Idea Journal Interior Technicity Unplugged And Or Switched On

Interior Technicity: Unplugged and/ or Switched On invites reflection on how interiors have always been augmenting entities and how they continue to be so—in other words, extending, facilitating and consolidating bodies within socio-cultural environments. Rather than seeing an interior as an 'inside' in opposition to a world beyond, it asks what modes of 'folding inward' have equipped and enabled the spatial environment? Technicity—the world of tools and technical objects that extend and mediate memory, as Bernard Steigler (1998) describes it—has never been what inside-ness, in its sheltering of life, keeps at bay; mediation is from the start technical, indexed to inscribing practices rich in temporal and embodied implications. By this reading, interiors have always been augmented and augmenting (in the sense of the Latin"augmentare": to increase, enlarge, or enrich). This IDEA Journal issue considers this mode of 'folding inward' as a condition of an interior'sspecificity. Whether it be a small structure such as a tramping hut or a tiny house, a large complex interior environment such as an airport or shopping mall, handmade with local materials such as Samoan fale, or the result of manufacturing processes assembling artificial and prefabricated elements as in the case of a spacecraft, boat or train, interiors are augmented, mediated, generated or embellished by technologies. The effect of these technologies is not neutral; one's experience of an interior is significantly influenced by the affective resonance of its technologies.

In the context of recent global political and economic disruption, architecture seems no longer equipped to address the demands of contem- porary society as an isolated discipline. One solution offered in this crisis of relevance is the notion of transdisciplinarity characterised by the hybridisa- tion of distinct disciplines. Transdisciplinarity is the New Order. In ection Volume 3 explores the achievements, limitations and future implications of this transdisciplinary age, weaving together a fragment of the tapestry that is expanded architectural practice. In tracing the trajectory of this New Order, this issue uncovers the matter that binds architecture together in this fragmented, yet hyperconnected epoch. Wir contributions by Forensic Architecture, Lateral Office, Rory Hyde, Breathe Architecture and many more... In ection is a student-run design journal based at the Melbourne School of Design, Melbourne University. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners. Founded in 2013, In ection is a home for provocative writing – a place to share ideas and engage with contemporary discourse.

What do outer space capsules, submarines, and office buildings have in common? Each is conceived as a closed system: a self-sustaining physical environment demarcated from its surroundings by a boundary that does not allow for the transfer of matter or energy. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems. From the space program to countercultural architectural groups experimenting with autonomous living, this publication documents a disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism. It presents an archive of 39 historical living prototypes from 1928 to the present that put forth an unexplored genealogy of closed resource regeneration systems. Prototypes are presented through unique discursive narratives with historical images, and each includes new analysis in the form of a feedback drawing that problematizes the language of environmental representation by illustrating loss, derailment, and the production of new substances and atmospheres.

We live in a world of technical systems designed in accordance with technical disciplines and operated by technically trained personnel—a unique social organization that largely determines our way of life. Andrew Feenberg’s theory of social rationality represents both the threats of technocratic modernity and the potential for democratic change.

The LEGO® Technic Idea Book: Fantastic Contraptions is a collection of hundreds of working examples of simple yet fascinating Technic models that you can build based on their pictures alone. Each project uses color-coded pieces and is photographed from multiple angles, making it easy to see how the models are assembled without the need for step-by-step instructions. Every model illustrates a different principle, concept, or mechanism that will inspire your own original creations. You're encouraged to use these elements as building blocks to create your own masterpieces. The Technic models in Fantastic Contraptions include working catapults, crawling spiders, and bipedal walkers, as well as gadgets powered by fans, propellers, springs, magnets, and vibration. You'll even learn how to add lights, pneumatics, and solar panels to your own models. This visual guide, the third in the three-volume LEGO Technic Idea Book series, is the brainchild of master builder Yoshihito Isogawa of Tokyo, Japan. Each title is filled with photos of Isogawa's unique models, all of which are designed to fire the imaginations of LEGO builders young and old. Imagine. Create. Invent. Now, what will you build? NOTE: The LEGO Technic Idea Book series uses parts from various Technic sets. If you don't have some of the pieces shown in a particular model, experiment by substituting your own parts or visit the author's website for a list of the special parts used in the book.

The System of Objects is a tour de force—a theoretical letter-in-a-bottle tossed into the ocean in 1968, which brilliantly communicates to us all the live ideas of the day. Pressing Freudian and Saussurean categories into the service of a basically Marxist perspective, The System of Objects offers a cultural critique of the commodity in consumer society. Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life. The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille’s political economy of “expenditure” and Mauss’s theory of the gift; Reisman’s lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre’s work on the social construction of space; and last, but not least, Guy Debord’s situationist critique of the spectacle.