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

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg's The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives expression to the alien materiality at the limit of experience. By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror.

Thing, The

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History & Criticism

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