Hippie Modernism: The Struggle for Utopia accompanies an exhibition of the same title examining the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal and professional norms while proposing new kinds of technological, ecological and political utopia. It includes the counter design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus Rucker Co and ONYX; the media-based installations of Ken Isaacs, Joan Hills and Mark Boyle and Helio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances staged by the Diggers and the Cockettes; publications such as Oz Magazine and The Whole Earth Catalog and books by Marshall McLuhan and Buckminster Fuller; and much, much more. While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the experimental graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including Gerd Stern and Michael Callahan of USCO, Gunther Zamp Kelp of Haus Rucker Co, Ken Isaacs, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, and new scholarly writings, this book explores the hybrid conjunction of the countercultural ethos and the modernist desire to fuse art and life.
This book captures concepts and projects that reshape the discipline of architecture by prioritizing people over buildings. In doing so, it uncovers sophisticated approaches that go beyond standard architectural protocols to explore experience-based aesthetics, encounters, action-based research, critical practices, and social engagement. If these are widely understood as singular or incompatible approaches, the book reveals that they form a growing network of interrelations and generate levels of flexibility and dynamism that are reshaping the discipline. The thirteen chapters analyze thought-provoking projects – branded museums, restaged exhibitions, home/work spaces, multi-cultural spaces, ageing apartment blocks, abandoned homes, and urban slums amongst them. Together, they enliven the stalled debate about a single architectural response to the complex challenges of the contemporary world by highlighting pluralistic perspectives on architecture that offer fresh solutions on how architecture can improve people’s lives. Featuring essays from an international range of authors, this book makes a vital contribution to our understanding of the wider conditions under which, and in relation to which, contemporary architecture is produced.
The Culture of Nature in the History of Design confronts the dilemma caused by design’s pertinent yet precarious position in environmental discourse through interdisciplinary conversations about the design of nature and the nature of design. Demonstrating that the deep entanglements of design and nature have a deeper and broader history than contemporary discourse on sustainable design and ecological design might imply, this book presents case studies ranging from the eighteenth to the twenty-first century and from Singapore to Mexico. It gathers scholarship on a broad range of fields/practices, from urban planning, landscape architecture, and architecture, to engineering design, industrial design, furniture design and graphic design. From adobe architecture to the atomic bomb, from the bonsai tree to Biosphere 2, from pesticides to photovoltaics, from rust to recycling – the culture of nature permeates the history of design. As an activity and a profession always operating in the borderlands between human and non-human environments, design has always been part of the environmental problem, whilst also being an indispensable part of the solution. The book ventures into domains as diverse as design theory, research, pedagogy, politics, activism, organizations, exhibitions, and fiction and trade literature to explore how design is constantly making and unmaking the environment and, conversely, how the environment is both making and unmaking design. This book will be of great interest to a range of scholarly fields, from design education and design history to environmental policy and environmental history.
From London’s Vauxhall Garden to the Black Rock Desert
Author: Anna Novakov
Publisher: Cambridge Scholars Publishing
Beginning with the early history of London’s Vauxhall pleasure gardens, this volume surveys visionary architecture and urban planning from the 18th century to the present. The recurrence of themes of technology, individual agency and communal living in the work of Le Corbusier, Eileen Gray, Charles and Ray Eames and Constant Nieuwenhuys, testifies to the continued search for an ideal personal and public space. Inspired by works of fiction such as Utopia, Herland, Mizora: World of Women and Homo Ludens and the films Metropolis and Stalker, artists and architects created fantastic plans for individual homes, housing complexes and entire urban centers. The resulting projects discussed here manifest the modern anxiety between the liberation of the individual and the needs of the collective. The urban landscape from the 18th to the 21st centuries has been woven into the fabric of architecture as a way to improve day-to-day life, as well as to create personal identity within an expanding public world. The seven chapter topics are arranged chronologically, and begin with the design of social space in Georgian-era pleasure gardens and conclude with a study of contemporary Utopian groups that utilize early literary references as a focus for their societies. As such, the book builds upon the understanding of technology and architecture in its many forms as a shared benchmark for the expansion of individual rights and the growth of Utopian ideas in modern European and American society.
A stupendous five-volume clothbound set documenting the wearable, portable and playful architecture of the 1960s utopian group Haus-Rucker-Co From their founding in 1967 to the announcement of their dissolution in 1993, Viennese architecture experimenters and provocateurs Haus-Rucker-Co (German for "house movers") attempted to overthrow the very foundations of architecture, questioning the value the discipline had placed over its history in the longevity of its constructions. Their work drew on the developments of the space age as well as the utopian ideas prevalent at the time. These projects include their 1967 Balloon for Two, a transparent PVC membrane projected into the street from a building facade capable of holding two people. Featured prominently in the critically acclaimed book Hippie Modernism, Haus-Rucker-Co's specific approach to building in and on air helps explain how a group who built so little has become so influential. This unprecedented collection gathers together the complete archive of Haus-Rucker-Co, including 827 drawings and pictures and 51 sculptures in five slipcased clothbound volumes--much of the material never before published.
Kenneth FitzGerald proposes that the objective of design, to create a class of expert professional practitioners, can - and should - only lead to its demise as a specialist profession. Lorraine Wild and Sam Potts respond, separately, to the publication of Rick Poynor's recent book "No More Rules: Graphic Design and Postmodernism." Eric Heiman urges designers to "think wrong" and refocus their creative energies to solving non-commercial, more socially motivated problems. Jeffery Keedy gives us a list of some of the most popular but dumb ideas in design. Ben Hagon warns that without a significant change in the method by which we create work, Joe Client will, in time, do our graphic design work for us. Kali Nikitas and Louise Sandhaus respond to the criticism levelled at their conversation "Visitations" which was published in Emigre #64. And Emigre interviews Armin Vit, the founder of Speak Up, design's most successful blog, and David Cabianca who discusses the value of design theory and criticism. Plus, the Readers Respond, featuring letters from around the world in response to past issues of Emigre magazine.