Nadir Lahiji - Böcker

By linking building theory to the emancipatory project of critique advanced by radical thinkers in our time, this work investigates the key conceptual and historical elements that culminate in an emancipatory theory of building entitled: 'Toward a philosophy of shelter’. Taking Marx as its only resource, this work proceeds with the conviction that our era is contemporaneous to Marx’s historical era. This means ‘not judging the validity of Marx from the perspective of the historical situation’, but rather, ‘demonstrating the validity of a Marxian perspective for a singular historical situation’, as ours. This work will therefore translate this perspective into seeing the situation of architecture through the eyes of Marx.All those concerned with the predicament in our current condition in which architecture must play a major social role in upholding the universal value of what Alain Badiou calls 'generic humanity' will take an interest in this work. In particular, architects, critics, scholars, and students inside the field of architecture who would be seeking the application of this universal value to a new theory of building will be a welcoming audience for this work.

By linking building theory to the emancipatory project of critique advanced by radical thinkers in our time, this work investigates the key conceptual and historical elements that culminate in an emancipatory theory of building entitled: 'Toward a philosophy of shelter’. Taking Marx as its only resource, this work proceeds with the conviction that our era is contemporaneous to Marx’s historical era. This means ‘not judging the validity of Marx from the perspective of the historical situation’, but rather, ‘demonstrating the validity of a Marxian perspective for a singular historical situation’, as ours. This work will therefore translate this perspective into seeing the situation of architecture through the eyes of Marx.All those concerned with the predicament in our current condition in which architecture must play a major social role in upholding the universal value of what Alain Badiou calls 'generic humanity' will take an interest in this work. In particular, architects, critics, scholars, and students inside the field of architecture who would be seeking the application of this universal value to a new theory of building will be a welcoming audience for this work.

Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.

Philosophers on the art of cinema mainly remain silent about architecture. Discussing cinema as ‘mass art’, they tend to forget that architecture, before cinema, was the only existing ‘mass art’. In this work author Nadir Lahiji proposes that the philosophical understanding of the collective human sensorium in the apparatus of perception must once again find its true training ground in architecture. Building art puts the collective mass in the position of an ‘expert critic’ who identifies themselves with the technical apparatus of architecture. Only then can architecture regain its status as ‘mass art’ and, as the book contends, only then can it resume its function as the only ‘artform’ that is designed for the political pedagogy of masses, which originally belonged to it in the period of modernity before the invention of cinema.

Written by a team of renowned contributors and carefully edited to address the themes laid out by the editors in their introduction, the book includes theoretical issues concerning the questions of aesthetics and politics and addresses city and urban strategies within the general critique of the "post-political". By focusing on specific case studies from Warsaw, Barcelona, Dubai, Tokyo and many more the book consolidates the contributions of a diverse group of academics, architects and critics from Europe, the Middle East and America.This collection fills the gap in the existing literature on the relation between politics and aesthetics, and its implications for the theoretical discourse of architecture today. In summary, this book provides a response to the predominant de-politicization in academic discourse and is an attempt to re-claim the abandoned critical project in architecture.

Written by a team of renowned contributors and carefully edited to address the themes laid out by the editors in their introduction, the book includes theoretical issues concerning the questions of aesthetics and politics and addresses city and urban strategies within the general critique of the "post-political". By focusing on specific case studies from Warsaw, Barcelona, Dubai, Tokyo and many more the book consolidates the contributions of a diverse group of academics, architects and critics from Europe, the Middle East and America.This collection fills the gap in the existing literature on the relation between politics and aesthetics, and its implications for the theoretical discourse of architecture today. In summary, this book provides a response to the predominant de-politicization in academic discourse and is an attempt to re-claim the abandoned critical project in architecture.

Architecture, and its pedagogy in the academy, is dominated by the technology of image production that veils the ‘naked power’ behind its operation. It conforms to the principles of cultural logic of the society of the spectacle, consistent with neoliberal capitalism. The problem with this dominant pedagogy is that it violates the fundamental ethical imperative, putting architecture in direct contradiction with the ‘common good’. In addition, it has let architecture enter the brothel of pornographic capitalism which turns every object into an object of obscene gratification of the senses.In this book, Nadir Lahiji adopts Alain Badiou’s thesis from The Pornographic Age to demonstrate that contemporary architecture is in absolute complicity with the pornographic present. The traits that Badiou identifies in this age are manifestly visible in architectural surfaces which are subordinated to the same ‘regime of images’. Similarly to Badiou’s political indictments of the society which has given rise to the pornographic present, the book condemns the architecture that has lent its service to the same society with a license to consummate its transgression to better cater to the imperative of the ‘regime of images’.Transposing the conceptual categories in Badiou’s analysis to the critique of architecture’s pornographic turn in contemporary society, the book constructs a conceptual framework by which to demonstrate the specific manifestations of pornography in building. The book is aimed at architecture students at higher graduate and post-graduate levels.

Architecture, and its pedagogy in the academy, is dominated by the technology of image production that veils the ‘naked power’ behind its operation. It conforms to the principles of cultural logic of the society of the spectacle, consistent with neoliberal capitalism. The problem with this dominant pedagogy is that it violates the fundamental ethical imperative, putting architecture in direct contradiction with the ‘common good’. In addition, it has let architecture enter the brothel of pornographic capitalism which turns every object into an object of obscene gratification of the senses.In this book, Nadir Lahiji adopts Alain Badiou’s thesis from The Pornographic Age to demonstrate that contemporary architecture is in absolute complicity with the pornographic present. The traits that Badiou identifies in this age are manifestly visible in architectural surfaces which are subordinated to the same ‘regime of images’. Similarly to Badiou’s political indictments of the society which has given rise to the pornographic present, the book condemns the architecture that has lent its service to the same society with a license to consummate its transgression to better cater to the imperative of the ‘regime of images’.Transposing the conceptual categories in Badiou’s analysis to the critique of architecture’s pornographic turn in contemporary society, the book constructs a conceptual framework by which to demonstrate the specific manifestations of pornography in building. The book is aimed at architecture students at higher graduate and post-graduate levels.

In this book, Nadir Lahiji introduces Kōjin Karatani’s theoretical-philosophical project and demonstrates its affinity with Kant’s critical philosophy founded on ‘architectonic reason’. From the ancient Greeks we have inherited a definition of the word ‘philosophy’ as Sophia—wisdom. But in his book Architecture as Metaphor Kōjin Karatani introduces a different definition of philosophy. Here, Karatani critically defines philosophy not in association with Sophia but in relation to foundation as the Will to Architecture. In this novel definition resides the notion that in Western thought a crisis persistently reveals itself with every attempt to build a system of knowledge on solid ground. This book reveals the implications of this extraordinary exposition. This is the first book to uncover Kōjin Karatani’s highly significant ideas on architecture for both philosophical and architectural audiences.

In this book, Nadir Lahiji introduces Kōjin Karatani’s theoretical-philosophical project and demonstrates its affinity with Kant’s critical philosophy founded on ‘architectonic reason’. From the ancient Greeks we have inherited a definition of the word ‘philosophy’ as Sophia—wisdom. But in his book Architecture as Metaphor Kōjin Karatani introduces a different definition of philosophy. Here, Karatani critically defines philosophy not in association with Sophia but in relation to foundation as the Will to Architecture. In this novel definition resides the notion that in Western thought a crisis persistently reveals itself with every attempt to build a system of knowledge on solid ground. This book reveals the implications of this extraordinary exposition. This is the first book to uncover Kōjin Karatani’s highly significant ideas on architecture for both philosophical and architectural audiences.

In a time of mass-mediated modernity, the city becomes, almost by definition, a constitutively ‘mediated’ city. Today, more than ever before, the omnipresence of media in every sphere of culture is creating a new urban ontology, saturating, fracturing, and exacerbating the manifold experience of city life. The authors describe this condition as one of 'hyper-mediation' – a qualitatively new phase in the city’s historical evolution. The concept of phantasmagoria has pride of place in their study; using it as an all-embracing explanatory framework, they explore its meanings as a critical category to understand the culture, and the architecture, of the contemporary city.Andreotti and Lahiji argue that any account of architecture that does not include understanding the role and function of media and its impact on the city in the present ‘tele-technological-capitalist’ society is fundamentally flawed and incomplete. Their approach moves from Walter Benjamin, through the concepts of phantasmagoria and of media – as theorized also by Theodor Adorno, Siegfried Kracauer, and a new generation of contemporary critics – towards a new socio-critical and aesthetic analysis of the mediated space of the contemporary city.

In this manifesto, the author takes a leap of faith. It is a faith in Lost Causes. He asserts that today, architectonic reason has fallen into ruins. As soon as architecture leaves the limits set to it by architectonic reason, no other path is open to it but the path to aestheticism. This is the wrong path contemporary architecture has taken. In its reduction to a pure aesthetic object, architecture negatively affects the human sensorium. Capitalist consumer society creates desires by generating ‘surplus-enjoyment’ for capitalist profit and contemporary architecture has become an instrument in generating this ‘surplus-enjoyment’, with fatal consequences.This manifesto is thus both a critique and a work of theory. It is a siren, alarm, klaxon to the current status quo within architectural discourse and a timely response to the conditions of architecture today.

In this manifesto, the author takes a leap of faith. It is a faith in Lost Causes. He asserts that today, architectonic reason has fallen into ruins. As soon as architecture leaves the limits set to it by architectonic reason, no other path is open to it but the path to aestheticism. This is the wrong path contemporary architecture has taken. In its reduction to a pure aesthetic object, architecture negatively affects the human sensorium. Capitalist consumer society creates desires by generating ‘surplus-enjoyment’ for capitalist profit and contemporary architecture has become an instrument in generating this ‘surplus-enjoyment’, with fatal consequences.This manifesto is thus both a critique and a work of theory. It is a siren, alarm, klaxon to the current status quo within architectural discourse and a timely response to the conditions of architecture today.

In a time of mass-mediated modernity, the city becomes, almost by definition, a constitutively ‘mediated’ city. Today, more than ever before, the omnipresence of media in every sphere of culture is creating a new urban ontology, saturating, fracturing, and exacerbating the manifold experience of city life. The authors describe this condition as one of 'hyper-mediation' – a qualitatively new phase in the city’s historical evolution. The concept of phantasmagoria has pride of place in their study; using it as an all-embracing explanatory framework, they explore its meanings as a critical category to understand the culture, and the architecture, of the contemporary city.Andreotti and Lahiji argue that any account of architecture that does not include understanding the role and function of media and its impact on the city in the present ‘tele-technological-capitalist’ society is fundamentally flawed and incomplete. Their approach moves from Walter Benjamin, through the concepts of phantasmagoria and of media – as theorized also by Theodor Adorno, Siegfried Kracauer, and a new generation of contemporary critics – towards a new socio-critical and aesthetic analysis of the mediated space of the contemporary city.

Analysing the reception of contemporary French philosophy in architecture over the last four decades, Adventures with the Theory of the Baroque and French Philosophy discusses the problematic nature of importing philosophical categories into architecture.Focusing particularly on the philosophical notion of the Baroque in Gilles Deleuze, this study examines traditional interpretations of the concept in contemporary architecture theory, throwing up specific problems such as the aestheticization of building theory and practice. Identifying these and other issues, Nadir Lahiji constructs a concept of the baroque in contrast to the contemporary understanding in architecture discourse. Challenging the contemporary dominance of the Neo-Baroque as a phenomenon related to postmodernism and late capitalism, he establishes the Baroque as a name for the paradoxical unity of ‘kitsch’ and ‘high’ art and argues that the digital turn has enhanced the return of the Baroque in contemporary culture and architectural practice that he brands a pseudo-event in the term ‘neobaroque’. Lahiji’s original critique expands on the misadventure of architecture with French Philosophy and explains why the category of the Baroque, if it is still useful to keep in architecture criticism, must be tied to the notion of Post-Rationalism. Within this latter notion, he draws on the work of Alain Badiou to theorize a new concept of the Baroque as Event.Alongside close readings of Walter Benjamin, Theodor Adorno and Michel Foucault related to the criticism of the Baroque and Modernity and discussions of the work of Frank Gehry, in particular, this study draws on Jacque Lacan’s concept of the baroque and presents the first comprehensive treatment of the psychoanalytical theory of the Baroque in the work of Lacan.

Thirty years have passed since eminent cultural and literary critic Fredric Jameson wrote his classic work, The Political Unconscious: Narrative as a Socially Symbolic Act, in which he insisted that 'there is nothing that is not social and historical - indeed, that everything is "in the last analysis" political'. Bringing together a team of leading scholars including Slavoj Zizek, Joan Ockman, Jane Rendell, and Kojin Karatani, this book critically examines the important contribution made by Jameson to the radical critique of architecture over this period, highlighting its continued importance to contemporary architecture discourse. Jameson's notion of the 'political unconscious' represents one of the most powerful notions in the link between aesthetics and politics in contemporary discourse. Taking this, along with other key concepts from Jameson, as the basis for its chapters, this anthology asks questions such as: Is architecture a place to stage 'class struggle'?, How can architecture act against the conditions that 'affirmatively' produce it? What does 'the critical', and 'the negative', mean in the discourse of architecture? and, How do we prevent architecture from participating in the reproduction of the cultural logic of late capitalism? This book breaks new ground in architectural criticism and offers insights into the interrelationships between politics, culture, space, and architecture and, in doing so, it acts as a counter-balast to the current trend in architectural research where a general aestheticization dominates the discourse.

Thirty years have passed since eminent cultural and literary critic Fredric Jameson wrote his classic work, The Political Unconscious: Narrative as a Socially Symbolic Act, in which he insisted that 'there is nothing that is not social and historical - indeed, that everything is "in the last analysis" political'. Bringing together a team of leading scholars including Slavoj Zizek, Joan Ockman, Jane Rendell, and Kojin Karatani, this book critically examines the important contribution made by Jameson to the radical critique of architecture over this period, highlighting its continued importance to contemporary architecture discourse. Jameson's notion of the 'political unconscious' represents one of the most powerful notions in the link between aesthetics and politics in contemporary discourse. Taking this, along with other key concepts from Jameson, as the basis for its chapters, this anthology asks questions such as: Is architecture a place to stage 'class struggle'?, How can architecture act against the conditions that 'affirmatively' produce it? What does 'the critical', and 'the negative', mean in the discourse of architecture? and, How do we prevent architecture from participating in the reproduction of the cultural logic of late capitalism? This book breaks new ground in architectural criticism and offers insights into the interrelationships between politics, culture, space, and architecture and, in doing so, it acts as a counter-balast to the current trend in architectural research where a general aestheticization dominates the discourse.

The Missed Encounter of Radical Philosophy with Architecture brings together a respected team of philosophers and architecture scholars to ask what impact architecture has over today's culture and society. For three decades critical philosophy has been in discourse with architecture. Yet following the recent radical turn in contemporary philosophy, architecture's role in contemporary culture is rarely addressed. In turn, the architecture discourse in academia has remained ignorant of recent developments in radical philosophy. Providing the first platform for a debate between critics, architects and radical philosophers, this unique collection unties these two schools of thought. Contributors reason for or against the claim of the "missed encounter" between architecture and radical philosophy. They discuss why our prominent critical philosophers devote stimulating writings to the ideological impact of arts on the contemporary culture - music, literature, cinema, opera, theatre - without attempting a similar comprehensive analysis of architecture. By critically evaluating recent philosophy in relation to contemporary architecture, The Missed Encounter of Radical Philosophy with Architecture presents a thorough understanding of the new relationship between architecture and radical philosophy.

Analysing the reception of contemporary French philosophy in architecture over the last four decades, Adventures with the Theory of the Baroque and French Philosophy discusses the problematic nature of importing philosophical categories into architecture.Focusing particularly on the philosophical notion of the Baroque in Gilles Deleuze, this study examines traditional interpretations of the concept in contemporary architecture theory, throwing up specific problems such as the aestheticization of building theory and practice. Identifying these and other issues, Nadir Lahiji constructs a concept of the baroque in contrast to the contemporary understanding in architecture discourse. Challenging the contemporary dominance of the Neo-Baroque as a phenomenon related to postmodernism and late capitalism, he establishes the Baroque as a name for the paradoxical unity of ‘kitsch’ and ‘high’ art and argues that the digital turn has enhanced the return of the Baroque in contemporary culture and architectural practice that he brands a pseudo-event in the term ‘neobaroque’. Lahiji’s original critique expands on the misadventure of architecture with French Philosophy and explains why the category of the Baroque, if it is still useful to keep in architecture criticism, must be tied to the notion of Post-Rationalism. Within this latter notion, he draws on the work of Alain Badiou to theorize a new concept of the Baroque as Event.Alongside close readings of Walter Benjamin, Theodor Adorno and Michel Foucault related to the criticism of the Baroque and Modernity and discussions of the work of Frank Gehry, in particular, this study draws on Jacque Lacan’s concept of the baroque and presents the first comprehensive treatment of the psychoanalytical theory of the Baroque in the work of Lacan.