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Just ordered 2 books from amazon.com: Xtreme Houses, by Courtenay Smith and Sean Topham, and the recent reissue of Philip K. Dick's Counter-Clock World.
Here's an excerpt from the publisher's notes on Xtreme Houses (I'll review it myself after I get a copy; I'm plugging it now because Courtenay's a friend of mine and I've been following the progress of the book pre-publication):
“The house has become to contemporary architects what the seven-inch single was to Punk bands,” declare Courtenay Smith and Sean Topham. “It is a liberating challenge for its designer and an immediate, accessible product for the end user.” Xtreme Houses examines forty-five newly designed and built dwelling spaces by architects, artists, collectives and individuals from around the globe. Responding to the changing desires of consumers and the inevitable influences of overpopulation, suburban sprawl, environmental concerns, technological advances and economic fluctuation, each of the selected projects offers radical and unique solutions to our basic human need for shelter.Xtreme Houses considers four general approaches to residential dwellings. The first chapter entitled “Self-Construct” covers a variety of do-it-yourself strategies. From private individuals who consider custom building a luxury to impoverished self-builders for whom it is the only means to obtain shelter, taking matters into one’s own hands and starting from scratch has resulted in exceptional and innovative housing solutions. Three pioneering examples are Michael Hoenes’ Tin-Can Houses in Africa, Brooklyn artist Vito Acconci’s House of Cars #2, and Atlanta-based Richard Martin’s Global Peace Containers in Jamaica, an entire community constructed from converted shipping containers.
Aided by the Internet, fewer people are bound to their jobs by location and are opting to live in rural areas. Chapter 2, “Move to the Sticks” focuses on nontraditional country abodes that work in harmony with their surroundings. Unlike conventional country cabins, these homes disappear into the landscape, as is the case with Michael Reynolds’ Earthships, float on water like Jean-Michel Ducanelle’s Aquasphere, or rest in the trees such as Softroom’s Tree House. As with other dwellings throughout the book, many of the projects take tremendous strides toward sustainable building, including Rural Studio’s Corrugated Construction made from recycled cardboard.
Chapter 3, “Bring Your Own Building,” explores modern takes on nomadic living. In addition to discussing the plight of forced nomads, such as refugees, the homeless and other displaced people, this chapter also examines transient living as a purposeful choice, often adopted by fashionable young urbanites and the super wealthy. California architect Jennifer Siegal and New York artist Andrea Zittel revisit the mobile trailer home, while other designers explore portable pods and articles of clothing that double as architecture, also known as “clothes to live in” or “buildings to wear.”
The final chapter, “Space Invaders,” discusses innovative methods of inhabiting the rare empty spaces left in cities. Through stacking, hanging, inserting and inflating, these homes playfully reclaim unused urban gaps. Many tap into underutilized resources, such as New York-based Michael Rakowitz’s inflatable homeless shelters which attach to the ventilation systems of public buildings. Others hang outside windows or are inserted into the existing infrastructure, such as LOT/EK’s Guzman Penthouse which rests on top of a Manhattan skyscraper.
Well-written and generously illustrated with photographs, drawings and plans, this exciting new book provides a sampling of the most cutting-edge developments in residential housing. Whether spurred by the latest advances in technology or the scarce resources of poverty, these homes challenge our traditional notions of what a house can be and demonstrate architecture’s ability to shape the way we live. They will undoubtedly set the standard for where and how we live, now and in the future.
Other featured dwellings by: Cal-Earth, FAT, Doug Garofalo, Herman Hertzberger, Doug Jackson, Jones, Partners: Architecture, Lacaton & Vassal, Atelier van Lieshout, Greg Lynn FORM, Monolithic Dome Institute, N55, Oosterhuis.nl, OpenOffice, Po.D., Marjetica Potrc, Michael Rakowitz, Jessica Stockholder, Sarah Wigglesworth, and Krzysztof Wodiczko, among others.
And here's my amazon.com review of Dick's Counter-Clock World, posted four years ago, when the book was long out of print:
Packs more paradoxes to the page than the brain can handle, July 10, 1998Dick attempts the impossible task of making time seem to flow backwards as the reader moves forward through the book. An eerie and unforgettable premise has the dead being "born" in their graves, crying out to be exhumed so they can begin their reverse trek through life. In other scenes food is vomited onto plates and then boxed and returned to the shelf, while bodily wastes are ingested through a "sogum pipe," a process alluded to several times but mercifully never depicted. Eventually the book reaches an action-packed climax (shouldn't it have occurred at the beginning?), in which bullets are sucked back into firearms and so forth, but by that time the paradoxes have come so fast and furious that the reader's brain has imploded. As in so many of his novels, Dick throws too many balls in the air to keep the juggling act going, and as scientifically plausible fiction, it's a mess, but only a genius would have attempted an idea as weird as this one, and taken it as far as Dick does.