"The Bonaventure aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd). In this sense, then, ideally the mini-city of Portman’s Bonaventure ought not to have entrances at all, since the entryway is always the seam that links the building to the rest of the city that surrounds it: for it does not wish to be a part of the city, but rather its equivalent and its replacement or substitute." Fredric Jameson, Postmodernism, or The Cultural Logic of the Late Capitalism, 1984.
Bruno Taut, Construction Drawing for his Glashaus, 1914.
"The face of the earth would be much altered if brick architecture were ousted everywhere by glass architecture. It would be as if the earth were adorned with sparkling jewels and enamels. Such glory is unimaginable. All over the world it would be as splendid as in the gardens of the Arabian Nights. We should then have a paradise on earth, and no need to watch in longing expectation for the paradise in heaven." Paul Scheerbart, Glass Architecture, 1914.
Cedric Price, Fun Palace for Joan Littlewood Project, Stratford, East, London, England. Perspective, 1959-1961.
Fun Palace for Joan Littlewood was conceived for the East End of London as a “laboratory of fun” and “a university of the streets.” Although it was never realized, unlike other visionary projects of the 1960s it was fully intended to be built. Designed as a flexible framework into which programmable spaces can be plugged, the structure has as its ultimate goal the possibility of change at the behest of its users. (MoMA)