This Master Thesis as presented to the chair of Explore Lab 14 of the TU Delft, deals with the issue of perspective. The problem that architecture is all too often drawn out of a singular perspective and even opposes different modes of perception, is an issue which influences the role of the architect. This problem, generated at the hand of massmedia, assists in the construction of perspectives on life that in certain pataphysical instances make such an ‘activity of living’ into (...) a completely absurd experience. A sort of ‘Hyperculture’ is constructed as tradition are denounced and embraced in society. This phenomenon is catalyzed by rapidly evolving technologies and methods of communication, and poses a problem whether a Hyperculture is absolute or not. To what extend are we dependend on traditions, and to what extend are these traditions a threath to the survival of our species? To generate architecture that facilitates both the current zeitgeist as well as a localized identity, is the imperative for the architecture of the 21st century. Not just subcultures struggle at the hand of hyperculture, but also certain professions, as economic and political life changes from day to day. In this contemporary context of hypermodernity, an entirely new generation of architects is emerging with seemingly unlimited technological possibilities. But is the current generation of architects ready to introduce them into this profession, or must we seek others to do so? The research concludes that the architects can do nothing but observe, and as such the problem of hyperculture transcends onto other actors involved in the architectural construction process: the hypercraftsman. The individual who wields these new technologies has the upperhand in deciding which traditions fuel his professional ability, and which traditions pose a threath not only to his profession, but also to the quality of the products of his making and a quality of life that these products generate. ‘How is hypermodernization apparent in professions that contribute to a broadening of design possibilities in Dutch architectural design and what is the added value of these possibilities?’ is the research question that is propoosed for this thesis. The conclusions of this research implies changes for the role of the architect as the rapid emergence of new design and manufacturing possibilities requires cooperation to a much greater extend than in contemporary architectural design. By introducing new stakeholders in the design process hyperculture may be deflected. Leading to a much greater degree of freedom for both the user and the maker-designer. This work adresses contemporary manufacturing methods and technologies and may contribute to the evolution of positive anomalies in socio-technical regimes. (shrink)

This article argues that British psychogeography is an arena of conflict between two important and unresolved strands within radicalism: the use of the past to critique industrial modernity and the suppression of nostalgia. The article begins by outlining the emergence of nostalgia as a site of dilemma and creativity within political radicalism. It is shown that as nostalgia became marginalized within mainstream radicalism it became available as a provocative resource for `counter-cultural' interventions. The article then turns to how the dilemma (...) of nostalgia is negotiated within two forms of contemporary British psychogeography, the travel narratives of Iain Sinclair and the activities of revolutionary psychogeographical groups. Within Sinclair's travel books the modern landscape becomes a site of creative purgatory, a necessary violence that simultaneously anchors the writer in modernism while establishing marginal histories and spaces as expressions of cultural and social loss. In revolutionary psychogeography nostalgia is also refused and deployed. However, this process is enacted in a different way and to different ends. The development of `magico-Marxism' encapsulates the novelty but also the folk-historical inclinations of this project. (shrink)