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Examines how the humanitarian order advances a message of moral
triumph and care while abandoning the dispossessed Prompted by a
growing number of refugees and other displaced people,
intersections of design and humanitarianism are proliferating. From
the IKEA Foundation's Better Shelter to Airbnb's Open Homes
program, the consumer economy has engaged the global refugee crisis
with seemingly new tactics that normalize an institutionally
sanctioned politics of evasion. Exploring "the global shelter
imaginary," this book charts the ways shelter functions as a form
of rightless relief that expels recognition of the rights of the
displaced and advances political paradoxes of displacement itself.
This book poses spatial violence as a constitutive dimension of
architecture and its epistemologies, as well as a method for
theoretical and historical inquiry intrinsic to architecture; and
thereby offers an alternative to predominant readings of spatial
violence as a topic, event, fact, or other empirical form that may
be illustrated by architecture. Exploring histories of and through
architecture at sites across the globe, the chapters in the book
blur the purportedly distinctive borders between war and peace,
framing violence as a form of social, political, and economic order
rather than its exceptional interruption. Regarding space and
violence as co-constitutive, the book's collected essays critique
modernization and capitalist accumulation as naturalized modes for
the extraction of violence from everyday life. Focusing on the
mediation of violence through architectural registers of
construction, destruction, design, use, representation, theory, and
history, the book suggests that violence is not only something
inflicted upon architecture, but also something that architecture
inflicts. In keeping with Walter Benjamin's formulation that there
is no document of civilization that is not also a document of
barbarism, the book offers "spatial violence" as another name for
"architecture" itself. This book was previously published as a
special issue of Architectural Theory Review.
This book poses spatial violence as a constitutive dimension of
architecture and its epistemologies, as well as a method for
theoretical and historical inquiry intrinsic to architecture; and
thereby offers an alternative to predominant readings of spatial
violence as a topic, event, fact, or other empirical form that may
be illustrated by architecture. Exploring histories of and through
architecture at sites across the globe, the chapters in the book
blur the purportedly distinctive borders between war and peace,
framing violence as a form of social, political, and economic order
rather than its exceptional interruption. Regarding space and
violence as co-constitutive, the book's collected essays critique
modernization and capitalist accumulation as naturalized modes for
the extraction of violence from everyday life. Focusing on the
mediation of violence through architectural registers of
construction, destruction, design, use, representation, theory, and
history, the book suggests that violence is not only something
inflicted upon architecture, but also something that architecture
inflicts. In keeping with Walter Benjamin's formulation that there
is no document of civilization that is not also a document of
barbarism, the book offers "spatial violence" as another name for
"architecture" itself. This book was previously published as a
special issue of Architectural Theory Review.
While the construction of architecture has a place in architectural
discourse, its destruction, generally seen as incompatible with the
very idea of "culture," has been neglected in theoretical and
historical discussion. Responding to this neglect, Herscher
examines the case of the former Yugoslavia and in particular,
Kosovo, where targeting architecture has been a prominent dimension
of political violence. Rather than interpreting violence against
architecture as a mere representation of "deeper" social,
political, or ideological dynamics, Herscher reveals it to be a
form of cultural production, irreducible to its contexts and
formative of the identities and agencies that seemingly bear on it
as causes. Focusing on the particular sites where violence is
inflicted and where its subjects and objects are articulated, the
book traces the intersection of violence and architecture from
socialist modernization, through ethnic and nationalist conflict,
to postwar reconstruction.
While the construction of architecture has a place in architectural
discourse, its destruction, generally seen as incompatible with the
very idea of "culture," has been neglected in theoretical and
historical discussion. Responding to this neglect, Herscher
examines the case of the former Yugoslavia and in particular,
Kosovo, where targeting architecture has been a prominent dimension
of political violence. Rather than interpreting violence against
architecture as a mere representation of "deeper" social,
political, or ideological dynamics, Herscher reveals it to be a
form of cultural production, irreducible to its contexts and
formative of the identities and agencies that seemingly bear on it
as causes. Focusing on the particular sites where violence is
inflicted and where its subjects and objects are articulated, the
book traces the intersection of violence and architecture from
socialist modernization, through ethnic and nationalist conflict,
to postwar reconstruction.
Intense attention has been paid to Detroit as a site of urban
crisis. This crisis, however, has not only yielded the massive
devaluation of real estate that has so often been noted; it has
also yielded an explosive production of seemingly valueless urban
property that has facilitated the imagination and practice of
alternative urbanisms. The first sustained study of Detroit's
alternative urban cultures, The Unreal Estate Guide to Detroit
initiates a new focus on Detroit as a site not only of urban crisis
but also of urban possibility. The Guide documents art and
curatorial practices, community and guerilla gardens, urban farming
and forestry, cultural platforms, living archives, evangelical
missions, temporary public spaces, intentional communities, furtive
monuments, outsider architecture, and other work made possible by
the ready availability of urban space in Detroit. The Guide poses
these spaces as ""unreal estate"": urban territory that has slipped
through the free- market economy and entered other regimes of
value, other contexts of meaning, and other systems of use. The
appropriation of this territory in Detroit, the Guide suggests,
offers new perspectives on what a city is and can be, especially in
a time of urban crisis.
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