A century ago, the telegraph and the mechanical tabulator were used to tame cities of millions. Today, cellular networks and cloud computing tie together the complex choreography of mega-regions of tens of millions of people.In response, cities worldwide are deploying technology to address both the timeless challenges of government and the mounting problems posed by human settlements of previously unimaginable size and complexity. In Chicago, GPS sensors on snow plows feed a real-time "plow tracker" map that everyone can access. In Zaragoza, Spain, a "citizen card" can get you on the free city-wide Wi-Fi network, unlock a bike share, check a book out of the library, and pay for your bus ride home. In New York, a guerrilla group of citizen-scientists installed sensors in local sewers to alert you when stormwater runoff overwhelms the system, dumping waste into local waterways.As technology barons, entrepreneurs, mayors, and an emerging vanguard of civic hackers are trying to shape this new frontier, Smart Cities considers the motivations, aspirations, and shortcomings of them all while offering a new civics to guide our efforts as we build the future together, one click at a time.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    The development of interpretive modes of various stripes--post-structuralist, Marxian, phenomenological, psychoanalytic, as well as others dissenting or eccentric--has given scholars a range of tools for rethinking architecture in relation to other fields and for reasserting architectures general importance in intellectual discourse.This anthology presents forty-seven of the primary texts of architecture theory, introducing each with an explication of the concepts and categories necessary for its understanding and evaluation. It also presents twelve documents of projects or events that had major theoretical repercussions for the period. Several of the essays appear here in English for the first time.ContributorsDiana Agrest, Stanford Anderson, Archizoom, George Baird, Jennifer Bloomer, Massimo Cacciari, Jean-Louis Cohen, Beatriz Colomina, Alan Colquhoun, Maurice Culot, Jacques Derrida, Ignasi de Sol�-Morales, Peter Eisenman, Robin Evans, Michel Foucault, Kenneth Frampton, Mario Gandelsonas, Frank Gehry, J�rgen Habermas, John Hejduk, Denis Hollier, Bernard Huet, Catherine Ingraham, Fredric Jameson, Charles A. Jencks, Jeffrey Kipnis, Fred Koetter, Rem Koolhaas, Leon Krier, Sanford Kwinter, Henri Lefebvre, Daniel Libeskind, Mary McLeod, Alberto P�rez-G�mez, Jos� Quetglas, Aldo Rossi, Colin Rowe, Massimo Scolari, Denise Scott Brown, Robert Segrest, Jorge Silvetti, Robert Somol, Martin Steinmann, Robert A. M. Stern, James Stirling, Manfredo Tafuri, Georges Teyssot, Bernard Tschumi, Anthony Vidler, Paul Virilio, Mark Wigley

    Published in early 1968, it both kindled and colored the May 1968 upheavals in France, which captured the attention of the world. Naming and defining the alienating features of everyday life in consumer society: survival rather than living in full, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and the replacement of God by the economy, the book argues that the countervailing impulses that exist within deep alienation - creativity, spontaneity, poetry present an authentic alternative to nilhilistic consumerism. This carefully edited new translation marks the first North American publication of this important work and includes a new preface by the author.

    Modern socialism is not a doctrine, Engels explains, but a working-class movement growing out of the establishment of large-scale capitalist industry and its social consequences.

    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

    Why do well-intentioned plans for improving the human condition go tragically awry?In this wide-ranging and original book, James C. Scott analyzes failed cases of large-scale authoritarian plans in a variety of fields. Centrally managed social plans misfire, Scott argues, when they impose schematic visions that do violence to complex interdependencies that are not—and cannot—be fully understood. Further, the success of designs for social organization depends upon the recognition that local, practical knowledge is as important as formal, epistemic knowledge. The author builds a persuasive case against "development theory" and imperialistic state planning that disregards the values, desires, and objections of its subjects. He identifies and discusses four conditions common to all planning disasters: administrative ordering of nature and society by the state; a "high-modernist ideology" that places confidence in the ability of science to improve every aspect of human life; a willingness to use authoritarian state power to effect large- scale interventions; and a prostrate civil society that cannot effectively resist such plans.

    Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

    A work of creative nonfiction, the book roams through space, time and possibility, mapping cities of sound, melancholia and the afterlife, where time runs backwards or which float among the clouds. In doing so, Imaginary Cities seeks to move beyond the clichés of psychogeography and hauntology, to not simply revisit the urban past, or our relationship with it, but to invade and reinvent it. Following in the lineage of Borges, Calvino, Chris Marker and Kenneth White, the book examines the city from global macrocosm to the microcosm of its inhabitants’ perspectives. It proceeds through opium dreams, sea voyages, the hallucinations of prisoners, nocturnal decadence, impossible Soviet skyscrapers, marauding golems, subterranean civilisations, apocalyptic prophecies and the work of architectural visionaries such as Antonio Sant’Elia, Archigram and Buckminster Fuller. It rethinks the ideas of utopias and dystopias, urban exploration, alienation and resistance. It claims that the Situationists lacked ambition when they suggested, “Beneath the paving stones, the beach.” Instead, beneath the paving stones, we may just be able to discern the entire universe. Imaginary Cities demonstrates that each city dreamt up by artists, writers, architects and lunatics has a real-life equivalent and that the great Marco Polo was no liar. Imaginary Cities need not simply exist in fiction or the mind. We already inhabit them.

    Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

    Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the pioneers of modern abstraction.

    Before air travel overtook trains, nearly every coast-to-coast journey included a stop there, and this flow of people and commodities made it America's central clearinghouse, laboratory, and factory. Between the end of World War II and 1960, Mies van der Rohe's glass and steel architecture became the face of corporate America, Ray Kroc's McDonald's changed how we eat, Hugh Hefner unveiled Playboy, and the Chess brothers supercharged rock and roll with Chuck Berry. At the University of Chicago, the atom was split and Western civilization was packaged into the Great Books.Yet even as Chicago led the way in creating mass-market culture, its artists pushed back in their own distinct voices. In literature, it was the outlaw novels of Nelson Algren (then carrying on a passionate affair with Simone de Beauvoir), the poems of Gwendolyn Brooks, and Studs Terkel's oral histories. In music, it was the gospel of Mahalia Jackson, the urban blues of Muddy Waters and Howlin' Wolf, and the trippy avant-garde jazz of Sun Ra. In performance, it was the intimacy of Kukla, Fran and Ollie, the Chicago School of Television, and the improvisational Second City whose famous alumni are now everywhere in American entertainment.Despite this diversity, racial divisions informed virtually every aspect of life in Chicago. The chaos—both constructive and destructive—of this period was set into motion by the second migration north of African Americans during World War Two. As whites either fled to the suburbs or violently opposed integration, urban planners tried to design away “blight” with projects that marred a generation of American cities. The election of Mayor Richard J. Daley in 1955 launched a frenzy of new building that came at a terrible cost—monolithic housing projects for the black community and a new kind of self-satisfied provincialism that sped the end of Chicago's role as America's meeting place.In luminous prose, Chicago native Thomas Dyja re-creates the story of the city in its postwar prime and explains its profound impact on modern America.

    Kropotkin based this classic on his observations of natural phenomena and history, forming a work of stunning and well-reasoned scholarship. Essential to the understanding of human evolution as well as social organization, it offers a powerful counterpoint to the tenets of Social Darwinism. It also cites persuasive evidence of human nature's innate compatibility with anarchist society."Kropotkin's basic argument is correct," noted evolutionary biologist Stephen Jay Gould. "Struggle does occur in many modes, and some lead to cooperation among members of a species as the best pathway to advantage for individuals." Anthropologist Ashley Montagu declared that "Mutual Aid will never be any more out of date than will the Declaration of Independence. New facts may increasingly become available, but we can already see that they will serve largely to support Kropotkin's conclusion that 'in the ethical progress of man, mutual support—not mutual struggle—has had the leading part.'" Physician and author Alex Comfort asserted that "Kropotkin profoundly influenced human biology by his theory of Mutual Aid. . . . He was one of the first systematic students of animal communities, and may be regarded as the founder of modern social ecology."

    Not a master mason or carpenter, Filippo Brunelleschi was a goldsmith and clock maker. Over twenty-eight years, he would dedicate himself to solving puzzles of the dome's construction. In the process, he did nothing less than reinvent the field of architecture. He engineered the perfect placement of brick and stone (some among the most renowned machines of the Renaissance) to carry an estimated seventy million pounds hundreds of feet into the air, and designed the workers' platforms and routines so carefully that only one man died during the decades of construction. This drama was played out amid plagues, wars, political feuds, and the intellectual ferments of Renaissance Florence - events Ross King weaves into a story to great effect. An American Library Association Best Book of the Year Boston Globe: "An absorbing tale." Los Angeles Times: "Ross King has a knack for explaining complicated processes in a manner that is not only lucid but downright intriguing... Fascinating."

    Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.