Between Typologies

Between Typologies Rafi Bear

Abstract Synthesising the theoretical fields of architecture, linguistics, and culture, this essay examines the work of Archizoom Associati in relation to theories by Anthony Vidler and K. Michael Hays. Beginning with a formal approach, then with a contextual interpretation, linguistic analogies are employed in a holistic reading and re-configuration of No-Stop City. The culmination of this study then situates No-Stop within Vidler’s typologyical study and Hays’ architectural reading.

Contents 9.

Introduction

12.

Lexis: Vocabulary of The City

17.

Semantics & Pragmatics: Contextualising Lexis

24.

Deep Structure: NSC & Western Architecture

36.

Conclusion

38.

Bibliography

39.

Table of Figures

9 Introduction The existence of an architecture that, in its conception, is resistant to both formal and cultural tendencies has been sufficiently illustrated by K Michael Hays in his essay on ‘Critical Architecture’.1 This architecture could therefore be juxtaposed with the three typological iterations posited by Anthony Vidler in his ‘Third Typology’, where a dependency on either culture or form is present in the creation of architecture.2 Conceptualised during the late 20th century and re-configuring existing architectural forms as part of a manifestation of culture, the typology of No-Stop City (NSC) exists between these positions. The conditions that situate NSC within the ‘Critical Architecture’ described by Hays, and the typological categories defined by Vidler will subsequently be explored through a formal reading of the city.

‘The “utopia” of architecture as “project” might be progressive in its ends, or nostalgic in its dreams, but at heart it was founded on this premise: that the shape of environment might, like nature herself, affect and hereby control the individual and collective relations of men.’

– Anthony Vidler, ‘The Third Typology’.3 Vidler makes clear for us the notion that we manipulate the built environment to control culture, but it is also true that culture can dictate the individual and collective relations of building. Massimo Scolari, in his ‘New Architecture and the Avant Garde’ refers to utopian 1 K. Michael Hays, ‘Critical Architecture: Between Culture and Form’, Perspecta, 21, no.1 (1984), pp. 14-29.

2 Anthony Vidler, ‘The Third Typology’, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 288-94.

3

Ibid. p. 291.

Chain 1:500

Big

Medium

Small(er)

Figure 1. Typical Forms of No-Stop City. Drawn By Author.

Cluster 1:500

Line 1:500

Small(est) 1:100

Column

Table

Sink

Toilet

Air Vent

Seating

12 architecture as being ‘culturally pre-configured’, a phrase which implies the inability of architecture to reflect anything but its cultural origin.4 It is true then, that a reciprocity exists between Architecture, Language, and Culture. Architecture borrows from culture and concretises its values and traditions, whilst language borrows from architecture, using its terminology as a framework for metaphors and systems.5 Finally, language completes the cycle, lending itself to culture for the purpose of communication, and contributing to the spread of these values and traditions whilst simultaneously affording new and shared interests.6 The NSC project by Archizoom Associati encompasses all three of these fields, using architectural drawing as a language to articulate a cultural ideology. In order to explore and unpack the ideology of NSC, an interpretation of its language must therefore take place.

It is important to establish that whilst cities are generally dynamic, containing different architecture ascribed to varied contexts, NSC is an absolute project, one which arguably, was assembled by a single party.

This means that although its constituent parts may be extracted from a different origin, they carry with them a unified context or set of influences, assigned to them by their new author. Subsequently this city can be viewed as a single entity, which therefore must have a typology circumscribable to those outlined by Vidler.

4 Massimo Scolari, The New Architecture and the Avant-Garde, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 126-145.

5 Dennis Hollier, ‘Architectural Metaphors’, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 192-196.

6 Franz Boas, ‘Language and culture’, Studies in the history of culture: The disciplines of the humanities (Books for Libraries Press, 1942), pp. 187-184. Languages serve their culture in the sense that they facilitate the naming of new cultural activities when they arise. Boas explains that many cultures have an abundance of words available for describing activities and phenomena specific to the location. Cultures are therefore unable to name and subsequently share indirect experiences without language.

13 Lexis: Vocabulary of The City The vocabulary of NSC consists of a range of forms, many deconstructed and stripped of their original context in order to provide a new proposition. Before the pragmatics of this vocabulary can be unearthed, it must first be understood lexically; in architectural terms, its autonomous form must be considered.

The city contains two distinct types of form. Firstly, it provides for its intended occupants the small scale furnishings and services that facilitate human functions. These forms shown in figure 1 as ‘small(est)’, carry connotations almost too deeply ingrained in our current culture for them to be considered autonomously. Their relevance will subsequently be discussed pragmatically, however it must be acknowledged that their size and familiarity adds a human scale to the language of NSC. The recognisability of these forms may partly be accredited to the notion presented by Le Corbusier in his ‘Towards A New Architecture’ that primary forms such as cylinders and cubes are more tangible due Figure 2. Gridless City. Drawn by Author, to develop Archizoom Associati’s NSC plan.

The grid is omitted illustrating the loss of clarity of forms.

14 to their simplicity.7 This could certainly be said of the column, the vent and perhaps some furniture, although when viewed in plan there is still some ambiguity regarding their three dimensional form, and further still, some elements such as the toilet are not ascribable to any single primary form. Secondly, a set of more abstract forms exists which are distinguishable by their impure shape as well as their scale.

They can be categorised as chains, clusters, and lines. Their commonality is expressed through their irregularity; with the exception of the orthogonal line, which is employed far too often to be called atypical, these elements are united by their uniqueness.

Along with lines, the most typical element featured across all city areas is the column. This utilitarian component appears to be employed with the aim of affording free, uninterrupted, interior space.

In effect, the opposite is achieved. The columns separate the space into gridded bays, dividing up the continuous space. Alternatively, this could be the intention of the column, to create an organisational grid about which, other, more complex forms can be arranged. Denis Hollier, although speaking of linguistics, alleges in his Architectural Metaphors that “When structure defines the general laws of legibility nothing is legible unless submitted to the architectural grid”.8 It is therefore defensible to suggest that the grid in this instance is an organisational device, much like grammar, which adds legibility, for example scale, to the drawings. When viewed as in figure 2, without its organisational grid, a space typical of the NSC plan loses at least part of its legibility. It is reduced to a disorganised array of lexis, with no grammatical rules to provide a framework or structure.

In consequence of these forms and organisational grid, the most typical space is created. This consists of continuous gridded space, intersected by either an irregular or regular form, at irregular intervals, 7 Le Corbusier, Towards A New Architecture, Trans. by Frederick Etchells.

(Mansfield, CT.: Martino Pub, 2014), p. 29. Le Corbusier is discussing three dimensional forms, however the same can be said for two dimensional shapes.

8 Hollier, Dennis, ‘Architectural Metaphors’, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), p. 193.

Figure 3. Typical Spaces of No-Stop City. Drawn By Author. These spaces consist of typical forms such as lines and clusters montaged onto the typical backdrop of the grid.

16 Figure 4. Exceptional Spaces of No-Stop City. Drawn By Author. These spaces contain typical as well as atypical forms, their exceptionality is created by either the composition of typical forms or the insertion of an atypical one.

Road

Enclosed

Grid Decay

Semi-Enclosed

17 creating unique arrangements. Therefore this suggests that each unique space could actually be categorised as a ‘typical space’, as typically, in these plans, the space is irregular.

There are of course exceptions to this irregular space, for example the enclosed space seen in Figure 4. Although organised into a modular grid just as any other typical space, here it becomes exceptional as it is formed by the continuity of lines. Where in other spaces the theoretical grid of columns affords fluidity, in this instance it is concretised and therefore encloses, producing isolated modules. Interestingly, language fails architecture here, whereby the term insulate; to make into an island, perfectly describing the effect of the lines on the modules, now serves a more scientific purpose, referring more universally to heat retention. This raises an interesting proposition, that the language of drawing, at least in some instances, can deliver a more concise message than that of speech.

In figure 4: ‘Grid Decay’, the grid begins to break down and the omission of columns, even at regular intervals creates double bays. Lines are inserted into the plan, competing for the same organisational authority as the grid, and arguably succeeding. It is in this space where the grid decomposes that Mario Gandelsonas proposes the construction of architectural fantasies.9 Gandelsonas is of course referring to the organic deformation of the grid, where the organised structure of road networks transitions into a more free-formed network, as opposed to a planned deconstruction of the grid, which we see in figure 4. Branzi, none the less, has made space for the insertion of an architectural fantasy, one which manifests itself formally as a road.

Semantics & Pragmatics: Contextualising Lexis ‘Interpretive inquiry lies in an irreducibly architectural realm between those conditions that seem to generate or enable the 9 Gandelsonas, Mario, X-Urbanism: Architecture and the American City (New York Princeton Architectural Press, 1999). p. 76

Figure 6. Extruded Floaters. Drawn

By Author

19 architect’s intention to make architecture and in those forms which the intention is transcribed.’

– K. Michael Hays, Critical Architecture10 If an interpretive inquiry into the semantic or pragmatic meaning of NSC is to take place, then the forms that Archizoom present in their manifesto (see figure 5) provide the most compelling platform for interpretation. This investigation can be seen not, merely, as one side of a dichotic scope, but rather a means to unpack the embodied meaning of the city. To Andreas Branzi, the road seems to represent and even afford a link between the public realm and the private. He writes of it as “dissect[ing the private]… making place for architectonic language”.11 The connotations of this then are of an inclusive device which makes a positive contribution to the urban environment by opening up the private fabric. In stark contrast to this however the road can be viewed as an isolative, violent device, with connotations of separation. This symbolism could also be extended to represent the triumph of functional engineering over logical urban planning and/or the natural environment.

Both the ordonnance and the orientation of the road plan are of significance in understanding Archizoom’s intentions for the road as a symbolic device. The ordonnance, or arrangement of parts in relation to one another, is fairly ambiguous with no way to decipher whether the road sits at ground level, or beneath it; carving out the ground above to create an urban canyon. In each case, a different level of hostility, or ‘separation’ is present. The ordonnance most aligned with Branzi’s view on roads and traffic would be a ‘flyover’ composition, in which the road sits above ground level, interrupting movement at 10 Hays, K. Michael, ‘Critical Architecture: Between Culture and Form’, Perspecta, 21, no.1 (1984), p. 27.

11 Branzi, Andreas, No Stop City: Archizoom Associati (Orleans: Hyx, 2006). p. 177. Discussing the significance of the road and traffic in harmonising the public and the private realms, Branzi suggests that these are the most general link of communication between the two.

20 ground level only with slender vertical supports. In this scenario the minimum amount of hostility is achieved as pedestrian movement remains mostly unimpaired. According to the plan however, this was not Branzi’s intention. Alternatively, the road may either sit at ground level or beneath it. At ground level, pedestrian movement is still able to take place across the length of the road, however pedestrian movement becomes subordinate to the flow of traffic as they compete for the same space. Whilst figuratively and spatially possible, the ‘urban canyon’ scenario might be considered the least well aligned with Branzi’s views as it frames the road and traffic in a negative light. Despite being visually subordinate in that it sits below the urban fabric, the road, within this scenario, causes the largest spatial impairment- inhibiting pedestrian movement to the extent that no crossing can be made. To speculate, a

Above: Figure 5. Inventory of forms from Andrea Branzi’s No Stop City: Archizoom Associati, P. 88. Inventory reads from left to right: Strutture, Ascensori, Servizi, Contenitori, Verde, Arredo. Across: Figure 7. Extrusions. Drawn By Author.

plan of this composition could illustrate consumerism in its terminal form whereby the individual (the pedestrian) is neglected for the benefit of the system (the traffic). Therefore it may be argued that this scenario matches Archizoom’s representations of the culture NSC was embedded in.

The culture in question, acting as a framework for NSC to be for-

Figure 8. Floaters.

Drawn By Author. The grid is rotated, subverting it’s organisational power and lending it to the road.

23 malised, is the supposedly doctrineless Florence.12 This era nonetheless saw a shift from a mass production based consumerist culture to one of immaterial artefacts. Echoing this shift, NSC is comprised of elements functionally necessitated by both consumerism and ‘the age of information’. Archizoom formalise these elements as seen in figure 5, where for instance, ‘contenitori’, meaning containers, facilitate the organising and archiving of information, and endless furniture suggests the dependence of a culture on consumerism. Although it is true that Archizoom themselves developed a non-consumerist furniture designed for the bourgeoisie, and it may be entirely possible that they planned for NSC to contain only these articles, it seems an unlikely proposition that the combined lifespan of the studio would equate to enough years to craft an infinite amount of furniture; the demands of a no-stop city would overwork even the most massive production system. Indeed, although Archizoom embodied their own pragmatic picture, their creations were unable to escape the studio’s cultural context.

The language of NSC can be seen to communicate a cultural context.

To receive verbal stimulus is unavoidable, but to correctly interpret the semantic or even pragmatic meaning embodied in that verbal stimulus, requires an understanding of the language being spoken. Noam Chomsky’s theory of ‘deep structure’ is seen by Peter Eisenman and ‘Whites’ as epistemological, translating into the architectural field as a generative framework capable of producing a unified architectural language.13 These same operations applied by Eisenman generatively, can be taken and used analytically, retracing their point of entry into the field. Applying the principles adopted by Eisenman such as rotation, recession and layering, then merging them with other pure 12 Scolari, Massimo, The New Architecture and the Avant-Garde, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 126-145.

13 Deamer, Peggy, ‘Structuring Surfaces: The Legacy of the Whites’, [online] Perspecta, Vol. 32, Issue 1. Available at: http://www.jstor.org/stable/pdf/1567286. pdf?refreqid=excelsior%3A1b5d441a27f93e1d223412db6de86ed0 [Accessed 25 02.

2018], 90-99 (p. 94)

24

Figure 9. Plan 8: Grid Puzzle. This image appears in Gandelsonas’ X-Urbanism, where the grid is emphasised, floating above the city.

operations such as extrusion and flotation, an analytical framework is created, one which aims to uncover the deep structure of NSC. The analytical drawings, seen in figures 6, 7, and 8, that emerge from these principles compile the deep structure of NSC, highlighting the forms which can be interpreted. To extend the linguistic metaphor, and to refer once again to the grid as a grammatical framework, this form acts as a backdrop, and is drawn as such; as what it does rather than as what it is. The framework then allows the forms to be revealed, in the same sense that obeying grammatical rules affords the listener an understanding of the deep structure. In opposition to Gandelsonas’ drawing in figure 8, the drawings appear not as grid over city, but as city over grid. Where for instance Los Angeles expresses itself as a grid, NSC expresses itself as not a grid.

Figures 10 & 11. Think-u-lator image and Close up of Architectural element. Think-u-lator and images

by Author. The elements within the Think-u-lator are abstracted from their NSC context, returning them to pure architectural forms rather than representation.

Figures 12, 13 & 14. Think-u-lator close-ups. Think-u-lator and images by Author. The elements within the Think-u-lator are abstracted from their NSC context, returning them to pure architectural forms rather than representation.

27 Deep Structure: NSC and Western Architecture In following analytical steps to produce the drawings, there exist some ‘translatory’ differences. The grid for example, in figure 8, expresses itself diagonally as opposed to orthogonally, with the road aligning itself orthogonally. As the grid no longer matches the expected orthogonality, attention is drawn to it and it begins to subvert the visual authority of the road. This rotational operation leads to an interesting proposition that as the grid can act grammatically, it can also act lexically and can therefore contain deep structure.

Taking it as an instrument of deep structure, the grid is suggestive of order and could extend to represent conformism in that each individual column conforms to the demand of the overall edifice, making them indistinguishable from one another. Whether intentionally embodied within the city, or fragmented from a past typology, it is undeniable that the NSC plan carries pragmatics of a culture at least somewhat entrenched in consumerism. Geographically, consumerism has its roots within western culture, with both European countries such as France, Britain, and Italy as well as American regions, colonised by Britain, showing cultural predispositions well before the 18th century.14 Consumerism perhaps therefore provided a platform for the emergence of the information based culture, not only in Florence and Italy, but running throughout all western territories. This shift toward information is manifest in the architecture of the West, in libraries and archives but also within the service sector, in offices and where businesses reside. The age of information is contained within the typology of the office.15 As suggested by Koolhaas in his essay on ‘The Typical Plan’, this typology offers little more than “space to exist”, and therefore 14 Stearns, Peter N., Consumerism In World History: The global transformation of desire (Abingdon, Oxon: Routeledge, 2006). 15-16 (p.15) 15 Koolhaas, Rem, ‘Typical Plan’, in Rem Koolhaas and Bruce Mau, S,M,L,XL (Italy: The Monacelli Press, 1955), 336-350 (p. 337,340) The general theme of neutrality and ‘de-sensitivity’ are broached by Koolhaas, who suggests that business demands only space for “its occupants to exist”.

29 Figure 15. 1:2 Section A-A of Think-u-lator. Drawn by author.

Scaled representation of the city becomes its own autonomous architectural device.

30

Figure 16. Montage of NSC and Letchworth, arguably the archetype of Garden Cities.

The green spaces are articulated as areas of the Letchworth plan, not in that they are physically similar but in that they contain an overlap in ideology; they articulate the same deep structure

facilitates neutrality: the ideal business environment. A change occurs however, when functionality is inserted into this typology, or when this typology is inserted into a functional space, such as a dual carriageway.

The space is no longer neutral and consequently the typology can be understood differently. In the case of the road the typological shift is embedded in the implications of external space. The typical plan which

31 Koolhaas argues is explicitly internal, has suddenly been uprooted and placed into external context. Conversely it could also be argued that the road has simply been placed within this typological context, therefore internalising it. However, the plan’s lack of encasement such as the enclosing walls present in figure 4, which suggests the continuity of the space, is sufficient in justifying the placing of the grid into the road as opposed to the road into the grid.

The importation of the grid, a device shown to be a signifier of the office typology, allows NSC to be likened to the self-referential architecture posited by Anthony Vidler.16 This ‘ontology of the city’ does not have to relate, Vidler believes, to a ‘hypothesized society’, and it is true that NSC does not speak in its architectural language of a hypothetical culture; it instead realises the architecture necessary for its existing society. In doing this though, the city surrenders its pure ontology in favour of a cultural prerequisite. Conversely, the presence of ‘Verde’, as in figure 5, within the city maps the intentions of the garden city, especially given the situation of these green spaces to provide, as Ebenezer Howard described in his Garden Cities of Tomorrow, occupants the opportunity to be just a few minutes’ walk away from nature. 17This presence of the garden city within NSC is another instance where the insertion of an architectural typology circumscribes NSC to ‘The Third Typology’.

Other elements within the city such as furniture or perhaps the whole enclosed grid seen in figure 4 pragmatically reinforce this connection between the city and its governing culture. The implications then, are of an architecture not wholly self-referential: echoing ‘The Third Typology’, or explicitly cultural in manifest: confined to the previous typologies. Where Hays defines the reading of Mies’ work as “Between 16 Vidler, Anthony, ‘The Third Typology’, in Architecture Theory Since 1968, ed. By K Michael Hays (Cambridge, Mass.: MIT Press, 1998), 288-94 (p. 291) Vidler stresses that elements of the third typology “refer only to their own nature as architectural elements”.

17 Howard, Ebenezer, Garden Cities of Tomorrow (America: Swan Sonnenschein, 1902), p. 130

A

A

Figure 17. 1:4 Plan of Think-u-lator. Drawn By Author

33 Culture and Form”, a reading of NSC presents a bridged dichotomy.18 It is true within linguistics that although a deep structure may be present in a surface structure, the surface structure may not be the most efficient communicative means.19 Other, more articulate surface structure may also exist, and can be used to communicate semantic meaning that would otherwise be unintelligible. In architecture, as in linguistics, a reconfiguration and development of the original lexis can lead to an altered surface structure. More importantly, a translation of the original lexis into a different medium, much the same as writing to speaking, must take place.

‘Recognition of the drawing’s power as a medium turns out, unexpectedly, to be recognition of the drawing’s distinctness and unlikeness to the thing that is represented…’

-Robin Evans, ‘Translations From Drawing to Building’.20 In the instance of figures 6, 7, and 8, “the thing that is represented” is both the deep structure of NSC and the surface structure of the original representational drawing. The Think-u-lator, is represented not by the drawings in figures 15, 17, 18 and 19, but by the dichotic bridging achieved through a reading of NSC. The Think-u-lator therefore bears 18 Hays, K. Michael, ‘Critical Architecture: Between Culture and Form’, Perspecta, 21, no.1 (1984), pp. 14-29. Using the example of the 1922 Skyscraper project by Mies van der Rohe, Hays talks of an architecture resistant to a cultural reading in that it’s changeable surface distorts and resists the images of the city, instead projecting its own shadow onto its surface. Likewise, the formal logic is concealed by a lack of compositional relationship; the form cannot be reduced to a sum of parts and read formally.

19 Huck, Geoffrey J. and Goldsmith, John A., Ideology And Linguistic Theory: Noam Chomsky and The Deep Structure Debates, (London: Routeledge, 1996), p. 36.

Chomsky believed that surface structure plays an integral role in semantic interpretation.

20 Evans, Robin, ‘Translations from Drawing to Building’ in Translations from Drawing to Building and Other Essays (Singapore: Craft Print, 2003), p. 154.

A

A

35 an unlikeness to the dichotic bridge that it represents. This unlikeness can be described by the inclusion of both culture and form as devices in the reading of NSC, juxtaposed with the ontology of the Think-u-lator. This device, in the translation from the scaled drawings of NSC, inherits its own autonomy when ‘translative’ operations such as scaling and extrusion are employed. For example, though conceived as a scaled interpretation of NSC, when built and drawn in context at its 1:1 measurements, the deep structure is altered for the viewer, or ‘listener’, who understands it not as representative of the city, but as an autonomous piece of architectural

A

A

Left: Figure 18. 1:20 Plan of Think-u-lator. Opposite: Figure 19. 1:50 Section A-A through Think-u-lator. Drawings By Author. The Think-u-lator, in it’s autonomous scale, invites an ontological reading.

36 language. The Think-u-lator subsequently offers an explication of the forms within NSC, returning them to a dissociative array of typological elements. This enables the Think-u-lator to be classified as an autonomous object of ‘The Third Typology’, which also highlights the fact that if an operation is required to translate a piece of architecture from one typology to another, then in its original form it perhaps did not possess the properties attributable that same typology.

Conclusion Understanding NSC as a piece of architecture which, contrary to the one presented by Hays, invites both a formal and cultural reading, it has been determined that the typology of the city lies not within a single category, but between a reading as the product of culture, and as a product of self-reference. The linguistic techniques employed by Archizoom, either knowingly or more likely otherwise, give scope to the appropriation of linguistic techniques within architecture. Not just as Eisenman has used them generatively, but as an analytical instrument. In using linguistic terms such ‘deep structure’ and ‘lexis’ as analogical descriptions of architectural language, it is apparent that there is a homogeneity between linguistics and architecture. Like language, if we interrogate the lexis and semantics of architectural constituents, they speak of their author’s intentions. If we interrogate the pragmatic meaning and deep structure of architectural constituents then they speak of their author’s context. This holistic interrogation therefore reveals both the intentions and the context of the architectural author, allowing their ideology to be contextualised within the architectural realm.

38

Bibliography Branzi, Andreas, No Stop City: Archizoom Associati (Orleans: Hyx, 2006).

Deamer, Peggy, ‘Structuring Surfaces: The Legacy of the Whites’, [online] Perspecta, vol. 32. Available at: http://www.jstor.org/stable/pdf/1567286.pdf?refreqid=excelsior%3A1b5d441a27f93e1d223412db6de86ed0 [Accessed 25 02. 2018], pp. 90-99.

Evans, Robin, ‘Translations from Drawing to Building’ in Translations from Drawing to Building and Other Essays (Singapore: Craft Print, 2003), pp. 153-193.

Gandelsonas, Mario, X-Urbanism: Architecture and the American City (New York Princeton Architectural Press, 1999).

Hays, K. Michael, ‘Critical Architecture: Between Culture and Form’, Perspecta, 21, Vol.1 (1984), pp. 14-29.

Hollier, Dennis, ‘Architectural Metaphors’, in Architecture Theory Since 1968, ed. By K. Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 192-196.

Howard, Ebenezer, Garden Cities of Tomorrow (America: Swan Sonnenschein, 1902) pp. 126-140.

Huck, Geoffrey J. and Goldsmith, John A., Ideology And Linguistic Theory: Noam Chomsky and The Deep Structure Debates, (London: Routeledge, 1996) pp. 5-58.

Koolhaas, Rem, ‘Typical Plan’, in Rem Koolhaas and Bruce Mau, ‘S,M,L,XL’ (Italy: Th Monacelli Press, 1955), pp. 355-350.

Scolari, Massimo, The New Architecture and the Avant-Garde, in Architecture Theory Since 1968, ed. By K. Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 126145.

Stearns, Peter N., Consumerism In World History: The Global Transformation of Desire (Abingdon, Oxon: Routeledge, 2006). pp 15-16.

Vidler, Anthony, ‘The Third Typology’, in Architecture Theory Since 1968, ed. By K. Michael Hays (Cambridge, Mass.: MIT Press, 1998), pp. 288-94.

39

Table of Figures Figure

Name

Page

1.

City Inventory

2.

Gridless City

13

3.

Typical Spaces

15.

4.

Exceptional Spaces

16

5.

Archizoom Associati Inventory of Forms

20

6.

Extruded Floaters

18

7.

Extrusions

21

8.

Floaters

22

9.

‘Plan 8: Grid Puzzle’

24

10.

Think-u-lator Image 1

25

11.

Think-u-lator Image 2

25

12.

Think-u-lator Image 3

26

13.

Think-u-lator Image 4

26

14.

Think-u-lator Image 5

26

15.

Think-u-lator Section 1:2

16.

NSC + Letchworth Montage

30

17.

Think-u-lator Plan 1:4

32

18.

Think-u-lator Plan 1:20

34

19.

Think-u-lator Plan 1:50

35

10-11

28-29