The Charged Void

The Smithsons have also added contemporary commentary to provide a context for the work."--BOOK JACKET.

"British architects and urbanists Alison and Peter Smithson first rose to prominence in the 1950s. Many of their ideas, social, architectural, and urban, profoundly influenced generations of practitioners, students, and academics.... The Charged Void: Urbanism is the companion volume to The Charged Void: Architecture; the two comprise the complete works of Alison and Peter Smithson. The Charged Void: Urbanism collects the urban form projects from the Smithsons' extensive and prolific collaboration, as well as building projects with specific implications for urban form. The work is ordered thematically in fourteen chapters: cluster, cohesion, pavilion and route.... More than a collection of work, this book represents a record of a careful and highly focused thought process concerned with the qualities of urban life - a ... collection of observations, decipherings, commentaries, and recommendations for understanding and improving the complex nature of the city."--

Writing to his brother, G’Ra Asim reflects on building his own identity while navigating Blackness, masculinity, and young adulthood—all through wry social commentary and music/pop culture critique How does one approach Blackness, masculinity, otherness, and the perils of young adulthood? For G’Ra Asim, punk music offers an outlet to express himself freely. As his younger brother, Gyasi, grapples with finding his footing in the world, G’Ra gifts him with a survival guide for tackling the sometimes treacherous cultural terrain particular to being young, Black, brainy, and weird in the form of a mixtape. Boyz n the Void: a mixtape to my brother blends music and cultural criticism and personal essay to explore race, gender, class, and sexuality as they pertain to punk rock and straight edge culture. Using totemic punk rock songs on a mixtape to anchor each chapter, the book documents an intergenerational conversation between a Millennial in his 30s and his zoomer teenage brother. Author, punk musician, and straight edge kid, G’Ra Asim weaves together memoir and cultural commentary, diving into the depths of everything from theory to comic strips, to poetry to pizza commercials to mapping the predicament of the Black creative intellectual. With each chapter dedicated to a particular song and placed within the context of a fraternal bond, Asim presents his brother with a roadmap to self-actualization in the form of a Doc Martened foot to the behind and a sweaty, circle-pit-side-armed hug. Listen to the author’s playlist while you read! Access the playlist here: https://sptfy.com/a18b

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

Cassie Black is an ex-con who needs to make one more score in order to fulfill the dream that sustained her in prison.

From the author of the thrilling science-fiction epic Children of Time, which won the prestigious Arthur C. Clarke Award. Eyes of the Void is the second high-octane instalment in Adrian Tchaikovsky's Final Architecture space opera trilogy. ‘One of the most interesting and accomplished writers in speculative fiction’ – Christopher Paolini What waits in the shadows as we fight our greatest foe? After one great battle, the Architects disappeared. Yet humanity’s fragile peace is brief. For, forty years later, the galaxy’s greatest alien enemy has returned. This time, the artefacts that preserved entire worlds from destruction are ineffective. And no planet is safe. The Human Colony worlds are in turmoil as they face extinction. Some believe alliances with other species can save them. Others insist humanity must fight alone. But no one has the firepower or technology to ensure victory, as the Architects loom ever closer. Idris spent decades running from the last war’s horrors. Yet as an Intermediary, altered to navigate deep space, he’s one of humanity’s only weapons. He’s therefore forced back into action. With a handful of allies, Idris must find something – anything – to stop the Architects’ pitiless advance. But to do so, he must return to the nightmare of unspace, where his mind was broken and remade. What he discovers there will change everything. Praise for Adrian Tchaikovsky: ‘[Adrian] writes incredibly enjoyable sci-fi, full of life and ideas’ – Patrick Ness, author of The Knife of Never Letting Go ‘Brilliant science fiction’ – James McAvoy on Children of Time ‘Full of sparkling, speculative invention’ – Stephen Baxter, author of the Xeelee Sequence on The Doors of Eden

When an all-consuming void from the Fourth Dimension opens up, unleashing monsters throughout the Realities, Mister George has one last weapon at his disposal--the mysterious and powerful Karma button, which might be even more dangerous than anyone imagined.

Striving to adapt the progressive ideas of the pre-war modern movement to the specific human needs of post-war reconstruction, Alison and Peter Smithson were among the most influential and controversial architects of the latter half of the twentieth century. As younger members of CIAM (Congrès Internationaux d'Architecture Moderne) and as founding members of Team 10 they were at the heart of the debate on the future course of Modern Architecture. Their polemics and designs - addressing issues such as the rising consumer society and the orientation of urban planning - laid the foundations for New Brutalism and the Pop Art Movement of the 1960s. An important adaptation made by the Smithsons and their generation was the rejection of modernism's machine aesthetics. The new notions of place and territory were juxtaposed to Le Corbusier's machine à habiter. To the Smithsons a house was a particular place, which should be suited to its location and able to meet the ordinary requirements of everyday life and to accommodate its inhabitants' individual patterns of use. This exhibition examines the evolution of the Smithsons' approach to this everyday "art of inhabitation." It does this by extensively documenting most of their designs for individual dwellings, especially their optimistic House of the Future of 1956 and the series of renovations of and additions to the fairy-tale-like Hexenhaus in Germany from the late 1980s onward