Marx, architecture and modernity

Cunningham, David; Goodbun, Jon

doi:10.1080/13602360600787066

Cited by 6 publications

(2 citation statements)

References 6 publications

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“…47 Through this animation some argue we can overcome technical alienation -the seemingly inherent effect by which technics mediate our access to the world as it is constructed through them. 48 This strategy amounts to matching natural variety with technical variety; it is implied that this technical variety would somehow amount to the level of variety that occurs in living systems by the choice of words. Notably, this is a move that follows the principles described so far: in animating an environment through ambient technology, a designer intervenes in the milieu of a system, changing the terms on which interaction between systems take place.…”

Section: Complexity and Varietymentioning

confidence: 99%

Critical Technics in Architecture

Mellas

2020

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In this article, I posit that for the field of architecture to come to a distinctly architectural application of computational technologies it requires the elaboration of a concept of critical technics. This is premised on a systems-view of technical development, which highlights the importance of time and situatedness for any consideration of change, genesis or becoming. In order to then construct an architectural technicity that can grapple with the external character of technical development, I argue – using the philosophy of technology of Gilbert Simondon and Stafford Beer’s management cybernetics – that what is needed for this is a radical opening-up of the architectural process in the form of a democratisation, to augment architecture’s capacity for producing alternate futurity.

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Section: Complexity and Varietymentioning

confidence: 99%

Critical Technics in Architecture

Mellas

2020

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“…As early as 1848, Marx described the modern as a specific spatiotemporal model in which the urban, driven by market forces, was supplanting the rural across the world. 29 In Australia, the connection of authentic culture with the land, rural enterprise, and the pioneer period neglected the substantially urban and suburban character of Australian society. Boyd addressed this anomaly.…”

Section: The Australian Pavilion: An Incidental Architecturementioning

confidence: 99%

Relaxed and Comfortable: The Australian Pavilion at Expo '67

2009

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Expo '67, Montreal, was the first international exhibition Australia had attended since the 1939 New York World's Fair. In New York, Australia promoted its export industries in timber and wool in an annex next to the British pavilion. In Montreal, Australia contributed its own major pavilion, a simple, rectangular box of glass and steel. Inside, the pavilion contained few actual exhibits. The main feature of its spacious interior was a salon-style arrangement of two hundred and forty lounge chairs created by the Australian designers Grant and Mary Featherston from an idea by the exhibit designer Robin Boyd. Visitors sat in the chairs to activate short, taped interviews with prominent Australians on aspects of Australian life and achievement, delivered though stereophonic speakers in the chairs' headrests. Occasional tables stood nearby, bearing books on Australian society and ashtrays of a modern Australian design. One wall of the main exhibition hall featured a row of modernist paintings by leading Australian artists. Natural light streamed into the pavilion through its glazed north and south faces, which provided sweeping views across the exhibition site. Quality Australian wool carpet covered the pavilion's floors and some internal walls, muffling incoming noise and adding to the general feeling of repose. Aspects of the pavilion's interior suggest a range of architectural types: a hotel lobby, a corporate foyer, a gallery of modern art, and the living room of a large, modern home. The priority of modern design over specific symbols of Australian nationhood was unprecedented, its origin was in the government's newfound eagerness to stress Australia's modernization. Such progress was emphasized in Prime Minister Harold Holt's four-minute interview on industrialization as a significant but little known feature of contemporary Australia. When questioned on the scale of Australian manufacturing in comparison to its more familiar rural sector, Holt described employment in industry as roughly equivalent to the USA, and higher than other recognized industrial nations such as Canada, France, and Japan. 1 He identified Australia's automobile, electrical, engineering, petroleum, mining, and steel industries as all experiencing rapid growth since 1939, and being "much more advanced and sophisticated than most people would realize." 2 The Prime Minister highlighted Australian inventions such as transistorized aviation beacons, radio telephone equipment, a

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The risks of mega urban projects creating a dystopia: Canal Istanbul

Baba¹

2020

City and Environment Interactions

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Marx, architecture and modernity

Cited by 6 publications

References 6 publications

Critical Technics in Architecture

Critical Technics in Architecture

Relaxed and Comfortable: The Australian Pavilion at Expo '67

The risks of mega urban projects creating a dystopia: Canal Istanbul

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