{"id":4245,"date":"2023-10-16T12:00:01","date_gmt":"2023-10-16T12:00:01","guid":{"rendered":"https:\/\/dev95.site\/the-past-and-future-of-architecture-books\/"},"modified":"2023-10-16T12:00:01","modified_gmt":"2023-10-16T12:00:01","slug":"the-past-and-future-of-architecture-books","status":"publish","type":"post","link":"https:\/\/dev95.site\/ar\/the-past-and-future-of-architecture-books\/","title":{"rendered":"The Past and Future of Architecture Books"},"content":{"rendered":"<div id=\"dev95-1256648082\" class=\"dev95-- dev95-entity-placement\" role=\"region\" aria-label=\"\u0627\u0644\u0625\u0639\u0644\u0627\u0646\u0627\u062a\"><script async=\"async\" data-cfasync=\"false\" src=\"https:\/\/pl27862732.profitableratecpmnetwork.com\/2ad7a50e0bbc23ac6801d7b77c501463\/invoke.js\"><\/script>\r\n<div id=\"container-2ad7a50e0bbc23ac6801d7b77c501463\"><\/div><\/div><div id=\"dev95-3530240496\" class=\"dev95-before-content dev95-entity-placement\" role=\"region\" aria-label=\"\u0627\u0644\u0625\u0639\u0644\u0627\u0646\u0627\u062a\"><p style=\"text-align: center;\"><strong>Stop wasting time on dead links! \ud83d\uded1 This smart platform automatically detects your device and country to give you the exact best offer instantly. Check it out now 100% free! \ud83d\udc47<\/strong><br data-sfc-root=\"ep\" data-sfc-pl=\"|||[]\" data-complete=\"true\" data-copy-service-computed-style=\"font-family: Arial, sans-serif, &quot;Noto Color Emoji&quot;; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\" \/><a href=\"https:\/\/www.profitableratecpmnetwork.com\/pvhx5mbcc?key=ff7d362db3c20bc86fad685cc94f1fc4\">\ud83d\udd17 <strong class=\"rQesXe MPyX\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" aria-owns=\"action-menu-parent-container\" data-copy-service-computed-style=\"font-family: Arial, sans-serif, &quot;Noto Color Emoji&quot;; font-size: 16px; font-weight: 700; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">[Click here]<\/strong><\/a><\/p>\n<\/div><div>\n<div class=\"separator\" style=\"clear: both;\"><a href=\"https:\/\/i0.wp.com\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEjG8a0MqY3Jzw5L4PGfgQFdG215ZRBGNkA5USeXrqZcIQefEDiVXSOeomCxJLuBZGJ_cJ5vOmNB2nMpjOU6x4do-RjXpIYnfkxUV4Gp5eTWQmQLwWc-7fk6RBFLy_oqKH8h4V16rAOLbSsnM_sw3-8aW8dE674wlvdFyNrO-JQS1mO-SkGPyXGk\/s800\/Past-Future.jpg?ssl=1\" style=\"display: block; padding: 1em 0px; text-align: center;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" border=\"0\" data-original-height=\"466\" data-original-width=\"800\" src=\"https:\/\/i0.wp.com\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEjG8a0MqY3Jzw5L4PGfgQFdG215ZRBGNkA5USeXrqZcIQefEDiVXSOeomCxJLuBZGJ_cJ5vOmNB2nMpjOU6x4do-RjXpIYnfkxUV4Gp5eTWQmQLwWc-7fk6RBFLy_oqKH8h4V16rAOLbSsnM_sw3-8aW8dE674wlvdFyNrO-JQS1mO-SkGPyXGk\/s600\/Past-Future.jpg?w=600&#038;ssl=1\" ><\/a><\/div>\n<p>The recent receipt of two review books got me thinking about the past and the future of architecture books. The first one is\u00a0<i>This is Architecture: Writing on Buildings<\/i>, a collection of excerpted texts about buildings, spanning from the mid-1800s to the 2010s.\u00a0<\/p><div id=\"dev95-3761868369\" class=\"dev95- dev95-entity-placement\" role=\"region\" aria-label=\"\u0627\u0644\u0625\u0639\u0644\u0627\u0646\u0627\u062a\"><center>\r\n<script>\r\n  atOptions = {\r\n    'key' : '4ba6b6513c00e0ba76511f798ae56401',\r\n    'format' : 'iframe',\r\n    'height' : 50,\r\n    'width' : 320,\r\n    'params' : {}\r\n  };\r\n<\/script>\r\n<script src=\"https:\/\/www.highrevenueformat.com\/4ba6b6513c00e0ba76511f798ae56401\/invoke.js\"><\/script>\r\n\t<\/center><\/div>\n<div><\/div>\n<div><span style=\"background-color: #f3f3f3;\"><i><a href=\"https:\/\/www.unicornpublishing.org\/page\/detail\/this-is-architecture\/?k=9781914414862\" target=\"_blank\">This is Architecture: Writing on Buildings<\/a><\/i>\u00a0edited by Stephen Bayley and Robert Bargery, published by\u00a0<a href=\"https:\/\/archidose.blogspot.com\/search\/label\/unicorn\">Unicorn Publishing Group<\/a>, October 2022 (<a href=\"https:\/\/amzn.to\/3Fa0Uny\" target=\"_blank\">Amazon<\/a>\u00a0\/\u00a0<a href=\"https:\/\/bookshop.org\/a\/7050\/9781914414862\" target=\"_blank\">Bookshop<\/a>)<\/span><\/div>\n<div><\/div>\n<div>Edited by Stephen Bayley and Robert Bargery, respectively chair and executive director of the UK&#8217;s <a href=\"http:\/\/www.rfact.uk\/\" target=\"_blank\">Royal Fine Art Commission Trust<\/a>, <i>This Is Architecture <\/i>is billed as &#8220;different&#8221; from the typical &#8220;writing on building by architects [that] is limited to exculpatory manifestos or technical sermonizing to a captive congregation of converts.&#8221; They describe the nearly 100 excerpted texts as &#8220;exceptional examples of writing on buildings by <i>writers<\/i>\u00a0which merit inclusion on the quality of the writing alone&#8221; (emphasis in original). So readers find Lewis Mumford, Ada Louise Huxtable, Ian Nairn, Martin Pawley, and others who wrote (well) about architecture for a living, but also Virginia Woolf, Umberto Eco, Jean Baudrillard, Blaise Cendrars, and others far removed from the field of architecture. The aims of the &#8220;non-partisan&#8221; and &#8220;non-didactic&#8221; selection are to &#8220;enhance popular appreciation of architecture and to celebrate those who are architecture&#8217;s eloquent champions.&#8221;\u00a0<\/div>\n<div><\/div>\n<div>Presented in a &#8220;running order [that] is essentially random,&#8221; each writing is accompanied by a biography of the author in a narrow column; in a few cases the excerpt is so short the bio runs longer on the page, as in the four lines from Louis Kahn&#8217;s <i>Conversations with Students<\/i>\u00a0from 1969. As in any book that is basically a survey, a collection of things united by a theme, it&#8217;s easiest as a reviewer to focus on organization, presentation, and selection. In order, I find the &#8220;essentially random&#8221; organization interesting at times (Kahn&#8217;s text opposite Rem Koolhaas&#8217;s <i>Delirious New York<\/i>, for instance) but for the most part insignificant, since many entries span multiple pages, each one serves as a self-contained statement, and such a book can be read in many ways beyond the usual front to back. The presentation is very good, from the glossy papers with occasional images to the inclusion of a ribbon bookmark and the list of sources in the back matter. The selection is fittingly UK-centric, with numerous English critics alongside Nairn and Pawley, for instance, and far too many writings about London and buildings in London. But where are Michael Sorkin and Herbert Muschamp, two US critics who I read for &#8220;the thrill of their prose&#8221; and &#8220;the stimulation to be had from their insights,&#8221; qualities the editors find lacking in architectural criticism? Unfortunately, they are missing: a shame, given that <a href=\"https:\/\/www.nytimes.com\/1997\/09\/07\/magazine\/the-miracle-in-bilbao.html\" target=\"_blank\">Muschamp&#8217;s nearly iconic critique of Frank Gehry&#8217;s Guggenheim Bilbao<\/a> is far more interesting than Jonathan Glancey&#8217;s piece excerpted here.<\/div>\n<div><\/div>\n<div>Judging the book based on what it includes, rather than what it omits, and doing so in the context of me thinking about the past and future of architecture books, <i>This Is Architecture<\/i>\u00a0says a few main things to me: writings on buildings are not the sole purview of architects and architecture critics, since architecture is &#8220;the most important art because [it is] the one that cannot be ignored,&#8221; as the editors assert; architecture is more than aesthetics and style, as evidenced by the texts that focus on other aspects of the built environment; and the most influential writings on architecture have not been exclusively in books, given the numerous texts excerpted from magazines and journals, some of which were later collected in book form (think Martin Filler&#8217;s NYRB essays and his <i><a href=\"https:\/\/archidose.blogspot.com\/2019\/03\/makers-of-modern-architecture-volume-iii.html\">Makers of Modern Architecture<\/a><\/i>\u00a0series). These three points are hardly groundbreaking \u2014 they&#8217;re obvious, really \u2014 but it&#8217;s good to be reminded now and again about such things. While the point of <i>This Is Architecture<\/i>\u00a0is to take pleasure in things written in the past, it inadvertently says some things about the future by focusing on a diversity of voices, approaches to writing about architecture, and media.<\/p>\n<div><\/div>\n<div>\n<div class=\"separator\" style=\"clear: both;\">Which brings us to the second book,\u00a0<i>Future Book(s)<\/i>, in which editors Pia Pol and Astrid Vorstermans asked journalists, artists, architects, and others to speculate on the future of the book, specifically &#8220;books on art, design and architecture, and cultural-critical publications.&#8221;<\/div>\n<div style=\"text-align: left;\"><span style=\"background-color: #f3f3f3;\"><i><a href=\"https:\/\/valiz.nl\/en\/publications\/future-book-s-2\" target=\"_blank\">Future Book(s): Sharing Ideas on Books and (Art) Publishing<\/a><\/i>\u00a0edited by Pia Pol and Astrid Vorstermans, published by <a href=\"https:\/\/archidose.blogspot.com\/search\/label\/valiz\">Valiz<\/a>, June 2023 (<a href=\"https:\/\/amzn.to\/46IPToS\" target=\"_blank\">Amazon<\/a>\u00a0\/\u00a0<a href=\"https:\/\/bookshop.org\/a\/7050\/9789493246270\" target=\"_blank\">Bookshop<\/a>)<\/span><\/div>\n<div><\/div>\n<div>The occasion of the recently published book is the twentieth anniversary of Valiz, the Amsterdam publisher started by Vorstermans in June 2003 (Pol joined in 2008). The last twenty pages of <i>Future Book(s)<\/i>\u00a0shows the covers of the many books put out by Valiz over those twenty years, some in series (<a href=\"https:\/\/valiz.nl\/en\/publications\/antennae-series\" target=\"_blank\">Antennae<\/a>, <a href=\"https:\/\/valiz.nl\/en\/publications\/vis-a-vis-series\" target=\"_blank\">Vis\u2013\u00e0\u2013Vis<\/a>), many in Dutch and almost as many in English, and all on art, design and architecture, and culture, as expected. I have not read any Valiz books before <i>Future Book(s)<\/i>\u00a0(one of their books, <i>Binational Urbanism: On the Road to Paradise<\/i>, <a href=\"https:\/\/archidose.blogspot.com\/2016\/02\/book-review-binational-urbanism.html\">was featured on this blog<\/a>, but reviewed by an outside contributor), but it&#8217;s clear the publisher focuses on the margins, presenting work by artists, practitioners, and academics that explore new territory in their fields. The design of <i>Future Book(s)<\/i>\u00a0accentuates their position; in many ways the book is the antithesis of <i>This Is Architecture<\/i>, from the voices included in its pages to the materiality and layout of the same: the glossy\u00a0<i>This Is Architecture<\/i>\u00a0has a staid, consistent format from piece to piece, while the various chapters of\u00a0<i>Future Book(s)<\/i>\u00a0were laid out by different graphic designers, limited only by the monochrome palette of the lightweight matte paper.<\/div>\n<div><\/div>\n<div>If <i>This Is Architecture<\/i>&#8216;s random order makes flipping through the book one of surprising adjacencies, <i>Future Book(s)<\/i>\u00a0is the same times ten. Each thematic chapter may be united by a single graphic designer, but each contribution is treated singularly, meaning they are visually unique but often wholly unexpected takes on the subject at hand. A fairly academic text with footnotes but sans illustrations may be followed by a two-page spread that is entirely illustrated content, followed by six pages of artworks, followed by a personal anecdote, and so on. The themes that structure the book (Personal Threads, Histories Unfolding, Digital Realms, Shaping Future Form, etc.) are vague enough that contributions could fit in just about any of them; in fact, the editors admit the dozen themes were came later, meaning the contributors were not beholden to any themes in speculating on future books. Still, the editors give some hints in their introduction: &#8220;By definition, books are made for the future. They solidify knowledge while at the same time generating new ideas. They make sure that the now finds a place where it is accessible to the future.&#8221;<\/div>\n<div><\/div>\n<div>While the comments of Vorstermans and Pol make it seem that threats to the future of the book are hyperbolic, there is no shortage of contributors imagining distant futures where books take on forms different than the bound books we are familiar with. Books 200 years in the future, as seen in Elisabeth Klement and Pieter Verbeke&#8217;s contribution, look like books, but they are made underwater, celebrated at the New York Art Book Fair Under Water 2223, and read by dogs, who have evolved considerably in the ensuing two centuries. In Tricia Treacy&#8217;s piece, &#8220;What If?,&#8221; shortages of paper are addressed through algorithms that &#8220;design and print several different texts of interest, overlapping on individual sheets of paper throughout a custom book&#8230;&#8221; More than one contribution examines how AI will be involved in the making of books, but nobody denies that ChatGPT and other will be involved to some degree. Uniting the texts, as I mentioned, are the nearly dozen designers, whose treatment of the contributions illustrates the importance of graphic design and the inadequate nature of web pages and other digital media by comparison.<\/div>\n<\/div>\n<\/div>\n<div class=\"separator\" style=\"clear: both;\"><a href=\"https:\/\/i0.wp.com\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEiGqpR3VpRE86_odjoYcXuiex-O0FTKLg1ZKZjYBuXCCeVfazM7k66aGeRK6fclwdly3GDHWvZA1ywKNNZb5hpsZVAgghg9xPfu-oTq-P2dR_HLtpRaplTbWWQTYZRAt6C6GNjJa8v_931b8qN3dIuxTwthTPFv8yZAKCRm3t4ep-0AOypNi584\/s800\/Past-Future2.jpg?ssl=1\" style=\"display: block; padding: 1em 0px; text-align: center;\"><img data-recalc-dims=\"1\" decoding=\"async\" alt=\"\" border=\"0\" data-original-height=\"600\" data-original-width=\"800\" src=\"https:\/\/i0.wp.com\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEiGqpR3VpRE86_odjoYcXuiex-O0FTKLg1ZKZjYBuXCCeVfazM7k66aGeRK6fclwdly3GDHWvZA1ywKNNZb5hpsZVAgghg9xPfu-oTq-P2dR_HLtpRaplTbWWQTYZRAt6C6GNjJa8v_931b8qN3dIuxTwthTPFv8yZAKCRm3t4ep-0AOypNi584\/s600\/Past-Future2.jpg?w=600&#038;ssl=1\" ><\/a><\/div>\n<div>\n<div>My reading through of\u00a0<i>This is Architecture<\/i>\u00a0and\u00a0<i>Future Book(s)<\/i>\u00a0coincided with me visiting\u00a0<i><a href=\"https:\/\/www.gsd.harvard.edu\/exhibition\/the-book-in-the-age-of\/\" target=\"_blank\">The\u00a0Book in the Age of &#8230;<\/a><\/i>\u00a0exhibition at Harvard GSD&#8217;s Loeb Library, which\u00a0<a href=\"https:\/\/www.world-architects.com\/en\/architecture-news\/found\/the-book-in-the-age-of-rem-koolhaas\" target=\"_blank\">I reviewed for World-Architects<\/a>\u00a0a couple of weeks ago. Curated by Rem Koolhaas, Irma Boom, and Phillip Denny, among other elements the exhibition had (it ended yesterday after six weeks) a large three-part &#8220;book&#8221; on a table near the entrance to the library. Across the three parts, it moved from books in the age of &#8220;the hand&#8221; to the age of &#8220;press&#8221; to the age of &#8220;machine.&#8221;\u00a0<a href=\"https:\/\/www.flickr.com\/photos\/archidose\/53213798363\/in\/album-72177720311453642\/\" target=\"_blank\">One page in the last<\/a>\u00a0included this statement relevant to the blog post you&#8217;re reading: &#8220;The future book is local. It is made from locally produced materials, printed nearby, and delivered to homegrown readership. Hyper-local publishing will lead to a renaissance of book innovation.&#8221;<\/div>\n<div class=\"separator\" style=\"clear: both;\"><\/div>\n<\/div>\n<div><\/div>\n<div>Positioned beneath an image of the cover of <i><a href=\"https:\/\/amzn.to\/3M3nEcH\" target=\"_blank\">Elements of Architecture<\/a><\/i>, the massive book by Rem Koolhaas and Irma Boom that came out of Koolhaas&#8217;s 2014 Venice Architecture Biennale, but not attributed to anyone, the statement (image above) comes across to me as Boom&#8217;s, given how she has spoken about the appeal of books from the 1500s, the 1600s, and the 1960s: &#8220;periods [that] demonstrate freedom and creativity in the use of materials, typography, sizes of the books, and structure of the texts&#8221; (<a href=\"https:\/\/www.gsd.harvard.edu\/publication\/pairs-02\/\" target=\"_blank\">source<\/a>).\u00a0An example from the 1960s is\u00a0<i><a href=\"http:\/\/affiliates.abebooks.com\/c\/1353720\/77798\/2029?u=https%3A%2F%2Fwww.abebooks.com%2Fservlet%2FSearchResults%3Fbi%3D0%26bx%3Doff%26ds%3D30%26kn%3DWallraf-Richartz%2520Museum%26servlet%3DImpactRadiusAffiliateLinkEntry%26sortby%3D17%26tn%3Dart%2520of%2520the%2520sixties\" target=\"_blank\">Art of the Sixties<\/a><\/i>, published by the Wallraf-Richartz Museum with plastic covers, a plexiglass spine, metal screws, color photos pasted on brown paper, and portraits of the artists on transparent foils (<a href=\"https:\/\/saint-martin-bookshop.com\/products\/art-of-the-sixties-2nd-edition-wallraf-richartz-museum-1970\" target=\"_blank\">take a look<\/a>). The 1500s and 1600s follow the invention of the Gutenberg press, while the sixties came after the war and coincided with great social change. Similarly, the digital software and other tools that led to e-ink, ebooks, and other potential book-busting technologies will most likely herald this &#8220;renaissance of book innovation.&#8221;\u00a0<\/div>\n<div><\/div>\n<div>The statement from the exhibition also indicates that bookmaking will have to respond to climate change, dwindling resources, and other things that will (continue to) impact our globalized world. Books tend to be produced in one place (unknown for <i>This Is Architecture<\/i>, Netherlands for <i>Future Book(s)<\/i>) and then are shipped around the world from there; &#8220;hyper-local publishing&#8221; would reduce the need for books to be loaded on container ships and sent halfway around the world, using digital technologies and local printers to create variations on a book based on papers, inks, bindings, etc. It would also lead to more variations on subjects, as seen in these two books, considering the UK-centric nature of <i>This Is Architecture<\/i>\u00a0and the numerous Dutch voices in <i>Future Book(s)<\/i>. Actually, the UK- and NL-focus of these two books are what made me think of the statement from\u00a0<i>The Book in the Age of &#8230;<\/i> exhibition. If the future book is hyper-local, not just national or local, dramatic changes in production and distribution should lead to changes in content and design. Who knows, maybe the 2030s will be as exciting as the 1500s, 1600s, and 1960s?<\/div>\n<\/div>\n<div class=\"pvc_clear\"><\/div>\n<p id=\"pvc_stats_4245\" class=\"pvc_stats total_only  \" data-element-id=\"4245\" style=\"\"><i class=\"pvc-stats-icon large\" aria-hidden=\"true\"><svg aria-hidden=\"true\" focusable=\"false\" data-prefix=\"far\" data-icon=\"chart-bar\" role=\"img\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 512 512\" class=\"svg-inline--fa fa-chart-bar fa-w-16 fa-2x\"><path fill=\"currentColor\" d=\"M396.8 352h22.4c6.4 0 12.8-6.4 12.8-12.8V108.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v230.4c0 6.4 6.4 12.8 12.8 12.8zm-192 0h22.4c6.4 0 12.8-6.4 12.8-12.8V140.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v198.4c0 6.4 6.4 12.8 12.8 12.8zm96 0h22.4c6.4 0 12.8-6.4 12.8-12.8V204.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v134.4c0 6.4 6.4 12.8 12.8 12.8zM496 400H48V80c0-8.84-7.16-16-16-16H16C7.16 64 0 71.16 0 80v336c0 17.67 14.33 32 32 32h464c8.84 0 16-7.16 16-16v-16c0-8.84-7.16-16-16-16zm-387.2-48h22.4c6.4 0 12.8-6.4 12.8-12.8v-70.4c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v70.4c0 6.4 6.4 12.8 12.8 12.8z\" class=\"\"><\/path><\/svg><\/i> <img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"16\" height=\"16\" alt=\"Loading\" src=\"https:\/\/i0.wp.com\/dev95.site\/wp-content\/plugins\/page-views-count\/ajax-loader-2x.gif?resize=16%2C16&#038;ssl=1\" border=0 \/><\/p>\n<div class=\"pvc_clear\"><\/div>\n<div id=\"dev95-1697140399\" class=\"dev95-after-content dev95-entity-placement\" role=\"region\" aria-label=\"\u0627\u0644\u0625\u0639\u0644\u0627\u0646\u0627\u062a\"><p style=\"text-align: center;\"><strong>Finally, a link that actually works for your region and device! \ud83c\udf0d Get instant access to the top exclusive offers tailored just for you right now. Don&#8217;t miss out, click here! \ud83d\udc47<\/strong><br data-sfc-root=\"ep\" data-sfc-pl=\"|||[]\" data-complete=\"true\" data-copy-service-computed-style=\"font-family: Arial, sans-serif, &quot;Noto Color Emoji&quot;; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\" \/><a href=\"https:\/\/www.profitableratecpmnetwork.com\/uzeja8ahze?key=bc876be53d6ad0ff6370ab8ea030e479\"><strong>\ud83d\udd17 [Click here]<\/strong><\/a><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>The recent receipt of two review books got me thinking about the past and the future of architecture books. 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