Contents 1

HOW ARCHITECTURELEARNED TO SPECULATE .............................................

ISPECIOUS SPECULATION PLAYING VALUE: FAD, FASHION, FEVER .............................................................................DEVALUING VALUE: CONFUSION, CRISIS, COMPENSATION ......................................... RATIONALISTIC HYPE ...................................................................................................... STYLISTIC FIGHT ...............................................................................................................WILLING VALUE: HISTORICITY, LOCALITY, RELATIVITY ................................................. COSMIC TO COSMETIC ................................................................................................... CAPITAL TO CREATION ...................................................................................................MOBILIZING VALUE: INSTABILITY, VOLATILITY, FRIVOLITY .........................................SPECULATION AND FASHION: MODERNS, FRIENDS, FOES ...........................................FASHION TO FASHION: SELF-REFERENCE, AUTO-MOTION, NON-SENSE ....................FASHION AS FICTION: RADICALITY, RISK, REALITY .........................................................FASHION AND TIME: YOUNGEST OLD AND LATEST NEW .............................................FASHION AGAINST FASHION .................................................................................................

IIMAGIC MEDIA GLAMOUR SHOTS .....................................................................................................................MAGIC TRANSPORTATION: TRANSFORMER, MATERIALIZER, VISUALIZER ................CONNECTION, CIRCULATION, COMMUNICATION ........................................................... MAGIC TICKER ..................................................................................................................PERFORMANCE AND CHARLATANRY ..................................................................................GRAMMAR AND GLAMOUR ...................................................................................................

IIISPECTACULAR SPECULATOR SPECTACLE, CROWD, SUBJECT ..............................................................................................PASSIVE SPECTATOR ................................................................................................................ACTIVE SPECULATOR ...............................................................................................................SPECTACULAR STRATEGIES, ANTI-DESIGN, CONTRARY THINKING ............................. THE OTHER ........................................................................................................................ MEDIA BURN .....................................................................................................................SPECTACULAR STRATEGIES, ANTI-THEORY, CONTRARY WRITING .............................. SPECULATION TAKES COMMAND ............................................................................... SPECULATION WITHOUT SPECULATORS ................................................................... BORN COPIES, DIE ORIGINALS .....................................................................................

COPYRIGHTS & CREDITS .........................................................................................................INDEX ..........................................................................................................................................

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Speculative Postcards http://www.flickr.com/photos/dutchct/3092191922/

in Iwate http://fotogaleri.hurriyet.com.tr/LiveImages/Nette%20Dola%C5%9Fanlar/Bun-

lar%20sadece%20T%C3%BCrkiye%27de%20olur/00.jpg in Diyarbakır

http://englishrussia.com/ in Moscow http://feels.ru/ in

Omsk http://fotogaleri.hurriyet.com.tr/LiveImages/Nette%20Dolasanlar/SendeYolla10/

araba.jpg in Giresun http://englishrussia.com/ in Mos-

cow http://filipefreitas.net/blog/?p=138 in Istanbul http://fotogaleri.hurri-

yet.com.tr/LiveImages/Nette%20Dola%C5%9Fanlar/Bu%20karelere%20bakmadan%20

ge%C3%A7meyin/508.jpg in Izmit http://img77.imageshack.us/1851/

in Omsk http://fotogaleri.hurriyet.com.tr/ in

Buca http://bsk.kpgs.ru/2008/231008/original in Tolyatti http://bsk.kpgs.

ru/2008/231008 in Ufa

3

How Architecture Learned to SpeculateMona Mahall and Asli Serbest

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically those of translation, reprinting, re-use of illus-trations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks.

© Stuttgart 2009 by igmade.edition – D93Published by Gerd de Bruynfor Institut Grundlagen moderner Architektur und Entwerfen (IGMA)Universität Stuttgarthttp://igmade.de

Supported by the Klaus Tschira Foundation

Limited Edition

Printing and Binding: frech|druck, 70499 StuttgartPrinted on 100% waste paper

ISBN 978-3-00-029876-9

44

5Introduction 5

If architecture is still in search of a theory, then this theory should focus on questions of strategy: strategy behind any form and any program, behind any procedure and any argumentation. Because, it is strategy that mediates between work and world, between intention and attention and that decides on success or failure of any effort. It is strategy that – as Foucault has shown – is realized as improvising tactics, but that most certainly implies a subject (an author, a designer, or a curator), a public, and specu-lation. It is strategy that suggests Rem Koolhaas being “perpetu-ally torn between realism and a kind of speculative fervor,“1 but not in an idealistic way. Rather in the competitive and elitist way of a modern culture, regarded as economic, with all post-isms be-ing episodes or cycles of the same dynamic. Russian philosopher Boris Groys describes this dynamic as an economy of culture:2 economy, not in depending on money or in treating expensive projects of ‘bigness’ – that would be banal –, but in handling cul-tural gain. Cultural gain has to do with recognition and atten-tion not for economic, but for cultural values and for those, who represent them. In modernity, however, these cultural values are notionally as mobile as financial values. In modernity, as French philosopher Paul Valéry advances Nietzschean ideas, mobile values are not only an economic procedure, but they become a form: a form that submits the total of contemporary life under the control of volatility, in the end, under the control of fashion.

Speculations: The speculative régime3 is at the heart of the endless modernity, and it confuses the conceptual oppositions that stabilize rationalism. It constitutes a life of global networked interaction, in which circulation or exchange is the main field of action. It makes few win and most lose. It connects uncertainty to expectation and mixes up the serious and the play. It compromises the most patient work of calculated plan with the most risky and frivolous bet. It dissolves the distinction between the true and the

1 In this quotation Koolhaas refers to himself http://www.thestranger.com/seattle/Content?oid=16152 Boris Groys: Über das Neue. Versuch einer Kulturökonomie (1992), Frankfurt am Main: Fischer, 20043 Jean-Joseph Goux: Frivolité de la Valeur. Essai sur l‘Imaginaire du Capitalisme, Paris: Blusson, 2000

HOW ARCHITECTURE

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fictive, between the real and the unreal. In the end, it might gran-diosely fail, or gloriously succeed.

French anarchist Pierre Proudhon already discovered the speculative paralogisms relying on the mobile value and turning all great antinomies of science and philosophy into ambiguities of modernity.4 With speculation, the opposite between the eco-nomic order and the feverish game, on which is founded the the-ory of George Bataille, becomes untenable. It is in economic spec-ulation that the sciences of modern times have found their limits at first. It is here, where decisions cannot be based on knowledge alone. In this ‘alchemy’5 operational success is favored over (sci-entific) trueness.

We suggest that modern culture, above all, architecture, is also such a region of speculation, of mobile values, of risk and gain, with strategic bears and bulls, and with magicians.6 It calls for a theory, which shows how modernity actually implies spec-ulative strategies: speculation, not as a form of contemplative and philosophical reflection, but of strategic and risky acting that produces differences,7 parallel to price differences of the stock market. Architecture calls for a theory that treats architecture not with regards to content – content is value, is mobile –, but with re-gards to strategy.

In recognizing cultural values as mobile, we recognize them as fashionable. Modernity means the mobility of formerly sta-ble value; value represents concepts that used to firmly distin-guish between right and wrong, good and evil, beautiful and ugly – such as the classical canon in architecture. Modernity in architecture starts with the destabilization of this canon, it starts with a kind of mobility, which we define as fashion.

The classical canon that actually constituted a hierarchy of formal values, that is, a rhetoric system defining the unity of con-tent and form, becomes void around 1800. It becomes mobile, what has been regarded as highest value: architectural trueness, we could also say architectural objectivity, honesty, or beauty. That the mobility of trueness actually means its end, shows, how modernity includes the figure of crisis from the very beginning. A crisis, which naturally becomes acute only through risky – in terms of fashion: risqué – speculation. Crisis means the radical devaluation of established values and in architecture the certain end of a fashion. Argues Ernst Gombrich: “Competition for atten-

7Introduction 7

tion can lead to the unintended consequence of simply lowering the value of what you have been doing before.”8

Only an abstract figure of fashion can explain speculation as a subjective strategy that produces difference. Fashion is a meta-disciplinary concept describing the cultural economy of chang-ing values. Georg Simmel is the first to recognize this general phenomenon. Fashion is the up and down, the in and out of values that is mainly known from the stock market. Feverish states can, however, be observed in all fields of modern society. Simmel describes the volatile processes of fashion as a symptom of the immediate, fast, modern life. These processes run outside of natural causality, and they produce an artificial system of val-orization, which has little to do with functional considerations, questions of content, or cause and effect. Fashion is rather about moods, irrationality, and the bias for the break, which estab- lishes new and demotes old values. The paradoxical is that fash-ion makes claim to leadership, but, at the same time, commands disobedience. The break means difference, revaluation of values, it means the new in contrast to the old, and it does not recog-nize any borders. Fashion actually is the violation of its own rules. It is permanent revolution that does not pursue a goal, but that relativizes every goal. Fashion – this is arguably the reason for its rejection –, in its feverish change, challenges the society and its fundamentals of durability and continuity. Its autonomous logic calls with no reason, let alone good reason, for continuous varia-tion and for the novel. The more radical the speculative variation is, the bigger will be the spectacle.

Fashion is a form of continious, fantastic change; it is fiction, which is not bound to any object, but which relies on (mass)

4 Pierre-Joseph Proudhon: P.J. Proudhon‘s Handbuch des Börsen-Spekulanten (1853), Hannover: Carl Mener, 18575 George Soros: The Alchemy of Finance. Reading the Mind of the Market, New York: Wiley, 19946 Thus, notes American author Washington Irving: “Speculation is the romance of trade, and casts contempt upon all its sober realities. It renders the stock-jobber a magician, and the exchange a region of enchantment.“ http://en.wikipedia.org/wiki/Washington_Irving7 Gregory Bateson calls this a difference, which makes a difference. Gregory Bateson: Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology, Chicago: University Of Chicago Press, 19728 Ernst Gombrich: The Logic of Vanity Fair, in: Ideals and Idols. Essays on Values in History and Art, Ernst Gombrich, Oxford: Phaidon, 1979

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medial realities. It is actually based on the mobilization by mass media. With the help of modern broadcasting media, transporting image and text at the same time, modern culture becomes fashionable at first. We could even claim that the mode-rnization of architecture results from the transmission and distribution of its images.

Without fiction there is no speculation. Only the fictive al-lows the constitution of a subjective and individual position, from which an author can enter the speculative competition at first. We will see that speculation is a form of ‘self-authorization’, of an author claiming for authorship. And modern architecture is architecture, if there is an author to it. We could even radicalize that in modernity architecture is architecture only insofar as it is ‘authorized‘. The modern author, pronounced dead by post-struc-turalism, is actually at the origin of any pronouncement at all; it is reborn, not as genial creator, but as strategist, who – if success-ful – becomes spectacular9 and a member of an elitist club typi-cal to modernity.

Modern culture includes the spectacle of speculation, which turns out to be a figure of showing, rather than of seeing (a fu-ture to come). Its Latin root ‘speculari’ has included both mean-ings. We treat spectacle, in contrast to Guy Debord, as a question of how the subject can manifest itself to the others.10 A subject that is the responsible author of its own visibility within a society of the spectacle, that does actually not allow contemplation. The author has nothing to do with passive consumption, but rather with subjective strategies of authorization and practices of spec-tacle. These speculative strategies aim at the striking, the novel, the surprising; in other words: at the distinction from the ‘mass‘, the background, or mainstream fashion. Since, it is the distinc-tion from the background that renders the figure visible at first. And visibility is the main task in the modern mass society.

Speculation, as a field of subjective strategies of difference, occurs within economic theory, where the spectacular specula-tor has to act against the mass. In modern art and architecture, this strategy is linked to the avant-garde. We call it anti-design or anti-fashion, since the aim at difference constantly makes the au-thor negate established positions.

Strategies of permanent negation and deviance have re-placed the figure of permanent trueness. Fashion has replaced

9Introduction 9

any stable notion of truth. And speculation can be understood as subjective manipulation of values in order to revaluate them. It is strategies of difference that provoke the break and that pro-vide the new in contrast to the old. Old, that is best shown at the classical modern architecture of the 1920ies, does not mean an-tiquity, but the directly preceding fashion, in this case, the fash-ion of art nouveau. In the sixties, there is no denying the fact any longer that modern culture is about the spectacle. In the course of time, the contents have changed from modernist open lamen-tation to ironical attempts of subversion; the strategies, however, remain speculative. They consist of the continuous, fashionable revaluation of values.

Of course, fashion is not restricted to the practical fields of cul-ture, but also extends to theoretical and curatorial discourses. The collection, presentation, and discussion of others‘ works are them-selves works, embodying the aim of an author at becoming spec-tacular. They are also forms of speculation, which is always stra-tegic or medial, not only stating. Again: it is a matter of showing, rather than just seeing. It is a matter of fashion and anti-fashion. Actually, as authors, we are all fashion makers and essentially engaged with becoming visible; in the end we are all engaged with self-fashioning and self-design through our works, within the ‘modische Moderne’.11

9 The author becomes a ‘magician’, in the words of Irving, who is thought of as male. As there is no female magician, it is obvious that there is neither a female speculator in the discourse. The contrary is true: at the stock market the speculator wins out over a female majority, over emotion, hysteria, and panic. Speculation theory is a subject theory of the male speculator, who beats the market that is imagined as female. Proudhon explicitly talks about woman’s organs in the brain and in the stomach being impotent by birth.We observe architecture as a mainly male discipline. For this reason, this text only uses the third person masculine singular pronoun.10 Boris Groys: The Obligation to Self-Design http://www.e-flux.com/journal/view/611 Boris Groys: The Obligation to Self-Design http://www.e-flux.com/journal/view/6

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From a trek in the Andes mountain range, media artist Michael Najjar brings the photographic material for his project ‘high altitude’. The series visualizes the development of stock market indices over the past twenty to thirty years. The highs and lows of the charts re-shape the mountains, creating – out of the photo-graphs – their own summits, crests, and chines. It is a “shared biography” of mountain and market, of ups and downs of value differences and the strategic handling they imply. ‘high altitude’ is the perfect emblem to the following argumentation, picturing that, in modernity, speculation – as stra-tegic acting – is applied to all values, be that economic, political, or aesthetic. Pic-turing that speculation, normally referred to the stock market, is actually embodied in every valuation, in every play with high and low, in every fever for the first ascent, and in every attention for a sup-posed hero (author, architect, artist, de-signer). There can be gained a lot, but only in taking another route than before.a Michael Najjar: high altitude,(hybrid photography),dax_80 – 09, 2008 /9b Michael Najjar: high altitude, nasdaq_80 – 09, 2008 /9

11Introduction 11

a

b

12

a Michael Najjar: high altitude, nikkei_66 – 09, 2008 /9 b Michael Najjar: high altitude, dow jones_80 – 09, 2008 /9

13

a

b

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COPYRIGHTS & CREDITSI SPECIOUS SPECULATION10 –13 Courtesy of Michael Najjar http://www.michaelnajjar.com/18 http://fr.wikipedia.org/wiki/Fichier:F%C3%A9licien_Rops_001.jpg30 – 31 a http://www.daylife.com/photo/04zj1fj7z45C2?q=Japan+Fashion+Week30 – 31 b Courtesy of Matthieu Laurette http://www.laurette.net/30 – 31 c http://www.wallpaper.com/gallery/ fashion/ fashion-show-venues/ 17050154 30 – 31 d Copyright StyelCartel Donahttp://stylecartel.wordpress.com/2008/06/08/my-paris-moment/30 – 31 e Copyright Jurgen Beyhttp://www.jurgenbey.nl/30 – 31 f Copyright Dries van Notenhttp://www.showtex.com/project/ dries-van-noten-spring-2005.html36 – 37 Courtesy of NL architectsPhotograph Hertha Hurnaushttp://www.nlarchitects.nl38 Courtesy of Universitätsbibliothek HeidelbergGottfried Semper: Der Stil in den tech-nischen und tektonischen Künsten oder Praktische Ästhetik, 1860, p. 575 – 582 42 – 43 Courtesy of PARA-Projecthttp://www.para-project.org46 – 47 a http://www.citsnj.com/ attractions/show_info_7838.html46 – 47 b Copyright Weng Fenhttp://msjankido.wordpress.com/ 2009/03/04/mocataipei/46 – 47 c http://citylife.house.sina.com.cn/detail.php?gid=2308946 – 47 d http://www.luxuo.com/ watches/house-of-voila-awarded.html46 – 47 e http://house.focus.cn/ news/2008-07-29/509127.html46 – 47 f http://bbs.club.sina.com.cn/ thread-274-0/table-31544-1127-4.html46 – 47 g http://bbs.club.sina.com.cn/ thread-274-0/table-31544-1127-4.html46 – 47 h http://bbs.e-bq.com/redirect.p hp?fid=152&tid=46387&goto=nextoldset46 – 47 i http://www.dgcn.com.cn/ gdarts/index.htm46 – 47 j http://bbs.eq88.net/ baixinglicai/jixie/22538.html46 – 47 k http://images.china.cn/imag-es1/200711/412438.jpg46 – 47 l http://bbs.club.sina.com.cn/ thread-274-0/table-31544-1127-4.html46 – 47 m http://goods.pclady.com.cn/

mp3/0802/254856.html46 – 47 n http://3n.zjol.com.cn/ 05sn/system/2008/02/25/009240071.shtml50 Copyright visiondision through An-ders Berensson & Ulf Mejergren56 – 57 a Copyright occupant-productionshttp://www.flickr.com/photos/ occupantproductions/422326914/56 – 57 b Copyright Perpetual Tourist http://www.flickr.com/photos/ petrick/70924598/56 – 57 c Copyright John (Gianni) Rainerihttp://www.flickr.com/photos/ goodimages/130197512/56 – 57 d Copyright miskanhttp://www.miskan.com/2005/06/ kuwait-stock-exchange.html56 – 57 e Copyright David Buckleyhttp://www.flickr.com/photos/ 11189692@N07/3276897612/56 – 57 f Copyright Ryan Lawlerhttp://en.wikipedia.org/wiki/ File:NYSE127.jpg62 a Copyright Joshua Simoneauhttp://www.flickr.com/photos/ 27655859@N06/3693926677/62 b Copyright Muessehttp://commons.wikimedia.org/wiki/ File:Otto-Wagner-Villa_II_0058.JPG66 – 67 a Copyright Rogner & Bernhard Verlags GmbH & Co. Verlags KG, BerlinGrandville: Das gesamte Werk, Vol. 1 + 2 / Die Mode, 1969, Image 1366 – 67 b Punch; or, The London Chari-vari, 1 September 187766 – 67 c Punch; or, The London Chari-vari, 1 September 1877, p. 7766 – 67 d Courtesy of Eva (aka Valley Violet or the Digital Changeling) http://www.digitalchangeling.com/sew-ing/periodResources66 – 67 e Courtesy of Eva (aka Valley Violet or the Digital Changeling) http://www.digitalchangeling.com/sew-ing/periodResources72 http://www.spamula.net/blog/ archives/000531.html76 – 77 http://commons.wikimedia.org/ wiki/File:Corset1896-1906-1914-1917.png78 – 79 Courtesy of MVRDVClient: Gemeente Almere | Year: Decem-ber 2006 | MVRDV: Winy Maas, Jacob van Rijs, Nathalie de Vries with Stefan Witteman, Jeroen Zuidgeest, Hui-Hsin Liao, Martine Vledder, Mikkel Thisted, Simon Persson, Weiping Zhang | Land-scape Advisor: Roel van Gerwen | Plan-

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ning Advisor: Edwin van Uum | Financial Advisor: Bouwhaven, Ruud Ghering84 – 85 a http://en.wikipedia.org/wiki/Tulip_mania84 – 85 b http://en.wikipedia.org/wiki/File:Flora%27s_Malle-wagen_van_ Hendrik_Pot_1640.jpg84 – 85 c Earl Thompson: The tulipma-nia: Fact or artifact?, 2007, p. 10190 – 91 Courtesy of Aristide Antonas http://www.aristideantonas.com96 – 97 Courtesy of David Schalliolhttp://www.davidschalliol.com100 – 101 Courtesy of Kevin Baumanhttp://www.kevinbauman.com/108 a Patrice de Moncan: Les Passages Couverts de Paris, Paris: Les Editions du Mécène, 1995, p. 179108 b Copyright de Clicsourishttp://fr.wikipedia.org/wiki/ Passage_Choiseul110 – 111 a Courtesy of Bibliothèque nationale de France110 – 111 b Courtesy of The Fine Art Society110 – 111 c Courtesy of The Fine Art Society110 – 111 d Courtesy of The Fine Art Society110 – 111 e Courtesy of Bibliothèque nationale de France110 – 111 f Courtesy of Bibliothèque nationale de France116 – 117 Courtesy of FAT, Sam Jacobhttp://fashionarchitecturetaste.com/

II MAGIC MEDIA122 a Copyright J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)122 b Copyright Frederick Barrhttp://www.flickr.com/photos/ modern_fred/2482039046/124 – 125 a Volume No.1, 2005124 – 125 b Frühlicht, 1921124 – 125 c Junk Jet, No.2, 2008124 – 125 d L’Esprit Nouveau, No.17, 1922124 – 125 e G - Zeitschrift für elementare Gestaltung, No.4, 1926124 – 125 f Shelter No.4, 1932124 – 125 g Shelter No.4, 1932124 – 125 h Copyright Mimi Zeigerloud paper, Volume 1, issue 1, 1997124 – 125 i Bau: Zeitschrift für Architektur und Städtebau, No.1, 1969124 – 125 j Bau: Zeitschrift für Architektur und Städtebau, No.1/2, 1968

130 – 131 Copyright (Waffle Iron Heights, Oil Can Residence, Stand Mixer Mews, Iron Apartments, Sprinkler House, Coffee Pot Towers, Hole Punch Flats, Measurement District) by David Trautrimas courtesy of the artist.134 a James W. Sheep: World’s Colum-bian Exposition, Chicago, 1893, p. 235134 b Courtesy of Jeffery Howe, Fine Arts Departement Boston College Van Brunt & Howe: Interior of Electricity Building, Chicago, 1893138 – 139 a http://en.wikipedia.org/ wiki/File:Tesla_colorado_adjusted.jpg138 – 139 b Nicola Tesla: The Fantastic Inventions of Nikola Tesla, Adventures Unlimited Press, 1993, p. 205138 – 139 c Nicola Tesla: The Fantastic Inventions of Nikola Tesla, Adventures Unlimited Press, 1993, p. 148138 – 139 d Nicola Tesla: The Fantastic Inventions of Nikola Tesla, Adventures Unlimited Press, 1993, p. 149138 – 139 e Nicola Tesla: The Fantastic Inventions of Nikola Tesla, Adventures Unlimited Press, 1993, p. 147144 a http://commons.wikimedia.org/ wiki/File:Stock_ticker.jpg144 b National Archiveshttp://narademo.umiacs.umd.edu/cgi-bin/isadg/viewitem.pl?item=49443148 – 149 Courtesy of JODIhttp://wwwwwwwww.jodi.org/152 a http://commons.wikimedia.org/ wiki/File:Tuerkischer_schachspieler_ racknitz1.jpg152 b http://commons.wikimedia.org/ wiki/File:Tuerkischer_schachspieler_ racknitz3.jpg156 – 157 Courtesy of Bernard Gigounon http://www.bgigounon.be162 a Paul Maenz: Die 50er Jahre. Formen eines Jahrzehnts, Stuttgart, 1978, p. 63162 b http://commons.wikimedia.org/wiki/File:Expo58_building_Philips.jpg164 – 165 a Eugen Dietrichs (ed.): Jahrbuch des Deutschen Werkbundes, Jena, 1913164 – 165 b Le Corbusier: Vers une Architecture, Paris: Les Éditions G. Crés et C(ie), 1923164 – 165 c Le Corbusier, Stanislaus von Moos (ed.): L’Esprit Nouveau. Le Corbusier und die Industrie 1920 –1925 Berlin: Ernst, 1987, p. 39164 – 165 d L’Esprit Nouveau, Vol. 6, 1921

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172 – 173 Courtesy of Ralf Schreiberhttp://www.ralfschreiber.com

III SPECTACULAR SPECULATOR178 a http://commons.wikimedia.org/wiki/File:Kleingartenanlage_Nützenberg_Schrebergarten.jpg178 b http://de.academic.ru/dic.nsf/dewiki/1256867178 c http://herold.twoday.net/topics/menschen/178 d http://www.pictokon.net/bilder/2008-03-bilder/kleingartenmuse-um-leipzig-05-schrebergarten-anlage-his-torische-gartenlauben.html180 a Courtesy of Gitta Gschwendtner http://www.gittagschwendtner.com180 b http://images.travelpod.com/us-ers/katenjosh/katenjosh-world.11364956 40.14_bats_outside_the_bat_house.jpg180 c http://www.flickr.com/photos/charleywally/124063414/180 d http://i337.photobucket.com/albums/n380/batmad_08/DSCF9101.jpg184 – 185 Courtesy of Pascual Sisto http://www.pascualsisto.com/196 – 197 a Courtesy of Kenneth Rougeauhttp://synchronicity313.etsy.com196 – 197 b Copyright Chad Kellogghttp://www.flickr.com/photos/ kymtyr/1368976322/196 – 197 c Copyright Chad Kellogghttp://www.flickr.com/photos/ kymtyr/1368976322/196 – 197 d Copyright Albertina, Wien, ALA2138196 – 197 e Adolf Loos: Das Andere. Ein Blatt zur Einführung abendländischer Kultur in Österreich, No.1, 1903196 – 197 f Adolf Loos: Das Andere. Ein Blatt zur Einführung abendländischer Kul-tur in Österreich, No.2, 1903202 a – c Courtesy of Darlene Charneco203 d Courtesy of Rob ‘t HartProject by MVRDVClient: Family Didden | Year: 2002 – 2007MVRDV: Winy Maas, Jacob van Rijs, Nathalie de Vries with Annet Schurink, Marc Joubert, Fokke Moerel and Ivo van Cappelleveen | Structure: Pieters Bouw-techniek, Delft NL: Jan Versteegen | Stairs: Verheul Trappen, Montfoort NL | Blue finish: Kunststof Coatings Nederland B.V. Zevenhuizen NL | Constructor: Formaat Bouw, Sliedrecht NL203 e Courtesy of Seyed Alavihttp://here2day.netwiz.net

203 f Courtesy of Helmut SmitsPhotograph Jeroen Wandemakerhttp://www.helmutsmits.nl208 – 210 University of California, Berkeley Art Museum and Pacific Film Archive. Purchase made possible through a bequest from Thérèse Bonney, by exchange, a partial gift of Chip Lord and Curtis Schreier, and gifts from an anonymous donor and Harrison Fraker.216 – 217 a Sigfried Giedion: Befreites Wohnen, 1929, Image 1216 – 217 b Sigfried Giedion: Befreites Wohnen, 1929, Image 83 216 – 217 c Sigfried Giedion: Raum, Zeit, Architektur, 1941, p. 502 216 – 217 d Sigfried Giedion: Befreites Wohnen, 1929, Image 66 – 68220 Courtesy of Postmasters Gallery, New York224 – 225 a Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 118224 – 225 b Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 142224 – 225 c Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 136224 – 225 d Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 150224 – 225 e Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 149224 – 225 f Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 92224 – 225 g Bernard Rudofsky: Architec-ture Without Architects, 1964, Image 91226 – 227 a http://slurl.com/secondlife/Syncretia/35/145/22226 – 227 b http://slurl.com/secondlife/Burning%20Life-Denio/68/108/38226 – 227 c http://slurl.com/secondlife/Burning%20Life-Zero%20Mile/31/81/38226 – 227 d http://slurl.com/secondlife/Burning%20Life-Calico/208/248/24226 – 227 e http://slurl.com/secondlife/Versailles%20Architecture/132/126/30226 – 227 f http://slurl.com/secondlife/RMB%20City%201/134/107/139226 – 227 g http://slurl.com/secondlife/Burning%20Life-Calico/124/114/24226 – 227 h http://slurl.com/secondlife/St%20Louis%20Island/52/147/66226 – 227 i http://slurl.com/secondlife/RMB%20City%201/111/44/97226 – 227 j http://slurl.com/secondlife/Juree/147/156/87232 – 234 Courtesy of Caspar Strackehttp://www.videokasbah.net236 –237 OMA Images courtesy of the Office for Metropolitan Architecture (OMA)

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INDEXAActive 33 – 34, 187 –188Adorno, Theodor W. 49, 105, 111–115, 154, 207, 212Agamben, Giorgio 187 –189Alavi, Sayed 202Alchemy 6, 70 – 72, 136, 151, 190Amateur 121, 136, 221Anonymous 221– 223Ant Farm 206 – 211Anti-design 8, 189, 190, 193 –195, 198, 204, 211, 214, 231, 235Anti-fashion 8, 9, 114, 192, 204Antonas, Aristide 90 – 91Appearance 15 –18, 39, 41, 48, 66, 81, 115, 141, 150, 160, 170, 181, 183, 186, 188, 194Aristotle 181, 182Attention 56, 74, 89, 102, 114, 115, 123, 135, 137, 140, 141, 145, 146, 158, 175 –181, 191–193, 202, 205 – 207, 211– 213, 235Author 5 – 9, 34, 55, 68, 82, 119, 123, 128, 129, 135, 142, 146, 147, 154, 160, 161, 170, 171, 188 –191, 200, 202, 207, 211–215, 218–228Automat 93, 95, 140, 143, 147 –153Avant-garde 8, 48, 55, 59, 65, 68, 71, 103, 115, 124, 132, 141, 146, 179, 181, 190, 193, 196, 200, 201, 204, 205, 211–222, 228 – 235

BBachelier, Louis 59 – 61Bachtin, Michail 40 – 41Bacon, Francis 88 – 89, 158, 170, 181Banham, Reyner 161–163Baroque 81– 82, 102, 106Barthes, Roland 35, 121, 128, 146Baudelaire, Charles 17, 19, 40, 41, 105 –107Baudrillard, Jean 93 – 95, 98 – 99, 154 –155, 186 –187, 193Bauman, Kevin 100 –101Bears and Bulls 6, 231, 235Benjamin, Walter 15 –19, 31, 35, 61, 83, 98, 104 –112, 132 –133, 147 –152, 170 –171Bentham, Jeremy 20, 21, 88, 89Blumer, Herbert 48, 49, 99Bourdieu, Pierre 59, 170 –171

CCanon 6, 22, 24 – 26, 34, 40, 42, 82, 103, 106, 123, 188, 211– 213, 229Capitalism 5, 21, 23, 44, 45, 48, 49, 51, 55, 68, 69, 114, 143, 183, 187, 207, 228

Chanel 28, 51, 170, 171Charlatanry 147Content 6, 7, 9, 24 – 27, 40, 54, 68, 73, 74, 86, 92, 115, 127, 128, 132, 186, 188, 192, 205, 223Contingency 17, 19, 32, 34, 59 – 60, 70, 74, 75, 80, 87, 103Contrarian 198 – 205, 211, 212, 231, 235Contrary thinking 189, 198 – 204, 214, 223Cosmetic 15, 35, 39 – 44, 169Cosmic 39 – 44, 159Crary, Jonathan 137, 125Creative destruction 40, 49 – 51Crisis 6, 17, 19, 24 – 27, 59 – 61, 88, 92Crowd 71, 83, 84, 109, 137, 147, 175 –181, 190 – 204, 207, 211Crump, Arthur 176 –177

DDandy 161, 170, 171, 191–196de Bruyn, Gerd 159de la Vega, Don Joseph 20, 21de Saussure, Ferdinand 27, 52, 61Debray, Régis 119, 123 –133, 140, 142, 146Deleuze, Gilles 23, 33, 61Delusion 81, 83, 84, 88, 168, 175 –178, 190, 191Derrida, Jacques 41, 44, 45, 61, 127Difference 6 – 8, 25, 36, 52, 54, 58, 61, 70, 73, 75, 98, 102 –103, 114, 146, 168, 190, 193, 200 – 201, 204, 229 – 231Distinction 5, 8, 54, 58, 59, 69, 71, 74, 80, 142, 154, 169, 186 –190, 195, 198, 200, 204, 211, 230Distribution 8, 48, 119, 124, 129, 135 –135, 146, 166 –177Durand, Jacques-Nicolas-Louis 26 – 27, 35, 38, 44, 153

EEdison, Thomas 134, 136Electricity 133 –136Enchantment 7, 151, 168, 170Esposito, Elena 83, 87, 92 – 95, 98 – 99, 102, 103, 191, 229, 213Exchange 7, 20 – 24, 49 – 59, 75, 82, 92, 99, 104, 115, 123, 137, 142 –144, 176 –177, 187, 228

FFAT 116 – 117Fiction 8, 12, 34, 60, 68, 80 – 83, 86 – 99, 176, 181, 190Fischer, Friedrich Theodor 5, 45Flux 16, 48Foucault, Michel 5, 23, 31, 140, 147

243Index 243

Franck, Georg / Dorothea 69, 123, 212 – 214Freud, Sigmund 158, 177Frivolity 19, 52, 80Functionalism 25, 27, 153

GGiedion, Sigfried 63, 214 – 219, 223Gigounon, Bernard 156 –157Glamour 25, 41, 109, 119 –123, 158, 160, 166 –172, 222, 235Gombrich, Ernst 67, 114 –115, 192, 193Goux, Jean–Joseph 5, 23, 52, 53, 54, 55, 59, 60, 69Groys, Boris 5, 9, 35, 64, 95, 99, 102, 103, 136, 137, 154, 155, 167, 188 –189, 193, 199, 222 – 223, 229 – 230Gschwendtner, Gitta 180

HHaussmann 15, 106 –107, 112High and low 12, 114, 154Historicism 24, 25, 31, 35, 44, 89, 121

IImitation 30, 48, 69, 80, 81, 169, 177 –181, 229 – 232, 234Innovation 48, 51, 73, 81, 111, 128, 134, 160Instability 16, 52, 54, 60, 90Instrument 89, 93, 120, 137, 140, 183, 224Irrationality 7, 70, 80, 146Iser, Wolfgang 89, 195

JJODI 148 –149Journalism 123, 175

KKempenaers, Jan 202Keynes, John Maynard 198 –199Kipnis, Jeffrey 41Kitsch 204Koolhaas, Rem 5, 40, 41, 124, 230 – 231, 235

LLatour, Bruno 142, 143, 147Laurette, Matthieu 28Le Bon, Gustave 177, 191Le Corbusier 41, 61, 64, 71, 124, 154, 159, 160 –167, 200, 214, 215, 234Loos, Adolf 63 – 65, 71, 92, 95, 169, 193 – 205, 211, 212, 223

MMackay, Charles 82 – 84, 175, 176, 189, 190, 198

Madness 83, 84, 88, 175, 176, 190Magic 6, 7, 9, 41, 44, 72, 99, 106, 109, 120 –177, 189, 214, 215Mainstream 8, 48, 27, 146, 177, 192, 196, 199 – 205, 211, 228, 230, 231Manipulation 8, 50, 92, 142, 148, 153 –155, 175Marx, Karl 21, 44, 45, 48 – 49, 177, 183Mask 40, 41, 44, 65, 169, 181, 205Mass media 7, 123, 133, 137, 146, 160, 163, 178, 205 – 207Mattes, Eva / Franco 220Message 123, 126, 129, 133, 135, 140, 148, 158, 159, 186, 194, 201Micro-architecture 178, 180Mobility 6, 52 – 61, 80,Modische Moderne 8, 26, 80Muthesius, Herrmann 35, 63MVRDV 78 – 79, 202Mystery 59, 120, 154, 170

NNajjar, Michael 10 –12Negation 8, 74, 92, 212, 228 – 229Neill, Humphrey B. 198 – 201Neoclassical economics 20 – 24, 32, 33, 52, 71Neutra, Richard 119 –122Nietzsche, Friedrich 5, 31– 34, 44, 51– 53, 59, 61, 80NL architects 36 – 37Noise 50, 137, 182Novelty 45, 48, 59, 64, 65, 68, 73, 87, 102 –106, 115, 121, 190, 191, 215

OObjectivity 6, 45, 70, 81, 119, 155Occult 135, 160, 161, 168OMA 235 – 23Originality 98, 99, 114, 190, 229 – 230Otherness 194, 229

PPARA-Project 42 – 43Paradox 7, 16, 30, 53 – 54, 64, 71, 71, 81– 83, 99, 106, 110, 146, 191, 194, 195, 207, 212, 229, 230Passive 8, 94, 177, 182 –183, 186, 189Péguy, Charles 19Pérez-Gómez, Alberto 25Performance 18, 48, 66, 147, 153, 160, 169 –172, 176, 181, 182, 208, 228Perrault, Charles 25, 27Perrault, Claude 25Pevsner, Nikolaus 214, 218 – 219, 223Popularity 112, 132, 141, 170, 175 –176, 205Preda, Alex 140 –143Proudhon, Pierre-Joseph 6, 7, 9

244244

RRadicality 80, 94Rationalism 5, 26 – 30, 70Reproduction 132, 160, 166, 170Risk 5, 6, 12, 15, 19, 23, 30, 61, 65, 68, 80, 86 – 87, 92, 93, 167, 177, 191, 211, 228Rudofsky, Bernard 219 – 224

SSchalliol, David 96Schreiber, Ralf 172 –173Schumpeter, Joseph 49 – 51Second Life 226 – 227Secret 58, 145, 148, 150 –153, 158, 168, 170, 193Self-design 9, 51, 188, 189, 193 –195, 199Semper, Gottfried 26, 35, 38 – 41, 44, 64 Sender receiver 123, 126, 140Shannon, Claude 150 –151Shock 16, 17, 99, 104, 194Shulman, Julius 120 –122Simmel, Georg 7, 44, 46, 68 – 75, 80, 87, 105, 169, 229Sisto, Pascual 184 –185Sloterdijk, Peter 32 – 35, 53, 59, 89, 111, 126, 127, 133Smits, Helmut 202Sombart, Werner 44 – 45, 49, 51Soros, George 7, 70 – 71, 151, 153Spectacle 7 – 9, 53 – 55, 83, 99, 104, 112, 123, 153, 160, 169, 171, 175ffSpectator 3, 182, 183, 186, 235Speculation 5 –10, 15ff, 60ff, 83ff, 175ff, 187ff, 228ffStäheli, Urs 87, 137, 141, 143, 145, 175, 191, 199, 201Stardom 48, 119, 120, 191, 200, 206, 207Stock market 5, 6, 7, 9, 12, 15, 22, 23, 52 – 54, 58, 59, 68, 70, 75, 80, 82, 86, 115, 137, 141, 142, 145, 151, 168, 175, 176, 230, 231Stock ticker 119, 136, 137 –146, 177Stracke, Caspar 232 – 234Strategy 5 – 8, 42, 71, 151, 189, 190, 195 – 200, 204, 207, 211, 212, 222, 223, 228, 230 – 231, 235Style 15 –16, 18, 25 – 27, 30 – 31, 35 – 40, 44, 58, 64 – 65, 74, 104, 114 –115, 192 –194, 218 – 219Subjectivity 20, 22, 34, 52, 68, 89, 98, 147, 182 –189, 200, 214, 218, 219, 228Subversion 9, 187, 188, 205Surprise 81– 83, 86, 102, 103, 110, 160, 191–192

TTafuri, Manfredo 49Tarde, Gabriel 176 –181, 234Taut, Bruno 124, 166 –167Teaest 50Television 141, 205 – 207Tesla, Nicola 136 –138Timelessness 34, 105, 111Transfer 38, 70, 71, 84, 121, 123, 198Transformation 39, 49, 51, 68, 96, 106, 123, 126, 167, 182Transmission 8, 121–138, 141Transportation 119, 123, 126, 128Trautrimas, David 130 –131Trend 18, 49, 59, 66, 86, 93, 146, 163, 168, 190, 191, 198 – 200, 204, 214, 231, 235Trueness 6, 8, 24 – 27, 31, 44, 70, 81, 89, 94, 114, 119, 128, 166Tulip mania 82 – 84

UUncertainty 5, 61, 78, 80, 86 – 89, 155Uniqueness 45, 58, 102, 182, 229Universality 22, 24, 26, 31, 64, 72, 82, 99, 159, 168, 221, 228, 130Utopia 49, 64, 124, 221, 228

VVaihinger, Hans 87 – 89Valéry, Paul 5, 34, 52 – 61, 115, 132Valorization 2, 7, 34, 44, 88, 103, 192, 212 – 215, 218, 228, 230, 235Value 5 –7, 10, 15ff, 19ff, 32ff, 48ff, 58ff, 64ff, 73 – 75, 80, 86 – 87, 92 – 95, 100, 104ff, 112 –115, 126 –128, 140, 146, 154, 169, 175 –176, 181, 186 –189, 212ff, 226ffVeblen, Thorstein 45 – 49, 168, 169, 200, 229Venturi, Robert 36, 228Visibility 8, 26, 39, 40, 49, 98, 180, 145, 160, 166, 186, 189, 205, 207von Moos, Stanislaus 166, 167, 215

WWagner, Otto 61– 62, 111Walras, Auguste 22, 23Walras, Léon 20 – 24, 52Weber, Max 25Wigley, Mark 39, 41, 61– 65, 71, 124Winckelmann, Johann Joachim 30 – 31Winkler, Hartmut 119Wittgenstein, Ludwig 87Wright, Frank Lloyd 63, 122

ZZola, Émile 15 –19, 56, 175, 190

245

Speculative Postcards http://www.flickr.com/photos/dutchct/3092191922/

in Iwate http://fotogaleri.hurriyet.com.tr/LiveImages/Nette%20Dola%C5%9Fanlar/Bun-

lar%20sadece%20T%C3%BCrkiye%27de%20olur/00.jpg in Diyarbakır

http://englishrussia.com/ in Moscow http://feels.ru/ in

Omsk http://fotogaleri.hurriyet.com.tr/LiveImages/Nette%20Dolasanlar/SendeYolla10/

araba.jpg in Giresun http://englishrussia.com/ in Mos-

cow http://filipefreitas.net/blog/?p=138 in Istanbul http://fotogaleri.hurri-

yet.com.tr/LiveImages/Nette%20Dola%C5%9Fanlar/Bu%20karelere%20bakmadan%20

ge%C3%A7meyin/508.jpg in Izmit http://img77.imageshack.us/1851/

in Omsk http://fotogaleri.hurriyet.com.tr/ in

Buca http://bsk.kpgs.ru/2008/231008/original in Tolyatti http://bsk.kpgs.

ru/2008/231008 in Ufa

Contents 246

INCLUDING SPECULATIVE PROJECTS BYMICHAEL NAJJAR .....................................................................................................................MATTHIEU LAURETTE .............................................................................................................NL ARCHITECTS ........................................................................................................................PARA-PROJECT ..........................................................................................................................VISIONDIVISION .......................................................................................................................MVRDV .......................................................................................................................................ARISTIDE ANTONAS ................................................................................................................DAVID SCHALLIOL ....................................................................................................................KEVIN BAUMAN .......................................................................................................................FAT ...............................................................................................................................................DAVID TRAUTRIMAS ...............................................................................................................JODI .............................................................................................................................................BERNARD GIGOUNON ............................................................................................................RALF SCHREIBER ......................................................................................................................GITTA GSCHWENDTNER .........................................................................................................PASCUAL SISTO .........................................................................................................................DARLENE CHARNECO .............................................................................................................MVRDV .......................................................................................................................................SEYED ALAVI .............................................................................................................................HELMUT SMITS .........................................................................................................................ANT FARM ..................................................................................................................................0100101110101101.ORG ...........................................................................................................SECOND LIFE .............................................................................................................................CASPAR STRACKE .....................................................................................................................OMA .............................................................................................................................................

10 31 36 42 50 78 90 96 100 116 130 148 156 172 180 184 202 203 203 203 208 220 226 232 236

ISBN 3-00-029876-2

9 7 8 3 0 0 0 2 9 8 7 6 9

ISBN 978-3-00-029876-9