Form Follows Libido

How modern architecture came to embrace the urges and fears of the affective unconscious. "Eight million Americans a year cool their heels in psychiatric waiting rooms. Design can help lower this nervous overhead."—Richard Neutra, 1954 Sylvia Lavin's Form Follows Libido argues that by the 1950s, some architects felt an urge to steer the cool abstraction of high modernism away from a neutral formalism toward the production of more erotic, affective environments. Lavin turns to the architecture of Richard Neutra (1892-1970) to explore the genesis of these new mood-inducing environments. In a series of engaging essays weaving through the designs and writings of this Vienna-born, California-based architect, Lavin discovers in Neutra a sustained and poignant psychoanalytic reflection set in the context of a burgeoning psychoanalytic culture in America. Lavin shows that Neutra's redirection of modernism constituted not a lyrical regression to sentimentality but a deliberate advance of architectural theory and technique to engage the unconscious mind, fueled by the ideas of psychoanalysis that were being rapidly disseminated at the time. In Neutra's responses to a vivid range of issues, from psychoanalysis proper to the popular psychology of tele-evangelical prayer, Lavin uncovers a radical reconstitution of the architectural discipline. Arguing persuasively that the received historical views of both psychoanalysis and architecture have led to a suppression of their compelling coincidences and unorthodoxies, Lavin sets out to unleash midcentury architecture's hidden libido. Neither Neutra nor psychoanalysis emerges unscathed from her investigation of how architecture came to be saturated by the intrigues of affect, often against its will. If Reyner Banham sought to put architecture "on the couch," then Lavin, through Neutra, leaps beyond Banham's ameliorative aim to lure contemporary architecture into the lush and dangerous liaisons of environmental design.

Xenoculture is a term coined by Iranian writer and philosopher Reza Negarestani that describes the need for embracing and exploring the unexpected, the alien. In this issue we borrow the idea and explore the realm of Architecture Xenoculture — the work of architects and designers who detach from everything that architecture is supposed to be and look like, including preconceived forms and aesthetics, to look into new architectural and design possibilities. An architectural form that emerges from mathematical processes and new material explorations and proposes something never before seen — an aesthetic yet to be determined. Some of the work showcased has been produced by leading architecture practitioners and academics worldwide including: Hernan Diaz Alonso, Servo, Francois Roche, Marc Fornes, Kokkugia, Zaha Hadid, Volkan Alkanoglu, and Rafael Lozano among others. Architecture Xenoculture is the problematization of work produced by embracing the proliferation of this mist of fear. It argues for the harnessing of this aesthetic of fear towards a yet-to-be determined end – intensifying its practice towards new thresholds, those that unleash the potential of the alien in the world beyond the limited imaginary we have become anesthetized to, conjuring insecure material and behavioral manifestations of the xeno-gene and its ability to adapt, mutate, survive and fight.

For most of his life, the megachurch ministry of Robert H. Schuller in Orange County, California, displayed an apparent strength that betrayed none of the fractures that lay below the success-oriented surface. Yet, when tested and stressed in the late 2000s, the ecclesial structure's accumulated fragility proved to be catastrophic. Drawing on extensive data gathered from archives, interviews, and ethnographic observation, The Glass Church examines the spectacular collapse of The Crystal Cathedral to better understand both the strength and fragility of Schuller's ministry. The apparent success of the ministry obscured the many tensions that often threatened its future. Certainly, all churches depend on a mix of constituents, charisma, and capital, yet the size and ambition of large churches like Schuller's Crystal Cathedral exert enormous organizational pressures to continue the flow of people committed to the congregation, to reinforce the spark of charismatic excitement generated by high-profile pastors, and to develop fresh flows of capital funding for maintenance of old projects and launching new initiatives. The constant attention to expand constituencies, boost charisma, and stimulate capital among megachurches produces an especially burdensome strain on their leaders. By orienting an approach to the collapse of the Crystal Cathedral on these three core elements--constituency, charisma, and capital--The Glass Church demonstrates how congregational fragility is greatly accentuated in larger churches, a notion we label megachurch strain, such that the threat of implosion is significantly accentuated by any failures to properly calibrate the inter-relationship among these elements.

Cars, single-family houses, fallout shelters, air-conditioned malls—these are only some of the many interiors making up the landscape of American suburbia. Indoor America explores the history of suburbanization through the emergence of such spaces in the postwar years, examining their design, use, and representation. By drawing on a wealth of examples ranging from the built environment to popular culture and film, Andrea Vesentini shows how suburban interiors were devised as a continuous cultural landscape of interconnected and self-sufficient escape capsules. The relocation of most everyday practices into indoor spaces has often been overlooked by suburban historiography; Indoor America uncovers this latent history and contrasts it with the dominant reading of suburbanization as pursuit of open space. Americans did not just flee the city by getting out of it—they did so also by getting inside. Vesentini chronicles this inner-directed flight by describing three separate stages. The encapsulation of the automobile fostered the nuclear segregation of the family from the social fabric and served as a blueprint for all other interiors. Introverted design increasingly turned the focus of the house inward. Finally, through interiorization, the exterior was incorporated into the all-encompassing interior landscape of enclosed malls and projects for indoor cities. In a journey that features tailfin cars and World’s Fair model homes, Richard Neutra’s glass walls and sitcom picture windows, Victor Gruen’s Southdale Center and the Minnesota Experimental City, Indoor America takes the reader into the heart and viscera of America’s urban sprawl.

Massive modern skyscrapers, obelisks, towers—all are structures that, thanks to their phallic shape, are often associated with sex. But other buildings are more subtly connected, as they provide the frameworks for our sexual lives and act as reminders of our sexual memories. This relationship between sex and buildings mattered more than ever in the United States and Europe during the turbulent twentieth century, when a culture of unprecedented sexual frankness and tolerance emerged and came to dominate many aspects of public life. Part architectural history, part cultural history, and part travelogue, Sex and Buildings explores how progressive sexual attitudes manifest themselves in architecture, asking what progressive sexuality might look like architecturally and exploring the successes and failures of buildings' attempts to reflect it. In search of structures that reflect the sexual mores of their inhabitants, Richard J. Williams visits modernist buildings in Southern California, the Westin Bonaventure Hotel, the Playboy Mansion in Chicago, the Seagram in New York, communes from the 1960s, and more. A fascinating and often funny look at a period of extraordinary social change coupled with aesthetic invention, Sex and Buildings will change the way we look at the buildings around us.

Much of our time at the movies is spent in other people’s homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the “spectator-tenant,” with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man. Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinema’s relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.

Levinas (1969) claims that "morality is not a branch of philosophy, but first philosophy" and if he is right about this, might ethics also serve as a first psychology? This possibility is explored by the authors in this volume who seek to bring the "ethical turn" into the world of psychoanalysis. This phenomenologically rich and socially conscious ethics has taken centre stage in a variety of academic disciplines, inspired by the work of philosophers and theologians concerned with the moral fabric of subjectivity, human relationship, and socio-political life. At the heart of this movement is a reconsideration of the other person, and the dangers created when the question of the "Other" is subsumed by grander themes. The authors showcased here represent the exceptional work being done by both scholars and practitioners working at the crossroads between psychology and philosophy in order to rethink the foundations of their disciplines. The Ethical Turn: Otherness and subjectivity in contemporary psychoanalysis guides readers into the heart of this fresh and exciting movement and includes contributions from many leading thinkers, who provide fascinating new avenues for enriching our responses to suffering and understandings of human identity. It will be of use to psychoanalysts, professionals in psychology, postgraduate students, professors and other academics in the field.

This book is about the love and hate relations that humans establish with their habitat, which have been coined by discerning modern thinkers as topophilia and topophobia. Whilst such affiliations with the topos, our manmade as well as natural habitat, have been traced back to antiquity, a wide range of twentieth-century cases are studied here and reflected upon by dwelling on this framework. The book provides a timely reminder that the qualitative aspects of the topos, sensual as well as intellectual, should not be disregarded in the face of rapid technological development and the mass of building that has occurred since the turn of the millennium. Topophilia and Topophobia offers speculative and historical reflections on the human habitat of the century that has just passed, authored by some of the world’s leading scholars and architects, including Joseph Rykwert, Yi-Fu Tuan, Vittorio Gregotti and Jean-Louis Cohen. Human habitats, ranging broadly from the cities of the twentieth century, highbrow modern architecture both in Western countries and in Asia, to non-architect/planner designed vernacular settlements and landscapes are reviewed under the themes of topophilia and topophobia across the disciplines of architecture, landscape studies, philosophy, human geography and urban planning.