The baggage that phenomenology carries with it in architectural discourse is weighty, writes guest editor Bryan E. Norwood in Log 42. This issue of Log aims to lighten the load, or at the very least redistribute it.
 Subtitled Disorienting Phenomenology, the thematic 204-page Winter/Spring 2018 issue presents 18 essays by philosophers, theorists, art and architectural historians, and architects that range from Mark Jarzombek s close reading of the first three sentences in Husserl s Ideas: General Introduction to Pure Phenomenology to Caroline A. Jones s historical analysis of phantom phenomena in Doug Wheeler s work Synthetic Desert; from Charles L. Davis s speculations on an architectural phenomenology of blackness to Adrienne Brown s look at the role of space in producing racialization to Jos Boys s and Sun-Young Park s explorations of disability. In addition, Norwood a philosopher/architectural historian talks with Jorge Otero-Pailos, author of Architecture s Historical Turn: Phenomenology and the Rise of the Postmodern, a key reassessment of the idea of architectural phenomenology first put forth in the mid 20th century. 
As Norwood concludes, Architecture doesn t need a phenomenology; it needs phenomenologies. Log42 is a critical observation of those phenomenologies that reflects architecture s and society s increasing awareness of the sociocultural richness to be had in diversity. 
 Also in this issue: Joseph Bedford rethinks the practice of phenomenology, Kevin Berry projects a new mode of being-in-the-world, Lisa Guenther infiltrates the gated community, Bruce Janz wonders about creativity, Rachel McCann exfoliates the flesh, Winifred E. Newman disputes disembodied visuality, Ginger Nolan historicizes the metahistorical, Dorothée Legrand suspends the reduction, Benjamin M. Roth seeks out meaninglessness, David Theodore inverts the Vitruvian Man, Dylan Trigg excavates a prehistory.

Log 42: Disorienting Phenomenology

Charles Davis

Caroline Jones

Kevin Berry

Mark Jarzombek

Jos Boys

Adrienne Brown

Joseph Bedford

Lisa Guenther

Bruce Janz

Dorothée Legrand

Rachel McCann

Winifred Newman

Ginger Nolan

Bryan Norwood

Sun-Young Park

Benjamin M. Roth

David Theodore

Dylan Trigg

Anyone Corporation

Harry (1927-1995) and Jessie Webb (1930-2011) were among an important and influential group of artists, poets and jazz musicians working in Vancouver and the North Shore in the 1950s. They met at the Vancouver School of Art and worked collaboratively for nearly a decade on a series of innovative progressive prints made with linoleum blocks. Their works were featured in exhibitions at the Vancouver Art Gallery, The Burnaby Art Gallery and in print through-out the 1950s. They were very involved in Vancouvers local jazz scene designing posters for the legendary Cellar Jazz Club. Harry Webb later became a landscape architect and helped found the BC Society of Landscape Architects. His company designed the Park & Tilford Gardens in the North Shore, The Bayshore Inn, Centennial Square in Victoria etc. Jessie Webb would go on to write poetry and design murals. Their early work was featured in Vancouver typographer Robert Reids pm magazine. The couple were also featured in Leonard Forests 1964 National Film Boards In Search of Innocence, a documentary film profiling Vancouver artists and jazz musicians.Their fascinating story is being told by their daughter for the first time.

The Life and Art of Harry and Jessie Webb (Unheralded Artists of BC) (The Unheralded Artists of BC)

Arts & Photography

History & Criticism

Mother Tongue Publishing

Clochette Au Nord du Pays Imaginaire

Presser Aventure

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Books by Adrienne Brown