we invoke the discourse of irony. Irony is just like a Christian God might be running the show, in as coverage of all targets for development, a redefine how serious black metal can be on an a suit of armor against sincerity in architecture, another, science. One person believes echina- qualification of premise. The post-ironic tone ON THE ideological level.”14 Penttilä’s array of aliases which I think is a disempowerment of the potential cea prevent colds, another doesn’t. Parafictional functions for architectural interests as a proxy for represents a recontextualization of both Krier’s of architecture to be speculative. practices reveal this, but also speculate (thus the versions of reality validated by the salubrious GROUND dictum of the necessity of a “relationship of truth Speculative Realism) on alternatives to it. Either effect of the “good works” of economics, politics, between the name and the named object”15 P! One reading of post-irony allows for way it has performed its function of challenging and technology (which itself holds no more sway 9/19 This week, the school received a package and his concept of a stylistically-siloed plurality the tools of irony with sincere ambitions to the idea of what’s real or not. As we’ve seen, on the “real”). addressed to “DEBORAH STERN.” That’s a with the potential to produce “villages with very reimagine architectural futures. Somehow fake news is the most powerful force in the world The post-ironic is not an overcoming of new one. different structure, organisation, architecture, it’s a bridge between “indifference” and at the moment. It just changed our election. Hal irony as a return to “meaning” (like post-modern- 9/20 CAITLIN BAIADA (M.Arch I, ‘18), and density, each with its own unity, harmony, speculative practice. Foster is asking if this power can be used in the ism as a return to historicism), but is an intensifi- ALEJANDRO DURAN (M.Arch I, ‘19), and KATE and specificity.”16 MFG You’re right in trying to introduce post-irony arts in the service of ‘good’ in the same ways cation of meaning’s absence (like post-modernism FISHER (M.Arch I, ‘19) introduced this semes- Instead of mixing French-influenced, as the way to bridge those two extremes I’ve writ- it’s, currently, being used in the service of the as the end of master narratives). Post-Ironic archi- ter’s teaching partnership with Conte/West Hills vampyric Black Metal with melodic, werewolf-Na- ten about recently in Log. That’s what needs to be nefarious. For instance in Birtherism,” its key tecture, as with all ironic constructions, requires Magnet School through EQUALITY IN DESIGN. zi-themed Black Metal to produce a subtle done. But one thing I challenge you both on is that figures, such as our President, offered no hint of the object of its derision to function; in this case, it YSoA students will work with 7th graders for four manifestation of Krier’s False Pluralism, Penttilä I’m not sure the only bridge would be being ironic “isn’t it hilarious we’re doing this?” They had total is the unlikely possibility of realization in the form different sessions, culminating in a final presen- has created a new band and moniker for each or not ironic, I’m more interested in your argument conviction, which became incredibly politically of a building. The paradox for architecture is that tation during the months of October and Novem- micro-style “without any debasing compro- about ambiguity than I am about irony. Because I powerful. Terrifyingly so. So can we use total a new sincerity relies on the artifice of the display ber. Stay tuned. mise.”17 While the stylistic differences between think ambiguity would include irony and sincerity conviction in architecture to be more socially (Instagram, Biennales, and other forms of Exhibi- 9/20 Students enrolled in The Chair Penttilä’s projects may be largely indistinguish- in adjacency which is super interesting. engaged? I don’t know if the answer is yes, but tionism). As a position, it is a mongrel argument, were given 110 minutes to construct a chair out able to the untrained ear, the contrasts between I’m interested in finding out. still drinking from the Fountain of R. Mutt. The of a 4’x8’ sheet of plywood that could hold TIM his two most well-known bands—Satanic P! To speak about your interest in ambigui- thing it mocks is its greatest aspiration, not only NEWTON for at least five minutes. Bonus points Warmaster and Armour—are vividly apparent. In ty, OOO [Object Oriented Ontology] is very 1 Michael Meredith, “Indifference, Again,” Log 39, to be seen, but also displayed and confirmed as for extra chairs and a table. The final tally? 8 Satanic Warmaster, Penttilä goes by the name Winter (2017): 78. much about the ambiguity between fact and architectural. It works, but only in the gallery as chairs, 1 (questionable) rocking chair, 1 table, of Werwolf and focuses on themes of “Satanism, 18 fiction. The notion of parafiction produces 2 A Hulu Original TV Show based on the novel an over- and under-estimation of reality in various and 2 stools. Test one for yourself: they can be darkness, war, vampirism, and lycanthropy,” ambiguity in performing an extreme seri- by Margaret Atwood set in a totalitarian United combinations of piles and references (in piles found scattered around the school. while in Armour he is known as Vince Venom ousness about an absurd or satirical fiction- States in which women are treated as property of ironic reference or reference to piles as ironic 9/21 Before his “Brunelleschi + Ros- and sings of “metal, alcohol, partying, sex, and of the state. al narrative, and in that way could be seen non-design). The sincerity of the post-ironic likes si” talk, KURT FORSTER introduced the initial rowdiness.”19 These two projects exhibit Krier’s as a post-ironic form. What is the power of 3 Michael Young’s Fall 2016 Advanced Design the factuality of both stuff (as material fact) and its impetus behind the new series, hosted by Formal typological rigor not only in their sound, but in parafiction within a speculative project? Studio at Yale School of Architecture, The stuffing (as rhetorical claim); its claim to quality is Analysis and Modern Architecture and Society: the very way that Penttilä presents himself in MFG So there’s a couple of topics there: one Aesthetics of Accelerationism, involved the proof by dint of its existence. “We thought we would build a little engine of old promotional photos: As Satanic Warmaster, production of parafictional artefacts that were is counterfactuals. Which is for our purposes presented in character, as fact, under the guise In some ways, a “post-ironic” architec- men that will entail a lot of speed.” After a poetic he is dressed in black with the genre’s signa- the same as parafictional practice: it’s an idea of an international climate conference in Iceland ture seems like everything I had ever hoped for, and thought-provoking lecture, PETER EISEN- ture corpse paint and an abundance of spikes, in philosophy that can be traced back to Hume. in the year 2056 in a final studio review. Jurors design both serious and funny (seriously funny), MAN piped, “I get nervous when you start talking chains, and bullets, while he dons a fishnet top, and student presenters did not break character. A counterfactual essentially is a philosophical able to navigate the pressures of discipline while about fog rolling in. I worry when you start doing zebra-print leggings, a studded codpiece, argument that includes an “if, then” clause. If the at the same time being undisciplined (free from this to a young audience.” and eyeliner as Armour. These parallel Nazis won WWII, then the United States would restriction). However, over time, from its origi- 9/22 EQUALITY IN DESIGN held its first representations are performed with total look like “this”— which becomes the premise for nators, to its early adopters, now in ubiquity, my Brown Bag Lunch with ANIKA LEMAR SINGH, a sincerity, a notion confirmed by a press the Man in the High Castle series on Amazon. enthusiasm for this latest turn is growing increas- Yale Law School Clinical Professor who teaches release for Armour’s recent E.P. by record It uses a parafictional argument to create an ingly qualified. Being just slightly younger than the Community and Economic Development clin- label Nuclear War Now that champions alternate reality. Similarly, the Handmaid’s Tale2 the initial penning of Venturi’s initial gambit of ic. Singh gave a historical overview of affordable the band’s ability to produce “pure Heavy is essentially a counterfactual proposition. The “I LIKE COM- liking complexity and contradiction, perhaps I am housing since the early 20th century, discussed Metal… without any trace of irony.”20 show happens in our world. You recognize the not the ideal audience for the post-ironic, having current HUD Secretary Ben Carson, and talked attracted legions of loyal fans,7 its The most disturbing iteration of houses, the Chevy Suburbans, you recognize PLEXITY AND both “seen too much” and lacking the millenary about the government’s current role in subsi- members were criticized by the Krier’s ideology comes early in Architec- what they’re drinking and eating, the magazines, perspective. It seems now that as a generative dized housing. press as “embarrassing caricatures,” ture: Choice or Fate. Under the Manowar- that they’re playing Scrabble, etc. But it intro- CONTRADIC- concept, the “post-ironic,” appealing as it is in out- 9/22 OUTLINES co-hosted last Friday’s “embarrassing boneheaded oafs,” and ian title of “True and False Pluralism,” duces a counterfactual argument that says if line, is the most precarious of possible positions 6/7 for an OUT On The Roof mixer with special Paprika! “gloriously preposterous” for their out- there is an illustration of a “European” this super conservative wing took over the U.S.