Forensic Architecture: Violence at the Threshold of Detectability

by Eyal Weizman

In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.



Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

In Forensic Architecture, Eyal Weizman, the group's founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman's Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

Genres: Architecture, Politics, Nonfiction, War, Art, Sociology, Crime

ebook

First published January 1, 2017

About the author

Eyal Weizman is an architect, professor of spatial and visual cultures and director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2014 he is a global professor at Princeton University. In 2010 he set up the research agency Forensic Architecture (FA). The work of FA is documented in the exhibition and book FORENSIS (Sternberg, 2014). In 2007 he set up, with Sandi Hilal and Alessandro Petti, the architectural collective DAAR in Beit Sahour/Palestine. This work is documented in the book Architecture after Revolution (Sternberg, 2014). In 2013 he designed a permanent folly in Gwangju, South Korea which was documented in the book The Roundabout Revolution (Sternberg, 2015). His other books include The Conflict Shoreline (Steidl and Cabinet, 2015), Mengele’s Skull (Sternberg, 2012), The Least of all Possible Evils (Verso, 2011), Hollow Land (Verso, 2007), A Civilian Occupation (Verso, 2003). Weizman is on the editorial board of Third Text, Humanity, Cabinet and Political Concepts and is on the board of directors of the Centre for Investigative Journalism (CIJ) and on the advisory boards of the ICA in London and B’Tselem in Jerusalem, amongst others. He studied architecture at the Architectural Association in London and completed his PhD at the London Consortium/Birkbeck College.

Reviews

[Heronimo Gieronymus · Rating 5 out of 5]

Born in Haifa and for many years a noted academic promulgating radical paradigm-shifting theoretical endeavour within the field of architecture from his new home base in the United Kingdom, Eyal Weizman would go on to become the co-founder and most prominent public representative of Forensic Architecture, an agency founded in 2010 which focuses its mandate on both research and advocacy. I have known about Forensic Architecture for a couple years now, having visited their website and read some shorter pieces concerning their work both by individuals who contribute to the agency’s efforts and from commentators situated outside the agency proper. I have consistently found Forensic Architecture’s work fascinating, fundamental to the core concerns of our current historical moment, and pathbreaking in a manner that cannot help but excite. Weizman’s remarkable book FORENSIC ARCHITECTURE: VIOLENCE AT THE THRESHOLD OF DETECTABILITY was originally published in 2017, the Zone Books paperback coming out last year (2019). I had already procured my copy of this second edition when the news broke in February of 2020 that Weizman was barred from attaining a travel visa with which to enter the United States during the month in question when an algorithm purportedly flagged him as a security risk. A piece in THE GUARDIAN from February contains the following passage: “Weizman, who holds British and Israeli passports, said the embassy official suggested the threat could be related to something he was involved in, people he was in contact with, places he had visited, hotels where he had stayed, or a pattern of relations among those things.” The phrasing is somewhat ironic, sounding in no small part like a consideration of the kinds of complicated dataset analyses Forensic Architecture practices. If Forensic Architecture conceives of itself as a counterforensics, turning the forensic gaze back against the State, it is also a new species of systems analysis appropriate to an era of satellite imagery, metadata glut, and multimedia. Subsequent to the events of February, we have of course seen the global COVID-19 pandemic—the spread of the disease precipitated by a novel coronavirus that first emerged in the city of Wuhan in late 2019, making the “novel” hop between species—and in reading an online piece by Andrew Liu published by the journal N+1, I had cause to again consider the influence and pertinence of Forensic Architecture’s methodologies, precisely from the standpoint of the consideration of systems. Liu’s piece looks at the current pandemic within the context of structure, infrastructure, and international systems (fundamentally a matter of economics and various kinds of flow). It was hard for me not to recall the piece when reading Weizman quoting Carlo Ginzburg (theorist of microhistory) in the book presently under consideration: architecture is “not a fortress but a port or an airport, a place from which we leave to other destinations.” In a manner analogous to international travel, the thorough consideration of any event in terms of the systems that inform it, will involve a starting point and any number of embarkations and disembarkation. Simply collecting all the necessary data can be a matter of covering a great deal of implicitly-politicohistoricized ground. Before the advent of Forensic Architecture and the agency named for it, Weizman was already known for his incorporation of poststructuralist theory within the domain of architectural scholarship. In THRESHOLD OF DETECTABILITY he is just as likely to quote Henri Bergson or Edward Said as he is specialists on architecture and/or forensics. This is going to be agreeable to people of sensibilities similar to mine, and it is anything but counterproductive or counterintuitive. If we think of poststructuralism as the abandonment of impregnable structures and/or totalizing systems, this is only on account of the movement's general good faith with regard to its consideration of systems. If we think of Foucault, for example, it is not a matter of his abandoning systems analysis but rather of his radicalizing it, most fundamentally on account of his situation of epistemological and ethicomoral (or ontotheological) complexes within his conception of the systems he critiques. A huge part of what Weizman himself targets are the preconceptions of Statist ideologies. That being said, what most excites about Forensic Architecture is the timeliness and extraordinary rigour of the work carried out in its name. Much of the methodology and basic structure of the agency itself (composed of “fellow architects, artists, filmmakers, journalists, scientists, and lawyers”) is explicated in the Preface to THRESHOLD OF DETECTABILITY. The agency’s core interest is in the “production of architectural evidence” and the fine-tuning of its communicability. “It regards the common elements of our built environment—buildings, details, cities, and landscapes, as well as their representations in media and as data—as entry point from which to interrogate contemporary processes.” The architectural analysis of “incidents in their contexts” seeks to pull from the incidents and the contexts and “their microphysical details the longer threads of political and social processes.” Forensic architecture follows something like “the convention of the detective genre”: “two entangled plots,” a crime or event located in the past counter-positioned with a present investigation, these offset domains connected by way of “evidence, whether material, testimonial, or media-based.” Later in the book, Weizman makes it clear that there are three tiers to this work: field (a matter of data-collection), laboratory (transformation of data into evidence), and forum (the presentation of findings). We would, naturally, have to consider this remarkable Zone Books edition, with its extraordinary colour images and exemplary layout, a triumph at the level of forum, though of course the text (and copious endnotes) explicate processes, activities, and operational considerations at all three tiers. Part of what makes this work so distinct from most theory, however, is that the “forum” dimension of the agency’s work does include presentations made in a juridicial context, whether the courts in question exist within nations or as international institutions (like the ICC). Weizman makes a convincing case that the agency’s presentations within legalistic parameters, though such parameters will never cease to present as problematic, have produced significant results, a fact not lost on the adversary (as it were). Danny Ayalon, Israel’s deputy foreign minister, 2010: “Today the trenches are in Geneva in the Council of Human Rights, or in New York in the General Assembly, or in the Security Council, or in The Hague, the ICJ.” THRESHOLD OF DETECTABILITY kicks off properly by tracing much of the Forensic Architecture approach to evidential considerations raised by the the David Irving trial, in which Irving, noted Holocaust denial, brought suit against those who had called him just that, a Holocaust denier, Irving’s reasoning being that his assertion that the Holocaust did not happen was not unprovable. The resultant trial involved presentation and cross-examination of “drawings, models, aerial and ground-level photographs of buildings.” Et cetera. Second World War-era images of Crematorium II at Auschwitz became central insofar as concerns aerial images, the matter of the holes in the roof (through which Zyklon B was introduced into the gas chambers) leading to much analysis, conjecture, and debate. To the holes in the roof we also owe the introduction of the concept of the “threshold of detectability.” Such thresholds are manifold. Weizman will go on to present a variety of “territorial, judicial, and visual” thresholds. Because of the size of individual grains in film emulsion, the existence or nonexistence of the holes in the roof of Crematorium II cannot be established simply by looking at the photographic evidence. The images are both representations and material objects in their own right. What they disclose is in part the how of the disclosure and the limitations thereof. This needs to be considered alongside the nature of David Irving’s defense, a defense predicated on “Negative Positivism,” a position which relies on “negative evidence,” a terminology generally indicating absence of evidence as itself evidence (defense), or destruction/erasure of evidence as itself evidence (prosecution). Because of the Negative Positivism exploited by people like David Irving and his predecessor, “master denier” Robert Faurisson, a “much larger body of evidence” had to be brought into play. It is the collection, analysis, manufacture, and presentation of such evidence that is the purpose of Forensic Architecture. Many kinds of evidence, not reducible merely to: “drawings, models, aerial and ground-level photographs of buildings”; evidence relating to the analysis of buildings and built environments; basic criminal-investigation-type forensics; audio-visual content produced by/for news media outlets or social media users (often multi-camera events); remote sensing technologies; osteobiography; historical documents, direct interviews, and a general analytics of testimony; analysis of climate factors, historical patterns of aridity and desertification. In a somewhat curious fashion, the legacy of the Second World War will reappear in multiple contexts. Aerial images from late in the war (the images themselves presented in the book, as all the discussed images are) also become key to the analysis of the aridity line (an unstable threshold) in southern Isreal/Palestine insofar as these matter concern a suit brought by excommunicated Bedouins against the state of Israel, the State’s presuppositions concerning what it means to inhabit (borrowed for legalistic expedience from Ottoman tradition in the region and currently demonstrative of the devaluation of indigenous rights) are called to account. Before that we will also be asked to consider the matter of Joseph Mengle's skull, subject of an early book co-authored by Weizman and crucial to the birth of Forensic Architecture. In early 1984, when his remains were initially discovered, Joseph Mengle was "only the most celebrated of the tens of thousands of missing persons in South America [...] In a strange twist of historical irony, it was the forensic procedures developed for this arch perpetrator of Nazi atrocities that contributed to the effort to identify the missing victims of Argentina.” As for architecture itself, Weizman repeatedly makes the case that building and built spaces are capable of prehension (versus apprehension or comprehension). Individual structures, built material environments, change subtly over time, a condition of their materiality. An example would be how “it takes years for an air bubble trapped between a wall and a fast-drying paint to make its way up the building facade.” The rate at which the air bubble makes its way up the facade is contingent upon the structure itself and the structure’s environmental context. Buildings prehend, record, and diffuse. Cracks in an edifice or the surrounding terrain (or both) can speak. The famous 2013 callopse of a large sweatshop in Bangladesh in considered, both in terms of the structure itself, the surrounding infrastructure, and global economic systems. Again: “sets of relations between between different structures, infrastructures, objects, environments, actors, and incidents.” A new kind of building surveyor is required, attentive to “media, data, and remote sensing technologies, and the lines of causation must splinter into causal fields that extend to politics, the environment, economy, and law.” Drone warfare in Pakistan, Afghanistan, Yemen, Somalia, and Gaza is analyzed, how it can be discerned in changes to structures and infrastructure. Drone attacks on building also involve holes in the roofs of buildings, the ordnance (usually Lockheed Martin Hellfire antitank missiles) tending to explode inside rooms deeper within a given structure. By design, these drone strikes leave most of the structure intact. Weizman looks at how various nation states (especially Israel) use humanitarian rhetoric to their own ends, producing a troubling space for discursive and juridicial redress. The same issues germane to film emulsion and the threshold of detectability remains insofar as concerns contemporary satellite imagery, resolution dependent on pixel size. Again, the State has access to better image resolution than do activist organs, testimony to power imbalance and structural inequality (precondition for a logistics of counterforensics). There continue to be issues endemic to the examination of “the relation between an architectural detail, the media in which it was captured, a general policy of killing, and its acts of denial.” A fascinating section covers the use of virtual models and their manipulation with regard to firsthand testimony (which even when it is faulty conveys useful information on precisely those terms), such as that of liberated Syrian prisoners who help establish the space of confinement in which they were scrupulously prevented from seeing anything. (Weizman introduces the precedent of the great German filmmaker Harun Farocki’s 2009 installation piece SERIOUS GAMES III: IMMERSION (which I was fortunate enough to get to see firsthand); Farocki also presented the aforementioned Second World War-era footage of Auschwitz’s Crematorium II in his 1989 film IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR; this book is dedicated to the filmmaker.) Part of what is so timely about THRESHOLD OF DETECTABILITY is the manner in which Weizman conceives of extraterritorialization in terms of modern combat, climate change, and environmental violence. This is where to book ultimately leads, but Weizman has earlier suggested that extraterritorialization is also a concept at the heart of the supposition of imminence, a matter of algorithmic predictability. This algorithmic predictability returns us again to the asymmetric nature of counterforensics (and the return of the forensic gaze) when we recall the algorithms which in February purportedly determined Weizman a security risk. No surprise, then, that Forensic Architecture is very much something approximating a guerrilla activity which itself much succeed, according to Weizman himself, at operating “close to and under the threshold of detectability.”

[Sofia Silverchild · Rating 5 out of 5]

Στο βιβλίο αυτό ο ιδρυτής του γραφείου, Εγιάλ Βάιτσμαν, παρουσιάζει αναλυτικά τη μεθοδολογία του, συγκεκριμένα έργα που έχει αναλάβει ανά τον κόσμο όπως στην Παλαιστίνη, στην Ουκρανία, τη Γερμανία, καθώς και δυσκολίες ή προκλήσεις που αντιμετώπισαν εντός κι εκτός δικαστηρίου. Ιδιαίτερο ενδιαφέρον έχει η συνέντευξη που παρατίθεται στο παράρτημα ανάμεσα στον επιμελητή της έκθεσης που έγινε στην Στέγη Γραμμάτων και Τεχνών το 2019, “For Ever More Images” και τέσσερα μέλη του γραφείου, των διευθυντή Βάιτσμαν, την αναπληρώτρια διευθύντρια, Χριστίνα Βαρβία, τον ελληνόφωνο ερευνητή, Νικόλα Ζέμπασιης, και τον συντονιστή πεδίου για την Ελλάδα, Στέφανο Λεβίδη, που υπογράφει και την επιμέλεια του βιβλίου. Συγκεκριμένα μιλούν για την ιδιαιτερότητα της Ελλάδας και τη συμβολή τους στις έρευνες για τις δολοφονίες του Παύλου Φύσσα και του Ζακ Κωστόπουλου, όπου κλήθηκαν από τους γονείς να βοηθήσουν στη δικαστική διαμάχη. Εκεί εντόπισαν ανακρίβειες στις καταθέσεις των αστυνομικών και άλλα κενά στην επίσημη αφήγηση κι έδωσαν υλικό στους δικηγόρους των συγγενών για να ενισχύσουν τη θέση τους έναντι των δολοφόνων.

[Lydia · Rating 4 out of 5]

un libro q m regaló Pau y q habla sobre cmo a veces las cosas q pasan en el mundo se quedan registradas en los materiales en las plantas y en los edificios y a través d otras cosas (sensores, imágenes, etc.) se pueden esclarecer conflictos armados, procesos de colonialismo y demás midiendo y relacionando elementos. En fin, interesantísimo. Carmen creo que a ti t encantaría

[Metodi Pachev · Rating 5 out of 5]

This is an inquiry into the depths of state violence, counter-forensics, the crimes of the State of Israel against the indigenous Arab Palestinian population and the ways in which we can expose these crimes. The moral of the book is that state power might be growing, but there will always be practical ways to unmask it far from abstract narratives that only condemn. In this sense, the book shows how a smartphone can turn into a defensive weapon in the hands of a person against state violence.
I spent a lot of time with this text (almost a year!) because I had to translate it into Arabic; some chapters - where Israeli violence in Ghaza, or how the Hannibal doctrine came about, or testimonies of blindfolded prisoners in Syria, or accounts of people who lost all members of their families in a single strike are described in detail - were not easy to read, believe me (too gruesome!); nonetheless, everybody should know - reality is even more brutal and gruesome than the way it was described in the book.
The book adopts a multi-disciplinary approach: forensics, architecture, law, history, geology, archival science, climatology, philosophy. A great read!

[Nat]

I learned about the work of Forensic Architecture from watching this YouTube video about reconstructing a the timeline of a killing in Umm al-Hiran:

https://www.youtube.com/watch?v=CNnoP...

From the theoretical side of things, this book could be seen as a kind of update and expansion of Virilio's War and Cinema and Bunker Archaeology, focusing on various "thresholds of detectability", for example what is verifiable from digital satellite imagery or analog aerial reconnaissance photos with limited resolution (sometimes such resolution is artificially restricted to keep certain objects or events out of view).

There's a very interesting inversion of a standard temporal dimension of big-data approaches to investigating phenomena, where the normal aim is to expand our field of vision to the longue-durée, while the aim in these forensic investigations is to collect a huge amount of overlapping evidence that allows the reconstruction of a single day's events, or a single "split second" shooting:

The time ratio of a day to a year demonstrates the duration and labor necessary for forensic work (p.169).

There's also fascinating reflections on using buildings as a kind of photographic medium—they can record the presence of bomb blasts by not collecting fragments in places blocked by objects, including human bodies, like a photographic negative (p.40)—and building up timelines of explosions by looking at the formation and dissipation of bomb clouds (pp.192–196).

[d · Rating 4 out of 5]

This book was painful and hard to read due to the severity of the content. Eyal Weizman is able to discuss the technicals and motives of Forensic Architecture's work without undercutting the severity of the despair victims of Israeli colinization experience. I realized that above all, architecture is occupied space - a seemingly obvious thought, however, it takes on a different meaning once it is a matter of life and death. The various ways that Forensic Architecture tracks spaces (auditory [Nakba Day killings], photographic mapping, cloudmapping) really enforces (even if it is out of lack of other options) that architecture is something we move through with all our senses. It is home, it is land, it is isohyets, it is a weapon. I learned a lot about Israeli's terrorization of Palestine and neighboring lands, and how exactly they weaponized land and architecture (Bedouin geopolitical warfare). Great read. I would like to go to Battir.

[Lobo¡! · Rating 5 out of 5]

me encanta aunque está editado con el culo y lleno de faltas de ortografía... "el maqueta", "est- udiantes"... muchas más. qué vergüenza.

pero súper interesante porque justo habla de la relación entre memoria histórica, violencia y DDHH: i.e. la tensión entre los tribunales de derechos humanos y el rol del arte en contribuir a la jurisprudencia en estos temas.

si el arte no sirve para denunciar violencia porque es subjetivo y no constituye una prueba en un juzgado por no ser "objetivo", este texto explica cómo las medidas "objetivas" (cómo fotografías de satélites) están controladas por los mismos estados que cometen los crímenes. Arte político!!!

es muy corto además el libro, lo recomiendo

[foteini_dl · Rating 4 out of 5]

Ζούμε σε μια εποχή που η επαλήθευση στοιχείων μοιάζει άγνωστη έννοια, τα fake news δυναμώνουν όλο και περισσότερο, τα ανθρώπινα δικαιώματα καταπατούνται καθημερινά -από επίσημους και ανεπίσημους φορείς- και η δικαιοσύνη μοιάζει να είναι... οκ, ποια δικαιοσύνη; Α, και σε μια εποχή που η αρχιτεκτονική μοιάζει να απευθύνεται σε μια ελίτ, ξεχνώντας τον (όποιο) κοινωνικό της ρόλο.

Ε, σε αυτή την εποχή δημιουργήθηκε η Forensic Architecture, που την ξέρουμε και από τη συμβολή της στις δίκες για τις δολοφονίες του Παύλου Φύσσα και του Ζακ Κωστόπουλου. Αναγκαίο δημιούργημα, μπορείς να πεις -και όσο οι συνθήκες γίνονται πιο άγριες, τόσο πιο αναγκαία θα είναι και η δράση της.

[bruno sala navarro · Rating 2 out of 5]

el llibre és molt desordenat (o com a minim jo no he acabat de pillat/comparteixo l'estructura) i l'autor aprofita a fondo per parlar de la seva oficina. tanmateix, entrant en la practica en sí, en tant que l'actualitat és absolutament interdisciplinar i tot té influència en tot, els grups d'investigació també ho han de ser; conseqüentment, la pràctica contraforense és una metodologia absolutament fonamental. humanitzar els conflictes amb l'estètica forense és una aproximació als testimonis i alhora una creació de coneixement des del vincle entre fet-vivència. tant de bo poder formar part d'un dels motors com Forensic Architecture

[Daniel · Rating 5 out of 5]

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[Synaps · Rating 5 out of 5]

Few people can claim to have pioneered a whole new discipline: Eyal Weizman is one of them, having applied techniques et technologies borrowed from architecture to map out and reconstruct both the visible effects and the underlying logic of political violence in all its forms.

[Oscar GF · Rating 5 out of 5]

Imprescindible para cualquier persona que se dedique a la práctica pericial. El equipo de Eyal Weizman hace un trabajo espectacular, cargado de compromiso político, expandiendo los límites de la propia investigación material.

[Kirsten Jolly · Rating 3 out of 5]

Interesting theory and I think it probably works, but this is definitely more for science-minded people.

[Ian Durham · Rating 4 out of 5]

Fascinating read. The only reason I didn't give it five stars is because it has a clear bias. It's a bias I tend to agree with, but it's still a bias. That said, these folks are doing some amazing work. I applaud their efforts and I think their methods are an inspiration.

[flacabangbang · Rating 5 out of 5]

Un libro que ayuda a comprender a quienes están fuera del ámbito de la arquitectura, que esta puede ser un instrumento decisivo, para salvar vidas y defender derechos.

[Concha.ita · Rating 4 out of 5]

Una delicia, un 5☆ si no fuera porque la versión en castellano tiene bastantes errores en los textos :(