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.
Exhibitions That Made Architecture and Design History
Author: Zoë Ryan
Publisher: Yale University Press
Exhibitions have long played a crucial role in defining disciplinary histories. This fascinating volume examines the impact of eleven groundbreaking architecture and design exhibitions held between 1956 and 2006, revealing how they have shaped contemporary understanding and practice of these fields. Featuring written and photographic descriptions of the shows and illuminating essays from noted curators, scholars, critics, designers, and theorists, As Seen: Exhibitions that Made Architecture and DesignHistory explores the multifaceted ways in which exhibitions have reflected on contemporary dilemmas and opened up new processes and ways of working. Providing a fresh perspective on some of the most important exhibitions of the 20th century from America, Europe, and Japan, including This Is Tomorrow, Expo '70, and Massive Change, this book offers a new framework for thinking about how exhibitions can function as a transformative force in the field of architecture and design.
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.
The starting point of this publication -- and its eponymous exhibition held in Zurich in Spring 2017 -- is the conceptual encounter between British Pop art artist, Richard Hamilton (1922-2011) and Swiss historian and critic of architecture Sigfried Giedion (1888-1968), famous for his landmark book, Space, Time, and Architecture which is an influential history of modern architecture published in 1941.In 1949 Richard Hamilton -- then a member of the London-based Independent Group -- realized the, Reaper print series as a reaction to Giedion's 1948 book, Mechanization Takes Command in which he describes the mechanization of everyday life.Reproducing Hamilton's complete Reaper series juxtaposed with selected examples of illustrations created by Giedion alongside many related illustrations, this publication brings together seven essays by renowned international scholars, all of whom question the relationships between visual arts, technology, science, and architecture.Among the many topics discussed are Hamilton's early works and exhibition installation practice, post-war British biotechnology and architecture, Hippie Modernism, and the visual strategy of Giedion's books.Published on the occasion of the exhibition, Reaper: Richard Hamilton and Sigfried Giedion at Graphische Sammlung ETH Z�rich (3 May - 25 June 2017). A co-operation between Graphische Sammlung ETH Z�rich, gta exhibitions, and gta archive.English and German text.
SuperDesignis the only wide-ranging look at the short-lived but powerfully influential movement known as Italian Radical design. In numerous exclusive interviews, unreleased photographs, original drawings and artwork unearthed from personal archives, and newly commissioned photography of rarely seen works, SuperDesigncasts new light on this tumultuous period of design. What started as a largely student-led rally against the establishment and a rejection of accepted design norms became a movement that brought together some of the most dynamic and avant-garde thinkers and creative makers across Italy. SuperDesignreveals how and why these designers changed the way we think about the objects that surround us during this short yet action-packed time. Through enigmatic, confrontational, and even distasteful objects, peppered with innovations in the interiors of youth discos and subversive performances, the Radicals projected design's new era as equal parts Pop Art, play, Surrealism, and futurism. Alongside the exclusive primary source material, SuperDesignfeatures additional essays by top design scholars Deyan Sudjic and Catharine Rossi. This book demystifies these fantastic works and tells the stories behind the often contentious relationships between the key figures of the movement (some of whom remain at odds still, nearly fifty years later). Bridging Hippie Modernism and Memphis, SuperDesignis a lively document of how the iconoclasm and bold experimentation of the Italian Radicals continues to influence design today.
In the spring of 1900, British archaeologist Arthur Evans began to excavate the palace of Knossos on Crete, bringing ancient Greek legends to life just as a new century dawned amid far-reaching questions about human history, art, and culture. With Knossos and the Prophets of Modernism, Cathy Gere relates the fascinating story of Evans’s excavation and its long-term effects on Western culture. After the World War I left the Enlightenment dream in tatters, the lost paradise that Evans offered in the concrete labyrinth—pacifist and matriarchal, pagan and cosmic—seemed to offer a new way forward for writers, artists, and thinkers such as Sigmund Freud, James Joyce, Giorgio de Chirico, Robert Graves, and Hilda Doolittle. Assembling a brilliant, talented, and eccentric cast at a moment of tremendous intellectual vitality and wrenching change, Cathy Gere paints an unforgettable portrait of the age of concrete and the birth of modernism.