Today’s waste landscapes derive from nineteenth-twentieth century materials extraction, processing, and disposal practices by which certain landscapes are sacrificed for the construction of others. Long term impacts of material byproducts from these industries may be understood as technofossils—new materials shaped into artifacts that will likely be preserved as geological deposits. This article explores shifts in cultural attitudes and approaches towards waste materials and landscapes by focusing on two types of extraction-based industries that create technofossils: brick, in which desired materials such as sands and clays are extracted and manipulated, and dredged sediment, in which undesirable materials, such as sands, clays, and soils, are extracted from shipping channels and stored in landfills of land. The tension between these industries reveals opportunities for rethinking linear models of materials extraction, processing, and disposal as cyclical and integrative. Historiographic, archival, and case study research are used to investigate these industries. Speculative mapping and a design research studio explore these material legacies, and their potential ecological, socio-economic, and cultural values.

We received and we gladly publish this conversation among distinguished theorists and scholars on an important topic, also aligned with the cross-disciplinary mission of our journal. [MS]

ABSTRACT - The article offers a multi-author conversation charting the future of architecture in light of the apparent tension between Baukultur, which combines the culture of building and the building of this culture, and the rapid changes brought about by digital technology, embracing cybernetics and artificial intelligence. The article builds on a discussion of Baukultur to debate in what sense buildings are “machines for living in,” then examines neuromorphic architecture wherein cybernetic mechanisms help buildings sense the needs of their occupants. It closes with an example of a building complex, Kampung Admiralty, that combines cybernetic opportunities with a pioneering approach to building “community and biophilia” into our cities. This article interleaves an abridged version of Michael Arbib’s (2019) article “Baukultur in a Cybernetic Age,” ¹ with extensive comments by the co-authors.

We received and we gladly publish a contribution by distinguished author Prof. Botond Bognar. [MS]

ABSTRACT - The essay introduces the development of Sou Fujimoto’s architecture as it has been influenced by various sources and experiences leading to his recently completed and highly recognized major project, the  House of Hungarian Music in Budapest. Among these influences the contemporary economic and political conditions in Japan and beyond, as well as the nature-inspired work of prominent Japanese designers are discussed. Touching upon the seminal work by Tadao Ando and Toyo Ito, the essay also highlights the contrasts and occasional similarities between the so-called “White School” and “Red School” in contemporary Japanese architecture, in referencing nature as the primary source of their designs. Today, these “schools” are best represented, respectively, by the activities of SANAA and Kengo Kuma. Although Fujimoto’s architecture is clearly derivative and part of the radically minimalist White School, the House of Hungarian Music reveals an intimacy and richness 

in articulating its relationship to the surrounding natural environment, which quality, if perhaps momentarily, points beyond the minimalism of the “Whites.”