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In September 2011, Nikolaus Hirsch and Markus Miessen invited protagonists from the fields of architecture, art, philosophy, and literature to reflect on the single question of what, today, can be understood as a critical modality of spatial practice. Most of the sixty-four contribu­tions presented in this volume were composed concurrently with the evictions of many of the Occupy movements, sustained turmoil in countries of the Arab Spring, and continued spasms in the global financial system, which, interestingly, all pointed at the question and problematic of whether archi­tecture and our physical environment can still be understood as a res publica. A response by the editors takes the form of a conversation.This book is first in a series on critical spatial practice developed alongside the Städelschule program of the same name. Each edition includes work by invited artists—the first includes newly commissioned work by the photographer Armin Linke, who documented the Occupy camp around the European Central Bank in Frankfurt.

Space (Architecture) --- City planning. --- Architecture and society. --- Art and society. --- Espace (Architecture) --- Urbanisme --- Architecture et société --- Art et société --- 72.01 --- Architectuur (theorie) --- Architectuurtheorie --- Architectuur (kritiek) --- Architectuurkritiek

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The twelfth volume of the Critical Spatial Practice series focuses on “Don’t Follow the Wind,” the acclaimed collaborative project situated in the radioactive Fukushima exclusion zone. The book explores the long-term environmental crisis in the coastal Japanese region through this ongoing, inaccessible exhibition, which maintains traces of human presence amid the fallout of the March 2011 nuclear reactor meltdown that displaced entire towns. What can art do in a continuing catastrophe when destruction and contamination have made living impossible? The exhibition is located inside the exclusion zone, an evacuated radioactive area established after the nuclear disaster that forcibly separated residents from their homes, land, and community. In cooperation with former residents, participating artists installed newly commissioned works at sites in the exclusion zone. Although the exhibition opened in March 2015, the zone is still inaccessible to the public—the exhibition, like the radiation, is virtually invisible. The exhibition can only be viewed when restrictions are lifted and people are permitted to return. This might take several years or decades—a period that could extend beyond our lifetime. While nuclear contamination has displaced and ruptured communities, new temporary and translocal formations have emerged among the residents who have lent their sites, other former residents collaborating on the project, and the artists, curators, and cultural workers.

Site-specific installations (Art) --- Fukushima Nuclear Disaster, Japan, 2011 --- Installations in situ (Art) --- Accident nucléaire de Fukushima, Japon, 2011 --- In art. --- Dans l'art --- Don't Follow the Wind Jikkō Iinkai

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The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects but rather extends from carefully crafted individual styles and online identities to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes.Superhumanity seeks to explore and challenge our understanding of “design” by engaging with and departing from the concept of the “self.” This volume brings together more than fifty essays by leading scientists, artists, architects, designers, philosophers, historians, archaeologists, and anthropologists, originally disseminated online via e-flux Architecture between September 2016 and February 2017 on the invitation of the Third Istanbul Design Biennial. Probing the idea that we are and always have been continuously reshaped by the artifacts we shape, this book asks: Who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others?This vital and far-reaching collection of essays and images seeks to explore and reflect on the ways in which both the concept and practice of design are operative well beyond tangible objects, expanding into the depths of self and forms of life.

373.67 --- 745 --- Superhumanity --- 7.011 --- 72.011 --- 749.011 --- Ontwerpen ; creatie en inspiratie --- Ontwerpanalyse --- Onderzoek (design) --- Design --- Kunst ; ontwerp, compositie --- Architectuur ; vormgeving, ontwerp, compositie --- Meubelkunst en design ; vormgeving, ontwerp, compositie --- Philosophical anthropology --- Product strategy --- Architecture --- design [discipline] --- philosophical anthropology --- Self (Philosophy) --- Moi (Philosophie) --- Philosophy --- Social aspects. --- History --- Philosophie --- Aspect social --- Histoire

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In this provocative intellectual biography, architectural historian Mark Wigley makes the surprising claim that the thinking behind modernist architect Konrad Wachsmann’s legendary projects was dominated by the idea of television. While architecture is typically embarrassed by television, preferring to act as if it never happened, Wachsmann fully embraced it. Investigating the archives of one of the most influential designers of the twentieth century, Wigley scrutinizes Wachsmann’s design, research, and teaching, closely reading a succession of unseen drawings, models, photographs, correspondence, publications, syllabi, reports, and manuscripts to argue that Wachsmann is an anti-architect—a student of some of the most influential designers of the 1920s that dedicated thirty-five post–Second World War years to the disappearance of architecture.Wachsmann turned architecture against itself. His hypnotic projects for a new kind of space were organized around the thought that television liberates a different way of living together. Wachsmann dissolved buildings into pulsating mirages that were a huge influence on the experimental avant-gardes of the 1960s and 1970s. But Konrad Wachsmann’s Television: Post-architectural Transmissions demonstrates that this work was even more extreme than the experiments it inspired. The book offers a forensic analysis of a career to show that Wachsmann developed one of the most compelling manifestos of what architecture would need to become in the age of ubiquitous electronics.

Wachsmann, Konrad, --- Architects --- Architecture --- Criticism and interpretation. --- Architects - Germany - Biography --- Architecture - Germany - History - 20th century --- Architecture and technology - Germany - History - 20th century --- Analyse de l'architecture --- Wachsmann, Konrad, - 1901-1980 --- Wachsmann, Konrad

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In The Language of Secret Proof, Nina Valerie Kolowratnik challenges the conditions under which Indigenous rights to protect and regain traditional lands are currently negotiated in United States legal frameworks. The tenth volume in the Critical Spatial Practice series responds to the urgent need for alternative modes of evidentiary production by introducing an innovative system of architectural drawing and notation.Today, most Western legal forums utilized by Indigenous communities for recognition of their rights continue to employ evidentiary rules that do not allow for Native truths to be accepted as “reliable” evidence. When tribes are asked to provide proof of their traditional connection to the land, what Western legal forums accept as documentation does not truly represent or respect tribal culture and traditional formats of knowledge transfer.Kolowratnik’s research focuses on the double bind Pueblo communities in the American Southwest are confronted with when they become involved in a legal effort to reclaim and protect ancestral lands, since the process of producing evidence runs counter to their structural organization around oral history and cultural secrecy. The spatial notational systems developed by Kolowratnik with the support of Hemish people, members of Jemez Pueblo in northern New Mexico, and presented in this volume are an attempt to produce evidentiary documentation that speaks Native truths while respecting demands on secrecy. These systems also attempt to instigate a dialogue where there currently is none, deconstructing the fixed opposition between secrecy and disclosure within Western legal systems.

Architectural drawing --- Spatial systems --- Jemez Indians --- Indians of North America --- Dessin d'architecture --- Systèmes spatiaux --- Jemez (Indiens) --- Indiens d'Amérique --- Land tenure --- Terres