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The Architecture of Neoliberalism pursues an uncompromising critique of the neoliberal turn in contemporary architecture.This book reveals how a self-styled parametric and post-critical architecture serves mechanisms of control and compliance while promoting itself, at the same time, as progressive.

After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and '20s. AsModernism as Memoryillustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin's museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an \"architecture of modern memory\" that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memorydemonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.

When the interstate highway program connected America's cities, it also divided them, cutting through and destroying countless communities. Affluent and predominantly white residents fought back in a much heralded \"freeway revolt,\" saving such historic neighborhoods as Greenwich Village and New Orleans's French Quarter. This book tells of theotherrevolt, a movement of creative opposition, commemoration, and preservation staged on behalf of the mostly minority urban neighborhoods that lacked the political and economic power to resist the onslaught of highway construction. Within the context of the larger historical forces of the 1960s and 1970s, Eric Avila maps the creative strategies devised by urban communities to document and protest the damage that highways wrought. The works of Chicanas and other women of color-from the commemorative poetry of Patricia Preciado Martin and Lorna Dee Cervantes to the fiction of Helena Maria Viramontes to the underpass murals of Judy Baca-expose highway construction as not only a racist but also a sexist enterprise. In colorful paintings, East Los Angeles artists such as David Botello, Carlos Almaraz, and Frank Romero satirize, criticize, and aestheticize the structure of the freeway. Local artists paint murals on the concrete piers of a highway interchange in San Diego's Chicano Park. The Rondo Days Festival in St. Paul, Minnesota, and the Black Archives, History, and Research Foundation in the Overtown neighborhood of Miami preserve and celebrate the memories of historic African American communities lost to the freeway. Bringing such efforts to the fore in the story of the freeway revolt,The Folklore of the Freewaymoves beyond a simplistic narrative of victimization. Losers, perhaps, in their fight against the freeway, the diverse communities at the center of the book nonetheless generate powerful cultural forces that shape our understanding of the urban landscape and influence the shifting priorities of contemporary urban policy.

Taking the Soviet Union Apart Room by Room investigates what happens to domestic spaces, architecture, and the lives of urbanites during a socioeconomic upheaval. Kateryna Malaia analyzes how Soviet and post-Soviet city dwellers, navigating a crisis of inadequate housing and extreme social disruption between the late 1980s and 2000s, transformed their dwellings as their countries transformed around them. Soviet infrastructure remained but, in their domestic spaces, urbanites transitioned to post-Soviet citizens. The two decades after the collapse of the USSR witnessed a major urban apartment remodeling boom. Malaia shows how, in the context of limited residential mobility, those remodeling and modifying their homes formed new lifestyles defined by increased spatial privacy. Remodeled interiors served as a material expression of a social identity above the poverty line, in place of the outdated Soviet signifiers of well-being. Connecting home improvement, self-reinvention, the end of state socialism, and the lived experience of change, Malaia puts together a comprehensive portrait of the era. Malaia shows both the stubborn continuities and the dramatic changes that accompanied the collapse of the USSR. Making the case for similarities throughout the former Soviet empire, this study is based on interviews and fieldwork done primarily in Kyiv and Lviv, Ukraine. Many of the buildings described are similar to those damaged or destroyed by Russian bombings or artillery fire following the invasion of Ukraine on February 24, 2022. A book about major historic events written through the lens of everyday life, Taking Soviet Union Apart is also about the meaning of home in a dramatically changing world.

In the three decades following World War II, the French government engaged in one of the twentieth century's greatest social and architectural experiments: transforming a mostly rural country into a modernized urban nation. Through the state-sanctioned construction of mass housing and development of towns on the outskirts of existing cities, a new world materialized where sixty years ago little more than cabbage and cottages existed. Known as thebanlieue, the suburban landscapes that make up much of contemporary France are near-opposites of the historic cities they surround. Although these postwar environments of towers, slabs, and megastructures are often seen as a single utopian blueprint gone awry, Kenny Cupers demonstrates that their construction was instead driven by the intense aspirations and anxieties of a broad range of people. Narrating the complex interactions between architects, planners, policy makers, inhabitants, and social scientists, he shows how postwar dwelling was caught between the purview of the welfare state and the rise of mass consumerism. The Social Projectunearths three decades of architectural and social experiments centered on the dwelling environment as it became an object of modernization, an everyday site of citizen participation, and a domain of social scientific expertise. Beyond state intervention, it was this new regime of knowledge production that made postwar modernism mainstream. The first comprehensive history of these wide-ranging urban projects, this book reveals how housing in postwar France shaped both contemporary urbanity and modern architecture.

Governing by Designoffers a unique perspective on twentieth-century architectural history. It disputes the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves. In these chapters, historians offer their analysis on design as a vehicle for power and as a mediator of social currents. Power is defined through a variety of forms: modernization, obsolescence, technology, capital, ergonomics, biopolitics, and others. The chapters explore the diffusion of power through the establishment of norms and networks that frame human conduct, action, identity, and design. They follow design as it functions through the body, in the home, and at the state and international level. Overall, Aggregate views the intersection of architecture with the human need for what Foucault termed \"governmentality\"-societal rules, structures, repetition, and protocols-as a way to provide security and tame risk. Here, the conjunction of power and the power of design reinforces governmentality and infuses a sense of social permanence despite the exceedingly fluid nature of societies and the disintegration of cultural memory in the modern era.

After World War II, France embarked on a project of modernization, which included the development of the modern mass home.At Home in Postwar Franceexamines key groups of actors - state officials, architects, sociologists and tastemakers - arguing that modernizers looked to the home as a site for social engineering and nation-building; designers and advocates of the modern home contributed to the democratization of French society; and the French home of theTrente Glorieuses, as it was built and inhabited, was a hybrid product of architects', planners', and residents' understandings of modernity. This volume identifies the \"right to comfort\" as an invention of the postwar period and suggests that the modern mass home played a vital role in shaping new expectations for well-being and happiness.

Governing by Design offers a unique perspective on twentieth-century architectural history. It disputes the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves. In these chapters, historians offer their analysis on design as a vehicle for power and as a mediator of social currents. Power is defined through a variety of forms: modernization, obsolescence, technology, capital, ergonomics, biopolitics, and others. The chapters explore the diffusion of power through the establishment of norms and networks that frame human conduct, action, identity, and design. They follow design as it functions through the body, in the home, and at the state and international level. Overall, Aggregate views the intersection of architecture with the human need for what Foucault termed \\u201cgovernmentality\\u201d—societal rules, structures, repetition, and protocols—as a way to provide security and tame risk. Here, the conjunction of power and the power of design reinforces governmentality and infuses a sense of social permanence despite the exceedingly fluid nature of societies and the disintegration of cultural memory in the modern era.

How a centuries-old architectural tradition reemerged as a potential solution to the political and environmental crises of the 1970s Against the backdrop of a global energy crisis, a widespread movement embracing the use of raw earth materials for building construction emerged in the 1970s. Solar Adobe examines this new wave of architectural experimentation taking place in the United States, detailing how an ancient tradition became a point of convergence for issues of environmentalism, architecture, technology, and Indigenous resistance. Utilized for centuries by the Pueblo people of the American Southwest and by Spanish colonialists, adobe construction found renewed interest as various groups contended with the troubled legacies of modern architecture and an increasingly urgent need for sustainable design practices. In this period of critical experimentation, design networks that included architects, historians, counterculture communities, government weapons labs, and Indigenous activists all looked to adobe as a means to address pressing environmental and political issues. Albert Narath charts the unique capacities of adobe construction across a wide range of contexts, consistently troubling simple distinctions between traditional and modern technologies, high design and vernacular architecture. Drawing insightful parallels between architecture, environmentalism, and movements for Indigenous sovereignty, Solar Adobe stresses the importance of considering the history of the built environment in conjunction with architecture's larger impact on the natural world.