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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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include - APP/View/Elements/website/topnavigation.ctp, line 60
View::_evaluate() - CORE/Cake/View/View.php, line 971
View::_render() - CORE/Cake/View/View.php, line 933
View::_renderElement() - CORE/Cake/View/View.php, line 1224
View::element() - CORE/Cake/View/View.php, line 418
include - APP/View/Website/asset.ctp, line 4
View::_evaluate() - CORE/Cake/View/View.php, line 971
View::_render() - CORE/Cake/View/View.php, line 933
View::render() - CORE/Cake/View/View.php, line 473
Controller::render() - CORE/Cake/Controller/Controller.php, line 968
Dispatcher::_invoke() - CORE/Cake/Routing/Dispatcher.php, line 200
Dispatcher::dispatch() - CORE/Cake/Routing/Dispatcher.php, line 167
[main] - APP/webroot/index.php, line 107

Warning (2): in_array() expects parameter 2 to be array, null given [APP/View/Elements/website/topnavigation.ctp, line 60]
Code Context
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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Rogers hätte behauptet "...ich sei ein Genie, und ich versicherte, ein Esel zu sein. Ich habe daraufhin die Frage in einer Zeichnung dargestellt." UNter die Zeichnung notierte Le Corbusier die Frage "Trägt das Genie den Esel, oder trägt der Esel das Genie?"',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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in_array - [internal], line ??
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View::_evaluate() - CORE/Cake/View/View.php, line 971
View::_render() - CORE/Cake/View/View.php, line 933
View::_renderElement() - CORE/Cake/View/View.php, line 1224
View::element() - CORE/Cake/View/View.php, line 418
include - APP/View/Website/asset.ctp, line 4
View::_evaluate() - CORE/Cake/View/View.php, line 971
View::_render() - CORE/Cake/View/View.php, line 933
View::render() - CORE/Cake/View/View.php, line 473
Controller::render() - CORE/Cake/Controller/Controller.php, line 968
Dispatcher::_invoke() - CORE/Cake/Routing/Dispatcher.php, line 200
Dispatcher::dispatch() - CORE/Cake/Routing/Dispatcher.php, line 167
[main] - APP/webroot/index.php, line 107

Notice (8): Undefined variable: parent_thread_ids [APP/View/Elements/website/topnavigation.ctp, line 60]
Code Context
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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Rogers hätte behauptet "...ich sei ein Genie, und ich versicherte, ein Esel zu sein. Ich habe daraufhin die Frage in einer Zeichnung dargestellt." UNter die Zeichnung notierte Le Corbusier die Frage "Trägt das Genie den Esel, oder trägt der Esel das Genie?"',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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			'text' => 'The first pages of Le Corbusier’s Urbanisme start with the Manichean enemy of Le Corbusier and his Modulor: The pack-donkey, whose ancient paths supposedly laid the original maps for the topology of all great European cities; London, Paris, and Rome are all haunted by the cultural heritage of the lazy beast of burden. The pack-donkey’s non-linear paths are the reason for their congestion and inefficient temporalities of movement. Le Corbusier’s Urban Grids with long linear axes will lengthen the donkey’s ears, the French architect declares. (See glossary entry "Donkey Urbanism and the Construction Site of Modernism")
The structuralist anthropologist Claude Lévi-Strauss tells the story of his mule that left him in the jungle in despair after they had been separated from the rest of the expedition group. It seemed not to care to bring him home but grazed on weeds along the way. After it had run away, Lévi-Strauss’ attempt to capture the mule was at first largely unsuccessful but eventually he managed to do it. The animal refused to take his orders and when Levi-Strauss slackened the reins he discovered that the mule had run in circles. Finally they were discovered by their guides and brought home safely. This traumatic incident is told in a chapter called "A Writing lesson" in his famous Tristes Tropiques (1955). Here the anthropologist reflects on what happened before this jungle experience: the chief of the tribe Lévi-Strauss was dealing with had brought paper and a pen to their meeting, put waves on his paper, and referred to this list constantly during their negotiations concerning the exchange of material and goods. Lévi-Strauss was overwhelmed and astonished. According to Levi-Strauss, the waves were neither lines nor drawings; they referred to power structures connected to categorization and control immediately understood by the tribal chief. Connecting the experience with the mule with the tool of a "list" in the hands of the chief, he sees the "formation of cities and empires: their integration into political systems…of a considerable number of individuals, and distribution into a hierarchy of castes and classes" connected to writing in their exploitative qualities: "to this surely, we must attribute the beginnings of architecture as we know it." (quoted in: Ingraham 1998: 79) In her ingenious reflections on The Burdens of Linearity, Catherine Ingraham asks why animals, beasts of burden to be precise, play such an important role at crucial points in both Levi-Strauss’ and Le Corbusier’s writing. 
In both cases dissidence and obstinacy came in connection with animals, real and imaginary when questions of controlled spatiality and its transgression are topical. Her working assumption was that the combination of geometric lines with urbanistic or architectural lines and animal paths "…offered a certain resistance to the various tactics of ideality. The mule (which can have no single origin, cannot be classified as a species) and the donkey, insofar as they both advance perturbed technologies for representing the line in space (as city or architecture), participate in the inexact measure of the everyday. In this scheme, linearity – an ideal system based on the same `passage to the limit´ that pure geometry is based on – must be perpetually won away, through philosophical means (Cartesian intellectualism, for example), from animality, irrationality, impropriety, disease, and death." (quoted in: Ingraham: 1998: 85)

This constellation is part of the political unconscious of the thinking behind architecture, cities, and planning. The Grid Book by art historian Hannah Higgins starts with the great fire of October 8-10, 1872, that destroyed a third of Chicago. (Higgins 2009: 1) The supposed arsonist was depicted in the popular media as having been a cow in the little diary of Catherine O´Leary. A poem in the Chicago Tribune went like this: 

"One dark night – when people where in bed,
Old Mrs. O´Leary lit a lantern in her shed;
The cow kicked it over, winked its eye and said,
There’ll be a hot time in the old town tonight." 

Chicago as the city of grids was almost destroyed by its economic base. Largely built on transport related services and the large-scale killing of animals, the bovine object of exploitation became the initiator of a fury of flames that almost destroyed the Bovine City, as it was popularly called. Animals, especially mundane, non-exotic animals seem to pose a constant danger for the polis. The congress publication of the eighth CIAM congress The Heart of the City: towards the humanisation of urban life starts with the foundational text by Jorge Louis Sert entitled The Theme of the Congress: The Core. 
While the unpublished manuscript of the original lecture at the congress ended with a lengthy quotation from the elitist Spanish philosopher José Ortega y Gasset, this quote is moved to the very beginning of Sert’s published text as the opening of the congress publication:

"For in truth the most accurate definition of the urbs and the polis is very like the comic definition of a cannon. You take a hole, wrap some steel wire tightly round it, and that’s your cannon. So the urbs or the polis starts by being an empty space, the forum, the agora, and all the rest are just means of fixing that empty space, of limiting its outlines. The polis is not primarily a collection of habitable dwellings, but a meeting place for citizens, a space set apart for public functions. The city is not built, as is the cottage or the domus, to shelter from the weather, and to propagate the species – these are personal, family concerns – but in order to discuss public affairs. (…) The man of the fields is still a sort of vegetable. His existence, all that he feels, thinks, wishes for, preserves the listless drowsiness in which the plant lives. The great civilisations of Asia and Africa were, from this point of view, huge anthropomorphic vegetations. But the Greco-Roman decides to separate himself from the fields, from Nature, from the geo-botanic cosmos. (…) The square, thanks to the walls which enclose it, is a portion of the countryside which turns its back on the rest, eliminates the rest, and sets up in opposition to it." Here is the space, "in which man frees himself from the community of the plant and the animal," where he "creates an enclosure apart which is purely human, a civil space." (Mumford 2000: 207) 
Today it seems strange that the opening text about the core of the city starts with a militaristic equation of a cannon and the polis. But as the congress was held right after the Second World War and at a time of destruction and reconstruction, there was a need for seers, as Deleuze notes. (Buchanan / Lambert 2005) So it could be that this congress and its articulation provides some insight into aspects of thinking about the city and the polis that usually are hidden beneath thicker layers. Thinking about the core of the new cities, it is stated that neither the flourishing of the species nor an aggregation of dwellings constitutes the polis. It is the space of public debates where man is finally freed "from the community of the plant and the animal." Strangely, the same publication shows – as the only publication of CIAM – positive pictures of animals and vegetation as part of montages that depict city life. It seems that the publication itself is a fractal of the tensions and contradictions of ideal and real urbanism, with animals and nature being in oscillation between dangers to a "purely human space" and, at the same time, part of the humanization of the very same urban life. 
Architectural historian Beatriz Colomina connects CIAM VIII in 1952 to another event in the thinking of architecture and dwelling. The same year, Martin Heidegger publishes "Building, Dwelling, Thinking" in Germany, where he argues similarly: 
"What the word for space, Raum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds." (Heidegger 1971: 154)
Heidegger’s place for animals in his philosophy of dwelling is well known: the animal inhabits space, but it doesn't own it; it is poor in the world. Heidegger, like Ortega in Sert’s quotation, seem to feel the necessity for a stable production of boundaries without which neither dwelling subjectivities nor the polis would be possible: "Throughout this century, this disturbance of boundaries has often been understood as a threat to identity, a loss of self." (Colomina: 1994: 96)
But what if the relationship between zoe and bios, polis, dwelling, and subjectivities would be cooled down from the heated fear of losing everything? The ontological hiatus towards a zoopolis could very likely lead through perverse body politics, following feminist architecture and art theorist Elisabeth Grosz’s reflections on bodies and cities. Here she poses the posthumanist questions that lead into the black box of modernist city planning: "...how to move beyond the pervasive presumption that subjectivity and dwelling exist in a relation of complementarity, either of containment (space or dwelling houses or contains subjects) or expression (space or dwelling as the aesthetic or pragmatic expression of subjectivity)? How to see dwelling as something other than the containment or protection of subjects? In short, how to think architecture beyond complementarity and polarization, beyond subjectivity and signification?"(Grosz 1995: 127) (FA/CL)

Sources:
Buchanan, Ian  /  Lambert, Gregg (2005): Deleuze and Space. University of Toronto Press, Scholarly Publishing Division.
Colomina, Beatriz (1994): „Battle lines: E.1027.“ In: Renaissance and Modern Studies. Vol. 39/Nr. 1./1994. 95-105.
Grosz, Elisabeth (1995): Space, time, and perversion: essays on the politics of bodies. New York: Routledge.
Heidegger, Martin (1971): „Building Dwelling Thinking.“ In: Poetry Language Thought. Trans. Albert Hofstadter. New York: Harper and Row.
Higgins, Hannah (2009): The Grid Book. Cambridge: MIT Press.Ingraham, Catherine (1998):  Architecture and the Burdens of Linearity. New Haven: Yale University Press.
Mumford, Eric (2000): CIAM discourse on urbanism, 1928-1960. Cambridge Mass: MIT Press.
Tyrwhitt, Jaqueline/ Sert, José Luis/ Rogers, Ernesto (1952): The Heart of the City: towards the humanisation of urban life. London: Lund Humphries.',
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