Inhabiting the Image of Terror

INHABITING THE IMAGE OF TERROR

the role of architectural iconography within the ubiquitous depiction of warfare

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“When you arrive at the scene of human disaster, the first thing to do is to stop the bleeding.

There is nothing architecture can do until that is done. I was wrong.�

Lebbeus Woods, (Anarchitecture: Architecture is a Political Act)

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RETSASID NAMUH

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HUMAN DISASTER

STOP THE BLEEDING

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ARCHITECTURE CAN DO INOTHING WAS WRONG

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image: a representation or simulation of an idea drawing: a particular type of image, by making marks through a process of mind-hand-eye coordination; an action that tends to be seen as indispensable to architecture inhabit: a habitat or space for our habits; an action physically compressed by a technological acceleration of reality terror: the construction of fear space: the condition of boundaries perceived as interior to self experience: perception

transformation

of

reality

through

construction: the invention of reality reality: a state necessitating the invention of construction

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OVERTURE: TRAGICOMIC IMA

to lack of an image-identity means non-existence

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I mean who the fuck are you? You hate bloggers, you mock twitter, you don’t even have a Facebook page! You are the one who doesn’t exist.

You’reIMAGE doing this that because you’re scared to in death, likethe thesame rest OVERTURE: TRAGICOMIC It is within an image oneself is designed much “Nobody gives a shit but you. Let’s face it … you are doing this of us, that you don’t matter; and you know what; you’re right you as the depiction of space is constructed. Can architecture exist because you want to feel relevant again wellofguess what; there’s meansway to… lack an image-identity non-existence altogether 1 don’t. not important you’rea not important! withinIt’s imagery and if sook; prompt space to engageGet in?used to it!” an entire world out there where people fight to be relevant every

single day and you act like it doesn’t exist. Things are happening in a place that you ignore … that has already forgotten about you …

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OVERTURE: TRAGICOMIC IMA

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I mean who the fuck are you? You hate bloggers, you mock twitter, you don’t even have a Facebook page! You are the one who doesn’t exist. You’re doing this because you’re scared to death, like the rest OVERTURE: TRAGICOMIC IMAGE of us, that you don’t matter; and you know what; you’re right you to lack of an image-identity meansdon’t. non-existence altogether It’s not important ok; you’re not important! Get used to it!” 1

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I mean who the fuck are you? You hate bloggers, you mock twitter, you don’t even have a Facebook page! You are the one who doesn’t exist. You’re doing this because you’re scared to death, like the rest of us, that you don’t matter; and you know what; you’re right you don’t. It’s not important ok; you’re not important! Get used to it!” 1

THE EXTENSION

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I AM AN IMAGE I

DON’T EXIST

WHO THE FUCK ARE YOU?

10

Hence, with such changes in the transmission and experience of destruction, architecture’s role as an instigator for positive change in the aftermath of disaster may be put into question. To put it differently, it is no longer as straight forward as ‘we are going to war; war is taking place; war has ended; now lets re-build.’ Why is this take on architectural imagery important to its habitation?

contemporary ar depictions of rui

How do works, optimism in the some political s often dismiss th feasibility. In def inhabited by arc How could such

Image and speed have become the modus operandi of the war“terror is the realisation of ... movement.” 5 It is where ACT I: TERRORmachine; - SPACE destruction beckons “an architecture of the new [to] grow from a how changes in depicting terror affectnew architecture’s in conflict conceptual role ground, one having to do with the dramatic and violent changes that mark the present era.” 6 There is ACT I: TERRORsometimes - SPACE From the media potent irony in exploring the ramifications of such incredibly how changes in depicting terror affecta architecture’s role in conflict violence in film imaginative projects.

Especially in light of on-going upheavalsYet in Their speculative renderings seem far from being buildable.

Terror, in the more violent form of destructive warfare, is becoming 7 spatial qualities the their backlash on ‘Western’ theirMiddle impactEast on and architectural discourse has beenCapitals. immense to say unavoidable within architectural image-space. Few are the architects with. After all, i the least. who directly deal with the topic. It is hard to see architecture in amplifying h Their speculative renderings seem far from being buildable.

Yet Terror, in the more violent form of destructive warfare, is becoming Imaginative architectural drawings had been tools for speculating obtaining any role beyond reconstruction in the aftermath of terror. audience are un their impact on architectural discourse has been immense to say unavoidable within architectural Few areenvironments the architects over the ruinous fallout of destructive forces.

The contemporary Piranesi’s astounding arsenal of work features almost 700 drawings The speed with which terror is image-space. spread and physical jubilant applause the least. who directly deal with the topic.

It is hard to see architecture nature of destruction is less of a natural causality and more of a as well as over 1000 prints. “Though only few of his designs destroyed, are changing preconceptions of architecture’s very role tragicomic cond obtaining any role beyond reconstruction in the aftermath of terror. human-technological one. were actually realised, [much like Woods] Piranesi considered in such matters.

8 aftermath of vio Piranesi’s of work features almost 700 Piranesi’s drawings The speed with which terror is spread and physical environments himself toastounding be first andarsenal foremost an architect.”

In short, inhabited within well asdrawings over prints.

“Though onlycreative fewLebbeus offantasy, his designs destroyed, are changing preconceptions of architecture’s For instance both Giovanni Battista Piranesi and Woods, ACT I: role TERROR ACT I:as -TERROR SPACE - 1000 SPACE polemical emphasise their author’s while The accustomed conventions of war-making range from thevery logistics What value do th were actually realised, [much like Woods] Piranesi considered in such matters. although centuries apart, practised this notion of constructing between arole rationality onrole theinone hand 8and a pre-Romantic behind the construction of the war-machine, deployment how changesto how inits depicting changes terror in depicting affectlying architecture’s terror affect architecture’s in conflict conflict himself to be first and foremost an architect.”

In short, Piranesi’s fantasies.

Through prolific production of imagery, they from enthusiasm deriveda from a notion of artistic freedom ondraw the other. and the reconstruction necessitated by its outcome. These involve polemical drawings emphasise their author’s creative fantasy, while The accustomed conventions of war-making range from the logistics the ruins of destruction.

Akin to Woods, he was a creator of worlds who “overcomes the processes humanity had been adhering to since time immemorial.

9one hand and a pre-Romantic lying between a rationality on the behind the construction of the war-machine, to its deployment border between dream and reality.”

Terrorism however, as an image of constructed fear attached to enthusiasm derived from a notion offar artistic freedom on thebeing other. and theinreconstruction by These involve Their speculative Theirrenderings speculative seem renderings fromseem beingfarbuildable. from Yetbuildable. Yet Terror, the more Terror, violent inatnecessitated the form moreofviolent form of warfare, destructive is becoming warfare, anyone, anywhere and anytime, isdestructive onlyits a outcome. recent phenomenon.

It is is becoming 5 Akin to Woods, he was a creator of worlds who “overcomes the processes humanity had been adhering to since time immemorial. their impact on their architectural impact on discourse architectural has been immense has been to role say immense to say unavoidable within unavoidable architectural within image-space. architectural Few image-space. aretechnologies. the architects Few are the architects Arendt, H.,of TheWoods Origins of Totalitarianism, (Harcourt, Newdiscourse York, The case bears a fascinating insight into1966) the changing perpetuated by the advancements in communication 9 6 border between dream and reality.”

Terrorism however, as an ofIt constructed fear attached to architecture the least. the least. who directly who deal directly with theimage deal topic. with is thehard topic. to It seeis architecture hard to see Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 199 7of architectural image-construction. All this, at a time when the act In other words, an image in Paris instigates urban warfare, with the tragic events of the Charlie Hebdo massacre, followe anyone, anywhere and at anytime, is only a recent phenomenon.

It is obtaining any obtaining role beyond any reconstruction role beyond reconstruction in the aftermath in of the terror. aftermath of terror. of destruction is overtaking that of construction in terror-images The perception of terror is further accelerated through technology London. Meanwhile, screens are saturated to the point of mass desensitisation with beheading after beheading by the so-called I The case of Woods bears a fascinating insight the changing role 700 perpetuated byThe the advancements in Piranesi’s astounding Piranesi’s astounding of work arsenal features ofinto work almost features 700undergone drawings almost The with which speed terror with iswhich spread terror andcommunication is physical spreadtechnologies. environments and physical and even the methods of architectural visualisation have as itsspeed images are hyper-realised oncommunication our devices. environments imagery has eradicated the realarsenal meaning behind the event.

Much like Jean Baudrillard questions the drawings very definition of warfare in of architectural image-construction.

All this, at a time when the act experiences question the definition of architectural space.

Meanwhile the entire preconception of ‘Western’ areas being hit is al as well as over 1000 prints.

“Though only few of designs as well as over 1000 prints.

“Though only few of his designs destroyed, are destroyed, changing preconceptions are changing preconceptions of architecture’s of architecture’s very role very role dramatic change. His projects are profoundly more telling in the his Hence, with such changes in the transmission and experience of Sydney bore witness to its own hostage crisis.

When asking someone outside the field of architecture their thoughts on the pro of destruction is overtaking that of construction in terror-images The perception of terror is further accelerated through technology were actually realised, [much like Woods] Piranesi considered in such matters. in such matters. were actually realised, [much like Woods] Piranesi considered contemporary architectural role on disaster, as opposed to Piranesi’s intervention and not the most destruction, architecture’s role as an instigator for positive change along the lines of ‘why would people who have just been bombed8 need any level of architectural 8 and eventothe architectural visualisation have undergone as its images areofhyper-realised devices. himself bemethods first andof foremost himself to be first an andarchitect.” foremost anInarchitect.” short, Piranesi’s In short, Piranesi’s in the aftermath disaster may on be our put communication into question. To put it 8depictions of ruins which are of a different nature.

Biermann, V., et al., Architetcural Theory: From the Renaissance toauthor’s thefantasy, Present,creative (Taschen, Köln, Germany, 2003), p.164 dramatic change.

His projects are profoundly more telling in the fantasy, Hence, with such changes in the transmission and experience of polemical drawings polemical emphasise drawings their emphasise author’s creative their while while The accustomed The conventions accustomed of conventions war-making of range war-making from the range logistics from the logistics differently, it is no longer as straight forward as ‘we are going to 9 Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, contemporary architectural role on as opposed to Piranesi’s destruction, architecture’s role as war-machine, an instigator for positive change lying lying a rationality between on a rationality thedisaster, one hand on the and one a pre-Romantic hand and a pre-Romantic England, 199 behind construction behind the war of construction the ofnow thelets war-machine, tore-build.’ its deployment to is its deployment How between do works, such as Woods’ evocative drawings, represent war; warthe is taking place; has ended; Why depictions ruins which of a They different nature. enthusiasm enthusiasm from aare derived notion from of artistic a notion freedom of artistic onattempting the freedom other. on the other. in may important beby put question.

Toinvolve put itThese involve and theaftermath reconstruction and of thedisaster reconstruction necessitated necessitated its into outcome. byThese its outcome. optimism inofderived the aftermath terror? could be naively thisthe take on architectural imagery to its habitation?

Akin Woods, Akin he to was Woods, a beyond creator he was of worlds atangible creator whoreality. of“overcomes worlds whothe “overcomes the differently,humanity it is no longer as straight astime ‘we immemorial. aresince going to immemorial. processes processes had humanity been adhering hadforward been to since adhering to time some to political statement any Architects 9 9 How do works, such as Woods’ evocative drawings, represent border between border dream between and reality.” dream and reality.” war; war is taking place; war has ended; now lets re-build.’

Why is Terrorism however, Terrorism as an however, image of as constructed an image of fear constructed attached fear to attached to often dismiss them as whimsical art pieces for lacking physical Image and speed have become the modus operandi of the waroptimism inInthe aftermath terror? They could be isn’t naively this takeanywhere on architectural imageryand important to itsisphenomenon. habitation? anyone, anyone, atrealisation anytime, is only at... anytime, a recent only5aItrecent It phenomenon. is It is feasibility. defence, the physical environment theattempting only place machine; “terror isand theanywhere of movement.” is where some political statement beyond any tangible reality.

Architects The case of Woods The case bears of a Woods fascinating bears insight a fascinating into the insight changing intorole the changing role perpetuated byperpetuated the advancements by the advancements in communication communication technologies. inhabited by architecture. The image can be considered as another. destruction beckons “an architecture of the newin[to] grow from atechnologies. often dismiss them as whimsical art lacking of architectural of image-construction. architectural image-construction.

Allpieces this, atfor a time All this, whenphysical atthe a time act when the act Image and speedground, have become the modus operandi of the warHow could such drawings be inhabited as images? new conceptual one having to do with the dramatic and 5 6 feasibility.

In defence, the physical environment isn’t the only place of destruction of is destruction overtaking is that overtaking of construction that of in construction terror-images in terror-images machine; “terror is the realisation of ... movement.”

It is where The perception The of perception terror is further of terror accelerated is further through accelerated technology through technology sometimes violent changes that mark the present era.” There is inhabited by architecture.

The image can be considered as another. and even the methods and even of the architectural methods of visualisation architectural have visualisation undergone have undergone destruction beckons “an architecture of the new [to] grow from a as its images are images are on our communication on such our communication devices. devices.

From the media’s projection of warfare to petty acts of staged a potent ironyas initshyper-realised exploring the hyper-realised ramifications of incredibly How such drawings be inhabited as images? dramatic change. dramatic His proliferation projects change. are Hisprofoundly aremore profoundly tellingand in more the new conceptual ground, one to do the experience dramatic and Hence, with projects. such Hence, changes with such in having thechanges in with the and transmission and of ofcould violence in film, the ofprojects the image of terror its telling in the imaginative Especially intransmission light of on-going upheavals in experience 67 contemporary contemporary architectural role architectural on disaster, role as on opposed disaster, to Piranesi’s as opposed There is sometimes violent changes that mark the present era.” destruction, architecture’s destruction, architecture’s role as an instigator role as for an positive instigator change for positive change spatial qualities are topics architects are increasingly confronted to Piranesi’s the Middle East and their backlash on ‘Western’ Capitals.

From the media’s projection warfare petty acts nature. of success staged ofall, ruins depictions which ofare ruins ofofaprotagonist which different areto nature. ofonly a different ain potent ironyininthe theoframifications ofbesuch incredibly the aftermath ofexploring disaster aftermathmay be disaster put into mayquestion. put into To put question. it To depictions put with.it After in Birdman the achieves violence in film, the proliferation of the image of terror and its imaginative Especially light of straight on-going upheavals in differently, is differently, no longer itdrawings asis straight no inlonger forward as as ‘we forward are going as ‘we to are going to in amplifying his fame by an on-stage, attempted suicide. The Imaginativeitprojects. architectural had been tools for speculating 7 spatial are topics architects increasingly How works, such as Woods’ represent How do works, suchevocative asareWoods’ drawings, represent the East and their backlash on ‘Western’ Capitals. war; war taking war; place; war is war taking hasplace; ended; war now haslets ended; re-build.’ now Why lets re-build.’ is Why is doqualities audience are unaware of any truth behind thedrawings, actevocative and confronted resort to a overMiddle the is ruinous fallout of destructive forces.

The contemporary with.

After all, in Birdman the protagonist only achieves success optimism in the aftermath terror?

They could be naively attempting optimism in the aftermath terror?

They could be naively attempting this take on architectural this take on imagery architectural important imagery to its important habitation? to its habitation? jubilant applause. Architecture is caught between such a confusing, nature of destruction is less of a natural causality and more of a in amplifying his fame by an on-stage, attempted suicide.

The some political statement beyond anyto tangible reality.

Architects some political statement beyond any tangible Imaginative architectural tragicomic condition when called radically respond to reality. the Architects human-technological one.drawings had been tools for speculating audience are unaware of anythem truth behind thefor and resort them dismiss aspolitical whimsical art pieces lacking physical often as whimsical art pieces fortolacking physical over theand ruinous fallout of destructive forces.

Themodus contemporary Image speed Image have andbecome speed have the modus become operandi the of the operandi war- of theoften war- dismiss aftermath of violent scenarios.

Can itact only seriously bea 5 5 jubilant applause.

Architecture is caught between such a confusing, feasibility.

In defence, the physical environment isn’t the only place feasibility.

In defence, the physical environment isn’t the only place nature of destruction is less of a natural causality and more of a It is where It is where machine; “terror machine; is the realisation “terror is the of realisation ... movement.” of ... movement.” inhabited within its speculative imagery and not in a physical form?

For instance both Giovanni Battista Piranesi and Lebbeus Woods, tragicomic condition when called to radically respond to the inhabited by architecture.

The image can be considered as another. inhabited by architecture.

The image can be considered as another. human-technological one. destruction beckons destruction “an architecture beckons “anof architecture thenotion new [to] of grow the new from[to] a grow from Whata value do these images possess for architecture, if any? although centuries apart, practised this of constructing aftermath violent political scenarios.

Can it onlyasseriously How drawings be inhabited images?

How could such drawingsasbe inhabited images? be new conceptual new ground, conceptual one having ground, to one do having with the to dramatic do with and the dramatic andcouldofsuch fantasies. Through a prolific production of imagery, they draw from 6 6 inhabited within its speculative imagery and not in a physical form?

For instance both Giovanni Battista Piranesi and Lebbeus Woods, There is There is sometimes violent sometimes changes violent that mark changes the that present mark era.” the present era.” the ruins of destruction.

What value doFrom theseprojection images possess for architecture, if any?

From the media’s of projection warfare to ofpetty acts of petty stagedacts of staged the media’s warfare to centuries apart, this notion aalthough potent irony a in potent exploring ironypractised the in exploring ramifications the ramifications of of suchconstructing incredibly of such incredibly violence in film, the proliferation the image of of the terror and of its terror and its violence in film, the of proliferation image fantasies. Through a prolific production ofofimagery, they from imaginative projects. imaginative Especially projects. in light Especially on-going in light upheavals ofdraw on-going in upheavals in 7 7 spatial qualities are topics architects are architects increasingly spatial qualities are topics are confronted increasingly confronted ruins of East destruction. the the and Middle their East backlash and their on ‘Western’ backlash Capitals. on ‘Western’ Capitals.

5 Middle Arendt, H., The Origins of Totalitarianism, (Harcourt, New York, 1966) with. After all,with. in Birdman achieves only success After all,the in protagonist Birdman theonly protagonist achieves success 6 Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.9 7 in amplifying his fame by an on-stage, attempted suicide.

The in amplifying his fame by an on-stage, attempted Imaginative Imaginative architectural hadwarfare, drawings been with tools had for been speculating tools speculating In other words,architectural an image in Parisdrawings instigates urban the tragic events of thefor Charlie Hebdo massacre, followed by the demonstrations that flooded cities across Europe, including suicide. The London.

Meanwhile, screens are saturated to the point of mass desensitisation with beheading after beheading by the so-called Islamic State.

The speed with which events are perceived 5 audience are unaware of truth behind the actbehind and resort to aand resort to a audience areany unaware of anysuch truth the through act over the overfallout the ruinous of destructive fallout offorces. destructive forces. The contemporary Arendt, H.,ruinous The Origins of Totalitarianism, (Harcourt, New York,The 1966)contemporary imagery has eradicated the real meaning behind the event. Much like Jean Baudrillard questions the very definition of warfare in the ‘The Gulf War did not Take place’, images from real-time disaster 6 jubilant applause.

Architecture is caught between such a confusing, jubilant applause.

Architecture is caught between such a confusing, nature of destruction nature of is destruction less of a natural is less causality of a natural and causality more of a and more of a Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.9 7experiences question the definition of architectural space. Meanwhile the entire preconception of ‘Western’ areas being hit is also being blurred. Japan found itself involved an ISIS hostage scenario.

In other words, an image in Paris instigates urban warfare, with the tragic events of the Charlie Hebdo massacre, followed by the demonstrations that flooded cities across Europe, including tragicomic condition when called to radically respond to the tragicomic condition when called to radically respond to the Sydney bore witness to its own hostage crisis.

When asking someone outside the field of architecture their thoughts on the profession’s role in the aftermath of conflict their response was typically human-technological human-technological one. one.

London. Meanwhile, screens are saturated to the point of mass desensitisation with beheading after beheading by the so-called Islamic State. The speed with which such events are perceived through

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construction of the war-machine, to its deployment nstruction necessitated by its outcome. These involve manity had been adhering to since time immemorial. owever, as an image of constructed fear attached to where and at anytime, is only a recent phenomenon. It is by the advancements in communication technologies.

on of terror is further accelerated through technology s are hyper-realised on our communication devices. such changes in the transmission and experience of architecture’s role as an instigator for positive change math of disaster may be put into question. To put it is no longer as straight forward as ‘we are going to aking place; war has ended; now lets re-build.’ Why is rchitectural imagery important to its habitation?

peed have become the modus operandi of the warrror is the realisation of ... movement.” 5 It is where eckons “an architecture of the new [to] grow from a ual ground, one having to do with the dramatic and iolent changes that mark the present era.” 6 There is ny in exploring the ramifications of such incredibly projects. Especially in light of on-going upheavals in ast and their backlash on ‘Western’ Capitals. 7

architectural drawings had been tools for speculating nous fallout of destructive forces. The contemporary struction is less of a natural causality and more of a ological one.

both Giovanni Battista Piranesi and Lebbeus Woods, nturies apart, practised this notion of constructing rough a prolific production of imagery, they draw from estruction.

lying between a rationality on the one hand and a pre-Romantic enthusiasm derived from a notion of artistic freedom on the other.

Akin to Woods, he was a creator of worlds who “overcomes the border between dream and reality.” 9 The case of Woods bears a fascinating insight into the changing role of architectural image-construction. All this, at a time when the act of destruction is overtaking that of construction in terror-images and even the methods of architectural visualisation have undergone dramatic change. His projects are profoundly more telling in the contemporary architectural role on disaster, as opposed to Piranesi’s depictions of ruins which are of a different nature.

How do works, such as Woods’ evocative drawings, represent optimism in the aftermath terror? They could be naively attempting some political statement beyond any tangible reality. Architects often dismiss them as whimsical art pieces for lacking physical feasibility. In defence, the physical environment isn’t the only place inhabited by architecture. The image can be considered as another.

How could such drawings be inhabited as images?

From the media’s projection of warfare to petty acts of staged violence in film, the proliferation of the image of terror and its spatial qualities are topics architects are increasingly confronted with. After all, in Birdman the protagonist only achieves success in amplifying his fame by an on-stage, attempted suicide. The audience are unaware of any truth behind the act and resort to a jubilant applause. Architecture is caught between such a confusing, tragicomic condition when called to radically respond to the aftermath of violent political scenarios. Can it only seriously be inhabited within its speculative imagery and not in a physical form?

What value do these images possess for architecture, if any?

Origins of Totalitarianism, (Harcourt, New York, 1966) rchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.9 an image in Paris instigates urban warfare, with the tragic events of the Charlie Hebdo massacre, followed by the demonstrations that flooded cities across Europe, including le, screens are saturated to the point of mass desensitisation with beheading after beheading by the so-called Islamic State. The speed with which such events are perceived through cated the real meaning behind the event. Much like Jean Baudrillard questions the very definition of warfare in the ‘The Gulf War did not Take place’, images from real-time disaster on the definition of architectural space. Meanwhile the entire preconception of ‘Western’ areas being hit is also being blurred. Japan found itself involved an ISIS hostage scenario. ess to its own hostage crisis. When asking someone outside the field of architecture their thoughts on the profession’s role in the aftermath of conflict their response was typically ‘why would people who have just been bombed need any level of architectural intervention and not the most basics to survive?’ - what Woods asked himself; ‘to stop the bleeding.’

al., Architetcural Theory: From the Renaissance to the Present, (Taschen, Köln, Germany, 2003), p.164 rchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.6

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boom! ... terror?

not if you don’t know its real

14

ACT II: THE IMAGE AS HABITABLE

spatial experience amidst an accelerated perceptio

“I don’t want to paint too cheerful a picture of the new architecture, the new culture to come… Invasions, I cannot deny, are sometimes painful, even brutal … What new and painful Renaissance awaits us?” 10

Whichever the ca Whether the cur singular point or representation is

For Woods the fear of impending disasters is anticipated within this

Hence, the mea obscuring the dis of figures like W being realised th assert that build value. More impo the image in suc surpasses any ne

ACT II: THE IMAGE AS HABITABLE SPACE single sentence at the very end of his introduction to Anarchitecture:

Architecture is a Political Act. The brutal, cataclysmic event that spatial experience amidst an accelerated perception of reality

will ‘tear the system down’ is expected but, nonetheless, skipped.

By a “rejection of existing social forms and proposal of new ones”11 he concentrates on the aftermath. Yet, what of the warfare before or as it unfolds? the imagecan of be terror is profoundly Whichever theThe case,role bothofassertions seentoday as interchangeable.

“I don’t want to paint too cheerful a picture of the new architecture, ACT II: THE IMAGE AS HABITABLE SPACE technological and inseparable from its speed of distribution.

Thisa Whether the current nature of imagery is collapsing space into the new culture to come… Invasions, I cannot deny, are sometimes argument is rampant throughout Virilio’s in which amidst of reality singularperception point or expanding it to anPaul infinite void, work, its architectural painful, even brutal … What new andspatial painfulexperience Renaissance awaitsan accelerated 10 the immediacy of conflict and the logistics of war are more often representation is drifting away from convention. us?” explored in pre-disaster scenarios as opposed to Woods.

For Woods the fear of impending disasters is anticipated within this Hence, the meaning of space has been distorted, irreversibly single the very end of his introduction Anarchitecture: Whichever the case, bothuninhabitable assertions seenunbuilt. as interchangeable.

“I don’tsentence want toat paint too cheerful a picture of theto new architecture, “Our reality has become inbe milliseconds, picoseconds, obscuring the distinction between thecan built and In the minds 12 Architecture is atoPolitical Act. The brutal, cataclysmic event that Whether the current nature of imagery is collapsing space into toa the new culture come… Invasions, I cannot deny, are sometimes femtoseconds, billionths of seconds.”

In other words technology of figures like Woods, architecture is no longer as tightly bound will ‘teareven the system expected but, nonetheless, singular point or expanding it to an infinite void, its architectural painful, brutal down’ … Whatis new and painful Renaissanceskipped. awaits has the acceleration beingallowed realisedfor through building as itofhadreality, been. compressing It is then safeand to 10 By a “rejection of existing social forms and proposal of new ones”11 representation is by drifting from convention. us?” shrinking speed. still want measure even more and assert thatspace buildability isaway not“we the decisive of aspeed project’s 13 he concentrates on the aftermath. Yet, what of the warfare before or instantaneous” retorts Woods Bertrand Richard,war-torn as he questions Virilio value. More importantly, addresses landscapes with For theThe fear role of impending disasters is anticipated within this as itWoods unfolds? of the image of terror today is profoundly Hence, the meaning of space has been distorted, irreversibly in The Administration of Fear (2012).

The acceleration of daily life the image in such a politically provocative manner that probably single sentence at the very end of his introduction to Anarchitecture: technological and inseparable from its speed of distribution. This obscuring the distinction the built andimages unbuilt.

In the minds by the spontaneity of information hasphysical made environments. surpasses any necessity tobetween act within reality.

Architecture a Political Act. ThePaul brutal, cataclysmic that argument is is rampant throughout Virilio’s work, event in which of figures likewarfare Woods, is architecture is no longer as tightly bound to Even where not experienced directly, its perception will ‘tear the system down’and is expected but,ofnonetheless, skipped. the immediacy of conflict the logistics war are more often being realised through building as it had been.

It is then safeand to through imagery has rendered fear as one of these environments.

The advancements in image production allow to record By a “rejection of existing social forms and proposal of new ones”11 explored in pre-disaster scenarios as opposed to Woods. assert that buildability is not the thedetail, decisive measure ofhand-drawn a could project’s Through a further exploration habitability of anany image be distribute events to incredible beyond he concentrates on the aftermath. Yet, what of the warfare before or value.

More importantly, addresses war-torn landscapesofwith proven possible. techniques could ever do.Woods The understanding of destruction the as it unfolds? role of the image of terror today ispicoseconds, profoundly “Our reality hasThe become uninhabitable in milliseconds, the in such ais politically probably builtimage environment regressingprovocative to a point manner of utter that indifference.

12 technological inseparable from its speed of words distribution.

This 15 In other technology femtoseconds,and billionths of seconds.” surpasses any necessity to act within physical reality.

Regarding environment prefers the term habitat, Uncertaintythe reigns in the ageofoffear, the Virilio information bomb. argument is rampant Virilio’scompressing work, in which has allowed for the throughout accelerationPaul of reality, and alluding to a place of our habits. The notion of a habit may also the immediacy thestill logistics warmore are more shrinking spaceofbyconflict speed. and “we want of even speedoften and Thecorrelated advancements in image production allow record and be with patterns of activity repetition, The viewer has become immunised toand shock and to thehence role oftime. the 13 explored in pre-disaster opposedastoheWoods. instantaneous” retortsscenarios Bertrandas Richard, questions Virilio distribute events to incredible detail, beyond any hand-drawn In essence, where being-in-the-world is defined by speed and the designer is not as much to provoke with imagery, as Woods does, in The Administration of Fear (2012). The acceleration of daily life techniques could ever do.

The understanding ofhis destruction of the place habits is an thusly compressed, question isdigital not therender, end of but toofsimulate appeasing reality“the through 14 “Our has become uninhabitable milliseconds, picoseconds, by thereality spontaneity of information has in made images environments. built environment is regressing to a point of utter indifference. history but the end of geography.” more real than reality itself. It is irrelevant, though, to enter the 12 15 femtoseconds, billionths In other words Even where warfare is of notseconds.” experienced directly, its technology perception Uncertaintyofreigns in the age hand-drawn. of the information maelstrom digital versus Let it bomb. be said that both, has allowed for has therendered acceleration of one reality, compressing and through imagery fear as of these environments.

The overall experience of habitation is notobsessively exclusive applying to space but as tools, should not be fetishised.

Neither the shrinking space by speed. “we still want even more speed and Through a further exploration the habitability of an image could be The viewer has become immunised to shock and the role ofway the can be expanded to time; it can be as much a physical act as it can be digital due to an absolute belief in technology being ‘the only 13 instantaneous” proven possible. retorts Bertrand Richard, as he questions Virilio is not as much to provoke with imagery, as Woods does, adesigner mental one.

Therefore, within the image of terror an environment forward’, nor clinging onto the hand-drawn with romantic nostalgia.

The advanceme distribute event techniques could built environme Uncertainty reig

The viewer has designer is not a but to simulate more real than r maelstrom of di as tools, should digital due to an forward’, nor clin They are both eq representations o

The commercial image productio value of drawin Evidently, what and the speed w is influencing the Perhaps looking

ACT II: THE IMAGE AS HABITABLE SPACE spatial experience amidst an accelerated perception of reality

“I don’t want to paint too cheerful a picture of the new architecture, the new culture to come… Invasions, I cannot deny, are sometimes painful, even brutal … What new and painful Renaissance awaits us?” 10

Whichever the case, both assertions can be seen as interchangeable.

Whether the current nature of imagery is collapsing space into a singular point or expanding it to an infinite void, its architectural representation is drifting away from convention.

For Woods the fear of impending disasters is anticipated within this single sentence at the very end of his introduction to Anarchitecture: Architecture is a Political Act. The brutal, cataclysmic event that will ‘tear the system down’ is expected but, nonetheless, skipped.

By a “rejection of existing social forms and proposal of new ones”11 he concentrates on the aftermath. Yet, what of the warfare before or as it unfolds? The role of the image of terror today is profoundly technological and inseparable from its speed of distribution. This argument is rampant throughout Paul Virilio’s work, in which the immediacy of conflict and the logistics of war are more often explored in pre-disaster scenarios as opposed to Woods.

Hence, the meaning of space has been distorted, irreversibly obscuring the distinction between the built and unbuilt. In the minds of figures like Woods, architecture is no longer as tightly bound to being realised through building as it had been. It is then safe to assert that buildability is not the decisive measure of a project’s value. More importantly, Woods addresses war-torn landscapes with the image in such a politically provocative manner that probably surpasses any necessity to act within physical reality.

The advancements in image production allow to record and distribute events to incredible detail, beyond any hand-drawn techniques could ever do. The understanding of destruction of the built environment is regressing to a point of utter indifference.

Uncertainty reigns in the age of the information bomb. 15

“Our reality has become uninhabitable in milliseconds, picoseconds, femtoseconds, billionths of seconds.” 12 In other words technology has allowed for the acceleration of reality, compressing and shrinking space by speed. “we still want even more speed and The viewer has become immunised to shock and the role of the instantaneous” 13 retorts Bertrand Richard, as he questions Virilio designer is not as much to provoke with imagery, as Woods does, II: THEofIMAGE in The Administration of Fear (2012). ACT The acceleration daily life AS HABITABLE but to simulate anSPACE appeasing reality through his digital render, by the spontaneity of information hasspatial made images environments. experience amidst an accelerated perception of reality more real than reality itself. It is irrelevant, though, to enter the Even where warfaretoois cheerful not experienced a picture directly, its perception maelstrom of digital versus hand-drawn. Let it be said that both, through imagery has rendered fear as one of these environments. as tools, should not be fetishised. Neither obsessively applying the Through a further exploration the habitability of an image could be digital due to an absolute belief in technology being ‘the only way sometimes painful, even brutal proven Whichevernor theclinging case, both can be seen interchangeable.

“I don’t possible. want to paint too cheerful a picture of the new architecture, forward’, ontoassertions the hand-drawn with as romantic nostalgia.

Whether the current of imagery is collapsing into a the new culture to come… Invasions, I cannot deny, are sometimes They are both equal innature their capacity for positive as wellspace as negative Regarding the environment of new fear,and Virilio prefers the term habitat, singular point or expanding it to an infinite void, its architectural painful, even brutal … What painful Renaissance awaits representations of architecture.

10 to a place of our habits. The notion of a habit may also alluding representation is drifting away from convention. us?” be correlated with patterns of activity and repetition, hence time.

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In the minds value of drawing and its political power within the discourse.

Architecture a Political Act. The14 brutal, cataclysmic event that history but theisend of geography.” of figures like is no as tightly to Evidently, whatWoods, is key,architecture is rather how thelonger changing role ofbound images will ‘tear the system down’ is expected but, nonetheless, skipped. being realised through building as it had been.

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TheSPACE role ofwithin the image of terror todayanisenvironment profoundly aasmental one. Therefore, the image of terror the image in such a politically provocative manner that probably Perhaps looking at Woods’ oeuvre, will provide an insight into how technological inseparable from its Where speed of distribution. is created thatand is arguably Virilio speaks This of a surpasses any necessity to act within physical reality. rience amidst an accelerated perception of realityhabitable. architects can deal with too-much-too-fast information. How to argument is rampant work, in which compression of space throughout Woods seesPaul it asVirilio’s an over-abundance, “an handle being overfed with yet another pretty render, another ruined 15 are more often the immediacy of conflict andatom the to logistics of war infinitude of space - from the cosmos.”

The advancements in image productionthe allow record and landscape: leave the former to architecture lattertoto the news? explored in pre-disaster scenarios as opposed to Woods. distribute events to incredible detail, beyond any hand-drawn Whichever the case, both assertions can be seen as interchangeable. new architecture, techniques could ever do. The understanding of destruction of the “Our reality has become uninhabitable in milliseconds, picoseconds, 10 Whether the current nature of imagery is collapsing space into a y, are sometimes built environment is regressing to a point of utter indifference.

Woods, L., One, Five, Four, (Princeton Architectural 12 Press, New York, 1989), p.10 11 femtoseconds, billionths of seconds.”

InAct,other technology singular point or expanding it to infinite void,words its architectural naissance awaits Uncertainty reigns the age of the information bomb. 15 Woods, L., Anarchitecture: Architecture is aan Political Architectural Monographs, No. 22, (Academy Press, England, 1992),inp.9 12 has allowed for the acceleration of Cambridge, reality, Massachusetts, compressing and Virilio, P., The Administration ofaway Fear, (MIT 2012), p. 35 representation is drifting fromPress, convention.

13 Ibid., p. 43 space by speed. “we still want even more speed and shrinking The viewer has become immunised to shock and the role of the 14 13 Ibid., p. 32 pated within this instantaneous” retorts Bertrand Richard, as he questions Virilio 15 Hence, the meaning of space has been distorted, irreversibly designer is not as much to provoke with imagery, as Woods does, Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 16 o Anarchitecture: in Virilio The Administration of between Fear (2012).

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16

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pated within this Hence, the meaning of space has been distorted, irreversibly o Anarchitecture: obscuring the distinction between the built and unbuilt. In the minds ysmic event that of figures like Woods, architecture is no longer as tightly bound to theless, skipped. being realised through building as it had been. It is then safe to al of new ones”11 assert that buildability is not the decisive measure of a project’s warfare before or value. More importantly, Woods addresses war-torn landscapes with ay is profoundly the image in such a politically provocative manner that probably distribution. This surpasses any necessity to act within physical reality. work, in which THE IMAGE AS HABITABLE SPACE r are more often The advancements in image production allow to record and rience amidst an accelerated perception of reality oods. distribute events to incredible detail, beyond any hand-drawn techniques could ever do. The understanding of destruction of the nds, picoseconds, built environment is regressing to a point of utter indifference.

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York, 1997)also a New habit may rmation bomb. He finds that the atomic age, characterised by the looming fear of the actual atomic bomb, is succeeded by ion, hence time.

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sometimes painful, even brutal

18

The advancements in image production allow to record and spatial experience perception of incredible reality explored in pre-disaster scenarios as opposed to Woods. amidst an accelerated distribute events to detail, beyond any hand-drawn techniques could ever do. The understanding of destruction of the “Our reality has become uninhabitable in milliseconds, picoseconds, built environment is regressing to a point of utter indifference. femtoseconds, billionths of seconds.” 12 In other words technology Uncertainty reigns in the age of the information bomb. 15 Whichever the case, both assertions can be seen as interchangeable.

“I want tofor paint cheerful a picture of thecompressing new architecture, hasdon’t allowed thetoo acceleration of reality, and Whether the current nature of imagery is collapsing space into a the new culture to come…

Invasions, I cannot deny, are sometimes shrinking space by speed. “we still want even more speed and The viewer has become immunised to shock and the role of the 13 singular point or expanding it to an infinite void, its architectural painful, even brutal …

What new and painful Renaissance awaits instantaneous” retorts Bertrand Richard, as he questions Virilio designer is not as much to provoke with imagery, as Woods does, 10 representation is drifting away from convention. us?” in The Administration of Fear (2012). The acceleration of daily life but to simulate an appeasing reality through his digital render, by the spontaneity of information has made images environments. more real than reality itself. It is irrelevant, though, to enter the For Woods the fear of impending disasters is anticipated within this Hence, the meaning of space has been distorted, irreversibly Even where warfare is not experienced directly, its perception maelstrom of digital versus hand-drawn. Let it be said that both, single sentence at the very end of his introduction to Anarchitecture: obscuring the distinction between the built and unbuilt. In the minds through imagery has rendered fear as one of these environments. as tools, should not be fetishised. Neither obsessively applying the Architecture is a Political Act. The brutal, cataclysmic event that of figures like Woods, architecture is no longer as tightly bound to Through a further exploration the habitability of an image could be digital due to an absolute belief in technology being ‘the only way will ‘tear the system down’ is expected but, nonetheless, skipped. being realised through building as it had been. It is then safe to proven possible. forward’, nor clinging onto the hand-drawn with romantic nostalgia.

By a “rejection of existing social forms and proposal of new ones”11 assert that buildability is not the decisive measure of a project’s They are both equal in their capacity for positive as well as negative he concentrates on the aftermath. Yet, what of the warfare before or value. More importantly, Woods addresses war-torn landscapes with Regarding the environment of fear, Virilio prefers the term habitat, representations of architecture. as it unfolds? The role of the image of terror today is profoundly the image in such a politically provocative manner that probably alluding to a place of our habits. The notion of a habit may also technological and inseparable from its speed of distribution. This surpasses any necessity to act within physical reality. be correlated with patterns of activity and repetition, hence time.

The commercialisation of architecture and institutionalisation of argument is rampant throughout Paul Virilio’s work, in which In essence, where being-in-the-world is defined by speed and the image production are probable instigators of a deterioration in the the immediacy of conflict and the logistics of war are more often The advancements in image production allow to record and place of habits is thusly compressed, “the question is not the end of value of drawing and its political power within the discourse.17 explored in pre-disaster scenarios as 14 opposed to Woods. distribute events to incredible detail, beyond any hand-drawn history but the end of geography.”

Evidently, what is key, is rather how the changing role of images techniques could ever do. The understanding of destruction of the and the speed with which they communicate physical destruction, “Our reality has become uninhabitable in milliseconds, picoseconds, built environment is regressing to a point of utter indifference.

The overall experience of habitation is is influencing the value of unbuilt architectures.

12 not exclusive to space but femtoseconds, billionths of seconds.” In other words technology Uncertainty reigns in the age of the information bomb. 15 can be expanded to time; it can be as much a physical act as it can be has allowed for the acceleration of reality, compressing and a mental one. Therefore, within the image of terror an environment Perhaps looking at Woods’ oeuvre, will provide an insight into how shrinking space by speed. “we still want even more speed and The viewer has become immunised to shock and the role of the is created that 13 is arguably habitable. Where Virilio speaks of a architects can deal with too-much-too-fast information. How to instantaneous” retorts Bertrand Richard, as he questions Virilio designer is not as much to provoke with imagery, as Woods does, compression of space Woods sees it as an over-abundance, “an handle being overfed with yet another pretty render, another ruined in The Administration of Fear (2012). The acceleration of daily life but to simulate an appeasing reality through his digital render, infinitude of space - from the atom to cosmos.” 15 landscape: leave the former to architecture the latter to the news? by the spontaneity of information has made images environments. more real than reality itself. It is irrelevant, though, to enter the Even where warfare is not experienced directly, its perception maelstrom of digital versus hand-drawn. Let it be said that both, through imagery has rendered fear as one of these environments. as tools, should not be fetishised. Neither obsessively applying the 10 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.10 Through a further exploration the habitability of an image could be 11 digital due to an absolute belief in technology being ‘the only way Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.9 proven possible.

12 forward’, nor clinging onto the hand-drawn with romantic nostalgia.

Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p. 35 13 Ibid., p. 43 They are both equal in their capacity for positive as well as negative 14 Regarding Ibid., p. 32 the environment of fear, Virilio prefers the term habitat, representations of architecture.

15 Woods, L., Reconstruction, (Princeton Architectural York, 1997)also alluding toRadical a place of our habits.

The notion Press, of a New habit may 16 Virilio refers to humanity’s current condition as the age of the information bomb. He finds that the atomic age, characterised by the looming fear of the actual atomic bomb, is succeeded by bethecorrelated with patterns of activity and repetition, hence age of the information bomb, whereby the acceleration of reality occurs via thetime. technological communication of information. He further asserts that humanity move into an age of theof The commercialisation of architecture and will institutionalisation environment bomb, where eugenics and alterations to biology will dominate.

In essence, where being-in-the-world is defined by speed and the image production are probable instigators of a deterioration in the 17 During the event titled ‘How Architecture Is Political’ at the Architectural Association [6/12/2014], Pier Vittorio Aureli stated that the institutionalisation of design is seen as the replacement 17 painful, even brutal sometimes place of habits is thusly compressed, “the question is not the end of value Such of drawing and although its political power within thebuilding discourse. of politics, since the architectural profession 14 has been adopting ever more rigid hegemonic power structures. power structures, varying according to firm, make possible. history butthe thetrueend of geography.”

Aureli sees critical potential of architecture lying in the dialectic between consensus versus conflict.

Hence, what is architecture morehow politically critical withinrole image-space rather Evidently, is key,potentially is rather the changing of images than built form since it escapes the rigid structures of ‘architecture the institution’? and the speed with which they communicate physical destruction, The overall experience of habitation is not exclusive to space but is influencing the value of unbuilt architectures. can be expanded to time; it can be as much a physical act as it can be a mental one. Therefore, within the image of terror an environment Perhaps looking at Woods’ oeuvre, will provide an insight into how is created that is arguably habitable. Where Virilio speaks of a architects can deal with too-much-too-fast information. How to compression of space Woods sees it as an over-abundance, “an handle being overfed with yet another pretty render, another ruined infinitude of space - from the atom to cosmos.” 15 landscape: leave the former to architecture the latter to the news?

TERROR

IMAGES

10 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.10 11 Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.9 12 Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p. 35 13 Ibid., p. 43 14 Ibid., p. 32 15 Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 16 Virilio refers to humanity’s current condition as the age of the information bomb. He finds that the atomic age, characterised by the looming fear of the actual atomic bomb, is succeeded by the age of the information bomb, whereby the acceleration of reality occurs via the technological communication of information. He further asserts that humanity will move into an age of the environment bomb, where eugenics and alterations to biology will dominate.

17 During the event titled ‘How Architecture Is Political’ at the Architectural Association [6/12/2014], Pier Vittorio Aureli stated that the institutionalisation of design is seen as the replacement of politics, since the architectural profession has been adopting ever more rigid hegemonic power structures. Such power structures, although varying according to firm, make building possible.

Aureli sees the true critical potential of architecture lying in the dialectic between consensus versus conflict. Hence, is architecture potentially more politically critical within image-space rather than built form since it escapes the rigid structures of ‘architecture the institution’?

19

ACT III: POST-TERROR DRAWING drawing as provocation against the hyper-real image of terror

“I am compelled more and more to live and work in the precise, often painful, dimensions of the present.” 18 “It would be nice to think that, despite the stress and trauma of demolition, some understanding comes of it.” 19

Are then these scale-less, almost place-less worlds architecture?

Many would beg to differ. What seems to be abstraction for the most part, ought to be read more critically as the source of creative power and political provocation.

Woods speaks of his work as a political act. He dismisses those who hold onto a belief that architecture is somehow nobler and above politics. Idealism is something he further claims to avoid. Working within present trauma and reacting to existing urban scenarios, his drawings re-invent the world in the light of new social orders, forms and architectures. As Joseph Becker reflects on the work, he reveals an optimism in line with Woods’ speculations over demolition; that some understanding may indeed come of such events. The crux of the work is precisely a positive outlook amidst the aftermath of terror, constructed through the medium of the drawing.

Take Woods’ controversial drawings of Sarajevo as an exemplar case. With a daring attempt, Woods drew architectures that “turned the incredible forces of politics, nature and human creativity into architecturally benevolent opportunities.” 22 All the material published in the 15th Issue of Pamphlet Architecture is devoid of people. What Woods defines as Scabs and Scars, become ghostly, fluid forms, parasitically intertwined with the existential remnants of a broken capital. His compelling forms, lying within the alternate reality of image-space, are more powerful and engaging than many of the raw, literal representations of the terror during the Serbian/ Bosnian war.

One could further see the work as “murderously visionary images, real, frightening, and at the same time liberating.” 20 Worlds devoid of fear. As visually engaging and evocative Woods’ drawings may be, how do they measure against the reality of the traumas they propose to revolutionise?

His is an architecture that grows amongst the devastating ruins of war. Forms are often elusive, while their material composition seems haphazard. Line, shade, tone and colour are playfully deployed to obtain both clarity and the evocation of atmosphere.

There always remains a degree of ambiguity, only subtly interrupted

The intentional absence of information becomes the author’s singular language and power over the ruins he charts. Just as much as these images are arguably habitable despite being unbuilt, they are also provocative in their speculative nature. The majority of his creations come to highlight his flaming conviction that drawings can tell of architecture that which neither words, nor buildings or even photographs of conflict, can.

The overarching aim is not to blatantly shock, but to collectively remember the past war, while simultaneously tearing through

painful, dimensions of the present.

the stress and trauma of demolition

21

LEBBEUSWOODS.NET/PROJECTS

ACT III: POST-TERROR DRAWING

drawing as provocation against the hyper-real image of terror

TS LEBBEUSWOODS.NET/PROJECTS

“I am compelled more and more to live and work in the precise, often painful, dimensions of the present.” 18 “It would be nice to think that, despite the stress and trauma of demolition, some understanding comes of it.” 19

Are then these scale-less, almost place-less worlds architecture?

Many would beg to differ. What seems to be abstraction for the most part, ought to be read more critically as the source of creative power and political provocation.

Woods speaks of his work as a political act. He dismisses those who hold onto a belief that architecture is somehow nobler and above politics. Idealism is something he further claims to avoid. Working within present trauma and reacting to existing urban scenarios, his drawings re-invent the world in the light of new social orders, forms and architectures. As Joseph Becker reflects on the work, he reveals an optimism in line with Woods’ speculations over demolition; that some understanding may indeed come of such events. The crux of the work is precisely a positive outlook amidst the aftermath of terror, constructed through the medium of the drawing.

Take Woods’ controversial drawings of Sarajevo as an exemplar case. With a daring attempt, Woods drew architectures that “turned the incredible forces of politics, nature and human creativity into architecturally benevolent opportunities.” 22 All the material published in the 15th Issue of Pamphlet Architecture is devoid of people. What Woods defines as Scabs and Scars, become ghostly, fluid forms, parasitically intertwined with the existential remnants of a broken capital. His compelling forms, lying within the alternate reality of image-space, are more powerful and engaging than many of the raw, literal representations of the terror during the Serbian/ Bosnian war.

One could further see the work as “murderously visionary images, real, frightening, and at the same time liberating.” 20 Worlds devoid of fear. As visually engaging and evocative Woods’ drawings may be, how do they measure against the reality of the traumas they propose to revolutionise?

His is an architecture that grows amongst the devastating ruins of war. Forms are often elusive, while their material composition seems haphazard. Line, shade, tone and colour are playfully deployed to obtain both clarity and the evocation of atmosphere.

There always remains a degree of ambiguity, only subtly interrupted by recognisable elements of scale (material thickness, existing city fragments and people). Violence and devastation loose their prominence within the landscape. Inventive proposals take over. Is too much of the real landscape lost with selective omission?

483

483

The over 450 of Woods’ works featured on his web page,21 range from the late 1980s up to his passing in 2012. As a sample, they comprise of his more recent adventures in drawing but are nonetheless interesting indicators of how he goes about constructing his images.

To elaborate, over two thirds of these images are drawings and sketches while the rest photographs of models or installations. Of these, a mere tenth are populated by shadowy figures and nearly just as much include fragments of buildings as further references to scale.

The intentional absence of information becomes the author’s singular language and power over the ruins he charts. Just as much as these images are arguably habitable despite being unbuilt, they are also provocative in their speculative nature. The majority of his creations come to highlight his flaming conviction that drawings can tell of architecture that which neither words, nor buildings or even photographs of conflict, can.

The overarching aim is not to blatantly shock, but to collectively remember the past war, while simultaneously tearing through it by suggesting positive, alternative architectural approaches.

“Architecture must learn to transform the violence, even as violence knows how to transform the architecture.” 23 By saying so, it is never a case of disaster being aestheticised but of a changing outlook over its consequences. The challenge is to look at the beautiful and constructive side of chaos.

Woods’ drawings are imbued with an allegorical nature which grants them power beyond built form. Nevertheless, they may still be questioned for their position amidst the wider topic of terror.

Particularly, the role of allegorical imagery within the context of accelerated reality and its impact on architectural information.

As projects they remain in the clear aftermath of terror. What of architectural space where warfare no longer unfolds in a such clear sequence; where the speed of destruction and its imagery have redefined the conventional habitation of space?

18 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.10 19 Justin Paton, December 4, 2013, The Fault Is Ours: Joseph Becker On Lebbeus Woods, [online] Available at: http://christchurchartgallery.org.nz/bulletin/174/the-fault-isours-joseph-becker-on-lebbeus-woods/ [Accessed March 15 2015] 20 Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p.

21 Lebbeus Woods, official website [online] Available at: http://lebbeuswoods.net [Accessed March 28 2015] 22 Neil Spiller, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/architecture-designblog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] 23 Woods, L., Architecture and War, (Pamphlet Architecture, Issue 15, Princeton Architectural Press, New York, 1993), p.24

242

S

ACT III: POST-TERROR DRAWING drawing as provocation against the hyper-real image of terror

“I am compelled more and more to live and work in the precise, often painful, dimensions of the present.” 18 “It would be nice to think that, despite the stress and trauma of demolition, some understanding comes of it.” 19

Are then these scale-less, almost place-less worlds architecture?

Many would beg to differ. What seems to be abstraction for the most part, ought to be read more critically as the source of creative power and political provocation.

Woods speaks of his work as a political act. He dismisses those who hold onto a belief that architecture is somehow nobler and above politics. Idealism is something he further claims to avoid. Working within present trauma and reacting to existing urban scenarios, his drawings re-invent the world in the light of new social orders, forms and architectures. As Joseph Becker reflects on the work, he reveals an optimism in line with Woods’ speculations over demolition; that some understanding may indeed come of such events. The crux of the work is precisely a positive outlook amidst the aftermath of terror, constructed through the medium of the drawing.

Take Woods’ controversial drawings of Sarajevo as an exemplar case. With a daring attempt, Woods drew architectures that “turned the incredible forces of politics, nature and human creativity into architecturally benevolent opportunities.” 22 All the material published in the 15th Issue of Pamphlet Architecture is devoid of people. What Woods defines as Scabs and Scars, become ghostly, fluid forms, parasitically intertwined with the existential remnants of a broken capital. His compelling forms, lying within the alternate reality of image-space, are more powerful and engaging than many of the raw, literal representations of the terror during the Serbian/ Bosnian war.

One could further see the work as “murderously visionary images, real, frightening, and at the same time liberating.” 20 Worlds devoid of fear. As visually engaging and evocative Woods’ drawings may be, how do they measure against the reality of the traumas they propose to revolutionise?

His is an architecture that grows amongst the devastating ruins of war. Forms are often elusive, while their material composition seems haphazard. Line, shade, tone and colour are playfully deployed to obtain both clarity and the evocation of atmosphere.

There always remains a degree of ambiguity, only subtly interrupted by recognisable elements of scale (material thickness, existing city fragments and people). Violence and devastation loose their prominence within the landscape. Inventive proposals take over. Is too much of the real landscape lost with selective omission?

The over 450 of Woods’ works featured on his web page,21 range from the late 1980s up to his passing in 2012. As a sample, they comprise of his more recent adventures in drawing but are nonetheless interesting indicators of how he goes about constructing his images.

To elaborate, over two thirds of these images are drawings and sketches while the rest photographs of models or installations. Of these, a mere tenth are populated by shadowy figures and nearly just as much include fragments of buildings as further references to scale.

The intentional absence of information becomes the author’s singular language and power over the ruins he charts. Just as much as these images are arguably habitable despite being unbuilt, they are also provocative in their speculative nature. The majority of his creations come to highlight his flaming conviction that drawings can tell of architecture that which neither words, nor buildings or even photographs of conflict, can.

The overarching aim is not to blatantly shock, but to collectively remember the past war, while simultaneously tearing through it by suggesting positive, alternative architectural approaches.

“Architecture must learn to transform the violence, even as violence knows how to transform the architecture.” 23 By saying so, it is never a case of disaster being aestheticised but of a changing outlook over its consequences. The challenge is to look at the beautiful and constructive side of chaos.

Woods’ drawings are imbued with an allegorical nature which grants them power beyond built form. Nevertheless, they may still be questioned for their position amidst the wider topic of terror.

Particularly, the role of allegorical imagery within the context of accelerated reality and its impact on architectural information.

As projects they remain in the clear aftermath of terror. What of architectural space where warfare no longer unfolds in a such clear sequence; where the speed of destruction and its imagery have redefined the conventional habitation of space?

18 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.10 19 Justin Paton, December 4, 2013, The Fault Is Ours: Joseph Becker On Lebbeus Woods, [online] Available at: http://christchurchartgallery.org.nz/bulletin/174/the-fault-isours-joseph-becker-on-lebbeus-woods/ [Accessed March 15 2015] 20 Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p.

21 Lebbeus Woods, official website [online] Available at: http://lebbeuswoods.net [Accessed March 28 2015] 22 Neil Spiller, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/architecture-designblog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] 23 Woods, L., Architecture and War, (Pamphlet Architecture, Issue 15, Princeton Architectural Press, New York, 1993), p.24

484

ACT IV: THE HYPER-REAL AND THE

precise imagery of absolute uncertainty

ACT IV:

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ACT IV: THE HYPER-REAL AND THE DRAWN

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ACT IV: THE HYPER-REAL AND THE DRAWN precise imagery of absolute uncertainty

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The quantity of information does not grant it any qualitative value.

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Walter Benjamin assesses this condition in his Kunstwerk essay, by explaining Marinetti’s futurist view and his ties to fascist imagery of He attempts to uphold a belief that his proposals are not static violence. His words are almost prophetic of a mounting “... artistic depictions of momentary space. “Any attempt to express in a form an gratification of a sense of perception altered by technology. This is idea external to it is an attempt to arrest the idea in time, to control evidently the consumption of l’art pour l’art. Humankind, which it beyond its life. I despise all such expressionism.” 28 Does this truly ACT IV: THE HYPER-REAL AND THE DRAWN once, in Homer, was an object of contemplation for the Olympian adhere to his drawings? It maybe so, for the power granted to the precise uncertainty gods, has now become one for itself. Its self-alienation hasimagery reached of absolute viewer’s gaze. the point where it can experience its own annihilation as a supreme aesthetic pleasure. Such is the aestheticising of politics.” 25 Architectural imagery of terror could attempt at encompassing the complexities of space, time and speed, via their relationship with Not only has aestheticised terror been surpassed, the proliferation their viewers. To elucidate, the purview of the image inheres within of the image of self-destruction pushes towards another extreme. its ethical and political ambivalence.29 The extent of the ambiguity 30 qualitative value.

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This ledtowards us … it, to ensues.“At let us haveand a sceptical intelligence shown.

24 become a dangerous and destructive force in the world.”

26 Despite an information-overflow and the availability of precise without renouncing the pathetic feeling of its absurdity.” imagery documenting what isisfaced is hyper-real absolute uncertainty.

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It has acquired far greater and uncertainty than an oddity.

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Theas ability are those which deliver architectural arguments with absolute as one may think. In any case, Woods’ post-terror drawings may just with Woods. to convey an argument is hindered by an over-abundance of the certainty. be able to assert themselves across this uncertainty of image-space information at hand. because of their allegorical nature.

Walter Benjamin assesses this condition in his Kunstwerk essay, by explaining Marinetti’s futurist view and his ties to fascist imagery of He attempts to uphold a belief that his proposals are not static violence. His words are almost prophetic of a mounting “... artistic depictions of momentary space. “Any attempt to express in a form an gratification of a sense of perception altered by technology. This is idea external to it is an attempt to arrest the idea in time, to control 24 evidently theDocumentary consumption ofCurtis, l’art2015 pour l’art. Humankind, which ‘Bitter Lake’,

by Adam it beyond its life. I despise all such expressionism.” 28 Does this truly 25 Benjamin, W., Gesammelte Schriften, Volof7(1), p.383-4, Selectedfor Writings, Vol.3, p.122 once, in Homer, was an object contemplation the Olympian adhere to his drawings? It maybe so, for the power granted to the 26 Baudrillard, J., The Gulf War one Did Not Place, Publications, Sydney, Australia, 2006) p.58 gods, has now become forTake itself.

Its(Power self-alienation has reached 27 viewer’s gaze.

Ibid., p. 40 theWoods, pointL.,where it can experience its own annihilation as a supreme 28 Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.11

ARCHITECTURE

AFTERMATH

486 485

29

25

HE

sense. Events come and go like waves of a fever leaving us confused and uncertain. Those in power tell stories to help us make sense of the complexity of reality. Those stories are increasingly unconvincing and hollow … This led us … to HYPER-REALbecome ANDa THE DRAWN dangerous and destructive force in the world.” 24

precise imagery of absolute uncertainty

ing makes any ever leaving us stories to help hose stories are s led us … to the world.” 24

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xample of such but generated d-a-half years of nflict. The ability bundance of the

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The quantity of information does not grant it any qualitative value.

It is rather a “...masquerade ofcondition information: branded faces essay, delivered Walter Benjamin assesses this in his Kunstwerk by explaining andthe hisimage ties tooffascist imagery of over to theMarinetti’s prostitutionfuturist of the view image, an unintelligible 27 words are almost prophetic of a mounting “... artistic violence. distress.”His gratification of a sense of perception altered by technology. This is evidently theinformation-overflow consumption of l’art and pourthe l’art.

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as one may think. In any case, Woods’ post-terror drawings may just Not onlytohas aestheticised theofproliferation be able assert themselvesterror acrossbeen this surpassed, uncertainty image-space of the image of self-destruction pushes towards another extreme. because of their allegorical nature.

Architects are left increasingly indifferent towards conflict scenarios, or tohave accepted their to respond, both He attempts uphold a belief thatincapacity his proposals are not static physically through drawing.

The production and spread of the depictions or of momentary space. “Any attempt to express in a form an hyper-realised ofattempt terror nullifies to time, it. Compliance idea external toimage it is an to arrestresponses the idea in to control ensues.“At us have a sceptical intelligence towards it, this truly it beyond itsleast life. Ilet despise all such expressionism. ” 28 Does 26 adhere to his drawings?

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The first Gulf War makes for a parodied example of such Architectural of terror could800 attempt at encompassing the an oddity. Itimagery officially lasted hours, but generated complexities of video space,footage. time and speed, via their relationship with 20 000 hours of Essentially three-and-a-half years of their viewers.

To elucidate, the purview of theofimage inheres within images were generated to record one month conflict.

The ability extent of the ambiguity its convey ethical and political ambivalence. to an argument is hindered 29 byThe an over-abundance of the “extinguishing appearances” 30 implies degrees of constructed atbyhand. information agency to the viewer, implicating his gaze and by extension his presence within the image. In short, what is omitted but strongly alluded to, is often significantly more powerful than being blatantly shown.

24

It is rather a “...masquerade of information: branded faces delivered over to the prostitution of the image, the image of an unintelligible distress.” 27 Despite an information-overflow and the availability of precise imagery documenting events, what is faced is absolute uncertainty.

Paradoxically, even though the passing of Lebbeus Woods had only been three years ago, already publications of his work have gone out of print while specific images are not as abundantly available online as one may think. In any case, Woods’ post-terror drawings may just be able to assert themselves across this uncertainty of image-space because of their allegorical nature.

He attempts to uphold a belief that his proposals are not static depictions of momentary space. “Any attempt to express in a form an idea external to it is an attempt to arrest the idea in time, to control it beyond its life. I despise all such expressionism.” 28 Does this truly adhere to his drawings? It maybe so, for the power granted to the viewer’s gaze.

Architectural imagery of terror could attempt at encompassing the complexities of space, time and speed, via their relationship with their viewers. To elucidate, the purview of the image inheres within its ethical and political ambivalence.29 The extent of the ambiguity constructed by “extinguishing appearances” 30 implies degrees of agency to the viewer, implicating his gaze and by extension his presence within the image. In short, what is omitted but strongly alluded to, is often significantly more powerful than being blatantly shown.

Evidently, what Woods’ work proves is that the hyper-real depictions of warfare and their speed of distribution may have degraded the notion of space, but remain too literal to be inhabited in the same engaging way as his drawings could. It seems that uncertain images are those which deliver architectural arguments with absolute certainty.

‘Bitter Lake’, Documentary by Adam Curtis, 2015 25 Benjamin, W., Gesammelte Schriften, Vol 7(1), p.383-4, Selected Writings, Vol.3, p.122 Evidently, what Woods’ work proves is that the hyper-real depictions 26 Baudrillard, J., The Gulf War Did Not Take Place, (Power Publications, Sydney, Australia, 2006) p.58 27 ofIbid., warfare p. 40 and their speed of distribution may have degraded the 28 notion but remain toois literal toAct, beArchitectural inhabitedMonographs, in the same Woods,of L., space, Anarchitecture: Architecture a Political No. 22, (Academy Press, England, 1992), p.11 29 Broomberg, A., Chanarin, B.,War Primer 2, (Mack, Vale Studio, 62 Wood Vale Road, London, 2011), p.131 engaging way as his drawings could. It seems that uncertain images 30 Ibid., p.130

are those which deliver architectural arguments with absolute certainty.

Writings, Vol.3, p.122 ions, Sydney, Australia, 2006) p.58

ctural Monographs, No. 22, (Academy Press, England, 1992), p.11 2 Wood Vale Road, London, 2011), p.131

D

DIGITAL RENDER

488 487

BUILT REALITY

EPILOGUE: ARCHITECTURE AND THE IMAGES OF TERROR

Can the current role of imagery change the way architectural projects are communicated?

“I have no need whatsoever to draw my designs. Good architecture, how something is to be built, can be written. One can write the Parthenon.” 31

Woods was never reluctant in pushing the boundaries. Critics would say that came at ease since his only built work came at the very end of his career. 34

Adolf Loos is not mistaken that architecture can be written. He is wrong for being absolute about it.

Nonetheless, his take on warfare was one of optimism and faith in architecture’s positive ability for human beings “...to experience the world they inhabit - and construct that experience, that reality, ...unrestrained by fear.” 35

The accelerated perception of reality has clearly put into question the role of inhabiting architectural space. To postulate the habitation of the imagery is to call upon “a twilight of the places”. 32 Terror, in its construction of environments of fear, has become a place within the image.

The constant bombardment with a plethora of hyper-real representations of conflict have made destruction a prominent phenomenon of every-day life. Live feeds of battlefronts are witnessed as one makes breakfast, beheadings appear within seconds of the event as one flips through daily news while sitting on the toilet, bus or at work. Yet less and less architects are prepared to respond to the spaces these images establish or indeed their affects on the spaces they are perceived in. It is obvious that there is no definite way to respond. Should the very question of whether architecture can or should respond be asked? Only perhaps in the aftermath.

It is within the fallout of terror where Lebbeus Woods finds an unique position within the discourse. His drawings prove a daring side to radical and imaginative architectural image construction.

In memory of Lebbeus Woods, architectural critic Douglas Murphy states that “unlike many of that generation who eventually made the career transition from avant-garde upstarts to global superstars, Lebbeus Woods never got rich by building rubbish.” 33

31 32 , 33

What literal images of terror evidently prove is that the overabundance of information does not enhance architecture’s qualitative or critical approach to such spaces. As with any advancement in mediums of production and representation, architects cannot shy away from critically exploiting and controlling their applications.

There will always be a fine line between the tragic or comic nature of creating and representing space. Architecture must attain its balance between them in the face of the outcome of terror.

Architects are constructors of worlds, whether built or unbuilt. Just as a building could draw a viewer to inhabit it through an image, the same is possible via a piece of text, as Loos claims, a physical space, a film and just about every other medium at an architect’s disposal.

It is up to the designer as author of reality to opt from the array of tools best suited for each project.

There may yet be ways for architecture to act within the terror image beyond Lebbeus Woods’ contribution to the discourse. His approach will remain a firm stepping stone into architecture’s uncharted potential to deal with the image of terror. “... Resist the idea that architecture is a building ... ... Resist the idea that architecture can save the world ...” ... Resist the idea that drawing by hand is passé ...” 35

Loos, A., 1924, Douglas Murphy, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/architecturedesign-blog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] Lebbeus Woods’ only built project in collaboration with Steven Holl, is called the Light Pavilion, in Raffles City complex, Chengdu. Interestingly, despite it having characteristics of Woods’ drawings and philosophy I would say it is arguably far from possessing the qualities of the drawings. Quite obviously so, but this may be a telling sign of why certain architecture do exist in images and perform their arguments with a lot more strength than physical presence.

34 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.11 35 Lebbeus Woods, September 15, 2003, By Way of Resistance, [online] Available at: http://www.lebbeuswoods.net/LW-ResistanceText.pdf [Accessed April 29 2015]

resist building resist saving the world

no need whatsoever to draw my designs good architecture, to be built, can be written

489 488

vehicle for struggle, competing recognition and constructing and Can the for current roleofofover change projects communicated? but toAfter simulate appeasing reality through his digital render, an optimism in line speculations demolition; that sense.

Events comewith andWoods’ go like waves aimagery fever leaving usthe way architectural It rather a all, “...masquerade of information: branded faces delivered ofisterror induced by theare main character’s dread not existing.

He with. inan Birdman the protagonist onlyof achieves success by theunderstanding spontaneity of information has made images environments. of a broken capital.

His compelling forms, lying within the alternate perfecting identity.

An image, in its broadest sense, encompasses more real than reality itself.

It is irrelevant, though, to enter the some may indeed come of such events.

The crux confused and uncertain.

Those in power tell stories to help is scared to death by the prospect of failure in reconstructing in amplifying his fameofby on-stage, attempted suicide. The over to the prostitution thean image, the image of an unintelligible Imaginative architectural drawings had been tools for speculating Even where not experienced directly, perception reality of himself. image-space, areany more powerful and than 27of unaware the representation of idea or,outlook as approximation or fake maelstrom digital versus hand-drawn.

Let itact be and saidresort that many both, of the work iswarfare precisely aof positive amidst theits aftermath of us make sense offallout theisancomplexity of an reality.

Those stories are image of “Promotion is the behind most thick-skinned parasite audience are of truth theengaging to ina over the ruinous destructive forces.

The contemporary distress.” through imagery has rendered fear as one of these environments.

4 of the raw, literal representations of the terror during the Serbian/ reproduction, it may further be dubbed aofsimulation. as should not be fetishised.

Neitherbetween obsessively the terror, through the the increasingly unconvincing and … drawing.

This and led more us …of toa ourtools, culture.” jubilant applause.

Architecture is caught such applying a confusing, nature constructed of destruction is less ofmedium a hollow natural causality 24 Through aa further exploration the habitability ofin an the image could be Bosnian war. digital due to an absolute belief in technology being ‘the only way become dangerous and destructive force world.” tragicomic condition when called to radically respond to the human-technological one.

Despite an information-overflow and the availability of precise proven possible. forward’, nor clinging onto the hand-drawn with romantic nostalgia.

One could further see the work as “murderously visionary images, aftermathdocumenting of violent political scenarios.

Can it only seriously be imagery events, what is faced is absolute uncertainty.

20 The intentional absence of information becomes the author’s They are both equal in their capacity for positive as well as negative real, frightening, and at the same time liberating.”

Worlds devoid inhabited within its speculative imagery and not in a physical form?

For instance both Giovanni Battista Piranesi and Lebbeus Woods, “I have no need whatsoever to draw mythe designs.

Goodexperience architecture, Woods was never reluctant in pushing the Critics would The acceleration of reality is re-defining sequential of Paradoxically, even though the passing of boundaries.

Lebbeus Woods had only Regarding the environment ofand fear,evocative Virilio prefers thedrawings term habitat, singular language and power over thefor ruins he charts.

Just as much representations of architecture. of fear.

As visually Woods’ may What value do these images possess architecture, if any? although centuries apart, practised notion of can constructing something is toengaging be built, cancomplexity bethis written.

One writethan the say that came at ease since his only built work came at the very terror.

It has acquired far greater and uncertainty 1how been three years ago, already publications of his work have goneend out alluding to athey place of our González habits. The notion of of the a habit may they also as these images ‘Birdman’, 2015, bymeasure Alejandro Iñárritu be, how of do against the reality traumas 31 34 are arguably habitable despite being unbuilt, they fantasies.

Through a prolific production ofThis, imagery, they draw from ” of his career. a2Parthenon. matter discernible cause-and-affect. vitally, changes the of print while specific images are not as abundantly available online J., The War Didof Notactivity Take Place, Publications, 2006) p.12provocative in their beBaudrillard, correlated withGulf patterns and(Power repetition, henceSydney, time.Australia, are also speculative nature.

The majority of his The commercialisation of architecture and institutionalisation of propose ruinsto ofrevolutionise? destruction.

3the meaning acting within the space(MIT of aPress, disaster’s aftermath, as seen P.,of The Administration of Fear, Cambridge, Massachusetts, as one may think.

In any case, Woods’ post-terror drawings may just InVirilio, essence, where being-in-the-world is defined by speed and the2012), p. 45 creations come to highlight his flaming conviction that drawings image production are probable instigators ofofa optimism deterioration the 4 Adolf Loos J., is The notGulf mistaken architecture canPublications, be written.Sydney, He is Australia, be Nonetheless, histhemselves take on warfare one andinfaith with Woods.

Baudrillard, Warcompressed, Didthat Not Take Place, (Power 2006) p.31 17 able to assert across this uncertainty of image-space place ofanhabits is thusly “the question is not the end of can tell ofdrawing architecture that which was neither words, nor buildings or value of and its political power within the discourse.

His is architecture that grows amongst the devastating ruins wrong for being absolute about it. 14 in architecture’s positive ability for human beings “...to experience because of their allegorical nature. history but the end of geography.” even photographs conflict, can.how the changing role of images Evidently, whatinhabit isofkey, rather war.H., Forms areassesses often elusive, while their material composition 5of the world they - isand construct that experience, that reality, Arendt, Benjamin The Origins of Totalitarianism, (Harcourt,in New 1966) Walter this condition hisYork, Kunstwerk essay, by 6 andPress, theEngland, speed 1992), with p.9 which seems haphazard.

Line, shade, tone and colour playfully 35 they communicate physical destruction, The accelerated perception of view reality has clearly put are into question Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy explaining Marinetti’s futurist and his ties to fascist imagery of ...unrestrained by fear. ” He attempts to a unbuilt belief that hisshock, proposals arecollectively notincluding static 7The overall experience of habitation is not exclusive to space but The overarching aim not to blatantly is influencing theuphold value of architectures.

In other an image both inarchitectural Parisclarity instigates urban warfare, with the of tragic events of the Charlie Hebdo massacre, followed by theisdemonstrations that flooded cities but acrosstoEurope, deployed to obtain and the evocation atmosphere. the role words, ofHis inhabiting space.

To postulate the habitation violence. words are almost prophetic of adesensitisation mounting “... artistic depictions of momentary space.

“Any attempt to express in a form an London.

Meanwhile, screens are saturated to the point of mass with beheading after beheading by the so-called Islamic State.

The speed with which such events are perceived through can be expanded to time; it can be as much a physical act as it can be remember the past war, while simultaneously tearing through 32interrupted There remains ameaning degree ambiguity, only subtly Terror, in of the always imagery is to real call upon “aoftwilight ofMuch the places”. gratification of a sense of perception altered by technology.

This is What literal images of terror evidently prove is that the overimagery has eradicated the behind the event. like Jean Baudrillard questions the very definition of warfare in the ‘The Gulf War did not Take place’, images from real-time disaster idea external to it is an attempt to arrest the idea in time, to control a mental one. Therefore, within the image of terror an environment it by suggesting positive, alternative architectural approaches.

Perhaps looking atbeing Woods’ oeuvre, willitself provide an insight into how by recognisable of scale (material thickness, existing experiences question the definition of architectural space.

Meanwhile the entire preconception of ‘Western’ areas being hit is also blurred.

Japan involved an28 ISIS hostage scenario. its construction ofelements environments of fear, has become a place within evidently the consumption of l’art pour l’art.

Humankind, which abundance oflife. information does notfound enhance architecture’s qualitative Does this truly it beyond its I despise all such expressionism. ” is created that is arguably habitable.

Where Virilio speaks of a “Architecture must learn to transform the violence, even as violence Sydney bore witness to its own hostage crisis.

When asking someone outsideloose the fieldtheir of architecture their thoughts oncan the profession’s roletoo-much-too-fast in the aftermath of conflictinformation. their response was typically architects deal with How to cityimage. fragments and Violence and devastation the once, in Homer, waspeople). anWoods object of contemplation for the Olympian or critical approach tosurvive?’ such spaces. with any advancement in 23 adhere to the his drawings?

Ityet maybe so,As for theBy power granted to the along the lines of ‘why would people who have justitbeen need any level of architectural intervention and not most basics towith -another what Woods asked himself; ‘toanother stop bleeding.’ compression of space sees asbombed anproposals over-abundance, “an saying so,the it is never knows how to transform the architecture.” handle being overfed pretty render, ruined prominence within the landscape.

Inventive take over.

Is gods, has now become onethe foratom itself.toIts self-alienation has reached 15 mediums of production and representation, architects cannot shy 8infinitude viewer’s ofetthe space - from cosmos.” alandscape: case ofgaze. disaster aestheticised but the of latter a changing outlook leave thebeing former to architecture to the news?

Biermann, V., al., bombardment Architetcural Theory: From the Renaissance toomission? theofPresent, (Taschen, Köln, Germany, 2003), p.164 too much of real landscape lost with selective The constant with a plethora the a supreme away from critically exploiting and controlling their applications.

9 point where it can experience its own annihilation as hyper-real Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.6 The challenge is to look at the beautiful and over its consequences.

25 representations of Such conflict have made destruction a prominent There will always be a fine line between the tragic comic naturethe of aesthetic pleasure. is the aestheticising of politics.”

Architectural imagery of terror could attempt at or encompassing 21 range The over 450 of Woods’ works featured on his web page, constructive side of chaos. phenomenon of every-day life.

Live feeds of battlefronts are creating and representing space. mustrelationship attain its balance 10 complexities of space, time andArchitecture speed, via their with Woods, One,1980s Five, Four, Architectural NewAs York, 1989), p.10 they from theL.,late up(Princeton to his passing inPress, 2012. awithin sample, witnessed as one makes breakfast, beheadings appear seconds between them in the face of the outcome of terror.

11 only has Not aestheticised terror been surpassed, the proliferation theirPress, viewers.

To elucidate, the purview the image inheres Woods, L.,ofAnarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy England, 1992), p.9 imbued comprise hisone more recent adventures in drawing but areon nonetheless Woods’ drawings are with29anofallegorical nature within which of as flips through daily news while sitting toilet, 12 the of theevent image of self-destruction pushes towards another the extreme.

Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p. 35 The extent of the ambiguity its ethical and political ambivalence. interesting indicators of how he goes about constructing his images. grants them power beyond built form.

Nevertheless, they may still 13 or at work. Yet less and less architects are prepared to respond bus Architects arebyconstructors of worlds, whether30built or unbuilt.

Just Ibid., p. 43 are left increasingly indifferent towards conflict Architects “extinguishing appearances” implies degrees of constructed 14 ToIbid., elaborate, over images two thirds of these imagestheir are drawings be questioned for their position amidst the wider topic of terror. to the spaces these establish or indeed affects on and the p.

32 as a building could draw a viewer to inhabit it through an image, the 15 scenarios, or have accepted their incapacity to respond, both agency to the viewer, implicating his gaze and by extension his Woods,they L.,while Radical Reconstruction, Architectural New 1997) Of sketches rest photographs of models or installations.

Particularly, the via rolea piece of allegorical withina physical the context of spaces are the perceived in.(Princeton It is obvious thatPress, there isYork, no definite sameage, is characterised possible offear text, asimagery Loosatomic claims, space, 16 Virilioarefers to humanity’s current condition the age of the information bomb.nearly He the finds that the atomic by the looming of the actual bomb, is succeeded by physically or through drawing.

Theas production and spread of presence within the image.

In short, what is omitted but strongly these, mere tenth are populated by shadowy figures and accelerated reality and its impact on architectural information. way Should the very the question ofofwhether architecture a film andofjust about He every other at an disposal. the to agerespond. of the information bomb, whereby acceleration reality occurs via the technological communication information. further assertsmedium that humanity will architect’s move into an age of the hyper-realised image of terror nullifies responses todominate. it. Compliance alluded to, isthey oftenremain significantly more powerful than being blatantly just as should muchbomb, include fragments of buildings asin further references As projects in the clear aftermath of terror. environment where eugenics and alterations to biology will can or respond be asked?

Only perhaps the aftermath.

It is up to the designer as author of reality to opt from theWhat array of of 17 ensues.“At least usArchitecture have a Issceptical During titledlet ‘How Political’ atintelligence the Architectural towards Association it, [6/12/2014], Pier Vittorio Aurelispace stated that the institutionalisation of designunfolds is seen as in the areplacement shown. to scale.the event architectural where warfare no longer such clear tools best suited for each project.

26 hegemonic power structures. Such power structures, although varying according to firm, make building possible. of politics, since the architectural profession has been adopting ever more rigid without renouncing the pathetic feeling its absurdity.” sequence; where the speed of destruction and its imagery have It is within fallout of terror whereof Lebbeus Woods finds an versus conflict.

Aureli sees thethe true critical potential of architecture lying in the dialectic between consensus Hence, is architecture potentially more politically critical within image-space rather Evidently, what work proves isof that hyper-real depictions redefined the habitation space? than built form sincewithin it escapes the discourse. rigid structuresHis of ‘architecture institution’? unique position the drawingstheprove a daring There may yetconventional beWoods’ ways for architecture to actthe within the terror image The tofirst GulfandWar makes for a parodied example of such of warfare and their speed of distribution have His degraded the side radical imaginative architectural image construction. beyond Lebbeus Woods’ contribution to the may discourse. approach an oddity. It officially lasted 800 hours, but generated notion of space, but remain too literal to be inhabited in the same 18 will remain a firm stepping stone into architecture’s uncharted Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.10 20 000 hoursDecember of video footage.

Essentially three-and-a-half years of engaging way as with his drawings could.

It seems that uncertain images 19 memory In Lebbeus Woods, architectural critic Douglas Murphy potential to deal the image of terror.

Justin Paton, of 4, 2013, The Fault Is Ours: Joseph Becker On Lebbeus Woods, [online] Available at: http://christchurchartgallery.org.nz/bulletin/174/the-fault-isimages were generated to record one month of conflict.

The ability are those which deliver architectural arguments with absolute states that “unlike many of that generation ours-joseph-becker-on-lebbeus-woods/ [Accessed March 15who 2015] eventually made to an argument hindered byupstarts an over-abundance of the certainty.

20 convey the career transition fromisavant-garde to global superstars, “... Resist the idea that architecture is a building ...

Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012), p.

33 21 information at hand.

Lebbeus Woodsofficial never got [online] rich byAvailable building rubbish.” ... Resist the idea that architecture can save the world ...”

Lebbeus Woods, website at: http://lebbeuswoods.net [Accessed March 28 2015] 22 Neil Spiller, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/architecture-design... Resist the idea that drawing by hand is passé ...” 35 23

blog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] Woods, L., Architecture and War, (Pamphlet Architecture, Issue 15, Princeton Architectural Press, New York, 1993), p.24

24 ‘Bitter Lake’, Documentary by Adam Curtis, 2015 25 Benjamin, W., Gesammelte Schriften, Vol 7(1), p.383-4, Selected Writings, Vol.3, p.122 26 Baudrillard, J., The Gulf War Did Not Take Place, (Power Publications, Sydney, Australia, 2006) p.58 27 Ibid., p. 40 28 Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992), p.11 29 Broomberg, A., Chanarin, B.,War Primer 2, (Mack, Vale Studio, 62 Wood Vale Road, London, 2011), p.131 30 Ibid., p.130 31 32 , 33

Loos, A., 1924, Douglas Murphy, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/architecturedesign-blog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] Lebbeus Woods’ only built project in collaboration with Steven Holl, is called the Light Pavilion, in Raffles City complex, Chengdu. Interestingly, despite it having characteristics of Woods’ drawings and philosophy I would say it is arguably far from possessing the qualities of the drawings. Quite obviously so, but this may be a telling sign of why certain architecture do exist in images and perform their arguments with a lot more strength than physical presence.

34 Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989), p.11 35 Lebbeus Woods, September 15, 2003, By Way of Resistance, [online] Available at: http://www.lebbeuswoods.net/LW-ResistanceText.pdf [Accessed April 29 2015]

BIBLIOGRAPHY Books, Articles & Other Publications: - Baudrillard, J., The Gulf War Did Not Take Place, (Power Publications, Sydney, Australia, 2006) - Virilio, P., The Administration of Fear, (MIT Press, Cambridge, Massachusetts, 2012)

5. Lamentation for Gaza and Rabbi Brant Rosen, September 9, 2014, [online], Available: http://www.kairosathand.com/2014/09/09/ lamentation-for-gaza-and-rabbibrant-rosen/ [Accessed March 15 2015] 6. Syrian Civil War, A young boy mourns over that fact that his life has crumbled

- Arendt, H., The Origins of Totalitarianism, (Harcourt, New York, 1966)

right in front of his eyes. [online], Available: https://kemelito.wordpress.com/blog/

- Biermann, V., et al., Architectural Theory: From the Renaissance to the Present,

page/2/ [Accessed March 15 2015]

(Taschen, Köln, Germany, 2003) - Woods, L., Anarchitecture: Architecture is a Political Act, Architectural Monographs, No. 22, (Academy Press, England, 1992)

7. Lebbeus Woods. Region M (7), 37. 1984. Pencil on paper, 358 × 308 mm. ©Estate of Lebbeus Woods [online], Available: http://thecharnelhouse.org/2014/09/#jpcarousel-22746 [Accessed March 15 2015]

- Woods, L., One, Five, Four, (Princeton Architectural Press, New York, 1989)

8. Still from the film ‘Birdman’, 2015, by Alejandro González Iñárritu

- Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997)

9. Syrian Civil War, A young boy mourns over that fact that his life has crumbled

- Woods, L., Archietcture and War, (Pamphlet Architecture, Issue 15, Princeton Architetcural Press, New York, 1993), p.24

right in front of his eyes. [online], Available: https://kemelito.wordpress.com/blog/ page/2/ [Accessed March 15 2015]

- Benjamin, W., Gesammelte Schriften, Vol 7(1), p.383-4, Selected Writings, Vol.3, p.122

10. Still from the film ‘Birdman’, 2015, by Alejandro González Iñárritu

- Broomberg, A., Chanarin, B.,War Primer 2, (Mack, Vale Studio, 62 Wood Vale Road,

11. Giovanni Battista Piranesi Veduta, Ancient Temple Wall, [online], Available:

London, 2011), p.131 - McLuhan, M., The Medium is The Message, (Gingko Press, 2001) ..............................................................................................................................................................

Online Articles & Other Web References: - Justin Paton, December 4, 2013, The Fault Is Ours: Joseph Becker On Lebbeus Woods, [online] Available at: http://christchurchartgallery.org.nz/bulletin/174/the-fault-is-oursjoseph-becker-on-lebbeus-woods/ [Accessed March 15 2015] - Lebbeus Woods, official website [online] Available at: http://lebbeuswoods.net [Accessed March 28 2015] - Neil Spiller, October 31, 2012, Lebbeus Woods, visionary architect of imaginary worlds, dies in New York, [online] Available at: http://www.theguardian.com/artanddesign/ architecture-design-blog/2012/oct/31/lebbeus-woods [Accessed March 13 2015] - Lebbeus Woods, September 15, 2003, By Way of Resistance, [online] Available at: http:// www.lebbeuswoods.net/LW-ResistanceText.pdf [Accessed April 29 2015] ..............................................................................................................................................................

Talks and Exhibits: - Organised by Nannette Jackowski and Ricardo de Ostos, ‘Lebbeus Woods: Projecting Realities’, November 4, 2014, Architectural Association, London - Tate Modern, ‘Conflict, Time, Photography’, 13 January - 13 February 2015 - Organised by the Architectural Exchanged, ‘How Architecture is Political’, December 24, 2014, Architectural Association, London ..............................................................................................................................................................

Film: - ‘Birdman’, 2015, by Alejandro González Iñárritu - ‘Bitter Lake’, Documentary by Adsm Curtis, 2015 ..............................................................................................................................................................

Images: 1. Still from the film ‘Birdman’, 2015, by Alejandro González Iñárritu 2. Giovanni Battista Piranesi Veduta, [online], Available: https://salvatoreronga. wordpress.com/category/centanni-disolitudine/page/5/[Accessed March 15 2015] 3. Lamentation for Gaza and Rabbi Brant Rosen, September 9, 2014, [online], Available: http://www.kairosathand.com/2014/09/09/ lamentation-for-gaza-and-rabbibrant-rosen/ [Accessed March 15 2015] 4. Syrian Civil War, A young boy mourns over that fact that his life has crumbled right in front of his eyes. [online], Available: https://kemelito.wordpress.com/blog/ page/2/ [Accessed March 15 2015]

http://galleryhip.com/ancient-temple-wall.html [Accessed March 18 2015] 12. Israel in the Eye of the Hurricane, [online], Available: http://mosaicmagazine.com/ essay/2014/01/israel-in-the-eye-of-the-hurricane/[Accessed March 18 2015] 13. Still from the film ‘Birdman’, 2015, by Alejandro González Iñárritu 14. Still from the film ‘Birdman’, 2015, by Alejandro González Iñárritu 15. Tumbuh Gigi! Berikan Makanan ini Agar Anak Nyaman [online], Available: http://makananmu.com/tumbuh-gigi-berikan-makanan-ini-agar-anak-nyaman/ [Accessed March 18 2015] 16. BREAKING: ISIS Beheads Second American Journalist Steven Sotloff [online], Available: http://mrconservative.com/2014/09/48774-breaking-video-shows-isisbeheading-second-american-journalist-steven-sotloff/ [Accessed March 18 2015] 17.Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 18. Bombardements de Sarajevo (1993), [online], Available: http://www.cvce.eu/obj/ bombardements_de_sarajevo_1993-fr-7a1b66fc-1719-44e2-bf21-d55a08c74ab2.html, [Accessed March 18 2015] 19. BREAKING: ISIS Beheads Second American Journalist Steven Sotloff [online], Available: http://mrconservative.com/2014/09/48774-breaking-video-shows-isisbeheading-second-american-journalist-steven-sotloff/ [Accessed March 18 2015] 20.Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 21. Colonial Williamsburg Offers To Save Iraqi Artifacts From Isis Destruction, [online], Available: http://makinghistorynow.com/2015/03/colonial-williamsburgoffers-to-save-iraqi-artifacts-from-isis-destruction/ [Accessed March 23 2015] 22 - 483. Lebbeus Woods, official website, [online] Available at: http://lebbeuswoods.net [Accessed March 28 2015] 484. Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 485. Woods, L., Radical Reconstruction, (Princeton Architectural Press, New York, 1997) 486. Lebbeus Woods 1940-2012, Sarajevo, [online], Available: http://thesuperslice. com/2012/10/30/lebbeus-woods-1940-2012/ [Accessed March 24 2015] 487. Najbolja zgrada (objekt) u Sarajevu?, [online], Available: http://forum.klix.ba/ najbolja-zgrada-objekt-u-sarajevu-t11301.html [Accessed March 24 2015] 488. Lebbeus Woods, San Francisco Project: Inhabiting the Quake, Quake City, 1995 ©Estate of Lebbeus Woods, [online] Available at: http://www.archdaily.com. tag/lebbeus-woods/ [Accessed April 29 2015]