Non-Plan explores ways of involving people in the design of their environments - a goal which transgresses political categories of 'right' and 'left'. Attempts to circumvent planning bureaucracy and architectural inertia have ranged from free-market enterprise zones, to self-build housing, and from squatting to sophisticated technologies of prefabrication. Yet all have shared in a desire to let people shape the built environment they want to live and work in. How can buildings better reflect the needs of their inhabitants? How can cities better facilitate the work and recreation of their many populaces? Modernism had promised a functionalist approach to resolving the architectural needs of the twentieth-century, yet the design of cities and buildings often appears to confound the needs of those who use them - their design and layout being highly regulated by restrictive legislation, planning controls and bureaucracy. Non-Plan considers the theoretical and conceptual frameworks within which architecture and urbanism have sought to challenge entrenched boundaries of control, focusing on the architectural history of the post-war period to the present day. This provocative book will be of interest to architects, planners and students of architecture, design, town-planning and architectural history. Its contributors include architects, critics and historians, including many whose work helped shape the Non-Plan debate during the period. List of contributors: Cedric Price, Benjamin Franks, Elizabeth Lebas, Eleonore Kofman, Ben Highmore, Yona Friedman, Paul Barker, Clara Greed, Barry Curtis, Colin Ward, Ian Horton, John Beck, Chinedu Umenyilora and Malcolm Miles.

The first book-length critical and historical account of an ultramodern architectural movement of the 1960s that advocated "living equipment" instead of buildings. In the 1960s, the architects of Britain's Archigram group and Archigram magazine turned away from conventional architecture to propose cities that move and houses worn like suits of clothes. In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks. In Archigram: Architecture without Architecture, Simon Sadler argues that Archigram's sense of fun takes its place beside the other cultural agitants of the 1960s, originating attitudes and techniques that became standard for architects rethinking social space and building technology. The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement—High Tech—and influencing the postmodern and deconstructivist trends of the late twentieth century. Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture. Countering the habitual building practice of setting walls and spaces in place, Archigram architects wanted to provide the equipment for amplified living, and they welcomed any cultural rearrangements that would ensue. Archigram: Architecture without Architecture—the first full-length critical and historical account of the Archigram phenomenon—traces Archigram from its rediscovery of early modernist verve through its courting of students, to its ascent to international notoriety for advocating the "disappearance of architecture."

In 1935, the Russian-born Jewish architect Berthold Lubetkin and his firm Tecton designed Highpoint, a block of flats in London, which Le Corbusier called ‘revolutionary’. Three years later, Lubetkin completed a companion design. Yet Highpoint II felt very different, and the sense that the ideals of modernism had been abandoned seemed hard to dispute. Had modern architecture failed to take root in England? This book challenges the belief that English architecture was on hiatus during the 1930s. Using Highpoint II as a springboard, Deborah Lewittes takes us on a journey through the defining moments of modern English architecture – the ‘high points’ of the period surrounding Highpoint II. Drawing on Lubetkin’s work and his writings, the book argues that he advanced influential, lasting theories which were rooted in his design for Highpoint II. Lubetkin’s work is explored within the context of wider Jewish emigration to London during the interwar years as well as the anti-Semitism that pervaded Britain during the 1930s. As Lewittes demonstrates, this decade was anything but quiet. Providing a new perspective on twentieth-century English architecture, this book is of interest to students and scholars in architectural history, urban studies, Jewish studies, and related fields.

Architects write a lot, especially now when conceptual aspects have become central in the advanced reflections and narrative forms increasingly intersect the quest of design practices far an ultimate legitimation. In the growing mass of the publishing offer, these keywords try to highlight recurrent issues, tracking synthetic paths of orientation between different critical positions, with particular attention to what happens in the neighbouring fields of the arts and sciences.

"Grand Urban Rules offers a compilation and discussion of significant rules invented and implemented by European, North American, and Asian cities. The reader does not only get an overview of the functionality and repercussions of these rule sets but also gains insight into the context and situation of the specific city through the lens of rule-based governance: a citys code as the inverted, abstracted and extracted image of a citys actual situation. Setting standards is first and foremost a cultural act. We map cities by their rules! The publication is based on a database of approximately 100 relevant urban rules researched over the past three years at the ETH Zurich. These rules describe built form with regard to physical characteristics, qualities, and consequences as well as the distribution of program, density, urban performance, and aesthetics."--Publisher's description.

This study reassesses modern architecture and town planning in mid-twentieth-century England, highlighting ideas and debates that were in circulation as modernist ideals gradually took root. The book reveals an architectural culture that was serious, active, and visionary, with impact that extended into the postwar years. Through close studies of specific works and writings, the author acknowledges the importance of the international context of modern architecture as it intersected with the variety of narratives that defined English modernism, such as national identity, the New Empiricism, and the picturesque, taking into account the large community of émigré architects who settled in England with the approach of World War II, as well as a more general dissemination of international style forms and theories from continental Europe. The book places familiar figures such as Berthold Lubetkin and Ernö Goldfinger, as well as projects such as Tecton’s Penguin Pool and the Festival of Britain’s “Live Architecture” Exhibition, in new light, presenting a rich picture of the modern architectural climate in England. The study draws attention to the debates, proposals, and processes that fed into the development of modernist, urban-minded, and forward-looking architectural ideals.

Paris is famous for romance. Chicago, the blues. Buenos Aires, the tango. And Toronto? Well, Canada’s largest urban centre is known for being a “city that works” – a remarkably livable metropolis for its size. In this lavishly illustrated book, Richard White reveals how urban planning contributed to Toronto becoming a functional, world-class city. Focusing on the period from 1940 to 1980, he examines how planners shaped the city and its development amid a maelstrom of local and international obstacles and influences. Based on meticulous research of Toronto’s postwar plans and supplemented by dozens of interviews, Planning Toronto provides a comprehensive and lively explanation of how Toronto’s postwar plans – city, metropolitan, and regional – came to be, who devised them, and what impact they had. When it comes to the history of urban planning, the question may not be whether a particular plan was good or bad but whether in the end it made a difference. As White demonstrates, in Toronto’s case planning did matter – just not always as expected.