Peter Sloterdijk marveled at “a formulation” of “unsurpassed metaphorical power” in Dostoyevsky’s Notes from the Underground (1864), that he suggests “encapsulates the world-becoming of the world:” Dostoyevsky’s characterization of western civilization as a “crystal palace.” The imagery for this metaphor is architectural: Joseph Paxton’s “Crystal Palace,” the all glass and iron exhibition hall designed to envelope and order ‘worldly’ objects for the first World’s Fair in 1851. The architectural design of the Crystal Palace made a “world interior of Capital” visible and operational. It was, more so than Benjamin’s arcades, a “valid prophetic building form” that “anticipated an integral, experience-oriented, popular capitalism in which no less than the comprehensive absorption of the outside world in a fully calculated interior was at stake” (Sloterdijk 2005). It made, in other words, a situated vision of globality possible and practicable.
For our fourth episode of the DeSigning Praxis dialogue series, two architectural theorists, teachers and practitioners -- Shiben Banerji from the School of the Art Institute of Chicago (SAIC), and Nora Akawi from Columbia University’s Graduate School of Architecture Planning and Preservation (GSAPP) -- will explore the relationship between Design and Globality. In so doing, Banerji and Akawi will add to the DeSigning Praxis’s ongoing consideration of Design as a world-imagining, and thus world making or “worlding” enterprise -- a social practice that makes the cosmological into the praxiological.
Event Readings from Banerji: To follow shortly
Event Readings from Akawi: To follow shortly