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Drawing on the format of the urban guidebook, A Guide to the Dirty
South--Atlanta generates a new discourse about the architecture of
the American South. By guiding readers on a tour of Atlanta, this
project seeks to reclaim a regional identity for cities otherwise
deemed to be a "backwoods" by the East and West Coasts. Borrowing
from the hip hop industry and recognising the rivalry between the
two coasts, A Guide to the Dirty South--Atlanta redirects our
attention to a 'third coast'. Steeped in geography, historical
events, typology, storytelling, and popular culture, trajectories
through the city that the guide takes are idiosyncratic but urge
the discipline of architecture toward a long overdue reading of
Dirty South regionalism. Part tour guide, part architectural
manual, the publication also features oral histories in a set of
interviews with prominent architects, theorists, chefs, community
leaders, and hip hop artists, from Architectural Historian Mario
Carpo to hip-hop group Goodie Mob.Authored by Jennifer Bonner, the
TVSDesign Distinguised Studio Critic at Georgia Tech, A Guide to
the Dirty South--Atlanta takes the reader on a tour of "Rap City",
"Pop up Surface Lots", "Architecture of Quarantine" and a
"Geography of Smells". Wittily designed, and featuring beautiful
illustrations throughout, A Guide to the Dirty South--Atlanta is
perfect for those new to the architectural delights of Atlanta, and
long-time fans alike.
This book weaves a much needed and transformational narrative about
making architecture through paying close attention to
cross-laminated timber as a material for today. The material
becomes the site of experimentation, innovation, and research in
search of specific meanings of CLT in architecture at various
scales by selecting the "CLT Blank" as the building unit. The
structure of the book brings together work and texts from a diverse
group of theorists and practitioners, who make material central to
their inquiry, to suggest design approaches that will broaden the
cultural, spatial, and technological significance for architecture,
education, engineering, and industry. The outcome focuses on
materiality through fast slippages between art, architecture, and
science, that we hope will invigorate and expand new discourse to
act as an antidote to the current conversations about the material,
that is fixated on its making and mass production, disappointingly
portraying it as a bland and lifeless product-a notion we want to
be distant from in preference to seeking areas we feel were not yet
conceptualised or theorised. The potential to see the spatial
properties of its use and what kind of world that might suggest is
shown in the book, with selected striking visual materials, to
reposition its architecture though new forms of representation and
responses that continue to stay in touch with pragmatics.
Aesthetics of CLT with a connection to wood and art practice is a
central thread though the book.
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