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In the 1960s and '70s, architects, influenced by recent developments in computing and the rise of structuralist and poststructuralist thinking, began to radically rethink how architecture could be created. Though various new approaches gained favor, they had one thing in common: they advocated moving away from the traditional reliance on an individual architect's knowledge and instincts and toward the use of external tools and processes that were considered objective, logical, or natural. Automatic architecture was born. The quixotic attempts to formulate such design processes extended modernist principles and tried to draw architecture closer to mathematics and the sciences. By focusing on design methods, and by examining evidence at a range of scales-from institutions to individual buildings-Automatic Architecture offers an alternative to narratives of this period that have presented postmodernism as a question of style, as the methods and techniques traced here have been more deeply consequential than the many stylistic shifts of the past half century. Sean Keller closes the book with an analysis of the contemporary condition, suggesting future paths for architectural practice that work through, but also beyond, the merely automatic.

Architecture --- architecture [discipline] --- Modern [style or period] --- Otto, Frei --- Eisenman, Peter --- Architecture, Modern --- Architectural design --- History --- Philosophy. --- Otto, Frei, --- Architectuur [Moderne ] --- 20e eeuw --- architectuurfilosofie --- Eisenman, Peter, --- architecture. --- automatic. --- postwar.

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This book provides a comprehensive, critical overview of the developments in architecture from 1960 to 2010. The first section provides a presentation of major movements in architecture after 1960, and the second, a geographic survey that covers a wide range of territories around the world. This book not only reflects the different perspectives of its various authors, but also charts a middle course between the 'aesthetic' histories that examine architecture solely in terms of its formal aspects, and the more 'ideological' histories that subject it to a critique that often skirts the discussion of its formal aspects.

Modern [styles and periods] --- architecture [object genre] --- Architecture --- architectural criticism --- Architecture, Modern --- 72.039 --- 72 --- 72.036 --- 72.037 --- 72.03 --- Hedendaagse architectuur. Bouwkunst sinds 1960 --- Architectuur. Bouwkunst --- Twintigste eeuw (architectuur) --- 20ste eeuw (architectuur) --- 21ste eeuw (architectuur) --- Eenentwintigste eeuw (architectuur) --- Architectuur (geschiedenis) --- Architectuurgeschiedenis --- 72 Architectuur. Bouwkunst --- 72.039 Hedendaagse architectuur. Bouwkunst sinds 1960 --- 72 Architecture --- Modern [style or period] --- History

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For some time now, school buildings have represented an important field in architecture, and there is an enduring interest in the challenges this design task presents. This publication explains in eleven chapters the central parameters for this architectural typology. Each theme is thoroughly investigated and illustrated with numerous buildings presenting model solutions for specific problems or aspects.

Public buildings --- architecture [discipline] --- schools [buildings] --- Modern [style or period] --- 727 --- 727.1 --- Architectuur ; scholen ; 21ste eeuw --- Scholenbouw --- Schoolgebouwen --- Architectuur ; voor onderwijs ; 21ste eeuw --- Gebouwen voor opleidingsdoeleinden --- Scholen (architectuur) --- Onderwijsarchitectuur --- Onderwijsgebouwen --- Gebouwen voor opleiding en wetenschap ; scholen --- Architectural design. --- Design --- Structural design --- Constructions scolaires --- School buildings --- Bâtiment scolaire --- Design and construction --- School buildings - Design and construction

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In the nineteenth-century paradigm of architectural organicism, the notion that buildings possessed character provided architects with a lens for relating the buildings they designed to the populations they served. Advances in scientific race theory enabled designers to think of "race" and "style" as manifestations of natural law: just as biological processes seemed to inherently regulate the racial characters that made humans a perfect fit for their geographical contexts, architectural characters became a rational product of design. Parallels between racial and architectural characters provided a rationalist model of design that fashioned some of the most influential national building styles of the past, from the pioneering concepts of French structural rationalism and German tectonic theory to the nationalist associations of the Chicago Style, the Prairie Style, and the International Style. In Building Character, Charles Davis traces the racial charge of the architectural writings of five modern theorists--Eugene Emmanuel Viollet-le-Duc, Gottfried Semper, Louis Sullivan, Frank Lloyd Wright, and William Lescaze--to highlight the social, political, and historical significance of the spatial, structural, and ornamental elements of modern architectural styles.

Architecture and society --- History --- Architecture and race --- Architecture --- Democracy and architecture. --- ARCHITECTURE / General --- Architecture and race. --- Architecture and society. --- Architecture and democracy --- Environmental psychology --- Architecture and sociology --- Society and architecture --- Sociology and architecture --- Race and architecture --- Race --- Psychological aspects. --- Human factors --- Social aspects --- 1800-1999 --- Sociology of minorities --- Sociology of environment --- architecture [discipline] --- Modern [style or period] --- Viollet-le-Duc, Eugène-Emmanuel, --- Semper, Gottfried, --- Sullivan, Louis H., --- Lescaze, William, --- Wright, Frank Lloyd, --- Criticism and interpretation.

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De kunst van de twintigste eeuw werd grotendeels overheerst door abstractie in alle mogelijke vormen. Ondanks het feit dat het onderwerp was van vele tentoonstellingen, de kern van kritische debatten en van kunsthistorisch onderzoek stelt abstracte kunst het publiek nog vaak voor raadsels. De auteur bespreekt afzonderlijke werken en uiteenlopende kunstenaars als Kasimir Malevitsj, Wassily Kandinsky, Naum Gabo, Piet Mondriaan, Theo van Doesburg, Willem de Kooning en Lucio Fontana en laat zien in welke opzichten deze werken kenmerkend zijn voor bepaalde, elkaar soms overlappende stromingen in de veelzijdige geschiedenis van de abstracte kunst. Hij laat niet alleen zien dat sommige vormen die erg op elkaar lijken zich in wezen van elkaar onderscheiden, maar ook dat verschillende vormen soms verrassende overeenkomsten vertonen.

Abstract [fine arts style] --- Art --- anno 1900-1999 --- abstracte kunst --- Kunst --- Schilderkunst --- kunst 20e eeuw --- 7.038 --- 705.8 --- Abstracte kunst --- Braque, Georges --- Burri, Alberto --- Constructivisme --- De Kooning, Willem --- De Staël, Nicolas --- Delaunay, Robert --- Delaunay, Sonia --- Fautrier, Jean --- Fontana, Lucio --- Gabo, Naum --- Gorky, Arshile --- Heron, Patrick --- Hofmann, Hans --- Hoyland, John --- Kandinsky, Wassily --- Klein, Yves --- Kupka, Frantisek --- Lohse, Richard --- Léger, Fernand --- McLaughlin, John --- Malevitsj, Kasimir --- Moholy-Nagy, Laszlo --- Mondriaan, Piet --- Newman, Barnett --- Nicholson, Ben --- Martin, Agnes --- Innes, Callum --- Joseph, Peter --- Marden, Brice --- Picasso, Pablo --- Pollock, Jackson --- Popova, Liubov --- Rheinhardt, Ad --- Riley, Bridget --- Rodsjenko, Alexander --- Rothko, Mark --- Rozanova, Olga --- Schwitters, Kurt --- Schülze, Wolfgang --- Tatlin, Vladimir --- Van Doesburg, Theo --- Vantongerloo, Georges --- Vordemberge-Gildewart, Friedrich --- Wols --- kunstgeschiedenis - kunst na 1945 --- Modern [styles and periods] --- moderne kunst --- Modern [style or period] --- Art styles --- abstracte, niet-figuratieve kunst --- abstracte kunst. --- Abstract [modern European style]