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For long, spatial design has been seen as an action that could be performed by people and for people only. And today, even though some of the most meaningful projects of our times seem to challenge this concept, qualitative researches still struggle to emerge. This is why this book collects, reconstructs, and discusses archetypal models of posthuman architecture, from the cabin of Henry David Thoreau to the Svalbard Global Seed Vault. To show how architectural, landscape, and industrial designers, be they professional practitioner or not, redefined their tools in order to meet the functional and symbolic needs of new and different kinds of subjects. All this in ten monographic architectural tales, thought to trace the evolution of an extended idea of coexistence between humans and other species and technologies.
The Posthuman is the new paradigm of architecture. Encompassing related topics such as the post-Anthropocene, more-than-human, non-human, trans-human, anti-human and meta-human, this AD presents a synthesis of the architectural Posthuman. Proliferating and diversifying, the Posthuman is now as planetary as it is everyday, and as disruptive, contested and contradictory as it is sublime. From the detail to the interplanetary, and from real and fictional designs and spaces to more proleptic universe-building futures, the issue describes and speculates on these spectacular and shocking new species. It envisions the Posthuman through the array of emerging technologies, and features original contributions from academics, professionals, design studios and related disciplines and domains. These new spaces include the full electromagnetic spectrum and present new entanglements of Posthuman theories and technologies. Contributors: Mario Carpo; Paul Dobraszczyk; Alberto Fernandez; Ariane Harrison; Sandra Häuplik-Meusburger and Olga Bannova; Steven Hutt; Xavier de Kestelier, Levent Ozruh and Jonathan Irwan; Sylvia Lavin; Jacopo Leveratto; Tyson Hosmer, Roberto Bottazzi and Mollie Claypool; Colbey Reid and Dennis Weiss; Andrew Witt; and Brent Sherwood. Featured designers and architects: Blue Origin, Christian Rex van Minnen, Harrison Atelier, and Hassell.
These essays by architects, theorists, and sustainable designers together provide a framework to help you develop your own guidelines to approaching to your work. Introductions define key terms, and nine case studies demonstrate the concepts.
The most significant architectural spaces in the world are now entirely empty of people. The data centres, telecommunications networks, distribution warehouses, unmanned ports and industrialised agriculture that define the very nature of who we are today are at the same time places we can never visit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and internet-connected toasters, driverless tractors and taxis. This issue is an atlas of sites, architectures and infrastructures that are not built for us, but whose form, materiality and purpose is configured to anticipate the patterns of machine vision and habitation rather than our own. We are said to be living in a new geological epoch, the Anthropocene, in which humans are the dominant force shaping the planet. This collection of spaces, however, more accurately constitutes an era of the Post-Anthropocene, a period where it is technology and artificial intelligence that now computes, conditions and constructs our world. Marking the end of human-centred design, the issue turns its attention to the new typologies of the post-human, architecture without people and our endless expanse of Machine Landscapes. Contributors: Rem Koolhaas, Merve Bedir and Jason Hilgefort, Benjamin H Bratton, Ingrid Burrington, Ian Cheng, Cathryn Dwyre, Chris Perry, David Salomon and Kathy Velikov, John Gerrard, Alice Gorman, Adam Harvey, Jesse LeCavalier, Xingzhe Liu, Clare Lyster, Geoff Manaugh, Tim Maughan, Simone C Niquille, Jenny Odell, Trevor Paglen, Ben Roberts. Featured interviews: Deborah Harrison, designer of Microsoft’s Cortana; and Paul Inglis, designer of the urban landscapes of Blade Runner 2049.
What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities—posthumanities—respond to the redefinition of humanity’s place in the world by both the technological and the biological or “green” continuum in which the “human” is but one life form among many? Exploring how both critical thought along with cultural practice have reacted to this radical repositioning, Cary Wolfe—one of the founding figures in the field of animal studies and posthumanist theory—ranges across bioethics, cognitive science, animal ethics, gender, and disability to develop a theoretical and philosophical approach responsive to our changing understanding of ourselves and our world. Then, in performing posthumanist readings of such diverse works as Temple Grandin’s writings, Wallace Stevens’s poetry, Lars von Trier’s Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno’s My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture. For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.
As architects and designers, we struggle to reconcile ever increasing environmental, humanitarian, and technological demands placed on our projects. Our new geological era, the Anthropocene, marks humans as the largest environmental force on the planet and suggests that conventional anthropocentric approaches to design must accommodate a more complex understanding of the interrelationship between architecture and environment Here, for the first time, editor Ariane Lourie Harrison collects the essays of architects, theorists, and sustainable designers that together provide a framework for a posthuman understanding of the design environment. An introductory essay defines the key terms, concepts, and precedents for a posthuman approach to architecture, and nine fully illustrated case studies of buildings from around the globe demonstrate how issues raised in posthuman theory provide rich terrain for contemporary architecture, making theory concrete. By assembling a range of voices across different fields, from urban geography to critical theory to design practitioners, this anthology offers a resource for design professionals, educators, and students seeking to grapple the ecological mandate of our current period. Case studies include work by Arakawa and Gins, Arons en Gelauff, Casagrande, The Living, Minifie van Schaik, R & Sie (n), SCAPE, Studio Gang, and xDesign. Essayists include Gilles Clément, Matthew Gandy, Francesco Gonzáles de Canales, Elizabeth Grosz, Simon Guy, Seth Harrison, N. Katherine Hayles, Ursula Heise, Catherine Ingraham, Bruno Latour, William J. Mitchell, Matteo Pasquinelli, Erik Swyngedouw, Sarah Whatmore, Jennifer Wolch, Cary Wolfe, and Albena Yaneva
The Posthuman offers both an introduction and major contribution to contemporary debates on the posthuman. Digital 'second life', genetically modified food, advanced prosthetics, robotics and reproductive technologies are familiar facets of our globally linked and technologically mediated societies. This has blurred the traditional distinction between the human and its others, exposing the non-naturalistic structure of the human. The Posthuman starts by exploring the extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities. Braidotti then analyzes the escalating effects of post-anthropocentric thought, which encompass not only other species, but also the sustainability of our planet as a whole. Because contemporary market economies profit from the control and commodification of all that lives, they result in hybridization, erasing categorical distinctions between the human and other species, seeds, plants, animals and bacteria. These dislocations induced by globalized cultures and economies enable a critique of anthropocentrism, but how reliable are they as indicators of a sustainable future? The Posthuman concludes by considering the implications of these shifts for the institutional practice of the humanities. Braidotti outlines new forms of cosmopolitan neo-humanism that emerge from the spectrum of post-colonial and race studies, as well as gender analysis and environmentalism. The challenge of the posthuman condition consists in seizing the opportunities for new social bonding and community building, while pursuing sustainability and empowerment.
Contributions by Torsten Caeners, Phoebe Chen, Mathieu Donner, Shannon Hervey, Angela S. Insenga, Patricia Kennon, Maryna Matlock, Ferne Merrylees, Lars Schmeink, Anita Tarr, Tony M. Vinci, and Donna R. White For centuries, humanism has provided a paradigm for what it means to be human: a rational, unique, unified, universal, autonomous being. Recently, however, a new philosophical approach, posthumanism, has questioned these assumptions, asserting that being human is not a fixed state but one always dynamic and evolving. Restrictive boundaries are no longer in play, and we do not define who we are by delineating what we are not (animal, machine, monster). There is no one aspect that makes a being human—self-awareness, emotion, artistic expression, or problem-solving—since human characteristics reside in other species along with shared DNA. Instead, posthumanism looks at the ways our bodies, intelligence, and behavior connect and interact with the environment, technology, and other species. In Posthumanism in Young Adult Fiction: Finding Humanity in a Posthuman World, editors Anita Tarr and Donna R. White collect twelve essays that explore this new discipline's relevance in young adult literature. Adolescents often tangle with many issues raised by posthumanist theory, such as body issues. The in-betweenness of adolescence makes stories for young adults ripe for posthumanist study. Contributors to the volume explore ideas of posthumanism, including democratization of power, body enhancements, hybridity, multiplicity/plurality, and the environment, by analyzing recent works for young adults, including award-winners like Paolo Bacigalupi's Ship Breaker and Nancy Farmer's The House of the Scorpion, as well as the works of Octavia Butler and China Miéville.
Posthuman Urbanism explores what it means to live in an urban environment with reference to posthuman theory. The book argues that contemporary science and technology offers radically different ways for changing the way we live in city spaces today.
A wide-ranging and challenging exploration of design and how it engages with the self 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. Contributors: Zeynep Çelik Alexander, Lucia Allais, Shumon Basar, Ruha Benjamin, Franco “Bifo” Berardi, Daniel Birnbaum, Ina Blom, Benjamin H. Bratton, Giuliana Bruno, Tony Chakar, Mark Cousins, Simon Denny, Keller Easterling, Hu Fang, Rubén Gallo, Liam Gillick, Boris Groys, Rupali Gupte, Andrew Herscher, Tom Holert, Brooke Holmes, Francesca Hughes, Andrés Jaque, Lydia Kallipoliti, Thomas Keenan, Sylvia Lavin, Yongwoo Lee, Lesley Lokko, MAP Office, Chus Martínez, Ingo Niermann, Ahmet Ögüt, Trevor Paglen, Spyros Papapetros, Raqs Media Collective, Juliane Rebentisch, Sophia Roosth, Felicity D. Scott, Jack Self, Prasad Shetty, Hito Steyerl, Kali Stull, Pelin Tan, Alexander Tarakhovsky, Paulo Tavares, Stephan Trüby, Etienne Turpin, Sven-Olov Wallenstein, Eyal Weizman, Mabel O. Wilson, Brian Kuan Wood, Liam Young, and Arseny Zhilyaev.