BiblioVault - Books about Architecture, Postmodern

Building the Cold War

Hilton International Hotels and Modern Architecture

Annabel Jane Wharton

University of Chicago Press, 2001

In postwar Europe and the Middle East, Hilton hotels were quite literally "little Americas." For American businessmen and tourists, a Hilton Hotel—with the comfortable familiarity of an English-speaking staff, a restaurant that served cheeseburgers and milkshakes, trans-Atlantic telephone lines, and, most important, air-conditioned modernity—offered a respite from the disturbingly alien. For impoverished local populations, these same features lent the Hilton a utopian aura. The Hilton was a space of luxury and desire, a space that realized, permanently and prominently, the new and powerful presence of the United States.

Building the Cold War examines the architectural means by which the Hilton was written into the urban topographies of the major cities of Europe and the Middle East as an effective representation of the United States. Between 1953 and 1966, Hilton International built sixteen luxury hotels abroad. Often the Hilton was the first significant modern structure in the host city, as well as its finest hotel. The Hiltons introduced a striking visual contrast to the traditional architectural forms of such cities as Istanbul, Cairo, Athens, and Jerusalem, where the impact of its new architecture was amplified by the hotel's unprecedented siting and scale. Even in cities familiar with the Modern, the new Hilton often dominated the urban landscape with its height, changing the look of the city. The London Hilton on Park Lane, for example, was the first structure in London that was higher than St. Paul's cathedral.

In his autobiography, Conrad N. Hilton claimed that these hotels were constructed for profit and for political impact: "an integral part of my dream was to show the countries most exposed to Communism the other side of the coin—the fruits of the free world." Exploring everything the carefully drafted contracts for the buildings to the remarkable visual and social impact on their host cities, Wharton offers a theoretically sophisticated critique of one of the Cold War's first international businesses and demonstrates that the Hilton's role in the struggle against Communism was, as Conrad Hilton declared, significant, though in ways that he could not have imagined.

Many of these postwar Hiltons still flourish. Those who stay in them will learn a great deal about their experience from this new assessment of hotel space.

[more]

Commodification and Spectacle in Architecture

A Harvard Design Magazine Reader

William Saunders

University of Minnesota Press, 2005

More than ever, architectural design is seen as a means to promote commercial goals rather than as an end in itself. Frank Gehry’s Guggenheim Museum in Bilbao, for example, simply cannot be considered apart from its intended role as a catalyst for the economic revitalization of Bilbao and its ability to attract tourist dollars, regardless of its architectural merits. A built environment intended to seduce consumers is more likely to offer instant gratification than to invite independent thought and reflection. But how harmful, if at all, is this unprecedented commercialization of architecture?

Framed with a provocative introduction by Kenneth Frampton, the contributions to Commodification and Spectacle in Architecture stake out a variety of positions in the debate over the extent to which it is possible—or desirable—to escape from, resist, or suggest plausible alternatives to the dominant culture of consumer capitalism. Rejecting any dreamy nostalgia for an idealized present or past in which design is completely divorced from commerce—and, in some cases, celebrating the pleasures of spectacle—the individual essays range from indictments of particular architects and critiques of the profession to broader concerns about what the phenomenon of commodification means for the practice of democracy and the health of society.

Bringing together an impressive and varied group of critics and practitioners, Commodification and Spectacle in Architecture will help to sharpen the discussion of how design can respond to our hypercommodified culture.

Contributors: Michael Benedikt, Luis Fernández-Galiano, Thomas Frank, Kevin Ervin Kelley, Daniel Naegele, Rick Poynor, Michael Sorkin, Wouter Vanstiphout.

William S. Saunders is editor of Harvard Design Magazine and assistant dean for external relations at the Harvard Design School. He is the author of Modern Architecture: Photographs by Ezra Stoller.

Kenneth Frampton is Ware Professor of Architecture at Columbia University Graduate School of Architecture, Planning, and Preservation and author of many books, including Labour, Work, and Architecture.

[more]

Postmodern Sophistications

Philosophy, Architecture, and Tradition

David Kolb

University of Chicago Press, 1990

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

[more]

Reconstructing Architecture

Critical Discourses and Social Practices

Thomas A. Dutton and Lian Hurst Mann, Editors

University of Minnesota Press, 1996

Reconstructing Architecture was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

To create architecture is an inherently political act, yet its nature as a social practice is often obscured beneath layers of wealth and privilege. The contributors to this volume question architecture's complicity with the status quo, moving beyond critique to outline the part architects are playing in building radical social movements and challenging dominant forms of power.

The making of architecture is instrumental in the construction of our identities, our differences, the world around us-much of what we know of institutions, the distribution of power, social relations, and cultural values is mediated by the built environment. Historically, architecture has constructed the environments that house the dominant culture. Yet, as the essays in Reconstructing Architecture demonstrate, there exists a strong tradition of critical practice in the field, one that attempts to alter existing social power relations. Engaging the gap between modernism and postmodernism, each chapter addresses an oppositional discourse that has developed within the field and then reconstructs it in terms of a new social project: feminism, social theory, environmentalism, cultural studies, race and ethnic studies, and critical theory.

The activists and scholars writing here provide a clarion call to architects and other producers of culture, challenging them to renegotiate their political allegiances and to help reconstruct a viable democratic life in the face of inexorable forces driving economic growth, destroying global ecology, homogenizing culture, and privatizing the public realm. Reconstructing Architecture reformulates the role of architecture in society as well as its capacity to further a progressive social transformation.

Contributors: Sherry Ahrentzen, U of Wisconsin, Milwaukee; Bradford C. Grant, California Polytechnic State U, San Luis Obispo; Richard Ingersoll, Rice U; Margaret Soltan, George Washington U; Anthony Ward, U of Auckland, New Zealand.

Thomas A. Dutton is an architect and professor of architecture at Miami University, Ohio. He is editor of Voices in Architectural Education (1991) and is associate editor of the Journal of Architectural Education.

Lian Hurst Mann is an architect and editor of Architecture California. A founding member of the Labor/Community Strategy Center in Los Angeles, she is editor of its bilingual quarterly Ahora Now and a coauthor of Reconstructing Los Angeles from the Bottom Up (1993).

[more]

Utopia’s Ghost

Architecture and Postmodernism, Again

Reinhold Martin

University of Minnesota Press, 2010

Architectural postmodernism had a significant impact on the broader development of postmodern thought: Utopia’s Ghost is a critical reconsideration of their relationship. Combining discourse analysis, historical reconstruction, and close readings of buildings, projects, and texts from the 1970s and 1980s, Reinhold Martin argues that retheorizing postmodern architecture gives us new insights into cultural postmodernism and its aftermath.

Much of today’s discussion has turned to the recovery of modernity, but Martin writes in the Introduction, “Simply to historicize postmodernism seems inadequate and, in many ways, premature.” Utopia’s Ghost connects architecture to current debates on biopolitics, neoliberalism, and corporate globalization as they are haunted by the problem of utopia. Exploring a series of concepts—territory, history, language, image, materiality, subjectivity, and architecture itself—Martin shows how they reorganize the cultural imaginary and shape a contemporary biopolitics that ultimately precludes utopian thought.

Written at the intersection of culture, politics, and the city, particularly in the context of corporate globalization, Utopia’s Ghost challenges dominant theoretical paradigms and opens new avenues for architectural scholarship and cultural analysis.

[more]