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Photo Tomasz Pietryszek / Getty Images.Cover design credit: Simon Levy Design AssociatesArchitectural TheoryDavid Goodman is Studio Associate Professor of Architecture at Illinois Instituteof Technology and is co-principal of R D Studio. He has also taught architecture atHarvard University’s Graduate School of Design and at Boston Architectural College.His work has appeared in the journal Log, in the anthology Chicago Architecture:Histories, Revisions, Alternatives, and in the Northwestern University Presspublication Walter Netsch: A Critical Appreciation and Sourcebook.An Introduction toHarry Francis Mallgrave is a professor of architecture at Illinois Institute ofTechnology, and has enjoyed a distinguished career as an award-winning scholar,translator, and editor. His most recent publications include Modern ArchitecturalTheory: A Historical Survey, 1673–1968 (2005), the two volumes of ArchitecturalTheory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience,Creativity, and Architecture (Wiley-Blackwell, 2010).Mallgraveand GoodmanAn Introduction to Architectural Theory is the first critical history ofarchitectural thought over the last forty years. Beginning with thecataclysmic social and political events of 1968, the authors surveythe criticisms of high modernism and its abiding evolution, therise of postmodern and poststructural theory, traditionalism, NewUrbanism, critical regionalism, deconstruction, parametric design,minimalism, phenomenology, sustainability, and the implications ofnew technologies for design. With a sharp and lively text, Mallgraveand Goodman explore issues in depth but not to the extent that theybecome inaccessible to beginning students.An Introduction toArchitectural Theory1968 to the PresentHarry Francis Mallgrave and David Goodman
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An Introduction to Architectural TheoryMallgrave ffirs.indd i1/17/2011 10:02:13 AM
Mallgrave ffirs.indd ii1/17/2011 10:02:14 AM
An Introduction toArchitectural Theory1968 to the PresentHarry Francis Mallgraveand David GoodmanA John Wiley & Sons, Ltd., PublicationMallgrave ffirs.indd iii1/17/2011 10:02:14 AM
This edition first published 2011 2011 Harry Francis Mallgrave and David GoodmanWiley-Blackwell is an imprint of John Wiley & Sons, formed by the merger of Wiley’sglobal Scientific, Technical and Medical business with Blackwell PublishingRegistered OfficeJohn Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ,United KingdomEditorial Offices350 Main Street, Malden, MA 02148-5020, USA9600 Garsington Road, Oxford, OX4 2DQ, UKThe Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UKFor details of our global editorial offices, for customer services, and for information about how toapply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwellThe right of Harry Francis Mallgrave and David Goodman to be identified as the authorsof this work been asserted in accordance with the UK Copyright, Designs and Patents Act 1988All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, ortransmitted, in any form or by any means, electronic, mechanical, photocopying, recording orotherwise, except as permitted by the UK Copyright, Designs and PatentsAct 1988, without the prior permission of the publisherWiley also publishes its books in a variety of electronic formats. Some content that appears inprint may not be available in electronic booksDesignations used by companies to distinguish their products are often claimed as trademarks.All brand names and product names used in this book are trade names, service marks,trademarks or registered trademarks of their respective owners. The publisher is not associatedwith any product or vendor mentioned in this book. This publication is designed to provideaccurate and authoritative information in regard to the subject matter covered. It is sold on theunderstanding that the publisher is not engaged in rendering professional services. Ifprofessional advice or other expert assistance is required, the services of a competentprofessional should be soughtLibrary of Congress Cataloging-in-Publication DataMallgrave, Harry Francis, 1947–An Introduction to Architectural Theory : 1968 to the Present / Harry Francis Mallgrave andDavid Goodman.p. cmSummary: “A sharp and lively text that covers issues in depth but not to the point that theybecome inaccessible to beginning students, An Introduction to Architectural Theory is the firstnarrative history of this period, charting the veritable revolution in architectural thinking that hastaken place, as well as the implications of this intellectual upheaval. The first comprehensive andcritical history of architectural theory over the last forty years surveys the intellectual history ofarchitecture since 1968, including criticisms of high modernism, the rise of postmodern andpoststructural theory, critical regionalism and tectonics. Offers a comprehensive overview of thesignificant changes that architectural thinking has undergone in the past fifteen years. Includes ananalysis of where architecture stands and where it will likely move in the coming years.”– Providedby publisher.Includes bibliographical references and index.ISBN 978-1-4051-8063-4 (hardback) – ISBN 978-1-4051-8062-7 (paperback)1. Architecture–Philosophy. 2. Architecture–Historiography. I. Goodman, David,1974– II. Title.NA2500.M277 2012720.1–dc222010043539A catalogue record for this book is available from the British LibraryThis book is published in the following electronic formats: ePDFs 9781444395976;ePub 9781444395983Set in 10/12.5pt Galliard by SPi Publisher Services, Pondicherry, IndiaPrinted in Malaysia01Mallgrave ffirs.indd iv20111/17/2011 10:02:14 AM
ContentsList of IllustrationsPrelude: The 1960sTechnology and EcologySocial Underpinnings of Modernism1968viii13611Part One: 1970s151 Pars Destruens: 1968–197317Venturi and Scott BrownRossi and TafuriThe Milan TriennaleThe IAUS and the New York Five2 The Crisis of MeaningSemiotics and ArchitectureFive on FiveGray and WhiteVariations on a Theme3 Early PostmodernismThe Language of PostmodernismConsummation in VeniceEuropean Counterpoints4 Modernism AbidesThe Chicago High-RiseGerman EngineeringBritish RenaissanceMallgrave ftoc.indd v182327303739434548535457596565707412/13/2010 2:54:01 PM
viContentsPost-Metabolism in JapanThe Special Case of AlexanderPart Two: 1980s5678Postmodernism and Critical Regionalism79858991Postmodernism Further DefinedPostmodernism OpposedCritical Regionalism and PhenomenologyMérida and Venice919497102Traditionalism and New Urbanism108The Prince of ArchitectureThe Paternoster ControversyToward a New Urbanism108111115Gilded Age of Theory123Poststructural TheoryPoststructural ArchitectureEisenman and Tschumi123129131Deconstruction141Postmodernism UndefinedGehryThe 68ers Come of Age“ a devious architecture ”142146149154Part Three: 1990s and Present1599Wake of the Storm161Fragments of FragmentsFrom Derrida to DeleuzeGeometry and AutonomyThe End of the Figure: Manipulated GroundsForm without Rhetoric16116416717117410 Pragmatism and Post-CriticalityOMAThe Orange RevolutionPost-Criticality11 MinimalismsMateriality and EffectsNeo-modernismPhenomenological ArchitectureMallgrave ftoc.indd vi17717718519219419520521012/13/2010 2:54:01 PM
Contents vii12 Sustainability and Beyond215The Green MovementMcDonough and YeangGreen UrbanismBiophilic gmentsIndexMallgrave ftoc.indd vii23126526612/13/2010 2:54:01 PM
.34.44.54.64.74.85.1Mallgrave flast.indd viiiBBPR, Torre Velasca, Milan (1950–1958)Image depicting a “Cell Gateway,” from ChristopherAlexander, Sanford Hirshen, Sara Ishikawa, Christie Coffin,and Shlomo Angel, Houses Generated by Patterns (1969)Learning from Las Vegas, by Robert Venturi,Denise Scott Brown, and Steven IzenourAldo Rossi, Gallaratese, Milan, ItalyGiuseppe Terragni, Casa del Fascio, Como, ItalyPeter Eisenman, House I, Princeton, New Jersey (1967)Cover of Collage City, by Colin Rowe and Fred KoetterStanley Tigerman, “The Titanic.”Antonio Gaudi, Casa Battló, Barcelona (1904–1906)Page from Rational ArchitecturePlate from Myron Goldsmith, “The Tall Building:The Effects of Scale”George Schipporeit and John Heinrich, Lake Point Tower,Chicago (1964–1967)Skidmore, Owens & Merrill, John Hancock Building,Chicago (1964–1969)Piano and Rogers, Georges Pompidou Cultural Centre,Paris (1971–1977)Norman Foster and Associates, Hongkong andShanghai Bank, Hongkong (1979–1986)Kisho Kurokawa, Helix City (1960)Kisho Kurokawa, Wacoal Kojimachi Building,Tokyo (1982–1984)Fumihiko Maki, Wacoal Media Center,Tokyo (1982–1985)Rob Krier, Gateway to IBA Housing,South Tiergarten, Berlin 12/14/2010 1:29:58 PM
Illustrations 10.110.210.310.410.511.111.211.3Mallgrave flast.indd ixJosé Rafael Moneo, Museum of Roman Art,Mérida (1980–1985)Carlo Scarpa, Castelvecchio Museum, Verona (1956–1973)Seaside, Florida, planned by Andrés Duanyand Elizabeth Plater-ZyberkSeaside, FloridaPeter Calthorpe, sketch from The NextAmerican Metropolis illustrating the TODPeter Eisenman, axonometric model of House X,Bloomfield Hills, Michigan (1975)Peter Eisenman, model of Cannaregio project,Venice, Italy (1978)Bernard Tschumi, the Villa Savoye, fromAdvertisements (1977)Bernard Tschumi, planning grids for Parcde la Villette, Paris (1983)Hans Hollein, Museum Abteiberg, MönchengladbachJames Stirling, Neue Staatsgalerie, Stuttgart (1977–1984)Frank O. Gehry, fish sculpture for the Olympicvillage, Barcelona (1992)Peter Eisenman, 1:200 model of the Max ReinhardtHaus proposal, Berlin (1992)Preston Scott Cohen, the Torus House (1998)Foreign Office Architects (FOA), YokohamaPort Terminal CompetitionMiralles and Pinós, Igualada Cemetery, nearBarcelona (1984–1994)OMA, Center for Media Technologies (ZKM),Karlsruhe (1992)Zeebrugge Sea Terminal, Belgium (1989)MVRDV, WoZoCo Apartments, Amsterdam (1994–1997)UN Studio, Mercedes Benz Museum,Stuttgart (2001–2006)Santiago Calatrava, Milwaukee Art Museum,Milwaukee, Wisconsin (1994–2001)Herzog and de Meuron, Ricola StorageBuilding, Laufen, Switzerland (1986–1987)Herzog and de Meuron, Dominus Winery,Yountville, California (1995–1997)Toyo Ito, Sendai Mediatheque, Sendai-shi,Japan 6716917317518118318718919119819920212/14/2010 1:29:58 PM
xIllustrations11.4 Rafael Moneo, Kursaal Auditorium and CongressCenter, San Sebastián (1989–1999)11.5 Alberto Campo Baeza, Granada Savings BankHeadquarters, Granada (1992–2001)11.6 Álvaro Siza, Oporto School of Architecture,Portugal (1985–1993)11.7 Peter Zumthor, Thermal Bath at Vals,Switzerland (1990–1996)12.1 William McDonough Partners, Herman Miller“GreenHouse” Office and Manufacturing Facility,Holland, Michigan (1995)12.2 Foster Partners, residential street from the proposedcity of MasdarMallgrave flast.indd x20320721021322122612/14/2010 1:29:59 PM
PreludeThe 1960sFrom the close of World War II until sometime in the middle of the 1960stwo grand ideals ruled the architectural profession. One was a politicalfaith in the vision of modernity – the meliorist belief that by affectingsocial change and imposing a universal environmental order architectscould improve the human lot and repair a globe wrought by physical andmoral devastation. The second was the belief that the most efficient way toachieve this amelioration was through technology and its application.Stating these ideals in less prosaic terms, one might say that the technological vision of a unified modernity had for two decades enchanted themistress of architecture. Little did she suspect how swiftly his lure of excitement would pale.In retrospect, we can of course find several signs of the impending separation along the way. As far back as 1947, Lewis Mumford raised the possibility of a regional modernism, only to be rudely censored by the self-anointedpotentates of the Museum of Modern Art.1 In the same year, Aldo vanEyck, at a Congrès International d’Architecture Moderne (CIAM) inBridgewater, challenged the overly rationalist underpinnings of moderndesign, yet he found few backers.2 In 1953, at another CIAM conference inAix-en-Provence, teams of architects based in Algeria and Morocco presented housing schemes far removed from approved CIAM models, whileanother team from London dared to challenge a few of the urban premisesof the Athens Charter.3 And in 1959, Ernesto Rogers, the influential editorof the journal Casabella-continuità, loaded a double-barreled salvo againstthe status quo. In one chamber was the shell of an “Italian Retreat” frommodernism, based on the recent fascination of a few architects with the“Neoliberty” forms at the start of the twentieth century. In the secondAn Introduction to Architectural Theory: 1968 to the Present, First Edition.Harry Francis Mallgrave and David Goodman. 2011 Harry Francis Mallgrave and David Goodman. Published 2011 by Blackwell Publishing Ltd.Mallgrave cintro.indd 112/13/2010 2:54:40 PM
2Prelude: The 1960sFigure P.1 BBPR, Torre Velasca, Milan (1950–1958). Image courtesy of DavideSecci.chamber was the lethal pellet of historicism – that is, the desire to have amore tolerant modernism that would, on occasions, courteously entertain historical references. Oddly, the firing pin that had propelled thecartridge was Rogers’s own design (his firm BBPR’s) for the TorreVelasca (1950–1958), a modern concrete tower in downtown Milanwhose cantilevered upper stories had for some critics evoked the “atmosphere” of Italian medieval towns. This time the response from officialquarters was swift, as Rogers, at the CIAM’59 conference in Otterlo, waspounced upon by several critics who objected to his historical allusionism.And a few weeks earlier a glaring Reyner Banham had countered Casabella’s“Neoliberty” infatuation with an admonishing if not upbraiding metaphor:To want to put on those old clothes is to be, in Marinetti’s words describingRuskin, like a man who has attained full physical maturity, yet wants to sleepin his cot again, to be suckled again by his decrepit nurse, in order to regainthe nonchalance of his childhood. Even by the purely local standards ofMilan and Turin, then, Neoliberty is infantile regression.4Mallgrave cintro.indd 212/13/2010 2:54:41 PM
Prelude: The 1960s 3Technology and EcologyBy the close of the 1950s, Banham had, in fact, become a battalion commander within the technology forces, which in the next decade wouldenjoy their greatest triumphs. A man of literary brilliance, prolificacy, andacumen, he had spent the last half of the 1950s writing a dissertation onItalian Futurism under the tutelage of the eminent German refugee andhistorian Nikolaus Pevsner. He did so while participating in the animateddiscussions of London’s New Brutalist movement and hobnobbing inparticular with the iconoclastic wing of the Independent Group. The latterwas an arts forum within London’s Institute of Contemporary Arts, andits participants included Richard Hamilton, Lawrence Alloway, and JohnMcHale. They were united in their hippish enthusiasms for American jazz,pop culture, Hollywood films, science fiction, and Detroit automobiles:testifying to the rising anima of a beat generation on the verge of reachingout for something bigger.Banham’s published version of his dissertation, Theory and Design inthe First Machine Age (1960), was a milestone in architectural theory – lessfor its scholarship and more for its introductory and concluding chapterson “Functionalism and Technology.” Banham’s principal point wasthat the “First Machine Age,” which had been inspired by such things asautomobiles and ocean liners, had now been superseded (but not reversed)by a much more transfixing “Second Machine Age.” Defining this descending era were the newfangled gizmos of televisions, radios, electric shavers,hair dryers, tape recorders, mixers, grinders, washing machines, refrigerators, vacuum cleaners, and polishers – those items that were empoweringthe “housewife” of today with more horsepower than an industrial workercommanded at the start of the century. If the automobile in the 1920s wassimply a status symbol for cultural elites, the television (“the symbolicmachine of the Second Machine Age”) made democratic that crucial communicational objective of “dispensing mass entertainment.”5 All the newMachine Age lacked was a proper theory.Through a series of lectures and writings over the next few years, Banhamset out to repair this deficiency, and for him what was needed, from an increasingly radicalized perspective, was a more thoroughgoing embrace of technology and its conceptualization. Such a strategy was nevertheless fraught withdangers, at least for the increasingly complacent architectural profession:The architect who proposes to run with technology knows now that he willbe in fast company, and that, in order to keep up, he may have to emulatethe Futurists and discard his whole cultural load, including the professionalMallgrave cintro.indd 312/13/2010 2:54:41 PM
4Prelude: The 1960sgarments by which he is recognized as an architect. If, on the other hand, hedecides not to do this, he may find that a technological culture has decidedto go on without him.6Banham’s decision two years later, on the pages of London’s leading architectural journal, Architectural Review, to put architecture “On Trial” forits vacillation must also be considered within the context of the contemporary faith in megastructural solutions for any and all urban problems.7Britain was already building several monolithic cities, but the younger generation had more grandiose aspirations. In the late 1950s the HungarianIsraeli architect Yona Friedman, in founding the Groupe d’Etudesd’Architecture (GEAM), had broached the idea of “spatial city” by proposing a global effort to build 1000 new cities of three million inhabitantseach. Friedman was working with a circle of artists and thinkers – amongthem Eckhard Schulze-Fielitz, Paul Maymont, Constant (Nieuwenhuys),and Frei Otto – and he proffered his “mobile architecture” as a responseto the “perpetual transformation” of a restless society. Residents wouldnow have the freedom to plug their “dwelling cells” anywhere into a multistory space-frame lifted above the abandoned landscape. Even food production would be cultivated in elevated urban greenhouses.8In the same years, the Japanese Metabolists were producing their owntechnological extravaganzas in response to the population issues of urbancrowding.9 London, meanwhile, was being entertained by the comic-bookfantasies of Archigram, another group of futurists smitten with the technological bug. Perhaps the decisive year for their efforts was 1964, whenPeter Cook’s “Plug-In City” and Ron Herron’s “Walking City” madetheir spectacular debuts.10The intellectual guru behind this grandiose euphoria was R. BuckminsterFuller, or “Bucky” was he was generally known to his worldwide admirers.Since the late 1940s Fuller had been stalking the lecture halls of architecturalschools across all continents with his moral gospel of nonlinear thinking and“ephemeralization,” by which a building should be judged not by the usualaesthetic beliefs but rather by its weight or degree of ecological integrity.If the American Institute of Architects had been willing to overlook theeccentricities of his “Dymaxion” house (the century’s first definitive essayon sustainable thinking) as far back as 1928, by the early 1960s Fuller couldno longer be ignored. His mailbox was packed with offers for visiting professorships and speaking engagements, and laurels were only
harvard university’s graduate school of design and at Boston Architectural college. his work has appeared in the journal log, in the anthology chicago Architecture: histories, revisions, Alternatives, and in the northwestern university Press publication Walter netsch: A critical Appreciation and sourcebook. Photo tomasz Pietryszek / getty .
Intermediate Microeconomics and its Application, Walter Nicholson and Christopher Snyder - The most recent edition of the above book, with a more accessible treatment. Less worked-out in-chapter examples and more graphical explanations than earlier edition. 6. Microeconomics: Theory and Applications, Dominick Salvatore - Nice graphical treatment
Anthropological Theory: An Introductory History by McGee, R. Jon and Richard L. Warms 2017. Boston: McGraw-Hill. ! I strongly recommend buying a hard copy of this textbook, as it is an excellent resource for anthropological theory and will come handy beyond this course, in writing your field
Since its publication in 1981, Counseling the Culturally Diverse: heory and Prac tice (CCD) has become a classic in the ield, used in the overwhelming majority of graduate training
Theory of Elasticity as exercises, and Viktor Kirpichev, who induced him to read G. I,an&, Hernhard Riernann, F. GI-as- hof', arid, perhaps most importarit, Lord Kayleigh's '"l'heory of Sound." Kirpichev's influence on Timoshenko was very important; t hrough him he was introduced t
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LIBERTARIAN PAPERS VOL. 3, ART.NO. 19 (2011) 1 ACTION-BASED JURISPRUDENCE: PRAXEOLOGICAL LEGAL THEORY IN RELATION TO ECONOMIC THEORY, ETHICS, AND LEGAL PRACTICE KONRAD GRAF* THEORIZING ABOUT LAW and legal concepts falls under the field of jurisprudence, as do certain aspects of the assessment of legal institutions, procedures, and processes. Theorists in this field are typically des
58 Why you need a digital data architectur e to build a sustainable digital business 64. Part 2: Analytics grows acr oss the organization . experienced a number of hype cycles ending in disappointment. In the meantime, companies . . customers now accessing Ping An Good Doctor, where on a single platform run by the trusted Ping An .
Abrasive Jet Micro Machining (AJMM) is a relatively new approach to the fabrication of micro structures. AJMM is a promising technique to three-dimensional machining of glass and silicon in order to realize economically viable micro-electro-mechanical systems (MEMS) It employs a mixture of a fluid (air or gas) with abrasive particles. In contrast to direct blasting, the surface is exposed .
