Brendan Cormier, Lead Curator of 20th and 21st Century Design for the Shekou Partnership at Victoria and Albert Museum and former managing editor at Volume, has picked a head-to-head between Rem Koolhaas and Larry Beasley that was published in Volume #23 Al Manakh Gulf Continued.

Volume has invited people from its network to select a favorite article/contribution and indicate in a few lines why. The coming weeks and months we’ll republish their choices with their motivation. If you feel tempted to highlight a personal favorite with a brief motivation.

Everything comes from somewhere. It’s a fact so self-evident it hardly feels worth saying. But beyond this obvious truth, provenance is a powerful industry. As a capitalist tactic, it addresses the problem of anonymous mass-production through the added-value of meaning. And it is everywhere. As such, our daily routines have fundamentally changed. No longer a simple succession of actions, they are now a complex sequence of meaningful objects, objects that reveal stories reflecting our moral and personal character. In the shower we lather with locally produced handcrafted soap. Our coffee packaging reassures us that the Ethiopian crop worker – his name is Abraham – earns a living wage. The mug we drink from, as told by the sales clerk, is a Scandinavian classic. We slice into a tomato, knowing that at the farmer’s market we shook the farmer’s hand. These things make us feel good; they reaffirm our egos, assuage our guilt, and remind us that we are interested and interesting individuals. It is 8:30 in the morning.

The Modern subject is usually defined by its epistemological capacity. Enlightened at heart, it is composed of a body and a mind evolving in an homogeneous space and time; it is mostly conscious, aware of the world to the extent of his/her knowledge.

One of architecture's histories is that of the art of display: architecture displaying power, political ambition, economic success, social agendas, or less mundane notions like dreams, convictions and belief. These days architecture has also become subjected to display: the display of architecture in museums and collections, and in auctions for example. That adds but also distracts meaning; not every aspect of architecture can be displayed as easy. And what does a culture of display (be seen or perish) add to this condition?

ARCHIZINES celebrates the resurgence of alternative and independent architectural publishing around the world. The touring exhibition, curated by Elias Redstone and initiated in collaboration with the Architectural Association, features architecture magazines, fanzines and journals from over twenty countries that provide an alternative to the established architectural press. Edited by architects, artists and students, these publications provide new platforms for commentary, criticism and research into the spaces we inhabit and the practice of architecture.

Portugal faced a dramatic housing shortage in the early 1970’s that contributed to the energies of 1974’s revolution. One of the first acts of the new government was to institute new housing policies and institutions, Serviço de Apoio Ambulatório Local (SAAL, Service for Local Mobile Support), that focused on promoting the right to the city through collective processes of design, construction and management. Manifesting itself differently throughout the country, SAAL was irreparably altered just a few years later due to political conflict. Since then, the fates of these architectures and their built agendas have lay uncertain. What will be the legacy of this failed proletarian utopia?

If there is a moment to test a community’s resilience, it is after disaster has struck. Such situations often show a community pulling together in a shared feeling that ‘things’ have to be done, but also ambition to be involved and participate on an individual level. Christchurch, New Zealand was no exception when the city was ruined by a series of earthquakes. Yet, it may have come as a surprise for most to see how many people felt engaged and how many (temporary) projects were being proposed and executed. Maybe less surprising was the tendency among existing structures and powers to just carry on. The self-building city was welcomed at first, or maybe just tolerated by the powers that be, provided it wasn’t in the way of business as usual. So, how fundamental a change did we actually see?

Alongside luxury developments and public displays of wealth, over half of Cairo’s urban population, a megacity of over 17 million, live in unplanned and self-built communities. Massive population shifts and a lack of governmental oversight fostered a culture of collaborative urbanism, incremental architecture and entrepreneurialism. Due to the explosive growth created in the power vacuum after the 2011 revolution, the government has formally recognized this informality and services have started being provided. How will these highly nuanced building practices be brought under the remit of planning policy and urban governance? Will they change in the process to produce new forms of urbanism, or will they be accepted and become the new official standard?

There is a theory that the more organized (read: developed) a society is, the less self-sufficient it becomes. All sorts of services and amenities, from housing to energy, from culture to justice, are centrally organized and distributed. But is that necessarily so? Or are we heading for a new order in which decentralized and self-reliant become the norm?

Volume’s upcoming issue addresses how people’s initiative creates the city, focusing on housing. Temporariness is one of the conditions that favors small-scale and bottom-up initiative. Martynas Mankus discusses some realities.