Pure Hardcore Icons

In the kingdom of architecture the shape reigns supreme. Ever since the beginning of history, pure geometric form has been one of architecture's recurrent obsessions. A genealogy of buildings shaped as pyramids, spheres, and cubes can be traced back to ancient times, while contemporary projects, either as poured concrete or virtual bytes, often resemble stacked boxes and looping skyscrapers. Despite torrents of pure shapes flooding with evidence magazine pages and computer screens around the world, architecture lacks a written work to declare its intentions. Pure Hardcore Icons is the first manifesto on pure form in architecture. WAI Architecture Think Tank, directed by authors Nathalie Frankowski and Cruz Garcia, have created a vade mecum with provocative collages, essays and an interview that promise to bring form--a persistent taboo in the theoretical discourse--to the forefront of the architectural discussion. Through a mixture of perspicacity, conviction and humour, Pure Hardcore Icons aims to raise awareness about the dialectic of pure form and architecture, hoping that its potential and limitations could be fully grasped either in practice, academia, or as a cultural and intellectual exercise.

The established canon of architectural pedagogy has been predominantly produced within the Northern hemisphere and transposed – or imposed – across schools within the Global South, more often, with scant regard for social, economic, political or ecological culture and context, nor regional or indigenous pedagogic principles and practices. Throughout the Global South, architecture’s academic community has been deeply affected by this regime, how it shapes and influences proto-professionals and by implication architectural processes and outcomes, too. The Routledge Companion to Architectural Pedagogies of the Global South resituates and recenters an array of pedagogic approaches that are either produced or proliferate from the ‘Global South’ while antagonizing the linguistic, epistemological and disciplinary conceits that, under imperialist imperatives, ensured that these pedagogies remained maligned or marginalized. The book maintains that the exclusionary implications of architectural notions of the ‘orders’, the ‘canon’ and the ‘core’ have served to constrain and to calcify its contents and in doing so, imperiled its relevance and impact. In contrast, this companion of pedagogic approaches serves to evidence that architecture’s academic and professional advancement is wholly contingent on its ability to fully engage in an additive and inclusive process whereby the necessary disruptions that occur when marginalized knowledge confronts established knowledge result in a catalytical transformation through which new, co-created knowledge can emerge. Notions of tradition, identity, modernity, vernacularism, post-colonialism, poverty, migration, social and spatial justice, climate apartheid, globalization, ethical standards and international partnerships are key considerations in the context of the Global South. How these issues originate and evolve within architectural schools and curricula and how they act as drivers across all curricula activities are some of the important themes that the contributors interrogate and debate. With more than 30 contributions from 55 authors from diverse regional, racial, ethnic, gender and cultural backgrounds, this companion is structured in four sections that capture, critique and catalog multifarious marginalized pedagogical approaches to provide educators and students with an essential source book of navigational steers, core contestations, propositional tactics and reimagined rubrics. The Routledge Companion to Architectural Pedagogies of the Global South pioneers a transposable strategy for academics from all disciplines looking to adopt a tested approach to decolonizing the curriculum. It is only through a process of destabilizing the hegemonic, epistemological and disciplinary frameworks that have long-prescribed architecture’s pedagogies that the possibility of more inclusive, representative and relevant pedagogical practices can emerge.

Universal Principles of Architecture illustrates in 100 concepts the importance, possibilities, challenges, and roles that architecture plays in shaping the world. Divided into Archetypes, Methods, Conditions, Relationships, and Imaginaries, each of the five sections in the book introduces in 20 principles architecture at different scales and stages of the design process. Through an inclusive and holistic approach, the book refers to initial design ideas, creative design approaches, reflections on the effects of the built and destroyed environments, and architectural desires and aspirations to transform the world and engage with the cosmos. Because architecture is the converging point where many fields of knowledge, ideas, forms, approaches, methods, sensibilities, and materials meet, the book provides a flexible and dynamic space where the material, conceptual, and social take shape. Written, illustrated, and designed by critically acclaimed architects, educators, and authors Cruz Garcia and Nathalie Frankowski of WAI Architecture Think Tank, Universal Principles of Architecture combines accessible writing with otherworldly images like the ones they have displayed in exhibitions at the Centre Pompidou Metz, Museum of Modern Art New York, Neues Museum Nuremberg, and Museum of Art, Architecture, and Technology Lisbon. Intended as an intergenerational and transdisciplinary reference volume, the book presents an ambitious overview of what architecture has been and can be in a world full of urgent challenges and abundant opportunities for social and ecological responsibility, and design creativity. The titles in the Rockport Universal series offer comprehensive and authoritative information and edifying and inspiring visual examples on multidisciplinary subjects for designers, architects, engineers, students, and anyone who is interested in expanding and enriching their design knowledge.

The 1960s and 1970s avant-garde has been likened to an ‘architectural Big Bang’, such was the intensity of energy and ambition in which it exploded into the postwar world. Marked out by architectural projects that redefined the discipline, it remains just as influential today. References to the likes of Archizoom, Peter Eisenman, John Hejduk and Superstudio abound. Highly diverse, the avant-garde cannot be defined as a single strand or tendency. It was divergent geographically – reaching from Europe to North America and Japan – and in its political, formal and cultural preoccupations. It was unified, though, as a critical and experimental force, critiquing contemporary society against the backdrop of extreme social and political upheaval: the Paris riots of May 1968, the anti-Vietnam war movement in America and the looming ecological crisis. Re-imagining the Avant-garde outlines how in contemporary architectural practice, avant-garde projects retain their power as historical precedents, as barometers of a particular design ethos, as critiques of society and instigators of new formal techniques. Given the far-reaching impact of the subsequent digital revolution, which has since reshaped every aspect of practice, the issue asks why this historical period continues to retain its undeniable grip on current architecture. Contributors: Pablo Bronstein and Sam Jacob, Sarah Deyong, Stylianos Giamarelos, Damjan Jovanovic, Andrew Kovacs, Perry Kulper, Igor Marjanovic, William Menking, Michael Sorkin, Neil Spiller and Mimi Zeiger. Featured architects: Archizoom, Andrea Branzi, Jimenez Lai, Luis Miguel (Koldo) Lus Arana (Klaus), NEMESTUDIO, Superstudio and UrbanLab.

Narrative Architecture' reveals a stream of remarkable architectural and urban visions in the twentieth century that culminated in the construction of one of the most powerful, misunderstood and underutilized weapons of architectural and urban critique, thinking and representation.00This historical genealogy in three parts weaves inseparable modern architecture and narrative critique through never before seen images of half a century of utopian, heroic, commercial, ironic and critical projects by Le Corbusier, Team 10, Constant, Victor Gruen, Yona Friedman, Archizoom, Superstudio and Rem Koolhaas.00Alluding to Diogenes, the ancient kynic who wandered with a lantern in search of an honest man, through narrative, archival and provocative images and texts, the book lays the groundwork in search of an honest architecture able to question the pressing challenges of our times.

Collage and Architecture remains an invaluable resource for students and practitioners as the first book to cover collage as a tool for analysis and design in architecture. Since entering the contemporary art world over a century ago, collage has profoundly influenced artists and architects throughout the twentieth century and into the twenty-first. In Collage and Architecture, Jennifer A. E. Shields explores its influence, using the artworks and built projects of leading artists and architects, such as Mies van der Rohe, Daniel Libeskind, and Teddy Cruz to illustrate the diversity of collage techniques. This new edition includes: A stronger focus on contemporary practices, including digital methods; New designers and architects, including Marshall Brown, WAI Architecture Think Tank, and Tatiana Bilbao, bringing their methods and work to life; An expanded global and diverse perspective of architecture as collage; Collage is an important instrument for analysis and design. Through its 261 color images, this book shows how this versatile medium can be adapted and transformed in your own work.

Directly confronting the nature of contemporary architectural work, this book is the first to address a void at the heart of architectural discourse and thinking. For too long, architects have avoided questioning how the central aspects of architectural “practice” (professionalism, profit, technology, design, craft, and building) combine to characterize the work performed in the architectural office. Nor has there been a deeper evaluation of the unspoken and historically-determined myths that assign cultural, symbolic, and economic value to architectural labor. The Architect as Worker presents a range of essays exploring the issues central to architectural labor. These include questions about the nature of design work; immaterial and creative labor and how it gets categorized, spatialized, and monetized within architecture; the connection between parametrics and BIM and labor; theories of architectural work; architectural design as a cultural and economic condition; entrepreneurialism; and the possibility of ethical and rewarding architectural practice. The book is a call-to-arms, and its ultimate goal is to change the practice of architecture. It will strike a chord with architects, who will recognize the struggle of their profession; with students trying to understand the connections between work, value, and creative pleasure; and with academics and cultural theorists seeking to understand what grounds the discipline.

Too often a design or architecture degree is seen as a means to an end (a job in an established practice). But imagine for one moment that there are no employers, no firms to send your CV to, no interviews to be had – what would you do? How would you forge your own path after graduation? The current economic climate has seen many graduates chasing a finite number of positions. The most ingenious and driven designers have found weird and wonderful ways of making opportunities for themselves, often by applying their skills across the creative disciplines of art, design, architecture and interiors. Knowing what you want from your design career and being able to adapt your strategy to suit is basic and vital – just like in the wild, designers need to evolve. The book celebrates the various strategies that students and graduates are taking to gain exposure, while also including interviews and inspirational advice from those who are now enjoying success as a result of their creative approach to employment.