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.

Ever since TIME magazine's 1983 'Man of the Year' was the PC, we have been led to believe that our domestic spaces have been colonized by digital technology. Too little attention has been paid to the domestic spaces and inhabitants impacted by this, and critical posthumanism has been captured by a picture of humanity overly indebted to digital technologies and their largely male progenitors. By applying feminist theory to posthumanism, this work recovers the plethora of sophisticated human-technology mediations associated with the home and practiced primarily by women, the elderly, infants, the disabled and across cultures globally, challenging dominant, contemporary visions of a future humanity. Authors Dennis M. Weiss and Colbey Emmerson Reid look at various iterations of the posthuman and assert the need for alternative, feminist readings that emphasize different standpoints from which to assess people, places, and products. Chapters address the impact of posthumanism on design theory and look at familiar domestic objects, with different attributes from those typically affiliated with technology and the future, such as clothing, textiles, ceramics, furniture and wallpaper. They reveal their unhomely, extra-human qualities and offer a much-needed perspective on domestic spaces and practices, revivifying the home as a site of species transformation and pushing beyond traditional understandings of person, mothering, families and care-giving to highlight a range of critically-overlooked mediated materialisms and embodiments affiliated with domestic space. By focusing on the neglected intersection of the posthuman with the home and exploring domestic posthuman design, Designing the Domestic Posthuman offers a vision of a future humanity that retains identity, integrity and considers our relationship to others, to the world and things in it. This book widens the lens of critical focus in posthumanism, feminist philosophy and design and presents an alternative, inclusive design framework for the future.

The link between architecture and art and the sublimity it can create has a history that stretches back millennia. From cave paintings to the stained glass and saintly icons in churches and cathedrals, to the geometric and calligraphic treatments of mosques and contemporary artists channelling architecture and vice versa, and so much else. This AD is about the contemporary interactions between living artists and architects, and the artistic practices, such as poetry and abstractions, that architects adopt to develop ideas for their projects. The issue features artists, architects, curators, musicians, poets and designer craftspeople, illustrating the current rich mix of architectonic constructions, interventions and set pieces that range from musical performance to exhibition designs, glass works and digital 3D scanning. It lays out the wide spectrum and beauty of these sublime correspondences, with contributions from architects about their own artistic practices, and creative works viewed through the eyes of architectural commentators. An explosion of colour, form and creative tactics for making multifaceted work that above all is architectural, it offers a cornucopia of possibilities. Contributors: Peter Baldwin, Kathy Battista, Nic Clear, Mathew Emmett, Paul Finch, Paul Greenhalgh, Hamed Khosravi, Eva Menuhin, Felix Robbins, and Simon Withers. Featured architects and artists: a-project, Captivate, Brian Clarke, Andy Goldsworthy, Barbara Hepworth, Danny Lane, Ben Johnson, Brendan Neiland, Ian Ritchie, and Zoe Zenghelis.

Architecture and Adaptation discusses architectural projects that use computational technology to adapt to changing conditions and human needs. Topics include kinetic and transformable structures, digitally driven building parts, interactive installations, intelligent environments, early precedents and their historical context, socio-cultural aspects of adaptive architecture, the history and theory of artificial life, the theory of human-computer interaction, tangible computing, and the social studies of technology. Author Socrates Yiannoudes proposes tools and frameworks for researchers to evaluate examples and tendencies in adaptive architecture. Illustrated with more than 50 black and white images.

Set against the background of a ‘general crisis’ that is environmental, political and social, this book examines a series of specific intersections between architecture and feminisms, understood in the plural. The collected essays and projects that make up the book follow transversal trajectories that criss-cross between ecologies, economies and technologies, exploring specific cases and positions in relation to the themes of the archive, control, work and milieu. This collective intellectual labour can be located amidst a worldwide depletion of material resources, a hollowing out of political power and the degradation of constructed and natural environments. Feminist positions suggest ways of ethically coping with a world that is becoming increasingly unstable and contested. The many voices gathered here are united by the task of putting critical concepts and feminist design tools to use in order to offer experimental approaches to the creation of a more habitable world. Drawing inspiration from the active archives of feminist precursors, existing and re-imagined, and by way of a re-engagement in the histories, theories and projected futures of critical feminist projects, the book presents a collection of twenty-three essays and eight projects, with the aim of taking stock of our current condition and re-engaging in our precarious environment-worlds.

Guest-edited by Owen Hopkins Multispace exists at the intersection of the physical and digital, and in the blurring of their previously clear dividing lines. Multispace is not a single space, but a hybrid space where, in effect, we occupy multiple spaces simultaneously. We enter it on a Zoom call, when we are in our office and in a meeting with 20 people; when we are cycling down a country lane whilst racing against thousands of others who also use the Strava app; when we are watching a TV show while live tweeting; or, perhaps most literally, when wandering around the local park looking for creatures that only appear on a smartphone screen. A fundamental question of this AD is why the phenomena that multispace describes are of concern to architects. The answer is that multispace points to a situation that is at root an architectural one. Offering both a collective and highly personalised experience, static and dynamically customisable, and above all at the same time public and private, multispace lies at the centre of a set of tensions, concerns and preoccupations at the core of our conception of architecture as theory and practice. It is the messy space between, with rough and uneven edges that are constantly shifting. Contributors: Aleksandra Belitskaja, Alice Bucknell, Jesse Damiani, Wendy Fok, Andrew Kovacs, Lara Lesmes and Fredrik Hellberg, Micaela Mantegna, Holly Nielsen, Giacomo Pala, Paula Strunden, Lucia Tahan, and Francesca Torello and Joshua Bard. Featured architects and artists: iheartblob, Ibiye Campis, Office Kovacs, Space Popular and Liam Young.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 License. It is free to read, download and share on Elgaronline.com. This innovative book explores the role of utopian thinking in law and politics, including alternative forms of social engineering, such as technology and architecture. Building on Levitas’ Utopia as Method, the topic of utopia is addressed within the book from a multidisciplinary perspective.

This book examines the relationship between social practices and built space, focusing on current cooperative/participative and posthuman approaches to its production and management. From a social-cultural-and-ecological perspective, it explores the modes of engagement of all factors in the constitutional processes of inhabited space. Throughout this interdisciplinary collection, built space is reconsidered in the light of other schools of thought such as philosophy, anthropology, social sciences and political theories and practices. It covers new ground at conceptual, epistemic and methodological levels, focusing on inhabited space from within the framework of globalisation, biopolitics, cultural changes, environmental crisis and new technologies. Organised into three parts, Parts 1 and 2 focus on the role of architects in the emergence of a new ethos for habitation, as well as the modalities of the inclusion of differences in design, discussing the importance of participation and narrative at a theoretical and practical level in architecture. In the third part, the chapters delve into questions regarding the intersection of design, ecology and technoscience in a posthuman approach, which might support the inclusion of differences in design and the emergence of a new environmental ethos. Providing a stimulating landscape of arguments and challenges to new readings of architecture, society and the environment, this book will be of interest to researchers, students and professionals of architecture, urban planning, anthropology and philosophy.

This volume serves a resource for the design and analysis of neuroprosthetic supersystems, which can be defined as organizations – either small or large, simple or complex – whose human members have been neuroprosthetically augmented. While numerous other texts focus on the biomedical engineering of neuroprostheses as technological devices or on the biocybernetic engineering of the host-device system comprising a neuroprosthesis and its human host, this volume presents a unique investigation of the intentional creation of higher-order supersystems that allow multiple neuroprosthetically augmented human beings to interact with one another and with external information systems in order to accomplish some shared task. In essence, this can be understood as the work of designing and managing neuroprosthetically enhanced organizations. Individual chapters present an ontology of the neuroprosthesis as a computing device; a biocybernetic ontology of the host-device system; an ontology of the neuroprosthesis as an instrument of ‘cyborgization’; motivating and inhibiting factors for the organizational deployment of posthumanizing neuroprostheses by military organizations and other early adopters; an introduction to enterprise architecture in the context of technological posthumanization; an exploration of the implications of neuroprosthetic augmentation for enterprise architecture; and considerations for the development of effective network topologies for neuroprosthetically augmented organizations. The conceptual frameworks formulated within this book offer a wide range of tools that can be of use to policymakers, ethicists, neuroprosthetic device manufacturers, organizational decision-makers, and others who must analyze or manage the complex legal, ethical, and managerial implications that result from the use of emerging neuroprosthetic technologies within an organizational context.

This project is born out of similar questions and discussions on the topic of organicism emergent from two critical strands regarding the discourse of organic self-generation: one dealing with the problem of stopping in the design processes in history, and the other with the organic legacy of style in the nineteenth century as a preeminent form of aesthetic ideology. The epistemologies of self-generation outlined by enlightenment and critical philosophy provided the model for the discursive formations of modern urban planning and architecture. The form of the organism was thought to calibrate modernism’s infinite extension. The architectural organicism of today does not take on the language of the biological sciences, as they did in the nineteenth and twentieth centuries, but rather the image of complex systems, be they computational/informational, geo/ecological, or even ontological/aesthetic ‘networks’. What is retained from the modernity of yesterday is the ideology of endless self-generation. Revisiting such a topic feels relevant now, in a time when the idea of endless generation is rendered more suspect than ever, amid an ever increasing speed and complexity of artificial intelligence (AI) networks. The essays collected in this book offer a variety of critiques of the modernist idea of endless growth in the fields of architecture, literature, philosophy, and the history of science. They range in scope from theoretical and speculative to analytic and critical and from studies of the history of modernity to reflections of our contemporary world. Far from advocating a return to the romantic forms of nineteenth-century naturphilosophie, this project focuses on probing organicism for new forms of critique and emergent subjectivities in a contemporary, 'post'-pandemic constellation of neo-naturalism in design, climate change, complex systems, and information networks. This book will be of interest to a broad range of researchers and professionals in architecture and art history, historians of science, visual artists, and scholars in the humanities more generally.