor age,” continue to inspire community designers and planners in the United States and around the world. Stein was among the first architects to integrate new design solutions and support facilities into large-scale projects intended primarily to house working-class people, and he was a cofounder of the Regional Planning Association of America. As a planner, designer, and, at times, financier of new housing developments, Stein wrestled with the challenges of creating what today we would term “livable,” “walkable,” and “green” communities during the ascendency of the automobile. He managed these challenges by partnering private capital with government funding, as well as by collaborating with colleagues in planning, architecture, real estate, and politics.

How does architecture make its appearance in civil society? This book pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, the book reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution. By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, the book offers a new view of architectural modernism as a political and social instrument. It contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by this book’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. It examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design. Read from the perspective of architectural history, this book demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.

In Berlin, decrepit structures do not always denote urban blight. Decayed buildings are incorporated into everyday life as residences, exhibition spaces, shops, offices, and as leisure space. As nodes of public dialogue, they serve as platforms for dissenting views about the future and past of Berlin. This book introduces the concept of counter-preservation as a way to understand this intentional appropriation of decrepitude. The embrace of decay is a sign of Berlin's iconoclastic rebelliousness, but it has also been incorporated into the mainstream economy of tourism and development as part of the city's countercultural cachet. It presents the possibilities and shortcomings of counter-preservation as a dynamic force in Berlin and as a potential concept for other cities. Counter-preservation is part of Berlin's fabric: in the city's famed Hausprojekte (living projects) such as the Køpi, Tuntenhaus, and KA 86; in cultural centers such as the Haus Schwarzenberg, the Schokoladen, and the legendary, now defunct Tacheles; in memorials and museums; and even in commerce and residences. The appropriation of ruins is a way of carving out affordable spaces for housing, work, and cultural activities. It is also a visual statement against gentrification, and a complex representation of history, with the marks of different periods—the nineteenth century, World War II, postwar division, unification—on display for all to see. Counter-preservation exemplifies an everyday urbanism in which citizens shape private and public spaces with their own hands, but it also influences more formal designs, such as the Topography of Terror, the Berlin Wall Memorial, and Daniel Libeskind's unbuilt redevelopment proposal for a site peppered with ruins of Nazi barracks. By featuring these examples, the book questions conventional notions of architectural authorship and points toward the value of participatory environments.

Cross-cultural relations are spatial relations. Enclave to Urbanity is the first book in English that examines how the architecture and the urban landscape of Guangzhou framed the relations between the Western mercantile and missionary communities and the city’s predominantly Chinese population. The book takes readers through three phases: the Thirteen Factories era from the eighteenth century to the 1850s; the Shamian enclave up to the early twentieth century; and the adoption of Western building techniques throughout the city as its architecture modernized in the early Republic. The discussion of architecture goes beyond stylistic trends to embrace the history of shared and disputed spaces, using a broadly chronological approach that combines social history with architectural and spatial analysis. With nearly a hundred carefully chosen images, this book illustrates how the foreign architectural footprints of the past form the modern Guangzhou.

From the 1880s, a new type of designed green space appeared in the industrial landscape in Britain and the USA, the factory pleasure garden and recreation park, and some companies opened allotment gardens for local children. Initially inspired by the landscapes of industrial villages in the UK, progressive American and British industrialists employed landscape and garden architects to improve the advantages and aesthetic of their factories. In the US, these landscapes were created at a time of the USA’s ascendancy as the world’s leading industrial nation. The factory garden and park movement flourished between the Wars, driven by the belief in the value of gardens and parks to employee welfare and to recruitment and retention. Arguably above all, in an age of burgeoning mass media, factory landscaping represented calculated exercises in public relations, materially contributing to advertising and the development of attractive corporate identities. Following the Second World War the Americans led the way in corporate landscaping as suburban office campuses, estates and parks multiplied. In the twenty-first century a refreshed approach brings designs closer in spirit to pioneering early twentieth century factory landscapes. This book gives the first comprehensive and comparative account of the contribution of gardens, gardening and sports to the history of responsible capitalism and ethical working practices from multiple critical perspectives and draws together the existing literature with key primary material from some of the most innovative and best documented of the corporate landscapes; Cadbury, the National Cash Register Company, Shredded Wheat and Spirella Corsets.

The urban foodscape is changing, rapidly. Fish tacos, vegan cupcakes, gourmet pizzas, and barbeque ribs, and all served from the confines of cramped, idling, and often garishly painted trucks. These food trucks, part of a wider phenomenon of street food vending, while common in the global South, are becoming increasingly common sights in many cities, towns, and universities throughout the United States and Canada. Within the past few years, urban dwellers of all walks have flocked to these new businesses on wheels to get their fix of food that is inventive, authentic, and often inexpensive. In From Loncheras to Lobsta Love, we offer a variety of perspectives from across North America on the guiding questions “What are the motivating factors behind a city’s promotion of mobile food vending?” and “How might these motivations connect to the broad goals of social justice?” The cities represented in the chapters range from Montreal to New Orleans, from Durham to Los Angeles, and are written by contributors from a diversity of fields. In all, the chapters of From Loncheras to Lobsta Love tell stories of the huckster and the truckster, of city welcomes and city confrontations, of ground-up and of top-down, of the right to entrepreneurship and of rights to active citizenship, of personal and cultural identities and patterns of eating and spatial mobilities, of cultural and political geographies, of gastro-tourist entities and as city-branding tools, of the clash of ideals of ethnic ‘authenticity’ and local/organic sourcing.

The practice of urban preservation has become increasingly controversial in modern cities. In some places, historic monuments dismantled decades ago are rebuilt in exactly the same fashion, whereas centuries-old urban dwellings are demolished and replaced by new structures with historic appearances. In other places, heritage status becomes the equivalent of tax benefits, which encourages the renovation of historic houses but leads to the displacement of longtime residents. Based on extensive fieldwork and archival data, this book explores how the joint force of policy discourse and political institution shapes the policy process and creates distinct patterns of urban preservation in Beijing, Paris, and Chicago. It argues that the policy concept of urban preservation has become a strategic device for political and social actors to frame their propositions and promote their favored course of action. At the same time, the fragmented urban power structure serves as a filter that constrains the implementation of the preservation initiatives. In particular, the book developed a typology of political fragmentation (i.e., functional, intergovernmental, and territorial) to compare how different types of political fragmentation have shaped the policy process of urban preservation in predictable ways. By wedding political science theory and method to the study of urban preservation, this book is one of the first efforts to reveal the political underpinnings of the topic. The cross-national comparative approach is not only critical to test the theoretical framework presented, but also depicts a richer picture of the modes of spatial and social governance in the urban world.

Historic Capital shows how Washington, D.C.’s historic buildings and neighborhoods have been a site of contestation between local interests and the expansion of the federal government’s footprint. It ultimately makes the case that historic preservation has had as great an impact on the physical fabric of U.S. cities as any other private or public sector initiative in the twentieth century.

Between the well-documented development of colonial Bombay and sprawling contemporary Mumbai, a profound shift in the city’s fabric occurred: the emergence of the first suburbs and their distinctive pattern of apartment living. This book considers this phenomenon and its significance for South Asian urban life. It explores the organization of the middle-class neighborhood which became ubiquitous in the mid-twentieth-century city and which has spread throughout the subcontinent. This book examines how the challenge of converting lands from agrarian to urban use created new relations between the state, landholders, and other residents of the city. At the level of dwellings, apartment living in self-contained flats represented a novel form of urban residence, one that expressed a compromise between the caste and class identities of suburban residents who are upper caste but belong to the lower-middle or middle class. Living in such a built environment, under the often conflicting imperatives of maintaining the exclusivity of caste and subcaste while assembling residential groupings large enough to be economically viable, led suburban residents to combine caste with class, type of work, and residence to forge new metacaste practices of community identity.

This book examines the intertwined politics surrounding art and modernization in Morocco from 1912 to the present by considering the structure of the museum not only as a modern institution but also as a national monument to modernity, asking what happens when museum monuments start to crumble. In an analysis of museum history, exhibition policy, the lack of national museum space for modern art, and postmodern exhibit spaces in Morocco, this book focuses on the role that art plays in the social fabric of a modernizing Morocco. It argues that the decay of colonial and national institutions of culture has invited the rethinking of the museum and generated countermuseums to stage new narratives of art, memory, and modernity. Through these spaces she explores a range of questions: How is modernity imagined locally? How are claims to modernity articulated? How is Moroccan modernity challenged globally? In this first cultural history of modern Moroccan art and its museums, the book goes beyond the investigation of national institutions to treat the history and evolution of multiple museums—from official state and corporate exhibition spaces to informal, popular, street-level art, and performance spaces—as cultural architectures that both enshrine the past and look to the future.