For his entire professional life, British architect Cedric Price (1934-2003) reflected on the mechanisation of society and its effect on people's lives. In the 1960s and 1970s Price searched for a new language in modern architecture. His multifaceted, interdisciplinary approach and his sense of humour and self-irony, also with regard to his own profession, lead him into the fields of art and of social and natural sciences. 

Tanja Herdt's new book on the work and life of Cedric Price for the first time offers a comprehensive demonstration of his architectural concepts and social visions. Herdt focuses on his view of the city as a socio-technical system, the influence of product and everyday culture on architecture, and the role of science and technology in architectural design. Based on extensive research and drawing from rich and largely unpublished material, she features some of Price's well-known projects, such as Fun Palace (1961) or Potteries Thinkbelt (1964), in context with her new findings. Herdt's thorough analysis of his lesser-known works from the 1970s, including McAppy (1973-1975) and The Generator (1976), also questions the common perception of Cedric Price as an anti-architect .

For his entire professional life, British architect Cedric Price (1934-2003) reflected on the mechanisation of society and its effect on people's lives. In the 1960s and 1970s Price searched for a new language in modern architecture. His multifaceted, interdisciplinary approach and his sense of humour and self-irony, also with regard to his own profession, lead him into the fields of art and of social and natural sciences.

Tanja Herdt's new book on the work and life of Cedric Price for the first time offers a comprehensive demonstration of his architectural concepts and social visions. Herdt focuses on his view of the city as a socio-technical system, the influence of product and everyday culture on architecture, and the role of science and technology in architectural design. Based on extensive research and drawing from rich and largely unpublished material, she features some of Price's well-known projects, such as Fun Palace (1961) or Potteries Thinkbelt (1964), in context with her new findings. Herdt's thorough analysis of his lesser-known works from the 1970s, including McAppy (1973-1975) and The Generator (1976), also questions the common perception of Cedric Price as an anti-architect .