Humans as a species do not stand in a 'supernatural' position to the rest of nature, yet nor should we view ourselves as 'subnatural'--we are simply part of nature.
This relates to the view of humans as subnatural, which for Spinoza is both unethical and makes no sense within the understanding of his system.
In essence, because humans can no longer access the Netsphere, they are exiled to the twice-fallen "real" world, no longer natural but subnatural
, in David Gissen's sense.
In contrast, we might see postwar LA as one of the epicenters of subnatural architecture.' What I call a subnatural architecture attempts to negotiate a milieu that is less than natural, one potentially threatening to human existence as we know it and therefore to the material formations and ideas that constitute architecture as we typically conceive of it.
But the subnatural atmosphere of LA could not be ignored for long, and late modernity in Southern Californian architecture was ultimately defined less by the attempts to merge interior and exterior that had characterized so many of the Case Study houses and other postwar icons than by efforts to seal off interiors from their polluted surrounds, as in the work of the so-called Silvers.
This subnatural project was an intellectual one, too: Various writers, historians, and critics--Reyner Ban ham, Peter Plagens, Mike Davis, John Chase, and Kazys Varnelis--aimed to interrogate the more hostile aspects of LA's "nature" as a critical component of its environmental history.
If the Silvers' architecture repressed this deleterious context, subnatural architecture treated the pollution in the air and the industrial wastelands on the ground as material to be assimilated as both form and subject matter.