The Column
Post-truth supports architecture today!
The Oxford English Dictionary word of 2016 is “Post-Truth”, defining a contemporary culture in which judgements are based on emotions and personal convictions rather than objectivity and facts. Architecture has always been supported by post-truths; it’s inherently a confluence of ‘what-if’ scenarios, emotions, fantastical ideas, personal belief, and the occasional fact. In the past decade, architecture’s relation to post-truth have become even more defined, exacerbated by the profession’s reliance on the competition format as a means of securing commissions. In this environment, a new type of architectural discourse has emerged – in which fact is less important than winning and image becomes everything. This has lead to a reliance on idealized renderings, dumbed down diagrams, big headlines, and promises – some of which are kept most aren’t.
Architectural discourse as supported by self-referencing criticality/theories is as inward looking and insular as a social media bubble where news is composed of recycled browsing history. It’s why most of the profession has chosen to ignore traditional venues of architectural theory, allowing itself to be shaped by the organic forces of the internet and market. Post-truth architecture has superseded any type of architectural -isms attempted by academia or the architectural elite. We believe that fighting post-truth is a lost cause and instead advocate for leveraging it for an architecture that addresses the needs of the many. The populist objectivity that underpins post-truth can be used to confront real-world challenges without the pretension of architectural elitism. In the era of post-truth, architecture should leverage the tactics of Fox News to open opportunities for good. Ideas can be tried quickly, images utilized to unleash passions, and headlines that cry the rally for change.
“The Column” is a Portfolio Publication by PINKCLOUD.DK
Printed on Tabloid Newspaper – Edition of 50
© Fabian Busse, Leon Lai, Nicolai Schlapps, Eric Tan
2017 Berlin, Toronto, New York