Since the nineteenth and twentieth century, information has been pivotal both in the cultural tradition and then in the economic tradition. While the Fordism economic model and its specialisation requirements originated a simplistic zoning and single-use development approach to the design of a city. It, however, determined a fragmented growth of cities. Inevitably, the zoning as an urban strategy affected the architectural scale. Nevertheless, the idea of information, commercial goods and thereby people freely able to flow through the city allowed (...) architects and urban designer to conceive new types of urban infrastructures. For example, trains, which were designed on the model of urban “arteries and veins.” Over time, the persistence of urban and architectural segmentation has strengthened social and economic inequalities among urban society. In addition, information has played a more vital role in this strengthening process. The technological achievements of the twenty-first century such as information technologies have significantly affected cities. The new informational patterns have provided new ways of designing, and in turn how societies experience cities. These “quantified cities” consist of digital data that dynamically interacts with “quantified human beings.” Consequently, a renewed urban semiotics is established, which is built around an alternate sociological comprehension. Is this new urban semiotics able to heal an ill and divided urban body? The paper will investigate a new concept of “quantified city” based on the notion of “Hyper-Reality,” and its inhabitants who are entering in a “post-human” condition while living in a dynamic urban environment. In particular, the critical analysis will be used as a “tool” for redefining the perception of the city through inhabitants’ relational patterns which are technologically mediated. The more traditional notion of urbanisation is questioned with a focus on how the an urban society is embedded within the digital condition and the notion of a city. (shrink)

The Italian architectural historian Manfredo Tafuri developed a distinctive Marxist approach of critical analysis, which has prompted extensive responses. The reception of his work in the United States in the 1970s and 80s – the intervention of Fredric Jameson, especially – forms an important moment of historiographical mutation, in which the status of Tafuri’s politics holds an intriguing place: it was eviscerated in the very act of its affirmation. At stake is not simply the problems attending the transatlantic migration of (...) a body of architectural theory, but also a question lying at the heart of Tafuri’s analysis: the problems of achieving social reforms, above all, in ‘working-class housing’. The difficulties encountered by projects to improve accommodation – from Weimar Germany and Red Vienna in the 1920s to the programmes of postwar Italy – provide the concrete material for Tafuri’s analysis while remaining a significant blind-spot within most of the commentary. Tafuri is here reappraised in the light of the political debates over the ‘neorealist architecture’ of the 1950s and the reform-policies of the Italian centre-Left in the early 1960s. Proceeding as if this formative moment never happened, Tafuri’s critics often engage in debates which confuse his critique of the building projects with political despair, and which appeal to enclave-building despite Tafuri’s explicit questioning of such strategies. (shrink)

Enega izmed največjih izzivov sodobnega utopianizma predstavlja protislovje med pozitivno usmerjenostjo v prihodnost in njenimi negativnimi reprezentacijami. V nasprotju s prevladujočimi pristopi, ki so usmerjeni k širokim in vseobsegajočim opisom utopije na podlagi nekega koncepta, avtor pričujočega prispevka zagovarja prepričanje, da obstaja ustreznejši način dojemanja utopije in utopianizma, ki napreduje prek vrste dihotomij, nasprotij ali celo paradoksov. Od zgodnjih utopičnih strategij, katerim lahko sledimo več tisočletij v preteklost, do primerov iz dvajsetega in enaindvajsetega stoletja, je utopija vedno izražala nasprotujoče si (...) težnje, ki zahtevajo temeljitejšo obravnavo. Lahko si je namreč zamisliti, da v tej kontradiktorni naravi utopije leži ne samo ključ do razumevanja preteklosti in sedanjosti, temveč tudi prihodnosti. V tem kontekstu se kot najpomembnejša kaže razlika med »resnično« utopijo in »lažno« utopijo. Kljub temu, da se je v dvajsetem stoletju utopično upanje sprevrnilo v distopični strah, pot k drugačni in po možnosti boljši prihodnosti ponuja le »resnična«, ikonoklastična utopija, ki ohranja pri življenju bržkone najpomembnejši vidik človeške eksistence: upanje. (shrink)

V delih, kot so »Alpska arhitektura«, »Mestna krona«, »Svetovni mojster gradbenik« in »Razpustitev mest« je ekspresionistični arhitekt in umetnik Bruno Taut razvil vrsto arhitekturnih vizij, ki niso bile le preproste izpopolnitve nove arhitekture ali novega urbanizma, pač pa tudi sheme popolne prostorske dispozicije proizvesti utopičnega »novega človeka«. V »Mestni kroni« je Taut nasproti kaotični in nenačrtovani rasti modernega metropolisa in industrijskega mesta postavil vizijo visoko organizirane, prostorsko in izkustveno skladne dispozicije konstrukcije in funkcij, ki so bile vse simbolično namagnetene z (...) »mestno krono« v svojem središču. Druga Tautova dela iz tega obdobja, zlasti »Alpska arhitektura« in »Razpustitev mest«, predstavijo podobo razmeščenosti gradnje po zemeljski površini, v agrarne površine in v gore, s čemer je bila nakazana združitev odtujujočih delitev med mestom in podeželjem in sčasoma zaprtje vseh delitev, ki ločujejo človeka, naravo in kozmos. Sam opisujem elemente Tautove razvijajoče se utopične vizije med leti 1914 in 1921, kot tudi širše kontekstualne pogoje, ki so nudili podporo oblikovanju te ekspresionistične arhitekturne utopije in povzročili Tautovo precej nenadno opustitev te utopije v prid bolj treznih, funkcionalnih projektov sredi dvajsetih let pa do konca njegovega življenja. (shrink)