Download PDF Architecture, Animal, Human : The Asymmetrical Condition, by Catherine Ingraham
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Architecture, Animal, Human : The Asymmetrical Condition, by Catherine Ingraham
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This book looks at specific instances in the Renaissance, Enlightenment and our own time when architectural ideas and ideas of biological life come into close proximity with each other. These convergences are fascinating and complex, offering new insights into architecture and its role. Establishing architecture as a product of the ascendancy of the position of human life, the author shows here that while architecture is dependent on life forces for its existence, at the same time it must be, at some level, indifferent to the life within it. Life, for its part, privileges itself above all else, and seeks to continuously expand its field of expression. This, then, is the asymmetrical condition, and to understand it is to gain important new theoretical perspectives into the nature of architecture.
- Sales Rank: #1640114 in Books
- Published on: 2006-01-15
- Original language: English
- Number of items: 1
- Dimensions: 9.22" h x .84" w x 6.36" l, 1.80 pounds
- Binding: Paperback
- 368 pages
About the Author
Catherine Ingraham is Professor of Architecture at Pratt Institute. She is the author of Architecture and the Burdens of Linearity (Yale University Press, 1998), co-editor of Restructuring Architectural Theory (Northwestern University Press, 1989), and was an editor of the critical journal Assemblage from 1991-1998.
Most helpful customer reviews
10 of 12 people found the following review helpful.
"the question of life in architecture..."
By Aaron White
"It is somewhat easier to theorize life as a technology..., than to theorize technology as alive..." -Ingraham
This book is a beautiful work of architectural theory which seeks to open the discipline up to some uncomfortable yet necessary questions that surround its recent interest in animation, in all it forms and senses. I can promise that it will do the same for the reader. I would recommend it without reservation.
Catherine Ingraham's book Architecture, Animal, Human: The Asymmetrical Condition, is about "the question of life in architecture". The book focuses on several thick historical and contemporary moments where these two terms become so intimately bound up in one another that they seem able, in a way, to exchange material. Familiar categorical boundaries between human and animal, technology and biology, organism and milieu, are opened up to possibilities that seem to demand something beyond a metaphorical relationship, and begin to at least suggest, if not reveal, a way into a more directly operative or affective exchange that would push beyond the symbolic, toward a radical integration of the two terms.
Tracing a lineage from Bernini to modern day genetic engineering and tissue grafting, Ingraham uses several issues that have been central to recent architectural debates, including humanism, modernism, architectural representation, digital tools and architectures, and computational and biological theories, as a scaffolding for her interests.
Here however, Ingraham's asymmetry demands that we reinvestigate these issues which are once again laid bare as the raw and problematic, but incredibly pregnant thematics that they are.
The asymmetry of the book's title is clear in Ingraham's definitions of architecture and life. In the book, Ingraham defines architecture as "the exact artistic and technical discipline for which human biological and psychological life are a necessary precondition...", and moreover a practice that, "must always be, at some level, indifferent to the life within it." Life is defined as "that which privileges itself above all else, and seeks continuously to expand its field of expression." The distance between a life which privileges itself, and an architecture which must remain indifferent to that life constitutes the asymmetry of the book's title.
To trace the breadth and depth of this book would be a book in and of itself, so here I will only reveal one nugget that seems to me incredibly provocative and novel, and which permeates the book in many ways. It is a problem that Ingraham refers to as a "mimetic crisis" that develops as "architecture begins to mistake itself as an organism and life for a technology." I won't say any more except to say that the book is full of this kind of clear, precise statement of what is in truth a hugely complex and difficult terrain. Ingraham succeeds at developing these moments of clarity without sacrificing the complexity from which they emerge.
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