In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing. In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere. Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

"Born first as an online platform, and then as a series of public debates, 'Design and Violence' organized by Paola Antonelli and Jamer Hunt, examines the ways in which violence manifests in the post-2001 landscape and asks what makes these manifestations unique to their era. Design and Violence' is not a gallery-based exhibition simply translated online. From our earliest conversations, we conceived it as a platform for multiple projects--a series of public debates, a set of academic course materials, a symposium and this book, for instance--with the website as anchor. This book brings together controversial, provocative, and compelling design projects with leading voices from the fields of art and design, science, law, criminal justice, ethics, finance, journalism, and social justice. Each author responds to one object--ranging from an AK-47 to a Euthanasia Rollercoaster, from plastic handcuffs to the Stuxnet digital virus--sparking dialogue, reflection, and debate. These experimental and wide-ranging conversations make Design and Violence an invaluable resource for lively discussions and classroom curricula.

This book poses spatial violence as a constitutive dimension of architecture and its epistemologies, as well as a method for theoretical and historical inquiry intrinsic to architecture; and thereby offers an alternative to predominant readings of spatial violence as a topic, event, fact, or other empirical form that may be illustrated by architecture. Exploring histories of and through architecture at sites across the globe, the chapters in the book blur the purportedly distinctive borders between war and peace, framing violence as a form of social, political, and economic order rather than its exceptional interruption. Regarding space and violence as co-constitutive, the book’s collected essays critique modernization and capitalist accumulation as naturalized modes for the extraction of violence from everyday life. Focusing on the mediation of violence through architectural registers of construction, destruction, design, use, representation, theory, and history, the book suggests that violence is not only something inflicted upon architecture, but also something that architecture inflicts. In keeping with Walter Benjamin’s formulation that there is no document of civilization that is not also a document of barbarism, the book offers "spatial violence" as another name for "architecture" itself. This book was previously published as a special issue of Architectural Theory Review.

The first history ever of violence against architecture as political violence, this book examines the case of the former Yugoslavia and the ways in which architecture is a site where power, agency, and ethnicity are constituted.

"Confronting the past" has become a byword for democratization. How societies and governments commemorate their violent pasts is often appraised as a litmus test of their democratization claims. Regardless of how critical such appraisals may be, they tend to share a fundamental assumption: commemoration, as a symbol of democratization, is ontologically distinct from violence. The pitfalls of this assumption have been nowhere more evident than in Turkey whose mainstream image on the world stage has rapidly descended from a regional beacon of democracy to a hotbed of violence within the space of a few recent years. In Victims of Commemoration, Eray Çayli draws upon extensive fieldwork he conducted in the prelude to the mid-2010s when Turkey’s global image fell from grace. This ethnography—the first of its kind—explores both activist and official commemorations at sites of state-endorsed violence in Turkey that have become the subject of campaigns for memorial museums. Reversing the methodological trajectory of existing accounts, Çayli works from the politics of urban and architectural space to grasp ethnic, religious, and ideological marginalization. Victims of Commemoration reveals that, whether campaigns for memorial museums bear fruit or not, architecture helps communities concentrate their political work against systemic problems. Sites significant to Kurdish, Alevi, and revolutionary-leftist struggles for memory and justice prompt activists to file petitions and lawsuits, organize protests, and build new political communities. In doing so, activists not only uphold the legacy of victims but also reject the identity of a passive victimhood being imposed on them. They challenge not only the ways specific violent pasts and their victims are represented, but also the structural violence which underpins deep-seated approaches to nationhood, publicness and truth, and which itself is a source of victimhood. Victims of Commemoration complicates our tendency to presume that violence ends where commemoration begins and that architecture’s role in both is reducible to a question of symbolism.

Frank Furness' energy, confidence, brashness, vulgarity, and full-throated love of life vibrate in his architecture.

Research informs the development of a project which, rather than defusing these characteristics, attempts to integrate them within the scene of a political struggle. The proposed project dramatizes, through its architecture, a Palestinian disobedience to the colonial legislation imposed on its legal territory. In fact, the State of Israel masters the elaboration of territorial and architectural colonial apparatuses that act directly on Palestinian daily lives. In this regard, it is crucial to observe that 63% of the West Bank is under total control of the Israeli Defense Forces in regards to security, movement, planning and construction. Weaponized Architecture is thus manifested as a Palestinian shelter, with an associated agricultural platform, which expresses its illegality through its architectural vocabulary.

Paramilitary or irregular units have been involved in practically every case of identity-based mass violence in the modern world, but detailed analysis of these dynamics is rare. Through exploring the case of former Yugoslavia, Kate Ferguson exposes the relationships between paramilitaries, state commands, local communities, and organised crime present in modern mass atrocities, from Rwanda and Darfur to Syria and Myanmar. Visible paramilitary participation masks the continued dominance of the state in violent crises. Political elites benefit from using unconventional forces to fulfil ambitions that violate international law—and international policy responses are hindered when responsibility for violence is ambiguous. Ferguson’s inquiry into these overlooked dynamics of mass violence unveils substantial loopholes in current atrocity prevention architecture.

Avant-garde theorist and architect Bernard Tschumi is equally well known for his writing and his practice. Architecture and Disjunction, which brings together Tschumi's essays from 1975 to 1990, is a lucid and provocative analysis of many of the key issues that have engaged architectural discourse over the past two decades—from deconstructive theory to recent concerns with the notions of event and program. The essays develop different themes in contemporary theory as they relate to the actual making of architecture, attempting to realign the discipline with a new world culture characterized by both discontinuity and heterogeneity. Included are a number of seminal essays that incited broad attention when they first appeared in magazines and journals, as well as more recent and topical texts.Tschumi's discourse has always been considered radical and disturbing. He opposes modernist ideology and postmodern nostalgia since both impose restrictive criteria on what may be deemed "legitimate" cultural conditions. He argues for focusing on our immediate cultural situation, which is distinguished by a new postindustrial "unhomeliness" reflected in the ad hoc erection of buildings with multipurpose programs. The condition of New York and the chaos of Tokyo are thus perceived as legitimate urban forms.

"At a glance, Mike comes off like a 1980s teen movie bully on downers." - Playboy Magazine"...Mike Ma bragged about crashing a White House press conference." - The Huffington PostNow, you can read his long-awaited first book. Harassment Architecture has been described as an almost plotless and violent march against what the author calls the "lowerworld". It's the story of a man, sick on his surrounds, bound by them, but still seeking the way out.