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Books > Arts & Architecture > Architecture > Theory of architecture
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Global Perspectives on Critical Architecture - Praxis Reloaded (Paperback)
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Global Perspectives on Critical Architecture - Praxis Reloaded (Paperback)
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Judging from the debates taking place in both education and
practice, it appears that architecture is deeply in crisis. New
design and production techniques, together with the globalization
of capital and even skilled-labour, have reduced architecture to a
commodified object, its aesthetic qualities tapping into the
current pervasive desire for the spectacular. These developments
have changed the architect's role in the design and production
processes of architecture. Moreover, critical architectural
theories, including those of Breton, Heidegger and Benjamin, which
explored the concepts of technology, modernism, labour and capital
and how technology informed the cultural, along with later theories
from the 1960s, which focused more on the architect's theorization
of his/her own design strategies, seem increasingly irrelevant. In
an age of digital reproduction and commodification, these
theoretical approaches need to be reassessed. Bringing together
essays and interviews from leading scholars such as Kenneth
Frampton, Peggy Deamer, Bernard Tschumi, Donald Kunze and Marco
Biraghi, this volume investigates and critically addresses various
dimensions of the present crisis of architecture. It poses
questions such as: Is architecture a conservative cultural product
servicing a given producer/consumer system? Should architecture's
affiliative ties with capitalism be subjected to a measure of
criticism that can be expanded to the entirety of the cultural
realm? Is architecture's infusion into the cultural the reason for
the visibility of architecture today? What room does the city leave
for architecture beyond the present delirium of spectacle? Should
the thematic of various New Left criticisms of capitalism be taken
as the premise of architectural criticism? Or alternatively,
putting the notion of criticality aside is it enough to confine
criticism to the production of insightful and pleasurable texts?
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