Retrace, reflect, and speculate.
An architecture of piecemeal infrastructure.

In a world where architecture often feels elitist and inaccessible, Failed Architecture (FA) offers a breath of fresh air. It's a reminder that architecture is for everyone, not just the privileged few. Whether you're an architect, a city planner, or just someone who cares about the world around them, FA has something to offer. In today's fast-paced world, where trends come and go, FA offers a refreshing perspective that goes beyond aesthetics and celebrates the power of critical thinking. The journal invites us to rethink our assumptions about architecture and its role in society. It's not just about pretty buildings; it's about the people who inhabit them and the communities they shape. From articles on urban inequality to discussions about sustainability, FA tackles some of the most pressing issues facing our world today. It's a platform that doesn't shy away from difficult conversations but rather embraces them head-on, sparking dialogue. By peeling back the layers of shiny facades and curated cityscapes, FA invites us to confront the messy, imperfect realities of the built environment.

Architecture, as a profession and a discipline, often finds itself cloaked in layers of isolation. This isolation is multifaceted, extending from the way architects work isolated from other professions to the broader public's understanding of architecture's significance in their lives. At the core of this isolation lies a systemic disconnect, perpetuated by various factors including the pedestalization of "Starchitects" and the limited portrayal of architecture in mainstream media. While publications like ArchDaily, Dezeen, and Designboom have garnered significant attention, they too often present architecture in a detached, standalone manner, reinforcing the misconception that it exists in a realm separate from everyday life. Founded by an urban planner, Michiel van Iersel, FA challenges this narrative by reframing architecture as an integral part of our societal fabric. Unlike its counterparts, Failed Architecture delves into the intersectionality of architecture with pressing societal issues such as social inequality, gender discrimination, socio-economic disparities, environmental justice, urban safety, etc. By contextualizing architecture within these broader societal frameworks, FA offers a perspective that acknowledges the interconnectedness of the built environment with the complexities of human existence. Rather than treating architecture as a solitary endeavor undertaken by elite designers, FA positions it as a collaborative venture shaped by a multitude of social, political, and economic factors, exposing the hidden power dynamics at play within the architectural realm, revealing how decisions made in the design process can have far-reaching consequences for marginalized communities.

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Failed Architecture emerges as a radical force within the architectural discourse for several compelling reasons. Firstly, it democratizes the conversation around architecture, debunking the notion that it is solely the domain of architects. Through its accessible language and nuanced analysis, FA invites individuals from diverse backgrounds to engage with architectural discourse, fostering a more inclusive dialogue, challenging the confines of architectural elitism, and confronting the systemic challenges that affect us all. One of FA's most compelling aspects is its refusal to assign blame or responsibility to any single entity. Instead of scapegoating architects or government officials for the shortcomings of the built environment, FA advocates for collective accountability and systemic change. It recognizes that meaningful transformation requires active participation from all sectors of society, emphasizing the importance of solidarity in addressing our shared challenges. In doing so, FA empowers readers to move beyond passive observation and become agents of change in their communities.

 

They shed light on the multifaceted responsibilities of architects, emphasizing their social and ethical roles in addition to their design expertise. Unlike mainstream architectural publications that often prioritize aesthetics and technical innovation, FA recognizes the importance of addressing the moral and ethical dimensions of architectural practice. By highlighting the social implications of architectural decisions, they challenge architects to consider the broader impact of their work beyond mere form and function. This emphasis on the moral and ethical dimensions of architecture is crucial, as it underscores the need for architects to engage with issues of justice, equity, and inclusion in their professional practice. Without a deep understanding of the social context in which they operate, architects risk perpetuating inequalities and injustices through their designs. Therefore, FA's focus on the moral and social aspects of architecture serves as a valuable reminder of the profession's broader responsibilities to society. According to FA, architecture involves the formalization of a series of causes and intended consequences, where decisions made by architects carry inherent political significance. This assertion challenges the conventional understanding of architecture as a purely aesthetic pursuit, highlighting its broader societal ramifications. FA contends that the failure of architecture is not merely confined to self-destructive incidents such as structural collapses or leaks but extends to situations where the intended outcomes diverge from the architect's original intentions. This divergence often occurs due to the inherently political nature of architectural decisions, which shape the built environment and influence social dynamics. By framing architecture as a conduit for political agendas and power dynamics, FA encourages readers to critically examine the underlying motivations and implications of architectural interventions. The term "architect" in FA's discourse encompasses not only individuals responsible for design but also the broader network of actors who shape architectural outcomes through their political projections. This inclusive definition underscores the collective responsibility of various stakeholders in influencing the political conditions embedded within architectural structures. Whether it involves enforcing normative standards, delineating social boundaries, or facilitating surveillance and control, architecture becomes a manifestation of societal values and power dynamics. FA raises concerns about the problematic nature of architectural transcendence, wherein architects wield disproportionate influence over the individuals who inhabit their creations. This power dynamic underscores the inherent tensions between architectural autonomy and the lived experiences of those affected by architectural decisions. By interrogating the power dynamics inherent in architectural practice, FA prompts readers to reflect on the ethical implications of architectural agency and the need for greater accountability.

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Through their platform, they articulate their opinions with clarity and transparency, refusing to hide behind ambiguity or complacency. One of FA's pivotal arguments revolves around the reevaluation of the role of design, advocating for a shift towards maintenance, repair, and adequate comfort. This call for reconsideration stems from the acknowledgment that we have collectively reached a point of saturation in construction and built spaces. FA confronts the prevailing narrative of perpetual growth and expansion, challenging the notion that more development equates to progress. By questioning the necessity of luxury condominiums and Class A office spaces, FA prompts us to scrutinize the underlying values driving architectural production.​

 

Furthermore, FA underscores the importance of sustainability in architectural discourse, pointing out the incongruities between the rhetoric of sustainability and the actual practices within the industry. While sustainability has become a buzzword, buildings labeled as sustainable often fall short of meaningful environmental stewardship. FA's critique extends beyond mere rhetoric, delving into the discrepancies between architectural intentions and their real-world impacts. By highlighting these discrepancies, FA exposes the inadequacies of current architectural practices and advocates for a more holistic approach to sustainability that considers broader environmental implications. Central to FA's critique is the notion of greenwashing, a practice whereby environmentally detrimental projects are masked as eco-friendly through superficial measures like green roofs and solar panels4. This superficial veneer of sustainability, FA argues, serves to obfuscate the inherent unsustainability of architectural projects driven by profit motives and corporate agendas. The platform singles out firms like BIG (Bjarke Ingels Group) for perpetuating this trend, calling them out for prioritizing profit over environmental stewardship.​

 

FA's interrogation of architectural practices goes beyond environmental concerns to address systemic issues such as social inequality. While acknowledging that architects alone cannot solve issues of social injustice, FA highlights the power structures that perpetuate inequality within the built environment. By elucidating the ways in which power dynamics shape architectural decisions, FA empowers readers to critically examine the role of architecture in perpetuating or challenging social hierarchies. Through accessible language and relatable examples, FA demystifies complex power structures, enabling a broader audience to engage with architectural discourse and advocate for change at the grassroots level.​

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In dissecting articles like "Architects, Developers, Construction Companies: Don’t Take Part in Amsterdam’s 'Erotic Center'," 'The Superarchitecture of Amazon,' and 'Stop Making Sense: Refusing the Algorithmic City,' Failed Architecture (FA) illuminates the unsettling reality where the common individual is reduced to a mere inhabitant or a passive accessory within the grasp of corporate giants like Amazon5. These analyses reveal a disturbing truth: the public's voice is stifled under the weight of corporate agendas, leading to an excess of carbon emissions, a proliferation of homogeneous spaces, and a lack of inclusivity in urban design. The power dynamics at play, driven by the relentless pursuit of profit, result in a built environment that prioritizes demand management over the well-being of its inhabitants. Take, for instance, the infamous case of the "Pruitt-Igoe communal housing." While architects and planners often bear the brunt of criticism for its failure, FA argues that social problems within mass-social housing projects are often rooted in factors beyond architecture alone. Long before its residents moved in, St. Louis was already grappling with economic challenges, particularly in African American communities disproportionately affected by rising unemployment. As unemployment soared, rental incomes dwindled, exacerbating the financial strain on the St. Louis Housing Authority. Compounding these financial woes was the authority's decision to fund maintenance solely through rental income—an unsustainable approach that left little room for essential upkeep. Consequently, infrastructure deteriorated, crime rates surged, and vandalism ran rampant, perpetuating a vicious cycle of decline and decay. Thus illustrating that the architecture itself was not solely responsible for Pruitt-Igoe's demise. Instead, it was a combination of social neglect and inadequate support systems that precipitated the project's downfall. Indeed, if architects concede that outside factors played a significant role in the failure of projects like Pruitt-Igoe, they may inadvertently diminish the perceived importance of architecture as a solution to societal challenges. This dilemma underscores the complex interplay between architecture and society, where the efficacy of architectural interventions hinges not only on design excellence but also on broader social support and cohesion.​

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FA's exploration of city culture unveils the consequences of consumerism, which has transformed cities into overcarbonized landscapes driven by an insatiable desire for accumulation. The incessant pursuit of space, comfort, and luxury perpetuates a cycle of consumption that undermines efforts toward collective transformation. Instead, FA proposes a radical shift in perspective—one that challenges society to redefine its desires and embrace a more minimalist approach to urban living. The inclusion of perspectives like 'Degrowth' is commendable, as it challenges professionals to explore alternative solutions beyond the paradigm of endless growth. The concept of Degrowth emerges as a counter-narrative to the prevailing ethos of growth-centric capitalism. The notion that there is always more to build reflects a deeply ingrained ethos within the architecture profession, one that equates progress with physical expansion. This mindset is symptomatic of a broader societal obsession with growth, which often overlooks considerations of human well-being and environmental sustainability. By critiquing this mindset, FA exposes the inherent contradictions of a system that prioritizes economic growth at the expense of social and ecological resilience. 'Degrowth' advocates for a collective reevaluation of socio-economic structures, emphasizing the importance of downsizing affluent economies for ecological sustainability. These projects, which may struggle to gain traction within the confines of the current economic model, could flourish under a Degrowth paradigm that values cultural richness and community well-being over profit-driven motives. FA challenging the prevailing notion within the architectural profession that growth is synonymous with progress is in itself a self-critical stance. According to FA, this mindset is deeply entrenched in the belief that a society's success is best measured by economic metrics, such as market expansion, rather than humane considerations like the capacity for care and play. This acknowledgment reflects a self-awareness of the profession's complicity in perpetuating unsustainable practices and contributing to environmental degradation. FA's critique of the architecture profession's fixation on economic metrics as measures of success underscores the platform's commitment to challenging entrenched ideologies and fostering critical reflection within the field. This journey of introspection and critique finds resonance in the works of Beatriz Colomina, James S. Ackerman, and Patrick Keiller, who have similarly challenged conventional notions of architecture and its societal implications. From Colomina's exploration of architecture as a mode of ideological production to Ackerman's insights into the origins of architectural photography, and Keiller's cinematic critique of urban landscapes, these readings have provided valuable context for understanding the broader cultural and political dimensions of architecture. Colomina's "Architectureproduction" examines architecture as a form of "media" and echoes FA's critique of architectural representation as a means of ideological control. Ackerman's observation that architectural photography can distort our perception of space and form resonates with FA's interrogation of glossy renders and idealized imagery. Keiller's "Architectural Cinematography" exposes the hidden narratives embedded within urban environments, shedding light on the ways in which architecture is framed and consumed, akin to FA's critique of architectural representation in digital media. I am reminded of the words of Louis Althusser, who emphasized the role of ideology in shaping our understanding of the built environment. FA's self-critical approach mirrors Althusser's call to interrogate the ideological underpinnings of architectural practice, challenging architects to question their assumptions and motivations. Similarly, Walter Benjamin's concept of the Author as Producer urges us to rethink the power dynamics inherent in architectural practice, resonating with FA's emphasis on collective accountability and systemic change. Roland Barthes' notion of the Death of the Author invites us to consider the multiplicity of meanings embedded within architectural texts, echoing FA's rejection of singular authorship in architectural production. Just as Jean Baudrillard's concept of L’autre challenges us to question our preconceived notions of reality, FA's interrogation of architectural representation prompts us to critically examine the ways in which architecture shapes our perception of the world around us. Jacques Lacan's Mirror Stage invites us to reflect on the ways in which architecture shapes our sense of self and identity and how built forms mirror and mediate our desires and anxieties, echoing FA's exploration of architecture's role in constructing social identities and hierarchies.

 

The critique of architectural renderings with blue skies resonates with a broader skepticism toward superficial aesthetics and the commodification of urban spaces. In FA's view, the prevalence of rendered images in architectural media is symptomatic of a broader issue: the superficial representation of buildings. These glossy visuals, while visually appealing, often conceal the less glamorous aspects of architecture and urban development. By presenting an idealized version of reality, these renders distort our perception of architectural projects, masking their flaws and shortcomings. FA argues that this trend perpetuates a culture of image-driven architecture, where aesthetics take precedence over substance. FA rightly questions the legitimacy of celebrating architectural projects solely based on their visual appeal, without critically evaluating their social and environmental impact. The emphasis on shiny renders serves as a poignant reminder of the manipulative nature of architectural imagery, which often prioritizes aesthetic allure over substantive considerations. FA contends that architectural media outlets like ArchDaily serve as little more than mouthpieces for developers and architects, uncritically regurgitating the PR material provided to them. In their quest for clicks and traffic, these outlets prioritize sensationalism over journalistic integrity, becoming complicit in promoting a narrow, sanitized view of architecture. By pandering to the desires of their audience for visual spectacle, these outlets perpetuate an aspirational fantasy that is inaccessible to the average person, akin to the allure of the porn industry. FA's critique of architectural media extends beyond mere condemnation; it raises fundamental questions about the role of journalism in shaping public discourse. By uncritically amplifying the voices of developers and architects, these outlets contribute to the commodification of architecture, reducing it to a product to be consumed rather than a social good to be debated and critiqued. In doing so, they undermine the democratic ideals of journalism, prioritizing profit over truth and spectacle over substance.

 

The platform's shift towards addressing architectural and societal problems represents a step in the right direction. By hyperlinking articles to other events and providing historical context, FA enriches the discourse surrounding architecture and its intersection with politics. Indeed, architecture cannot be divorced from the broader socio-political landscape, and FA's efforts to illuminate these connections are commendable. However, while FA succeeds in highlighting the cultural criticism embedded within the built environment, it sometimes falls short in offering concrete solutions or actionable insights. The platform's radicality lies in its ability to expose the underlying power structures and systemic injustices embedded within architectural practice. Yet, to truly effect change, FA must go beyond critique and actively engage in envisioning alternative futures and advocating for tangible reforms.

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By reframing architecture as a site of struggle and contestation, FA empowers us to reimagine our built environment as a locus of possibility and change. It prompts us to question the dominant paradigms of growth and consumption, urging us to envision alternative futures rooted in justice, equity, and sustainability. Yet, amidst the myriad complexities and contradictions laid bare by FA's analyses, one cannot help but wonder: where do we go from here? How do we translate critique into action, and theory into praxis? These questions linger as poignant reminders of the ongoing struggle for a more just and equitable world. Like pieces of a puzzle scattered across a table, our built environment reflects the disparate forces that shape our world: from corporate interests to grassroots movements, from architectural innovation to social upheaval. Yet, within this mosaic of contradictions lies the potential for transformation, waiting to be pieced together into a more coherent and compassionate whole. My perspective on architecture has undergone a profound transformation, evolving from a fragmented understanding to a more holistic perception. I find myself questioning previously accepted norms and delving deeper into the complexities of the built environment. It's as if a veil of misinformation has been lifted from my eyes, allowing me to discern nuances and complexities that were once obscured. What distinguishes Failed Architecture (FA) as radical, in my view, is its unflinching self-critique of the architectural profession. It confronts the uncomfortable truths that many choose to overlook in their pursuit of acclaim and recognition. FA prompts us to look beyond the façade of greenwashing and confront the moral dilemmas inherent in architectural praxis. While acknowledging that the journal, like any other, is influenced by the biases of its creators, there is a sense of relief in encountering perspectives that align more closely with my own moral compass. By fostering critical dialogue and exposing the complexities of architectural practice, FA encourages readers to question the status quo and imagine alternative futures rooted in justice and sustainability (as more than just a checkbox on a corporate agenda).