Fall 2006 Constructs

To form by putting together parts; build; frame; devise. A complex image or idea resulting from synthesis by the mind.

2 A Conversation with Massimo Scolari

4 Peter Eisenman and Alan Plattus

5 A Conversation with Marc Tsurumaki

6 Newer Orleans: A Shared Space, an exhibition reviewed by David Hecht

7 The Prairie Skyscraper, an exhibition reviewed by Karla Britton

8 Against Type: A Panel Discussion

9 On the Waterfront symposium reviewed by Mark Love

10 Philip Johnson’s Miracle Elixir, a symposium reviewed by Daniel Barber and Brendan D. Moran

12 Fall Previews: Exhibition, Team 10: A Utopia of the Present, by Suzanne Mulder; symposium, Team 10 Today

13 Exhibitions, Eero Saarinen: Shaping the Future; Some Assembly Required. Symposia, Labor in Architecture, Team 10 Today. In an e-mail discussion with Massimo wrote on a bridge, “YOU DON’T HAVE TO 16 Book Reviews: Julie Eizenberg’s Architecture Scolari, the fall 2006 Davenport Visiting CREATE SOMETHING UGLY TO BE DEEMED Isn’t Just for Special Occasions; Catherine Professor, Nina Rappaport asked him INTELLIGENT.” What am I doing now? I am Ingraham’s Architecture, Animal, Human: about his work and projects in architec- working on a retrospective of my works at The Asymmetrical Condition; Perspecta 38, ture, art, and design as well as why he the Municipal Museum in Riva del Garda, a Architecture After All; David Grahame Shane’s doesn’t practice. He will give the lecture town beloved by Kafka and Thomas Mann. Recombinant Urbanism. “Crossing Architecture” on Thursday, These days I work with a few close friends, September 7, 2006. in a state of semi-hiding, waiting for the 18 Academic News: On Site: British Landscape day when it will no longer be considered a Architecture; Delhi’s Transportation Dilemmas; Nina Rappaport: The first thing I would crime to be a man of culture. Yale Women in Architecture; MED Colloquium and like to ask you as a way of reintroducing NR: Is your furniture design an indication of Research; Undergraduate Studio. you to the architectural community is, what what your buildings would look like if you are you doing now that you are not teach- were still a practicing architect? Why has 20 Spring Lectures ing and are not as involved in architecture, furniture absorbed your design aspirations but rather in the arts? For example, you rather than buildings? 22 Spring Advanced Studios did an installation piece for Kurt Forster MS: Leon Battista Alberti wrote that “the at the Venice Biennale in 2004 as well as city is like a big house, and the house 24 Faculty News a replica of Julius Caesar’s bridge for the in its turn is a small city.” But a chair is Palladio Center. Do you consider yourself just a chair after all, and it still has to be 26 Alumni News an architect? (I know that you were one of the same height as the one used by of those in the 1960s who expanded the Tutankhamen. The human backside has A Note on the Type: Helvetica Neue R definition of an architect when you were changed very little since then. The rela- The intention of this project is to render a type family by working with Aldo Rossi.) tionship between architecture and furni- using the language and functions of software. Instead Massimo Scolari: Since working with ture design is at the very basis of Italian of bold, medium, italic, etc., it should now be possible Rossi in the early sixties, I have always design: Architects such as Vico Magistretti to involve other dimensions (time) or qualities (the ability looked upon architecture as a subject mat- designed the furniture for their buildings as to move, grow, hide, read) in the production and use of ter for painting rather than as a profession. well. In this way a project culture entered digital typography. Besides, Rossi was involved at that time in carpenters’ workshops, transforming them teaching and writing, but was building very into furniture factories. As I said, I am an Variations on a typeface, Helvetica Neue, emphasize little. My individualism and aversion to any architect, not a builder: painting and design different modes of production for the headlines of sort of constraint have served as repeated are not consolation prizes for not building Constructs. This issue introduces Helvetica Neue R Eden reminders that I don’t possess the neces- and do not absorb disappointed aspira- by Sarah Gephart with Eden Reinfurt based on the Twirl sary qualities for the team-work ethos of an tions. Fortunately, a degree in architecture command in Adobe Illustrator. architectural practice. It was simply a mat- does not come with a moral obligation ter of acknowledging my own limitations. I to build buildings. Manfredo Tafuri had Front and back cover: Team 10 visiting Toulouse le Mirail, am anyway of the opinion that specializa- a degree in architecture, and it wasn’t 1971. From left: Sia Bakema, Peter Smithson, unknown, tion is a pointless exercise, because you because he was incapable of building unknown, unknown, unknown, Alison Smithson with end up knowing more and more about less that he wrote about its history, but rather Soraya, Hannie van Eyck, Giancarlo De Carlo, unknown, and less, so the big picture tends to get because he wanted to be an architectural Aldo van Eyck, Christiane Candilis, Brian Richards, lost—and along with it, the truth. When I historian. This decision is just as legitimate Sandra Lousada, O.M. Ungers, unknown, unknown, began teaching in Rossi’s group in Milan in as that of someone who builds without any Stefan Wewerka, Simon Smithson; in the foreground 1967, I was still a student and believed that knowledge of architectural history. Takis Candilis, Jerzy Soltan, Georges Candilis, and Jaap helping others to understand and prog- NR: How does having your pilot’s license Bakema. Photograph courtesy NAi. ress in their work was a moral, social, and relate to your visual understanding and therefore political duty. Then in the 1980s, perception? I am also curious how it cor- Volume 9, Number 1 European universities began to experience relates to the paintings that you made in ISBN: 0-9772362-7-7 a general crisis whereby the culture of the 1980s, where you depicted a bizarre, ignorance—which people had concealed almost ancient flying machine. Does the © Copyright 2006 until then behind a veil of silence—came flying machine imply a new perspective of Yale University School of Architecture unashamedly out into the open, and by its the world? How has that affected rendering 180 York Street invasive nature became the dominant voice the world in a different way, for example, in New Haven, Connecticut 06520 of the day. So began the age of anything perspective, then in the parallel and axono- Telephone: 203-432-2296 goes, in which anybody could say and do metric drawings in which you have devel- Web site: www.architecture.yale.edu anything. It was a paradox, in that culture oped an interest? was vanquished by democracy, and truth MS: The wings that traverse my skies Fall 2006 was driven out of even the politics of the have an important compositional function Cost: $5.00 great nations. My resignation as Arthur because they govern the infinity of space Rotch Professor at Harvard in 1988 was where light is more subtle. My design for Constructs is published twice a year by the prompted by the fact that I refused to raise a glider was based on a collage from the Dean’s Office of the Yale School of Architecture. the grades of undeserving students. In the 1970s and became part of the Porta per same way, I resigned from my chair in the Città di Mare painting in 1979. It emerged We would like to acknowledge the support of the Theory and History of Representational again in 1991 when I created the big lamel- Rutherford Trowbridge Memorial Publication Fund; Methods at the Venice University Institute lar wood wings for the Venice Biennale. the Paul Rudolph Publication Fund, established by of Architecture (IUAV) in 2000 because I That sculpture is now located on top of Claire and Maurits Edersheim; the Robert A. M. found myself at odds with an institution that the Venice School of Architecture as a Stern Fund, established by Judy and Walter Hunt; failed to apply selection by merit of either reminder that architects have to let their and the Nitkin Family Dean’s Discretionary Fund in its students or its teachers, and that—in the imaginations take wing. As far as its shape Architecture. total absence of any meritocratic system— goes, as Kurt Forster noted recently, it treated differences equally and equals dif- probably owes its design to the Stealth Dean: Robert A. M. Stern ferently. Where there is injustice, no place B-2, completed in 1988, ten years after I Associate Dean: John Jacobson is too sacrosanct to abandon. Charles V designed my wings in Porta per Città di Assistant Dean: Peggy Deamer famously declared, “Estode todos caballe- Mare. Piloting a plane means more than Assistant Dean: Keith Krumwiede ros” (“Let all of you be knights”), to his sub- flying; it means taking command of the jects crowded below. When everybody is entire complex flying apparatus. It’s an Editor: Nina Rappaport an artist, there is no art. For the critics who indescribable Daedalian sensation: One’s Graphic design: David Reinfurt, O-R-G inc. guide the big investments made by muse- actions are regulated by a precise disci- Copy editors: Cathryn Drake and David Delp ums and art galleries, everything is worthy pline that allows no infringement of the Student Assistants: Marc Guberman (’08) and of interest; and anyone who criticizes those rules because, as my instructor used to Alek Bierig (Yale College ’07) publicity stunts posing as art is simply say, “Taking off is optional, but landing is Event photographs by John Jacobson, Tom Bosschoert marginalized as someone who doesn’t get mandatory.” (’08) and Adrienne Swiatocha (’07) it. But at the last Venice Biennale someone NR: After your historical work on parallel 2.

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projection and axonometric development, understand why a building should imitate method that came to be used was one patients according to need, helping them how do you then translate that to 3-D ren- the tangled loops of a highway exit ramp that retained parallelism and measurability. to observe the world and to understand dering and the visualization of the world in or pretend to be a gherkin. An architectural With axonometric projection, the human more about what they see. The reason for various new technological realities such as education today should once again include viewpoint is dispensed with and objects are my presence at Yale as visiting professor is the computer? Can you address the new the study of the meaning of forms. If this is projected along Cartesian axes according very simple: In December 2005, I was invit- visualization with the computer, and what ignored, we will no longer be able to tell the to cold Euclidean geometry. ed to sit on the final jury of the course held do you think that has done for architectural difference between a charming little church NR: What kind of architecture are you by Peter Eisenman and Leon Krier, two very design and composition? and a gloomy roadside diner. And one day interested in today? What do you plan to different architects as well as two friends MS: Today we read Plato and Shakespeare we might find ourselves mistaking a thirst teach at Yale, and why are you interested in whom I have admired equally for more than as if they are our contemporaries, and for faith with one for Coca-Cola. teaching again? thirty years. On that occasion the dean we admire their creative rigor. But none NR: One could say that your early paintings MS: In general, without discussing the vari- asked me if I would be interested in teach- of us would want to be operated on by are quite apocalyptic, with a dreamlike, ous schools of architecture, what interests ing at Yale in the fall semester. It was an a surgeon using the techniques of their surreal, or engineered nature—technol- me are the qualities inherent in works and offer that I couldn’t refuse. In fact, the day times. What this means is that mankind has ogy invading nature, like the industrial in people. I may not be persuaded by a before the jury, I had taken a solitary walk always been familiar with the transcendent revolution. Is this a sublime landscape of work, but if it has consistency and is of through the old part of the campus. It was impulses of his soul but not with the work- nature and technology or a fearful one? high quality, I still admire it. Those archi- a cold evening, and as I looked through the ings of his body: Poetry and painting exist MS: Machines and architecture have been tects who have left their mark on archi- windows of the libraries I felt myself drawn in a sphere out of chronological time, where closely connected since Vitruvius. One tecture tend to have had some obsession irresistibly back to the world of research science inevitably progresses. Technology might say that architecture has always or other—a fruitful little artistic affliction and study. So it is that after nearly twenty brings improvements almost monthly to provided the immobile backdrop to human that they were able to cultivate with care years I am making an enthusiastic return to computers, but not to poetry. and mechanical movement. Nowadays and constancy. As a university professor teaching at a great American university. That’s why when we talk about 3-D motion and speed are so deeply inter- I am little attracted to flamboyant works rendering we have to make sure we don’t woven with our actions that, together with or sculptural architecture; by present- confuse the act of typing with narrative natural motions, they have become an ing themselves as unique works of art, invention or poetry. The problem is always actual quality of life itself. Machines are a irreproducible except by copying, they the same after all: coming up with the idea. nonnegotiable presence in our lives: Useful seem to presage a future of purely formal- It is the idea that is the face of the form. It’s or useless, loved or loathed, they await us ist imitation, which is a sad destiny for an true that certain kinds of architecture would just outside of our thoughts and accom- architectural student. I think instead that a 1. Massimo Scolari, Lightning Bolt over the be impossible to achieve without sophisti- pany us wherever we go. In my paintings school of architecture has to be based on Italian Pavilion, Biennale di Venezia 2004. cated digitalization systems like those used the machine appears as an enigma that principles that can be transmitted rationally Courtesy Massimo Scolari. in aeronautics and the use of expensive expresses precision; this precision must and if possible stripped of any stylistic con- 2. Massimo Scolari, Gateway for a City on materials such as titanium. But it’s also be made manifest in the meticulous draw- notation whatsoever. What I am interested the Sea, oil on paper, 1979, 47 cm x 39.5 worth remembering that, unlike a B-2, ing of parts that are suggestive of a whole in now is a more broadly based educa- cm. Courtesy Massimo Scolari. architecture does not have to move fast; on that is both unknown and whose purpose tional role: that of someone who can guide 3. Massimo Scolari, The Wings, installa- the contrary, it has to remain as stationary is miraculously simple. As I attempted to students toward the most appropriate, tion for the Biennale di Venezia 1991 and as possible. The computer makes it demo- show in my book Il Disegno Obliquo, the coherent, and beautiful design solution. A since 1992 reconstructed over the roof of cratically possible for everybody to break description of machines demands an effec- student needs help to develop his or her the School of Architecture IUAV in Venice. down and rearrange shapes at random and tive representational technique. It is there- vision; and the teacher should be like the Photograph by Gabriele Basilico. Courtesy in all innocence, but I still find it difficult to fore no accident that the representational optician who grinds a lens for each of his Massimo Scolari. 2.

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This summer Peter Eisenman and Alan PE: Ideas are important, but I would like Some of these will grow into clichés, and Subjectivity”—in other words, the fact that Plattus had a discussion about teaching, to point out that it is also essential that some will remain active. There is never any- the audience is no longer interested in dif- architectural careers, and a new history I practice architecture. On Monday I’m thing really new. I believe that anything that ficulty and close reading. It is the last chap- program at Yale on the occasion of going to Tenerife, and Avila in Spain. We’re comes out of today emerges from research ter in my book Architecture of Disaster. Eisenman’s appointment as professor. doing two 50-story towers in Jakarta. The into the difference between the endur- It asks, what does architecture do? How two railroad stations we are working on ing principles and those things that have does the new subjectivity take up the sub- Alan Plattus: Do you remember a year in in Pompeii are very exciting. The number become cliché. So we are trying find out ject of difficulty in a different way? which you haven’t taught? of projects that are exciting more than which of those principles have legs today AP: I would say that’s very generous of you Peter Eisenman: I often say that I have the balances some of what you can do in aca- and which do not. because it’s almost as if you desire to save most longevity as a teacher of any practic- demia. I am excited about the possibility of AP: I want to talk about the Institute for the next generation from their success. But ing architect I know. I started teaching in new intellectual challenges at Yale, of being Architecture and Urban Studies because they might say that it’s not very generous 1960 at Cambridge, Princeton, the Institute, a part of more challenges and energy both it’s such an important episode in my life, of you because you’re trying to draw them and Cooper Union. I did stints at Yale, as in and out. your life, and the life of contemporary archi- into your chosen problems. The fact is that an early Davenport Professor, and then at Many architects become so success- tecture. But it’s a pretty distant one for stu- they have gone in a different direction, and Harvard as the Rotch Professor for three ful that they lose direction: Aldo Rossi lost dents today. In retrospect, do you see that you seem to want to draw them into a dis- years, then returned to Yale, went back direction; Stirling found it at the end of his as a singular episode or something con- course that you have been committed to in to Princeton, and now I am at Yale. I can’t career. I’ve been very careful not to take on tiguous with what you’re trying to do now? your career. So you propose and teach a recall a year not teaching because that’s too many buildings. How many buildings Perhaps it was a bridge at a time when different genealogy, one that includes, for how I stay alive, both mentally and practi- does one need to create? How many great universities weren’t fully serving the role of example, Borromini—the epitome of the cally. It is the only way I could run my prac- buildings did Corbusier, Mies, Piranesi, or fostering and disseminating the culture of difficult and cerebral architect—and insist tice the way I do. Borromini do? So what is it that animates contemporary architecture? on the public, even objective, nature of AP: There was a time in the early 1980s one’s life? To me, it is thinking about ideas. PE: There are some institutes that must that discourse. After all, if all architecture when that was true for a lot of your The seminar I will teach at Yale will attempt die, like the Beaux Arts, the Bauhaus, and is about “My image is better than your contemporaries. Even when you were to understand the gap between analytic the Institute. I think they have a certain image,” what do any of us have to say to totally involved with the Institute in the early methods that can operate on the sixteenth life span. They come to life for a reason, students? 1970s, when I was there, I remember that and seventeenth century work and those and they die for a reason. When I left I PE: I’ve chosen a path that I’m really happy you were still teaching at Cooper because necessary to understand design methods thought it was the healthiest thing for the with, but I know it is not the one in which we used to take a taxi there together to that operate today. When you look at a Institute. Steven Peterson was the head I would be considered popular success. I audit your course. Koolhaas or a Hadid, the same methods when it collapsed, so it could not be any would have liked to have called my mono- PE: If you look at the generation after the of analysis and design do not apply that more radically different from where I was. graph, Eisenman in Panchina. (Panchina, war, the people who came back in 1946 did for Borromini and Palladio, and so on. Personally I had to get out of there. Philip in Italian, means “on the bench”—not a had been in the architecture schools Nobody has yet figured out how to make Johnson wouldn’t talk to me for almost two starter.) I like the role of not being a starter. already. Then practices started: I. M. Pei, that jump. In other words, how does one years afterward. When I went into practice In a sense a starter is “a star,” and I don’t John Johansen, Hugh Stubbins, Architects analyze Frank Gehry, Greg Lynn, Zaha with Jaquelin Robertson and we went to think I am, in that sense. I am a different Collaborative, Jose Luis Sert. When those Hadid, or Rem Koolhaas? Koolhaas is one get Philip’s blessing, he was ambivalent kind of person. And I like to think of myself who were in school in 1945−1950 gradu- case: What is the relationship between his because the Institute was his legacy. He as a strong bench player. ated, they went into these offices. By the methods and diagrams that is different had given us more than a million and a half AP: You know it took me a while to under- time my generation, 1950−1955, and then from the diagrams that analyze Palladio— dollars. We were going to buy a building; it stand why you were so interested, in the 1955−1960 got out, the offices were full. and with what tools? So the answer lies in was going to be the Johnson Institute. But I early days of Oppositions, in figuring out I worked at TAC. I didn’t think of being a an in-between ground. I think it is an excit- think I just stayed too long. Jim Stirling and what he was about for- teacher but realized that the office structure ing opportunity—much more exciting than AP: Nevertheless, you still have a persis- mally and intellectually, given your more wouldn’t allow promotion. It was the same practicing. tent optimism about the ability to engage notorious preoccupations at the time. But with Michael Graves, John Hejduk, Bob AP: I think many of our very talented and contemporary architecture. in retrospect I can see that this is in fact Venturi, and Charles Moore. Academia was engaged colleagues would probably say PE: Yes, I’m optimistic by nature. I just what our proposed research program here the place where you could move ahead. that they do not have time to stop and wrote a short manifesto in Italian with a stu- at Yale should be about: an archaeology AP: So why Yale? Why now? figure out those relationships and the cul- dent called “Against the Spectacle.” I was of modern architecture—tracing both the PE: I really love teaching at Yale—the ture that has produced them. They are not so upset about Zaha’s work and her move- forgotten and taken-for-granted genealo- atmosphere at the school, the energy, and struggling constantly, to situate themselves ment into a spectacular, mediated world gies, strategies, and conversations that the colleagues. Jury days and midterm with respect to the history and theory of and away from the real energy of her earlier both connect and distinguish the various reviews were exciting, Bob’s social life— modern architecture. I think one of the work. I’m not convinced that I know the projects of the last century. the whole place seemed to vibrate with an things that surprises students about you answer or that it’s the answer for my bud- attitude that was very exciting. Now Bob is because of your reputation as a key figure dies, like Wolf Prix or Greg Lynn. Our work receptive to open up intellectual research in contemporary architecture—and in the is so much more conservative than most of in history and theory focusing on the evolu- avant-garde—is how as a teacher as well my colleagues. tion and transformation of the discourse of as an architect you’re obsessed with his- AP: Is that because you still have very modern architecture and its relationship to tory and tradition and, in fact, are so tradi- strong ties to the traditional agenda of developments in architecture and urbanism. tional in many ways. Modernism—particularly insofar as it AP: You alluded earlier to your contempo- PE: I am. doesn’t lend itself to easy consumption? 1. Peter Eisenman Architects, plan of raries, many of whom are respectful of aca- AP: So if they get anything out of your sem- We should talk about your continued fasci- Arizona Cardinals Stadium Glendale, demic culture but not involved in it. And yet inar, it’s that idea that we must understand nation with challenging your audience in a Arizona, 1997–2006. at this point in your career you are talking our own history and culture. period where the public is given every rea- 2. Peter Eisenman Architects, plan of the about rolling up your sleeves and starting a PE: The tradition of any discipline is that son and opportunity not to submit to that. City of Culture of Galicia, Santiago de major intellectual endeavor. there will always be enduring principles. PE: The Yale seminar is called the “New Compostela, Spain, 2004–2006. 2.

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Marc Tsurumaki, the Louis I. Kahn With Tides, the seating and the kitchen requirements of the interior space. It was Lewis. This was the genesis of Situation Visiting Assistant Professor, will teach were predetermined, but we found that a telegraphic mapping of the building. The Normal, which became a Pamphlet Book an advanced studio this fall and give the space was taller than it was wide. The blocks also play with shadow as they proj- [Princeton Architectural Press, 1998], and the lecture “Architectural Opportunism” ceiling thus became fertile ground for archi- ect through the wall in different depths. It then we began getting commissions as a on Thursday, October 26, 2006. Nina tectural experimentation. We used bamboo is both adapting some of the strategies of firm. We see our work as truly collaborative, Rappaport discussed his work as skewers in the ceiling relating to the notion the restaurants in patterning and surface even though the projects are getting larger. a principal in his New York-based firm, of ocean tides as an inverted topography but also programmatically at the urban and NR: You all teach as well as practice in Lewis.Tsurumaki.Lewis. that would become a textured surrogate building scale. order to challenge your ideas. But how do landscape above the diner’s head to com- NR: In Las Vegas you are working on a you inspire and push your students to think Nina Rappaport: I am always interested in bat the claustrophobia of the store and to hotel spa project that is perfect in its situ- critically about design? how at Lewis.Tsurumaki.Lewis, you transi- direct visual attention upward. It also acts ation for critical response. You are there in MT: I usually don’t start a studio from a tion from critical theoretical projects to built as an acoustic and lighting filer, with fluo- a bizarre context, yet you have to make it tabula rasa, but from a real process of work. Particularly I see one aspect of your rescent tubes suspended behind acoustical real. How do you operate critically in a con- research and a close examination of con- work as tweaking the norm and making foam tile. The constraint was specific, and text where the normative is abnormal? ditions, which can be conditioned by the people stop to think about the world we could find an opportunity for creation MT: A Las Vegas developer came to a mar- nature of the program. I do not assume and what they inhabit. How do you then and play. The bakery Fluff also evolved keting firm and said that they needed more that everyone is operating in a vacuum. reinterpret that kind of criticality in a func- into a series of experiments with material, pizzazz and architectural energy and asked So, often we look at ordinary things, such tional building? surface, and inexpensive, commonplace us to work on a hotel spa. We are operat- as a standard hotel, so that the students Marc Tsurumaki: That is a question that materials such as felt, which has a different ing again in an existing context to redesign have materials to react to and against, not we are conscious of because we principally resolution at a distance than from up close. a spa on the thirty-fourth floor, as well as replicating and repeating but understanding had been doing speculative projects that NR: These arrangements of simple mate- public spaces and cabana, sales trailer, those strategies using cultural and ideologi- were textually or graphically or drawing- rials and the repeated, everyday stuff and pool areas. No matter how bizarre or cal material to generate reinvention and based. In that context we had a lot of time to across the surface create a larger whole, outlandish we made our proposals, they response. This sets in motion a series of think and theorize, which is incredibly use- losing a sense of the physical material as accepted them. It is strange, because how logics that can border on the absurd and ful at one stage. Fortunately, we became it becomes a spatially activated surface: do you make something more surreal than that can be unexpected but rational. As an busy with real projects and shifted into 100,000 skewers or felt strips become a surreal? I can’t say we have an answer to architect you have to justify your processes production mode, without the time to be voluminous massing. But another aspect that yet. for clients as a set of logical steps, but you self-conscious. But we hope the transi- about the restaurant projects that you NR: The project seems to be a great intel- can twist those paths to operate in unex- tion isn’t that radical because, even in the haven’t touched on is that you built them all lectual activity, but in such an unethical pected ways that can contradict the start- theoretical work, we were interested in yourselves, something you were only able wasteful environment. How do you recon- ing point. Students operate more efficiently examining real-world conditions—as you to do because of their small scale. cile that issue? if they have more to critique. My standpoint say, tweaking and distorting, recombining MT: Our construction work came out of the MT: We took on the project optimisti- is that, when they are successful, they normative conditions to produce unprece- pragmatism of getting things built in New cally. The issues for us were to rethink, take it seriously and derive an attitude and dented speculative ones. As we move more York. They are surprisingly simple: Fluff with distance, that the idea of the extreme stance from something preexisting. How do into commissioned and built projects, it is used masonry or tiling of the same modular and ridiculous has a reality. It was almost you get them to see something in unbiased a struggle to maintain the same degree of size. But with no construction standards a handicap to us; we used that as a criti- ways? At Yale we are going to look at the speculation because of time, budget, and you have to think outside of conventional cal tool, and we were disarmed a bit. At specifics of a midscale building project program constraints. On the other hand, means, and as projects grow we can’t con- one point there was a discussion about a that has very precise parameters in terms the theoretical stance is really one of a cre- tinue to build them ourselves. waterfall, and someone in all seriousness of site, program, and cultural content. The ative engagement within limits and the way NR: How then can projects move up a said that they would call their waterfall con- students will be asked to engage the notion that those are embodied in the conventions scale, both materially and spatially, and sultant. The aquatic landscape offered a of limits at several scales, from that of the of architecture. By its very nature the archi- maintain the same level of criticality in strange opportunity to develop an elevated urban/landscape context to the specifics of tectural project is constrained by a whole terms of their relationship to the city? interior landscape. We wiped out the inte- the tectonic and material systems played network of external forces. What we try to Perhaps the new scheme for the Art House, rior walls and inserted an undulating sur- out in detail. do is attempt to maneuver opportunisti- in Austin, Texas, exemplifies this next scale face to define the treatment rooms, with the NR: I have been interested in the concept cally within those constraints, rather than in the use of glass block and the urban set- space open to the exterior perimeter, form- that architects by nature must be optimistic oppose those forces. ting, or the stone in the house project that ing an internalized exterior. The water is in order to create. Do you feel that way? NR: How does this negotiating transpire recently won a 2006 AIA NY award? aggregating at the building edge in a social MT: We all came out of an educational in the design and construction of small MT: Rather than repeating the same strate- aquarium. We designed a cantilevered background that often relied upon a nega- restaurants around New York City, where gy with the small projects, there is an adap- swimming pool and consulted with experts tive cultural critique. For us, the desire is you have had to deal with the constraints of tive tactic. The Art House project is derived on shark cages at aquariums for the design not to use the critical to tear down but also time, program, and space as well as cost? from the critical constraints, such as the of a thick Plexiglas railing that would be to posit something new and optimistic as a And if your early speculative work looked site, logistics, and program—a capacity to filled with water. For us, the norm was the way of being propositional. It can introduce at conventions of program and spatial move agilely between the restrictions to spa as a typology and the way water is pleasure and play. It is not just the decon- typology, how do you transfer that to the allow the constraints to generate invention. introduced into the buildings. We had the structive critique to pull something apart physicality of materials and exploit them in The existing space was initially a theater capacity to push that to an even greater but to generate new conditions or possibili- new ways? and then became a department store, both extreme, heightening the artificial space ties. The aspiration is that one can operate MT: What we realized quickly is that the of which are hermetically sealed. Our and the artificial water. in the realm of the critical and posit some- opportunities in the restaurants tended not work will open up the public nature of NR: What about the logistics of your firm thing productive and optimistic. to be in the plan or spatial configurations, the institution with a street presence and now that it is growing? How did the princi- which were limited by notions of efficiency. permeability. But within a limited budget, pals in your firm come together from school Radical spatial manipulation isn’t possible how do we strategically and selectively to exhibition projects, and then running in a box. But in the restaurant Tides we make surgical alterations to the existing projects all over the country? emphasized the thin space six inches from envelope? One of the evident conditions MT: Paul Lewis and I met at graduate the wall, the ceiling, or the floor, which was is light; you don’t want unfiltered daylight school at Princeton, and upon gradua- the constraint that produced an opportunity in a museum, but how do you control tion we all came to New York. I worked for where we could engage and invent sur- it? We introduced a series of laminated Joel Sanders, and Paul worked for Diller + 1. Lewis.Tsurumaki.Lewis, Tides, New faces through the aggregation of common- glass blocks, which would perforate the Scofidio. In spite of demanding schedules, York, interior, 2005. Photograph courtesy place materials. We used the surfaces as a otherwise solid surface. We began with a we worked together on speculative proj- of Lewis.Tsurumaki.Lewis. generator of the architecture to make them regular grid, and the blocks migrated and ects and exhibitions at the Storefront for 2. Lewis.Tsurumaki.Lewis, rendering of operative, programmable, and functional. aggregated relative to the programmatic Architecture and Artists Space with David hotel spa, Las Vegas. 2006. 1.

To help unpack the urban design issues infrastructure and social services. The important role in a Dutch project. There is and drainage ditches. They make the water following the tragedy of New Orleans, American designers seem more acutely nothing site-specific about this work, yet visible to residents, ensuring that aware- the National Building Museum hosted aware of a need for architects to engage its powerful form has become the most fre- ness—and consequently maintenance—of the exhibition Newer Orleans: A Shared social and urban problems. Yet the most quently published image of the show. The the levee system will not slacken again. Space from the Netherlands Architecture interesting comparisons between propos- ziggurat raises questions about the nature Hargreaves posits that if the water- Institute, on display from April 29 to July als don’t hew to nationality: Morphosis and of contemporary landmark buildings and management system is properly rebuilt, 30, 2006. Practically a response to the Hargreaves Associates both address the their value in rebuilding a city. many more than 250,000 residents will roundtable featured in Constructs spring viability of rebuilding, suggesting radically Morphosis delivers the most provoca- return. Recognizing that a real commitment 2006, the projects show an optimism in different—and competing—visions for the tive and politically engaged piece in the to fix the levees is lacking, Hargreaves renewing the city. future of the city. Both Huff + Gooden and exhibition by tackling the future footprint jumps headlong into the politics of rebuild- West 8 promote more responsive attitudes of the city. With a projected population of ing, comparing the $30 billion levee- Newer Orleans: A Shared Space presents to the urban and natural environments, 250,000 people, New Orleans would be improvement estimate with the $1.8 trillion six speculative projects for rebuilding respectively. significantly smaller than its pre-storm size Bush tax cut. Hargreaves writes, “So fix the New Orleans. With Art Forum magazine MVRDV and Huff + Gooden designed of 465,000. Working with the polemic that broken city, keep it big, heal its soul.” and the Tulane School of Architecture, elementary schools that aspire to anchor “shrinking city = intense city,” Morphosis West 8 focuses on rescuing and rein- the Netherlands Architecture Institute communities, serving as places of educa- details a plan to return the city to its venting City Park, sited on 1,300 acres in conceived of the exhibition as a tool to tion, community, and refuge. The drawing approximate 1890 boundaries, when the the north of the city. The park was devas- promote discussion about the future of the of a young New Orleans resident, Courtney population was last 250,000. This question tated by the flood; most of its vegetation, city. However, as real planning progress S., inspired MVRDV’s proposal, “The Hill.” of the size of the city—and of the viability including 600-year-old oak trees, was killed has stagnated in New Orleans, the exhibi- A man-made hill envelops a vertical school: of its neighborhoods—is the elephant in by brackish water. West 8 transforms City tion, along with its forward-looking propos- a pile of tubelike spaces with classrooms the room that no one in New Orleans has Park into an urban retreat and ecological als, has become a significant work. and community facilities rising around an engaged. treasure, diverting canals into soft-banked Curated by Emiliano Gandolfini of the atrium. While at first glance the project Morphosis outlines a series of public rivers through the park and creating new NAI and first shown in Rotterdam, the exhi- appears fanciful or even silly, it takes on actions to condense and reorganize the city wetlands and a miniature delta. The pro- bition features projects at three scales—a more depth with further study. Much as around an expansive park system. First, posal calls for 2 million trees—one can neighborhood school, the city center, and MVRDV’s Serpentine Pavilion project the city uses government funds to buy out image a dense forest sprouting in the the region/landscape—and assigns a Dutch promises unprecedented views of Hyde all severely flooded property, removing this swampland. Finally, the landscape is over- and an American designer to each. MVRDV Park, a publicly accessible hill becomes a land from the market and effectively return- laid with program and a memorial to Katrina and Huff + Gooden (Mario Gooden, Yale great resource in the flat landscape of New ing the city to high ground. Morphosis is victims. West 8 has a new approach to the critic in architecture) designed a neighbor- Orleans, affording expansive prospects of careful to point out that the cost of the buy- urban natural landscape, and its concept hood school. UN Studio and Morphosis the city. The project also references the out, $9 billion, is significantly less than the is rooted in a fundamental shift in attitude: developed city-center proposals, and West levees, the city’s other artificial hills. This is $30 billion needed to upgrade the existing that man-made landscapes should work 8 and Hargreaves Associates proposed a man-made “natural” landscape, a com- levee system. Second, the city will rebuild with nature, not fight it; that the landscape landscape projects. The resulting show is mon theme in Dutch designs and one that blighted high-ground housing, increasing should absorb water in its streams and soil, surprisingly comprehensive, engaging both resurfaces with great force in the West 8 density in these areas. To house a popula- not combat it with concrete. This orienta- a range of concerns affecting New Orleans concept. tion of 250,000, only 6,800 of the 121,000 tion is deeply ingrained in the psyche of the and presenting a thoughtful and varied set Huff + Gooden propose a collection of destroyed housing units need to be Dutch—a people who live on an entirely of ideas. interventions to catalyze the recovery of replaced. Finally, the project returns to the reclaimed “natural” landscape—but is Photographs, a video, and maps pre- the central-city neighborhood. With a “cul- central city to propose a new civic center largely absent from American cities. sent background information and provide tural mapping project,” they argue that the adjacent to three new parks, each located Newer Orleans began as a contribu- context for the designs. The show begins area, although economically depressed, in a low-lying bowl near downtown. A new tion to urban discourse when the world with black-and-white aerial photos taken was culturally vibrant. The resulting project landscaped center is a new resource that first began to grapple with this great plan- by Paolo Pellegrin during the height of is a series of elevated-bar buildings that recognizes the prominent place of tourism ning challenge. As Reed Kroloff, dean of the flooding. Absent of people and color, Gooden describes as “a project to stitch and culture in the city economy. Tulane’s School of Architecture and an silver streaks of water surround a field of the city together.” It references the formal Morphosis champions the need for assistant curator of the show, notes, “It blackened and abandoned buildings. The language of linear housing blocks adjacent infrastructure, financially sustainable is the role of the academy to ask ques- images expose an abstract and serene to the site, but lifts, torques, and breaks the services, and a walkable city. That these tions and to raise issues; the show is an environment that belies the street-level bars to allow the neighborhood to move laudable goals contribute to a proposal that extension of this mentality.” As a collected destruction. Opposite these images a col- through and around the buildings. Cross- New Orleans planners have been unwilling work, the exhibition addresses problems lection of color photos by Thomas Dworzak programming further supports this goal: to consider makes this work an interesting that have real-world implications. While places the human subject at the center. All public spaces in the school double as contribution to the larger discourse about the projects inspire hope that we have the Images of stranded and drowned residents community spaces—the cafeteria becomes the city. (Hyatt Hotels recently selected ability to successfully remake New Orleans, counterbalance the ethereal aerial photos the gym, and the auditorium becomes a Morphosis to renovate its downtown hotel the inability of the city during the last nine and remind us of the human toll and emo- music venue. Gooden remarks, “We are and design an adjacent park and cultural months to actively engage the concerns tional stakes in New Orleans. not interested in image—we don’t care center.) raised by these proposals arouses fear that A mapping project by Anthony Fontenot what it looks like. This project attempts Hargreaves Associates also tackles we may have missed our chance to save provides a demographic and analytical to regenerate people and their culture; the whole city, delivering a project similar the city. context for the exhibition by documenting it is not a romanticized vision of the in scope but opposite in approach to that both pre-storm and flood conditions. Most neighborhood but an opportunity for a of Morphosis. The firm argues that shrink- —David Hecht of this information is now well known, but new heterogeneity.” ing the city causes too much social and Hecht (’05) works with Peter Gluck here it is beautifully exhibited and eluci- UN Studio proposes a monumental cultural damage. Instead, it must retain Architects in New York City. dates the challenge facing designers. civic library—the ziggurat—that folds back its footprint, rebuild its levee system, and The show opposes Dutch and American on itself into the sky. If Huff + Gooden is construct a landscape that accommodates designers to compare their respective not interested in image, UN Studio creates and celebrates its site. New Orleans was approaches to urbanism and architecture. a landmark building whose image becomes a man-made system that broke during the Generally the Dutch schemes are less a symbol for a reborn city. Snaking gardens storm. Hargreaves conceives of a series of 1. MVRDV, Newer Orleans, Scheme for overtly political, perhaps reflecting a tradi- climb the voids of the ziggurat; again the parks and elevated walkways, a new plane School Project, Netherlands Architecture tion of Dutch government support for urban man-made natural landscape plays an of public space that weaves across canals Institute, 2006. The Prairie Skyscraper: Frank Lloyd original elegant copper-spandreled tower. Wright’s Price Tower, organized by the This “flirtation” with Wright’s building, as Price Tower Arts Center, in Bartlesville, Hadid has spoken of it, is derived from her Oklahoma, and coproduced by the Yale play with the tower’s own pinwheel foot- School of Architecture Gallery, was print. Her proposed museum addition plays exhibited at Yale School of Architecture off the rotational logic of the footprint of the from February 13 to May 5, 2006 and tower, fanning out from the skewed axes as then at the National Building Museum a way of linking the extension to the original from July 17 to September 17, 2006. building. Yet based upon her analysis of the patterns of movement around the site, In the northeast corner of Oklahoma, the Hadid’s curvilinear forms radically depart work of Frank Lloyd Wright has had an from the precision of Wright’s design, evok- improbable encounter with that of Zaha ing the kind of “reinvention of architectural Hadid, one of contemporary architecture’s geometry” for which she was honored by most prominent role-players, an encounter the doctoral citation at Yale. The result, evi- now extended by the Hadid retrospec- dent in this exhibition, is a kind of unlikely tive at Wright’s Guggenheim Museum, assignation between two very different in New York. The first woman to win the conceptual frameworks. Pritzker Prize and a recent recipient of an On one level, for instance, Hadid honorary doctorate from Yale University, celebrates in the exhibition Wright’s sys- Hadid was asked to design a museum tem of complex rotational geometries and extension for Wright’s Price Tower, the the diagonal forces they create. This is 1. richly detailed, copper-adorned concrete made overt in the exhibition installation prairie icon that is his only built skyscraper. her own office produced for the wood, Constructed in Bartlesville in 1956 for the multi-angled bases upon which examples designs were truly a marvel. and regional grid. Expressing both Wright’s H. C. Price Company, the tower realized of Wright’s original furniture for the tower Indeed, Wright’s complex geometries particular philosophy of the American Wright’s vision from the 1920s for a new are displayed. Onto these bases, extruded were not merely flamboyant gestures but landscape and his ambivalence about the skyscraper prototype. The exhibition Prairie from the footprint of the tower itself, sit the deeply woven within questions of program, proper form for urbanization, it ironically Skyscraper: Frank Lloyd Wright’s Price original angular cast-aluminum-framed material, and structural technique. The became the precedent for a number of suc- Tower (whose installation was designed chairs and a mahogany desk designed tower’s unique “taproot” cantilevered cessive unrealized urban projects, including by Zaha Hadid Architects) provides an by Wright as an integral part of his inten- structural system, for example, is integral the Point View Residences, in Pittsburgh occasion for speculating on the relation- tion to create in the Price Tower a kind of to his concept of organic totality: The (1952), and the Golden Beacon Apartment ship Hadid’s new project has unexpectedly Gesamtkunstwerk, in which every detail cantilevered floors are attached to a core Tower (1956) and the Mile-High Skyscraper established between these two architec- would be subordinated to the overall effect. stem, much like the limbs of a tree or the (1956), both in Chicago. tural personalities. As one observer remarked, the resulting leaves of a flower. This design, first cre- The way in which this exhibition weaves The focus of the exhibition is not harmonic compression of form is like that ated by Wright in his 1929 proposal for together the implied presence of both Hadid’s addition but, as implied by the of a grand piano. the St. Mark’s-in-the-Bouwerie Towers, Wright and Hadid perhaps unwittingly title, the Price Tower itself. Through the use Yet on another level Hadid’s fluid, in New York City, was where Wright saw reveals the striking reticence of Hadid’s of models, drawings, furniture, and other low-slung building addition is deliberately the potential of this system as a replace- own design expectations when compared original furnishings, the show is a clear intended to contrast with the precision and ment for the conventional steel frame of with Wright’s broad visions of architec- narrative of the conception and design of verticality of Wright’s tower. She makes it most skyscrapers. In the exhibition, a kind ture’s aesthetic potential. The exhibition Wright’s tallest building and the promi- clear—in both her verbal and visual repre- of synthesis of Wright’s organic themes thus subtly brings into relief two opposi- nence the high-rise held in the architect’s sentations of the project—that her relation- is given in film footage of the architect, tional aspects of the architectural profes- urban thought. The nineteen-story building ship with Wright’s building is of a casual, who is wandering the prairie in a dramatic sion. The first is demonstrated in Wright’s was constructed as a mixed-use project, flirtatious nature. She draws from him cape and hat. He stops to pick a wildflow- use of the Prairie Tower as an extension of including apartments and offices in the certain formalistic patterns (claiming also to er—something like a lupine—then holding his own intense interest in the development tower and shops in the attached wing. have been inspired by his “textile blocks” the flower up by its stem, he looks toward of urbanism in relationship to the American Wright derived the tower’s basic form from from the Ennis House, in Los Angeles). Yet the camera and explains how the flower’s landscape and hence its connections to the rotation of a simple square, creating her attention is also given to the patterns of layers of petals are arranged with the his sometimes uncertain political convic- an interlocking grid that gives the pinwheel movement in and around the site, with the same structural logic as his cantilevered tions about democracy as it is actualized effect for which the building is best known. resulting fluidity of design. The deliberate taproot system. In this image the totality of in the individual. On the other hand, there Built toward the end of Wright’s career, inflections of Wright’s intention in the tower Wright’s intentions for an “organic” archi- is the dynamic and sculptural formalism of Price Tower is a revealing example of the to integrate beauty, art, and innovation are tecture in which form and function seam- Hadid’s design, which uses the lines from architect’s long fascination with organic thus notably in contrast to the superimposi- lessly cohere—and are to some degree the street grids and highway circulation systems of geometry. As Anthony Alofsin tions of movement and form that are repre- understood as a product of the landscape only as a means to create the geometric notes in the exhibition catalog, the build- sented in the proposed extension. itself—are brought together. patterns that lead to her sweeping con- ing represents the culmination of Wright’s In making sense of these juxtaposi- The Price Tower expresses Wright’s tours. Hadid has been placed in a particu- years of experimentation with the com- tions, one is drawn back by the exhibition aspiration to realize a skyscraper in the larly prominent role within the architectural plexity of geometric matrices, circles, and to a consideration of Wright’s legacy for American landscape freed from the con- profession and at Yale in particular (where triangles. Indeed, from an early age Wright twenty-first-century architects. Ada Louise gestion of the city, as he described it, “a she served in 2000 and 2004 as the Eero was preoccupied with such manipulation Huxtable notes in her recent biography that tree that escaped the crowded forest.” Saarinen Visiting Professor at the School of geometries—some have suggested that Wright’s fascination throughout his life with The skyscraper is obviously a traditional of Architecture and was lauded in the hon- this interest was shaped by the early influ- the hexagonal module, the rotated plan, urban element, yet starting in 1930 Wright orary degree citation as an “inspiration” ence of the crystallography interests of and buildings designed as crystal chains argued that its only rightful place is in the to the profession). Students have a rich Friedrich Froebel, whose teachings helped may be seen as prefiguring some of the country, where its vertical extension could opportunity to learn from Hadid’s involve- shape Wright’s formal imagination. In any crystal-like geometries of today’s com- be dislodged from urban congestion (a ment with the Price Tower—not only some- case, with the complex geometric manipu- puter-generated design. Comparisons have continuation of a type that also includes thing of her response to Wright’s ambitious lations, the Price Tower is representative also been drawn between the spiral form of Bertram Grosvenor Goodhue’s Nebraska use of complex geometrical manipulations of Wright’s concept of what he called “the Wright’s upended ziggurat for New York’s State Capital). Therefore, when Harold C. but also something of his wider belief in modern prismatic building.” Guggenheim and the sculptural exuber- Price approached Wright about construct- architecture’s integral connection to a larg- As the exhibition makes evident, ance of Frank Gehry’s Bilbao museum. The ing a two-story building over a large area in er social and democratic vision, ambivalent Hadid’s proposed extension both alludes visual dynamics of his rotational geometry Bartlesville, Wright seized the opportunity and problematic as that heroic vision may to these geometries and keeps a cautious may thus be seen as a primary connection to argue instead for a new iconic prairie ultimately be. distance from them. It is a response to the between Wright and today’s architects. skyscraper. The result—which ran eight fact that the building now houses the Price Moreover, as others have noted, while times over budget and provoked many —Karla Britton Tower Arts Center (as well as a luxury hotel Wright’s composition of complex rotational strong disagreements between client and Britton is a lecturer at the School of and restaurant), created soon after the geometries may now seem unremarkable architect—is characteristic of the towers Architecture. Phillips Petroleum Company bought the in light of the power of contemporary com- Wright envisioned populating his anti-urban building, in 1985. Hadid calls for dynamic puter-generated design, in his day—when scheme, Broadacre City, where the urban constructivist-like forms to wrap their “sin- the triangle and T-square were the archi- concentration of the city was to be redis- 1. The Prairie Skyscraper installation, Yale ewy, sensuous contours” around Wright’s tect’s tools of the trade—such intricate tributed over the network of an agrarian School of Architecture Gallery. At a roundtable discussion, “Against technologies, also sponsor notions of com- exploration of type in the 1980s came from successful—perhaps too successful— Type,” held in Hastings Hall on positeness moving away from the possibil- old European cities and buildings that had because people had to touch it and get January 12, 2006, the five architec- ity of pure type. Technological production survived many iterations of use. So I don’t tangled in it. How did that particular instal- tural firms whose work was exhibited is moving toward sheer variability. But what think type necessarily has to be directly lation influence your architectural work and in Transcending Type—curated by strikes me as interesting about Ungers was tied to program—because a basilica can be how architecture represented in an installa- Architectural Record for the 2004 Venice that he was very interested in both fixed turned into housing, for example. Many of tion influences architecture in reality? Biennale—shared their views about typologies and transitions between typolo- us focused on types that weren’t normally Hadrian Predock: We were a complete building types including the high-rise, gies; a number of his projects dealt with seen in the Old Country, such as infra- anomaly in this group. “Contemplative the sports stadium, the parking garage, morphological transformation. Within one structural pieces, a new kind of space. For space” does not have a typological under- the highway, the religious space, and the project he would move through a number our stadium, we thought of it more as the pinning. Historically, it comes from religious shopping mall—with Suzanne Stephens, of typologies and thereby almost erase the accommodation of marketplace, parking, types, and that dissolves in modernity and senior editor, and the audience. The idea of typology itself. I feel much closer and circulation rather than as a building. becomes all of these different things—and architects included Sulan Kolatan to that discussion now than I do to a more And now looking at it overall, it seems more eventually a kind of nonspace. When you (KolMac Studio), Jeanne Gang (Studio general discussion of typology. interesting to find new combinations of our start to translate it into architectural terms, Gang), Paul Lewis and Marc Tsurumaki Suzanne Stephens: Marc, when cities—newer cities that can be exploited I think there’s an enormous potential. It’s (Lewis.Tsurumaki.Lewis), Jesse Reiser Architectural Record presented this show and studied and taken further. That is the not limited like a stadium. For us, it has real (Reiser + Umemoto), Hadrian Predock at Columbia in a discussion, Jeff Kipnis way I see the exhibition playing out. architectural implications. Because of the and John Frane (Predock/Frane), and questioned our acceptance of program as Suzanne Stephens: George, with your nature of the gallery, the financing, and the George Yu. having certain inherent value. He thought shopping center you were mixing uses, so shipping logistics, it tended toward some- we were falling into the 1980s trap of the in a sense you were following the argument thing that is more like an art installation Suzanne Stephens: The discussion relationship between space, form, and use. that any program can fit into a form. Can because of its temporality. But through the “Against Type” is being held not so much Is that relationship still viable? you tell me how you agree or disagree with process it has real architectural implica- because we think that type shouldn’t or Marc Tsurumaki: One of the issues in a lot that thinking? tions. The evolution into what we’re calling doesn’t exist but because there is a theo- of the projects is the desire to mix program- George Yu: In the work we’ve been doing the “model” implies a real architectural retical malaise about it today. Twenty-five matic typologies, which gets back to what on shopping-mall models, we confronted space for us. In that way it’s a generative to thirty years ago typology was the rage. Sulan referred to. The question is whether an interest in the value of the mixed-up, process and starts to suggest a further Investigations of form as it related to use that in and of itself results in an erosion messed-up metropolitan condition, which evolution of the piece. led to theoretical finalities about buildings of type or whether it begins to deform or is variation. What we came up against were John Frane: There is not a direct transla- and cities beginning in the 1960s, when the transform type in a sufficiently radical way. the issues of trying to introduce it as an tion into a contemplative space; but as an Modernist universal form reigned. Rafael Pure adjacency, the pure agglomeration of architect—it’s very difficult to do 50 acres experience, it’s been a way for us to home Moneo wrote in 1978 that type can be most programs, doesn’t necessarily challenge of the city with one hand and get any varia- in and find out how we explore bigger simply described as a group of objects typologies or result in a greater degree of tion. In other words, what was a clue to questions about our projects. It allowed for characterized by the same formal structure spatial interest or complexity. The issue for us in the Richmond Mall in California was a lot of latitudes for looking into things that with certain inherent structural similarities. us is to really look at the degree to which that they were really messy and laissez- have found their way into other projects. He made it clear that a formal structure program in relation to space is no longer faire—and certainly not anything that would could not be reduced to simple abstract a central relationship. Type for us is not a be published in Architectural Record. You geometry, such as cubes and spheres, and matter of essentializing relations between get a Hello Kitty shop next to a fish market that the concept of type is not about auto- geometric forms and predetermined cul- next to a noodle shop, and then one of matic repetition but implies transformation. tural types but the conventional, incremen- those shops fails and comes back as a Type can be thought of as a frame in which tal, and contingent relationships between Cantopop record store. That is an alterna- change operates; it denies the past and temporary formations and the kinds of tive to the Gruen model of the shopping looks at the future in a continuous process architectural spatial formats that develop center through the last thirty years. There is of transformation. But now the interest in around them. That relationship between also the Gehry model, which tried to intro- typology as the link between use and form program and use can’t be understood as duce variation in various ways. But the real has diminished. The computer has generat- static, in that function produces form in the messiness we saw in Richmond had to do ed many different possibilities of architec- Modernist sense, but rather as an attempt with ownership and property and leasing tural form, and thus it is less predictable. At by each of these conditions to destabilize logics. And the only way out of the control the same time we do have the conventional the other. Can an investigation of the rela- that architects have over a Gruen model building types. To begin the discussion, tionship between form and program go is to accept that we actually don’t have Sulan, do you and Bill [MacDonald] see beyond a simple assimilation of one to the that much control over a 50-acre site to that the investigation of type that occurred other but bring into question the necessity introduce variation unless we start to work when you were in architecture school, at between the reason why certain architec- within those other logics. Columbia in the 1980s, is at all valuable in tural configurations develop relative to cul- Suzanne Stephens: Paul, can you add to that research now? tural or programmatic agendas or content? that in relation to your garage/hotel? Sulan Kolatan: Bill and I met working in The reason we have an interest in norma- Paul Lewis: On the one hand, our first Germany at the office of O. M. Ungers, tive or conventional architectural forms like reaction was, “Wait a minute, we’re not the who at that time was one of the significant parking garages, even without the influence parking-garage guys.” Type has a negative players in the typology discourse. In some of architects, is an understanding that there association, like a restriction or a limit. ways I feel that the discussion has moved is a dynamic and evolving relationship Suzanne Stephens: A typecast. . . on, because there is a shift from the refer- between space and the kinds of inhabita- Paul Lewis: Exactly. But on the other hand, encing of fixed types and the determina- tions of it, which is still quite relevant. the wonderful thing was that it took away tion or reproduction of ideal typologies Suzanne Stephens: Jesse, what is your some of the tyranny of choice and limited toward an investigation of certain notions relationship to type? the focus. I’m not surprised that a lot of of hybridity and transformation. Moneo Jesse Reiser: I worked for Aldo Rossi in the reactions to questions of type were: said that type should not be considered in the 1980s, so I haven’t thrown away the How does it become a point of departure? itself but rather as something that should notion of type. Probably 70 percent of our Where is it not a goal but a catalyst in its be transformed, and I think that the kinds work has to involve fairly conventional own right? That played into how it oper- of transformations we’re seeing now are of notions of the relationship between pro- ated from a curatorial standpoint, which I a completely different order than what had gram and form. Thirty percent of the work thought was very effective. It’s also inter- been discussed as notions of evolutional attempts to address some of the issues esting to see how some of the particular type over time. One of the arguments has that Sulan and Marc brought up. It is a use- types are much more restrictive than to do with culture. If you look at default ful conservative definition of a relationship, others. A baseball stadium has much transformation of types, they are often used and I don’t think it’s something that can greater prescriptions than a contempla- with one another. There is a looser relation- be entirely disposed of, but there is not an tive space. The nuances and the degree to ship between formal typologies and essential connection between program which a type could be identified or hybrid- program typologies. The debate and form. ized are based on the way you could qualify is moving toward notions of fixed Suzanne Stephens: Jeanne, in the stadium the different types of types. types and focusing on variability. you discovered things about use and famil- Suzanne Stephens: Hadrian and John, you Investigations into technological iarity with the public, which is something made a shift to representation at Venice developments in other areas, that type has solved in the past. in the idea of contemplative space. You such as production and material Jeanne Gang: I think that a lot of the created an art installation that became very 1.

A conference at Yale organized by development planning efforts in three cities: day focused on non-architectural issues, Perhaps a place to start is to linger over adjunct professor Alexander Garvin from Toronto, London, and Queens West, New including tidal movement and the embank- those urban-design plans that were inevi- March 31 to April 1, 2006, gathered plan- York. As also became clear, the impetus ment infrastructure that has been specifi- tably proposed for Toronto and Queens ners, developers, and architects for a for the big thinking in each case was at cally designed to control the river. More West. Is that really the only way to imagine discussion of waterfront development. least partially precipitated by a bid to host generally, Smith’s message was to fore- new districts of a city? I hope not. One the 2012 Olympics (with London emerging ground the phenomenological effects of should not need to choose between Yale’s recent conference on waterfront as the winner). The anticipated synergies water and the programmatic opportunities Canary Wharf and an entire city designed development was predicated on the belief between civic boosterism, large-scale real afforded by waterfront sites as the starting by Thom Mayne. that cross-referencing the interests of real estate development, and progressive urban point for urban design. But what is the territory for a reinvigo- estate developers, quasi-public officials, design that would naturally come with a The subsequent talk by Sir Stuart rated urban design? Part of the answer and architects might shed some light successful Olympic bid were shared by all Lipton (chairman of Stanhope PLC and emerged during the conference, if latent. on emerging approaches to large-scale of the participants—perhaps with visions Bass Distinguished Visiting Architecture The primary determinant of the kinds of waterfront development. But this optimis- of the 1992 Barcelona Olympics (and not, Fellow at Yale) culminated with the recent master plans that Mayne denigrated as tic framework, necessary to attract both for example, the 1996 Atlanta Olympics) planning efforts for the 2012 Olympics in “boring axial planning” has to do with the big-gun developers and architects such as dancing in their heads. London. He focused (at least in terms of complicity between urban designers and Thom Mayne to an academic conference, Toronto headlined Saturday morn- the slide images) on the futuristic quality real estate developers. Certainly master had the danger of generating a critique (to ing when Christopher Glaisek (’97, vice of the proposed architecture, including plans that isolate buildings on their own the aforementioned big guns) no matter president of planning and design, Toronto Zaha Hadid’s Aquatic Stadium. The overall parcels, ideally dimensioned for residential how polite the proceedings. What this spe- Waterfront Revitalization Corporation) effect was a single gigantic architectural or commercial floor plates, tend to make cific conference revealed is that a wide dis- outlined the ambitious redevelopment that project with many of the attributes of the both master plans and the resulting build- ciplinary gap exists between planners and is slated for 2,000 acres of land, formerly widely lauded Yokahama Ferry Terminal, ings strikingly similar. In the discussion architects. Unfortunately, the waterfront used for port operations and other industrial by Foreign Office Architects (lead designers that followed the segment on Toronto, real estate development that was shown at uses. The master plans for the relatively of the Olympics master plan). The project Alan Plattus (Yale School of Architecture) the conference could have benefited from bite-size bits of development (of the 80- consists mostly of the long, wide, complex suggested some of the issues that might precisely this missing expertise. acre variety) all looked generically “correct” curving ramps required for large sports be tested, including the appropriate unit of Robert Bruegmann, professor and and inspired by New Urbanism, except for venues and the natural topography of the development as conditioned by the size of chairman of the School of Architecture and Commissioners Park, a large, open space surrounding landscape. But because both the parcels. the Program in Urban Planning and Policy designed by Claude Cormier in plan as if it kinds of sloped surfaces are conceptual- Robert A. M. Stern, Dean, blamed the at the University of Illinois at Chicago, were an enormous environmental graphic, ized into a single architectural entity, the poor quality of the architecture on the launched the conference with a far-ranging in this case military camouflage. Two dis- resulting urbanism has more to do with the sameness of the proposals, while observ- talk that began with a history of working trict proposals—East Bayfront by Koetter monumental character of the 1964 New ing that the underlying logic of the building urban waterfronts. Starting with Elizabethan Kim & Associates and West Don Lands by York World’s Fair than the kinds of site types may be unavoidable given the real London, he culminated with an overview Urban Design Associates—were flashed ecologies that were alluded to in Smith’s estate market and construction methods. of the issues that precipitated the radical up on the screen without commentary talk on the Thames River. While this is true, perhaps it was also the reorganization of the shipping industry in regarding the design strategies, as if each A review of recent planning and devel- sameness and quality of the urban-design the 1960s, from the conversion to con- was the inevitable urban vision for large- opment initiatives in Queens West, in frameworks of the new districts that were tainer shipping technology and the parallel scale real estate development. Long Island City, was a fitting conclusion equally if not more disappointing—and this growth of global tourism freeing former The Toronto session focused on the since Garvin was involved in the proposed may be the central lesson of the confer- port and warehousing sites for develop- quality of anticipated buildings rather than project for the 2012 Olympics there. The ence. Stern sees this complicity between ment. City-center waterfront sites were the urban-design proposals, with most of scenario was particularly clarifying given its planner and real estate developer as a fait seen as the perfect locales for new kinds of the tour conducted by Bruce Kuwabara recent history as a place for mostly unreal- accompli and believes that architectural entertainment and tourism, such as Quincy (Kuwabara Payne McKenna Blumberg). His ized urban-design proposals, perhaps the elaboration and decoration are the solu- Market, in Boston, and the Baltimore lecture began with a description of a Frank alter ego to the fully realized Canary Wharf. tion, as in the prewar Tudor City and Park Inner Harbor—projects that, according to Gehry building proposed for a downtown Most presciently, the Mayne proposal for Avenue, both in New York City. However, I Bruegmann, constitute the “big bang” of in-fill site and continued with an overview an Olympic Village required the total ampu- see the answer in the art of master planning subsequent waterfront development. of a staggering array of slender residen- tation of part of a 1990s New Urbanist and urban design itself. What if the plans Bruegmann then gave a numbing over- tial towers wedded to the urban context master plan by Beyer Blinder Belle/Gruzen were not so complicit with the assumed view of recent waterfront redevelopment with site-responsive podiums, Toronto’s Samton. But what replaced the missing conventions of real estate development? projects—which all looked similar—includ- version of a mixed-use building type that piece of the urban-design plan was more Would real estate capital go elsewhere? ing aquariums (designed by Cambridge 7) has gained favor in Vancouver, New York, like an enormous work of architecture, a Not if other kinds of value could be pro- and other venues meant to attract tourists. Chicago, and other North American cities. beautiful Cubist-inspired composition of duced, such as a compelling urban vision. The point of the overview was ambiguous The second set of presentations curves and straight lines to be sure but With the unlocking of such enormous at first, given the chamber-of-commerce focused on the large tracts of soon-to-be also a Gesamtkunstwerk that could only be tracts of waterfront land as a result quality of most of the photographs, but developed parcels east of Canary Wharf, implemented by a single author. Like the of changes in the economics of manufac- Bruegmann later made clear that his lecture in London. Richard Burdett (Centennial London Olympics proposal, monumental turing and shipping—so artfully described was meant to be a cautionary tale for the Professor in Architecture and Urbanism, architecture seems to have replaced New by Bruegmann—this is the perfect moment politicians, developers, and architects (and director, London School of Economics, Urbanism as the requisite approach for to take on the issue of urbanism again very few students) who had gathered for and director and Urban-Age Adviser on high-profile urban waterfront development. with gusto. Urban design innovation can the conference. While changes in the sup- Architecture to the Mayor of London) pro- Certainly Garvin was much more pleased happen only with a wholesale rethink- ply-chain infrastructure were opening up vided a wryly annotated overview of recent with Mayne’s proposal than with the exist- ing, beginning with the design logic of the city-center brownfield sites, the same eco- “grand projects” along the Thames aimed ing plan, but disappointingly he did not essential building blocks of the city. As the nomic changes were also causing upheav- at establishiing the framework for the next qualify the differences between architec- spirit of the conference meant to imply, this als in employment patterns (images of generation of development. Except for ture and planning. deep structural analysis of the relationship Michael Moore interviewing recently laid-off Herzog & de Meuron’s Tate Modern, many Perhaps the larger lesson of the confer- between buildings and urban form requires dock workers came to mind). In addition, of the significant and less-than-signifi- ence is that large-scale urban design, as that enlightened real estate developers, the waterfront projects that Bruegmann cant projects were either authored by Sir practiced by the most prolific professional architects, and urban designers sit at the presented required substantial public sub- Richard (Rogers) or Sir Norman (Foster). firms, is at a point of stagnation and in dire same table. sidies in the guise of tax deferments, pub- The talk included an overview and update need of revitalization. Part of the blame can licly funded environmental remediation, and on Canary Wharf—provocative since the be attributed to the “Bilbao effect” and the —Tim Love new transportation infrastructure. He sug- softly axial planning language looks sur- belief (again) that signature architecture, Love is a principal of the urban design and gested that these subsidies, necessary to prisingly similar to the districts proposed even at the scale of an Olympic Village, architecture firm Utile, in Boston. create incentives for private development, for Toronto. And like the Toronto presenta- can provide the most productive strategy could be questioned in the broader social tions, Burdett’s slide show championed the for urban renewal. With a belief in the flash framework, in which public investment in connoisseurship of “quality” architecture, value of the individual building project and education, social programs, and public rather than a specific concept for a larger the unquestioned dominance of a particular space are eroding. urban framework. kind of Anglo-American master-plan tech- The goal of Saturday’s session, as Malcolm Smith (’96, Director of Urban nique, urban design as a set of problems 1. Morphosis, scheme for proposed articulated by Alexander Garvin, of the Design, Arup London) gave an engaging and techniques different from architecture housing for Olympics 2012, Long Island Yale School of Architecture, was to ferret presentation on the ecology of the Thames has been marginalized both in the acad- City, New York, 2004. Rendering courtesy out best practices by cross-pollinating the River, which for the first time during the emy and in progressive design practices. Morphosis. The symposium, “Philip Johnson and front and center in American architectural and established reputation. Involving ephemera of personality through rigorous the Constancy of Change,” hosted by discourse and of a (gentleman’s) club of mostly historians, the fete was to close and studied aesthetic refinement. As for the the Yale School of Architecture and the aristocratic romantics perched above the with a panel of practicing architects-cum- third theme, Mark Wigley delivered what Museum of Modern Art, took place from rabble of middlebrow mainstream culture. theorists, but an OMA no-show reduced can only be described as a star turn of his February 16 to 18, 2006. Organized by These forms of influence, it became clear, this component to a decidedly one-sided own, in a paper titled “Reaction Design” assistant professor Emmanuel Petit, it were all rooted in his first and most lasting monologue. for the “Reckoning with Design” panel; he began at MoMA on February 16 to con- claim—that Modernism was also a style. The high point of the opening night at conjured up Johnson as a peripatetic mov- tinue the two following days at Yale. The So many of the debates and polemics of MoMA was the hour-long television feature ing suit with Corb glasses that masked a symposium covered a wide range of top- architectural discourse that followed—from “This Is… Philip Johnson,” originally aired sensitive “reaction” machine, more than ics from the personality to the legacy of deconstruction to critical regionalism, on CBS in 1965. The series profiled news- anything else attuned to the vicissitudes Philip Johnson. from the Grays and the Whites to today’s worthy figures, constructing immediacy and tenor of the world around him. postcritical debates—play out within the out of talking-head footage in which the That Ockman got her start in the Calling the army corps of architects confines of Johnson’s utopia. interviewer was never viewed. In this field as a student of architecture at New To flatten the skyline and begin again. Johnson’s most lasting accomplish- seemingly transparent context Johnson’s York’s Institute for Architecture and Urban I knew the years would move quickly, ment was to transform the social project self-deprecating and witty quips were Studies—the alternative pedagogical But never quite as fast as this. of Modernism into the socializing project indeed disarming; yet megalomania shone think tank that for its nearly fifteen years You bring the discrepancies, of late capitalism. As was also clarified at through, especially in his description of a was sustained primarily by Johnson’s I’ll pour the drinks. the symposium, architectural discourse is massive project for New York University at largesse—or that Wigley’s early “big —“Army Corps of Architects,” distinct from other forms of academic and Washington Square, in New York—thank- break” came cocurating, with Johnson, Death Cab for Cutie, 1997 professional inquiry, primarily due to the fully only partially realized. Responding the controversial 1988 MoMA exhibition profusion of martinis. In the 1997 under- to criticism at the time that pouring Deconstruction, goes—or went—without Is it possible that to understand contem- ground pop hit “Army Corps of Architects,” oodles of money into such an excessive saying. Indeed, the socializing project of porary culture you need to comprehend by the emo-band Death Cab for Cutie (writ- private building seemed indulgent while architecture not only created an inner circle the importance of Philip Johnson in archi- ten, it should be noted, by an engineering other important social causes remained but also assisted in the stocking of aca- tectural discourse? From his iconic forms school graduate), the only serious role for unsolved, Johnson argued ebulliently that demia with figures who care more about to his flirtation with fascism, Johnson was architectural discourse is as a profes- architecture should be seen as an equally the discipline, its ethical imperatives and one of architecture culture’s most reliable sional reflection on the contradictions of important public good. Yet when pressed repercussions, and the reproduction of a connections to the outside world. Through cultural habits, drink in hand, a conception at the end of the show, he argued that an new and different generation of architec- responding to the vagaries of his changing determined by the impact of Johnsonism. architect’s reputation depended most upon tural makers and doers than does the aver- times, he was until recently one of the only Indeed, if there is any valence to this image never admitting mistakes, suggesting that age AIA professional. As conferences such architects who had become a household of an elite corps of martini-drinking design- what an architect works to get a commis- as this have made incredibly evident, along name. Before the current binge of “starchi- ers, it is due to Johnson’s role as a cultural sion realized might not necessarily stand with many of the recent events held under tects,” Johnson’s only real competition in producer and taste-maker: ipso facto, in the tests of time or credulity. Dean Stern’s leadership of the school, this regard was Frank Lloyd Wright, whom contributing to the acceptance of architec- Many Philip Johnsons emerged over architecture is too culturally and politically Johnson famously pronounced the greatest ture as a cultural commodity, both parallel the course of the event. Moreover, tensions important to be left solely in the hands of American architect of the nineteenth cen- and available to pop music; and ex post among participants suggested that there is the profession, its clients, and their lackeys; tury. Though perhaps comparable for their facto, at the symposium in the implicit rec- important and difficult work yet to be done someone has to keep gathering the fold so bombastic personalities, the two could not ognition that the “peripheral” components to articulate his most prescient legacies that it can be (psycho)analyzed, as talks by have been more distinct in their architectur- of architectural discourse (the drinking of for today’s students, practitioners, clients, Wigley and others so aptly put it. al styles or their sense, however misplaced martinis) are in fact central to its prolifera- and the public. The panels—ranging in Beyond these general framing tropes and distorted, of cultural responsibility. tion. Through this inversion—the “central- focus from historicism, Modernism, rheto- and ethical issues, the event’s presenta- Whereas Wright is generally considered ization” of the “peripheral” components of ric/media, and politics/patronage—evoked tions fell into three categories: Johnson in to have found his mature style and refined architecture—Johnson made his utopian the figure of Nietzsche and the specter history, Johnson in charge of history, and it ad infinitum, Johnson’s maturity was social project direct and distinct, in effect of an eternal return, so much so that one history in charge of Johnson. While the manifested in his eclecticism. And Wright’s that rendered a Modernist conception of felt the entire event was orchestrated by first category concentrated on setting the contorted fantasies of an American and “the architectural” more American and Johnson’s ghostly presence. Certain fram- record straight regarding what happened democratic architecture that would save pragmatic than its European progenitor, ing tropes cropped up again and again, when, best represented by Ockman’s his country from social and political tur- thereby giving it another level of vitality and marking perhaps the leit motifs for future impressive paper, it also included reflec- moil—best expressed in his overwrought longevity. Architecture’s socializing proj- work: first, the decade away from architec- tion on what the record shows regarding Broadacre City, of the mid-1930s—finds its ect centered around his table at the Four ture in the 1930s, as both a caesura and a Johnson’s influence and the influences negative form in the aestheticized distance Seasons: An invitation to lunch there was hidden font of meaning; second, the New upon him. Important contextualization that Johnson maintained. perhaps the most important career-making Canaan Glass House of 1949, as the ne of his life and work was presented by As evident from the symposium “Philip commission around. While the behind-the- plus ultra in transparent personal revelation Stanislaus von Moos, Phyllis Lambert, Johnson and the Constancy of Change,” scenes politics that developed did not nec- and cryptic opacity, especially if it actu- and Detlef Mertins. Von Moos’s history of this remove—Johnson’s endlessly reaf- essarily mark abandonment of a socialist ally alludes to, as numerous presentations “playboy architecture”—the aristocratic firmed insistence that architecture is a valence for architectural activity, the ends suggested, a burnt-out Polish farmhouse rather than the lupine variety—was perhaps built stylization of its era—should not be to which such machinations aimed were spied by Johnson on his infamous tour as a the most revealing, as it located Johnson’s mistaken for a lack of social project. On not inevitably beneficial for all—or even reporter following the German Wehrmacht; loquaciousness in a respectable lineage, the contrary, Johnson’s work represents many. and finally, the crisp, peripatetic, and well- indicating the extent to which, as Von Moos one of the most radical and utopian social The symposium made clear that it was turned-out dandy of his more corporate quoted Sigfried Giedeon, “architecture [is] projects of twentieth-century architecture: in this realm of architectural discourse, incarnation beginning in the 1960s, always treated as playboys treat life, jumping from the absolute removal of social, economic, such as it is, much more than in the per- at the ready with an ever so slightly disarm- one sensation to another and quickly bored and political tensions from the project of egrinations of design sensibilities, that one ing quip to assuage client and critic alike. with everything.” While Johnson clearly architectural design. During the conference can most clearly see Johnson’s influence The first was the focus of an insight- occupies a complicated role in the history this was made clear not only through tales to date. Yet with the lessons of Post- ful paper delivered by Joan Ockman in of architecture and its discourse, one gets of his chameleonlike stylistic shifts but also Modernist style and publicity established, the final panel, “Power and Patronage,” the sense that the surface was just begin- from accounts of his willingness—indeed, the question of whether or not Johnson’s the perfect complement to a talk titled ning to be scratched. eagerness—to embrace those who would work will have a legacy beyond the par- “Act One,” delivered Thursday night at For many, the architect’s historical join him in his discursive enclave. Johnson ticular century that formed and nurtured it the MoMA event by Terence Riley, the significance is more in his role as direc- was cited as the reigning figure of the late- was harder to discern in the proceedings. museum’s Philip Johnson Chief Curator tor of historical developments them- twentieth-century architectural scene in In the inaugural hagiographic panel at of Architecture and Design, ending with selves—Johnson in charge of History. A America for many reasons: his association MoMA, titled “Philip Johnson: Portraits,” Johnson’s first departure from MoMA number of presentations upheld the strong with the Museum of Modern Art and its it was noted that Johnson never collected in 1933. The second trope was perhaps conviction, voiced throughout the years, considerable role in taste-making; his abili- a paycheck during the early 1930s and best addressed by Kurt Forster’s talk that Johnson’s aesthetic practices were in ty to get high-profile commis- later generously donated more than 2,000 “The Autobiographical House,” delivered some way either prescient or exceptional; sions and produce renowned artworks from his personal collection. The early on in the panel on “Roaming through these talks—relying as they did on the tired designs; his role as doyen— event featured four more sessions over a History.” Forster linked Johnson to John paradigm of the artistic genius who rises from his Glass House, in day and a half at Yale, convening a diverse Soane and Giulio Romano before him like Howard Roark above the rabble and New Canaan, and the Four panoply of critical voices from both sides of (and Frank Gehry after), claiming that all the a priori aristocracy of certain histori- Seasons, in Manhattan—of a the Atlantic. The selection of these were figures interested in stocking their cal references over others—were among social clique that placed itself figures erred dutifully on the side of age domestic environment with the aura and the least convincing of the event. Included 2. 1.

in this lot was Vincent Scully’s otherwise done will tease out the discursive nature of shrewd pragmatist implication that the only already over. It reports that while the heartfelt contribution, as keynote speaker figural abstraction, historical citation, and thing that matters architecturally is what is celebrity of some designers has helped to on Friday evening, in which he compared material means, beyond any “authentic,” realized. Was this the key to his contempo- produce a demand for good architecture Johnson’s oeuvre to Hadrian’s Villa as well nostalgic, universalized subject deemed to rary significance? Deamer argued no, for the world over, the supply of that product as the architect to the ruler. “know,” “understand,” or decree. as Oscar Wilde argued before him, when it is more likely to come from small, nimble However, Beatriz Colomina’s discus- Papers by Reinhold Martin and Kazys comes to attaining pleasure, people take firms able to respond to the vagaries of a sion of Johnson as a media figure, and of Varnelis further engaged Johnson in terms their personal investment in their life’s work given social and cultural situation, a rapidly the Glass House as media itself, introduced of history produced by multiple and con- as serious business. Members of profes- changing sensibility that is hard to manage more complexity to this position. Johnson’s tradictory forces. Each framed Johnson’s sions are no exception, yet Johnson, like with big-name corporate behemoths. The self-presentation developed over a histori- corporate work as attempts to stylize social Wilde, constructed a world where objects reproduction of Bilbaos, in other words, cal period that saw, most clearly through and economic disjunctions. Martin’s story and individuals answered to a higher calling is not as interesting as the production of his friend Andy Warhol, the contradiction of the complex interconnection between than just being, respectively, architecture remarkably distinct architectural products of the everyday larger-than-life figure. politics, economics, and design that led to or architects. These buildings and person- in different locations and for different pur- Colomina described and showed a video of Pennzoil Place, in Houston, went a good alities create a disciplinary aristocracy, poses. As a star that was constantly willing Johnson casually leading an unsuspecting way toward explaining how architectural the better to act as stand-ins for some to change his colors, perhaps Johnson interviewer through the follies of his estate form can express the specifics of a political historicization beyond history, for the could have somehow fulfilled both of these as if they were unencumbered playthings, phenomenon—in this case, a sly relation- stylizations beyond the vagaries of style. needs. In an odd way, Johnson proposed not objects infused with architectural ship between corporate symbolism, the Compared to this association of Johnson an operating system that is indeed relevant polemics. This normalization of eccentric- violence of procuring oil in its crude form, with Wilde, Scully’s allegorization of the to contemporary practice: the production ity—most especially in the stylistic idio- and the proliferation of corner offices in figure of Hadrian, as well as his studied of a sensibility rather than a style. He led syncrasies of his built work—was one of such a starkly angled structure. Peppered analysis of Johnson’s formal play as logi- the way for a decentralized “Army Corps of Johnson’s most lasting achievements. with references to the then-and still-reign- cally consistent, in contrast seemed thus Architects,” one that serves no commander The third category proposed here, his- ing managers of oil and power in Texas, anachronistic, especially when he uncon- in chief or ethical imperative, except those tory in charge of Johnson, provided the the Bush family, Martin’s paper made clear vincingly described Johnson’s involvement developed on its own terms. most provocative reflections, as well as that design strategies help to produce and with fascism as “utterly ineffectual and thus As Rem Koolhaas wrote in the “90th the most sustained linkages with the con- maintain positions of power. Varnelis per- essentially harmless”—a depiction decid- Birthday Festschrift” issue of ANY (unfor- temporary moment. If Johnson is to have a formed a similar, though markedly milder, edly at odds with Ockman’s take on his tunately, he was a no-show at this event, legacy at all for future times, it will no doubt reading of the AT&T Building, in New York, fascist fascination. No doubt it is a genera- perhaps in part because he had already stem from understanding his oeuvre as one exploring the irony in the historical circum- tional difference in historical method, and had his last word?): “If I had had his dependent upon the changing practices stance of the maverick tower being pushed no doubt it is relevant to Johnson’s ongo- [Johnson’s] temptations, I am not sure I of the profession and its strategic engage- through just as the telephone company ing legacy. would have been better.…If I had had his ments as real estate products, rather than itself was disintegrating. The corporate The whore quip takes on new meaning, power, I am not sure I would have used it.” merely as variations on the determinate tower perhaps shared Johnson’s fate as a though, when one sees it as the flip side of One can note the intense ambiguity of the envelopes and spatial configurations of centralizing figure in a decentralizing world. the increased professionalization (of prac- word used, which of course could mean buildings. An early paper delivered by Mark Only Ujjval Vyas’s talk struck a false tice, of connoisseurship, of criticism, and of either “deploy” or “abused.” Now that he Jarzombek set the bar high and the tone note, reducing Johnson’s complex- pedagogy) that increasingly pervades the is gone—and Koolhaas, Stern, Wigley, simultaneously dour and daunting. His ity to a direct product of a simplistic field of architectural knowledge. We are all and others approach his power and influ- fundamental move was to drive a wedge Nietzscheanism. While Jarzombek earlier whores under capitalism, but that isn’t the ence—we can begin to ask ourselves the between Johnson’s opus and the rather dif- claimed in his paper that Johnson became point; instead, what is significant is that we same questions about their labors, their ferent work of history. If we see his oeuvre the first architect of note to resist the architects all ultimately play the game, if works, and their opus, for doing is indeed as a clear record of achievement, how do Nietzschean imperative, in effect dispens- we want work—even if we characterize the Johnson’s greatest legacy. Hardly a schol- we account for the necessary opacity of ing with belief in a consistent modern self, game as one of our own making. Perhaps ar, yet intellectual in the worst sense of that body of work, the opacity that allows Vyas essentialized this self and Johnson the continued relevance of Johnson’s the word, more interested in getting in the for ego rather than formula? How do we with it. Arguing that Johnson’s oeuvre utopian autonomy can be seen, negatively history books than in history, and equally consider him a master rather than a fol- defied analysis—not only because he was reflected, in a nomadic movement of inexo- adept at realpolitik and idealist aesthetics, lower? How do we accept architecture as a an Übermensch but because he was ahead rable connections: the connectivity, social Johnson seems decidedly recidivist as a field of knowledge with its own laws rather of his time—Vyas inadvertently took the and virtual, of our “nearly totally” adminis- figure worthy of reflection and imitation at than as constantly missing outside refer- hagiographic route, seemingly without tered world. Architecture, in other words, the start of a new millennium. Yet given ent? Jarzombek was after a recuperation of realizing it. Attempting to place Johnson is one node in the network—significant but that architecture as a discipline has been the Oedipal dynamic at work in Johnson’s in history, it put him instead in the driver’s nothing special. given a shot in the arm since 9/11—with turn away from Mies and Modernism, seat of a simplistic historical narrative of All in all the conference raised an inter- increased public awareness (at least in enacted somewhere in the 1950s, fol- exceptionalism. esting question, though one decidedly at America) and revitalized dreams of synthet- lowing in the wake of his own Miesien In her response to the final panel, the margins of its purported concerns. ic symbolic importance in an ever saturated residential projects in Cambridge and New devoted to “Politics and Patronage,” If Johnson was an influential teacher electronic and digital media-world—the Canaan. This dynamic—through which the Peggy Deamer made explicit the underly- during the 1950s and 1960s, when his return of the (anti-?) heroic architect seems individual’s distinction is properly seen as a ing tension in the conference’s wide net: debonair aristocratic mien no doubt pro- woefully overdetermined. negotiation between context and will rather the legitimacy of respecting the creative jected a suave role model for architecture than as their God-given “genius”—neces- ego’s wishes to whitewash its own past students—many of whom subsequently —Daniel Barber and Brendan D. Moran sitates entering into what Jarzombek and thereby control (or delimit) the scope of inherited a generational mantle and went Barber (MED ’05) is a PhD candidate at called “the realm of the post-Opus,” or the future interpretation and disciplinary recy- on to shape the future landscape of Post- Columbia University School of Architecture, nihilistic reanimation of the avant-garde cling. Chiding Scully for implicitly equating Modernism—what kind of a role model is and Moran (MED ’00) is a PhD candidate at as a negative architectural project without sexual and political registers, Deamer gave he today? Why dwell on the vicissitudes of Harvard’s GSD. a progressive teleological goal, without the conference its only queer reading. By fortune associated with a coddled coupon- undue respect for the accepted meanings suggesting that the adage “the personal is clipper who bought his career when of history, and without easy access to the political” cuts both ways, she advocated Modernism was young (but modernity was kernel of social enhancement Modernist simultaneously refusing the mere psycho- not) and repeatedly parlayed his personal architects once believed in. logical interpretation of evidence while position into a shifting public profile of This characterization of Johnson’s upholding the performativity of character spectacular proportions? While many 1. Johnson/Burgee Architects & S.I. Morris efforts refuses the easy psychologism and the mutability of meaning. Forster, would like to think that diligence, fortitude, Associates, Pennzoil Place Houston, Texas, of particular precedents, displacements, Ockman, Charles Jencks, and others had and ingenuity constitute the democratic 1976, Courtesy Hines Corporation. condensations, and traumas; it foregoes by that time already demonstrated a resis- basis for a career in architecture, a quick 2. Mary Buckley Endowed Scholarship the autobiographical, instead looking tance to the sheen of politesse, if perhaps a look around at today’s field suggests that Dinner for Pratt Institute Honoring Philip beyond Johnson to the culture at large and bit less polemically than Deamer. Johnson’s walking tall, being male, and Johnson, October 20, 1993 at the Sony architecture’s role within it. The suppos- In short, the conference’s most compel- carrying a big wallet seems not to have Club. Pictured here: Robert A. M. Stern, edly unified project of modernity, includ- ling talks upped the ante with the possibility gone out of style after all. Or has it? Joseph M. Parrott, Father Perry, ing architecture, always contained within that in Johnson’s case the political is also Johnson’s socializing project and the Mary Buckley, Eugene Kohn, it an unconscious anti-Enlightenment personal; while the ideological assumptions production of his own “starchitect” image Rev. James Park Morton, Robert component—the fly in the ointment. While implicit in his acts were shaped by forces will likely remain his most important legacy Siegel, Massimo Vignelli, Frances Johnson’s work is important for being the beyond his control, such actions could be for the next few generations. However, Halsband, Philip Johnson, and clearest American postwar symptom of this seen as producing their own ethic. Take his according to Newsweek magazine, the Dr. Thomas Schulte. Courtesy of phenomenon, the significant work yet to be “I am a whore” stance, for example, with its shining new era of “starchitecture” is Frances Halsband. 1.

2.

Team 10: A Utopia of the Present entire period that Team 10 was active, from models, and plans that are now considered ist solutions advocated by their forebears was organized by the Netherlands 1953, when the young architects first joined part of the canon. As a new generation in CIAM, the members of Team 10 argued Architecture Institute (NAi) and the forces within CIAM, to 1981, the year of emphasizing aesthetics emerged in the for an engaged practice that tackled the Faculty of Architecture, Delft University Bakema’s death, when the group ceased to early 1980s, Team 10’s ideas seemed out- problems of society and the city head-on, of Technology, and curated by Suzanne organize its meetings. moded for a short time, but have lived on. without sentimentality. The solutions they Mulder. It is on exhibit at the Yale School Until the 1990s, former Team 10 members offered were often provisional, avoiding the of Architecture Gallery from September “Team 10 is Utopian, but Utopian about the were active not only as architects but as typological certainty of immutable forms 5 to October 20, 2006. Present. Thus their aim is not to theorize publicists and as teachers at universities in and offering instead flexible strategies of but to build, for only through construction both Europe and the United States. And the urban affiliation, sensitive to context but The exhibition Team 10: A Utopia of the can a Utopia of the Present be realized.” group’s ideas and strong social commit- cognizant of the forces of continual rapid Present offers the first comprehensive his- ment continue to inspire architects today. change. Thus, as architecture’s attention tory of the international architect group The title of the exhibition is taken from Team 10: A Utopia of the Present gives drifts back from excursions in autonomy Team 10, which took a leading part in the this 1962 quotation by Alison Smithson, a vivid sense of the group’s thinking as it and its field of action becomes increasingly international discourse about Modern as it defines the field between idealism evolved over the years through numerous complex and contested, the ideas of Team architecture in the 1950s through the and realism that characterized Team drawings, documents, and models gath- 10—and perhaps more importantly the 1970s, injecting it with new directions 10. The architects were convinced that ered from collections around the world. attitude they espoused—hold greater rel- and ideas. The core group was formed Modern architecture could contribute to Team 10’s approach was often as polemi- evance to a growing number of architects. by prominent architects from various the creation of a better society in which cal as its drawings and models, thus the Kenneth Frampton will give the lecture European countries, such as Jaap Bakema each individual could find self-realization. show was conceived as a series of debates “Structure, Identity, and Existence in the and Aldo van Eyck, from the Netherlands; At the same time they were radical in their or dialogues in the spirit of the group’s Work of Team 10” on Monday, September Giancarlo De Carlo, from Italy; Georges realism, which is what set Team 10 apart meetings. It highlights the passion and 18, and on Thursday, September 21, Yale Candilis and Shadrach Woods, who were from other avant-garde movements of intensity of the exchanges among the Team faculty member Peter de Bretteville, who based in Paris; and English architects the 1950s and 1960s that pursued uto- 10 architects, concentrating on topics worked in the office of Giancarlo De Carlo, Alison and Peter Smithson. The group met pian ideals: Team 10 believed that only such as “The Greater Number,” “Context, will moderate a panel discussion with Tom through CIAM (Congrès Internationaux through actual building could a utopia be Mobility, Growth, and Change,” “The Avermaete, Ana Miljacki, Alan Plattus, and d’Architecture Moderne) the renowned achieved. The group’s projects—which Historical City, Identity and Participation.” myself. Avermaete, associate professor organization of Modern architects headed ranged from public buildings, large-scale at the Delft University of Technology, will by Le Corbusier and Walter Gropius, housing, infrastructure projects, and subtle The exhibition is accompanied by the speak on the value of the Candilis-Josic- among others. However, during the 1950s interventions in historical city centers to publication Team 10, 1953–1981: In Search Woods approach for contemporary prac- and 1960s, a younger generation of archi- complete cities—were not pipe dreams but of a Utopia of the Present, edited by Max tice; Miljacki, adjunct assistant professor tects challenged the technocratic and realistic answers to the concrete architec- Risselada and Dirk van den Heuvel. at Columbia University, will speak on the functional approach that predominated tural demands of the period, first those of resurgent interest in utopia today as it within CIAM and manifested itself after postwar reconstruction and then, from the —Suzanne Mulder relates to the ideas of Oskar Hansen, a the Second World War as the International end of the 1960s, those of the emerging Mulder is an architecture historian from the lesser-known Team 10 participant from Style. They felt that the establishment’s consumer society. Delft University of Technology and curator Poland; Alan Plattus, professor and direc- sterile and dogmatic plans resulted in alien- The exhibition shows that Team 10’s of the exhibition. tor of the Yale Urban Design Workshop, ation from our everyday living environment. practical idealism resulted in a number of will assess the influence of Giancarlo De Commissioned to organize the tenth CIAM important innovations in Modern architec- Carlo’s regionalist strategies; and I will congress in 1956, these “angry young ture and urban planning. They raised new give the talk “Thoughts on a Shiny New men” decided to call themselves Team 10. subjects involving the human dimension Team 10 Today Brutalism,” supercharging the Smithsons’ The group set out to find a new approach and perception; the importance of context; theories for twenty-first-century practice. to Modern architecture that responded to the connection between architecture and Two evenings in the fall lecture series, people’s needs and embraced the com- its users, identity, participation, and mobil- Monday, September 18, and Thursday, —Keith Krumwiede plexity and diversity of modern society. ity; the relationship between the masses September 21, will be devoted to Team 10 Krumwiede is an assistant professor. Following the dissolution of CIAM in and the individual; the architecture-city at the School of Architecture, in conjunc- 1959, Team 10 started organizing meetings relationship; the impact of popular cul- tion with the exhibition Team 10: A Utopia of its own, smaller and more informal than ture; and the relation between history and of the Present, to examine the legacy of the the organization’s traditional congresses. Modernism. These issues are still relevant group as it intersects with contemporary For nearly thirty years, Team today and have lost none of their topicality. architectural thought and production. 1. Team 10 meeting, Otterlo, 1959. 10 provided a platform for like- The exhibition also illustrates how Team The work of Team 10 and its core Photograph by Joachim Pfeuffer. Courtesy minded architects from all over 10 introduced a new way of looking at cit- protagonists Aldo van Eyck, Alison and Netherlands Architecture Institute. the world to discuss subjects of ies and their architecture by combining the Peter Smithson, Giancarlo De Carlo, and 2. Urban Re-Identification (UR) Grid, Alison topical interest, their own work, architecture profession with such disci- Shadrach Woods, among others, is the and Peter Smithson, 1953. Courtesy and their role as architects in plines as anthropology and sociology. The subject of renewed historical and theoreti- Smithson Family Archive and Netherlands society. The exhibition covers the group left behind a rich legacy of studies, cal interest. Rejecting the sterile functional- Architecture Institute. 1.

examines Saarinen’s residential designs, gained significant momentum during the in an environment of digital fabrication; Eero Saarinen: both widely published and lesser known, past few years, capturing the spirit and prefabrication studios at Yale, in which which were milestones in the develop- imagination of a new generation of archi- the issue of and difference between mass Shaping the Future ment of the formal, spatial, and techno- tects and home-buyers. A range of projects production and mass customization have logical paradigms of the Modernist house. will be presented, from those built from a been emphasized; and the implications of Eero Saarinen: Shaping the Future has “Community” demonstrates how Saarinen kit of parts to those that arrive fully assem- Manfredo Tafuri’s insistence that archi- its inaugural showing in Helsinki from attempted to create a sense of com- bled. Examples include Rocio Romero’s LV tecture will remain socially and politically October 6 to December 6, 2006, culmi- munity through architecture, especially and LVL Houses (2003, 2004), kit homes irrelevant until it changes its means of pro- nating a two-year research, publication, in his many designs for university cam- made of corrugated metal and glass. duction—and whether these changes are and exhibition project in celebration puses, chapels, and churches. The final Alchemy Architects’s one-room version of in fact emerging. But how do we theorize of Eero Saarinen. The exhibition will section, “Furniture,” presents a timeline WeeHouse (2003) as an idyllic “primitive these changes in architectural modes of tour major venues in Europe and the of Saarinen’s many achievements in this hut” is made of wood and glass. Another production? And what are the implications United States including the Guggenheim category, from his formative projects at approach is that of Michelle Kaufmann for of changes in labor practices? Museum and it will be at Yale in 2010. Cranbrook in 1930 to his postwar tables and her Sunset Breezehouse (2005), designed Phil Bernstein (’83), a vice president of chairs, which have become design icons. for Sunset magazine. Its renewable and Autodesk who works with Revit software Eero Saarinen: Shaping the Future is the The exhibition has been designed by nontoxic materials, solar panels, and ori- and is lecturer in architectural practice at first major show about one of the most architect Roy Mänttäri, of the Museum of entation, as well as the central breezeway Yale, is convinced that architecture will prolific architects of the twentieth century, Finnish Architecture, and graphic designer beneath a butterfly roof, recall in ecological either “grab onto and take control of new examines Saarinen’s wide-ranging career Michael Bierut, of Pentagram, who has form the Case Study Houses of the mid- means of production or see itself become from the 1930s through his untimely death also designed the accompanying book, 1940s. Other homes show the diversity even more irrelevant than it currently is.” in 1961 from a brain tumor, after which published by Yale University Press and possible with mass customization, such as Likewise, his frustration with industry con- the last of his buildings was finished by edited by Eeva-Liisa Pelkonen and Donald Resolution: 4 Architecture’s competition- ferences that seem to gather the right peo- Kevin Roche & John Dinkeloo Associates. Albrecht, the exhibition’s lead curator. winning Dwell magazine house (2004). This ple but preclude relevant discussion led to It features previously unseen sketches, Helsinki Kunsthalle, a beautiful example home has thirty-five configurations that can an interest in providing a theoretical arena working drawings, models, photographs, of Nordic classicism designed by Jarl adapt to various sites and family sizes. A for investigating the future of architecture. films, and ephemera culled from numer- Eklund and Hilding Ekelund in the early feature of the exhibition at Yale will be a sec- Thus, this conference will bring together ous archives and private collections. 1920s, serves as the opening venue. tion of the FlatPak House, designed by Yale speakers from different but related disci- The majority of the material is borrowed The 7,000-square-foot exhibition space graduate Charlie Lazor (’93), with a range of plines and from small and large firms in from the Yale University Manuscripts and includes approximately ninety original material choices and layout possibilities. Europe and the United States to address Archives, the largest repository of mate- drawings; fourteen pieces of furniture, plus Although most conventional, or “stick six topics that will be evaluated from each rial related to the architect since Kevin a prototype model of the Womb Chair; six built,” housing in the United States uses aspect of the production/labor organiza- Roche donated the Eero Saarinen and building models; a full-scale building mock- some aspects of prefabrication, such as tion process. The subjects and speakers Associates office archives to the univer- up; two hundred photographs; ephemera pre-engineered trusses or even standard- on Friday will include James Carpenter, sity in 2002. The exhibition is a result of such as advertisements, correspondence, ized window frames, prefabrication per se Kevin Rotheroe, Klaus Bollinger, Branko a dynamic effort by four institutions: the and domestic furnishings; and monitors is not something that has been expressly Kolarevic, and Scott Marble on “Craft and Finnish Cultural Institute of New York, featuring three vintage films and a televi- promoted. In other countries prefabrication Design”; Bill Zahner, David Nelson, Hilary the Museum of Finnish Architecture, the sion program on the architect. Five flat is the rule rather than the exception and Sample, and Neil Thomas on “Information National Building Museum, and the Yale screens feature animations of Saarinen seems to lack the stigma of its American Sharing”; Joshua Prince-Ramus, Marc School of Architecture. Dozens of Yale buildings by Yale students Marina Dayton counterpart. In Sweden, Pinc House offers Simmons, Coren Sharples, Howard W. graduate and undergraduate students have (’06), Frank Melendez (’06), Ayat Fadaifard, two styles of prefabricated houses that Ashcraft, Esq., and Phil Bernstein on “The contributed to both the exhibition and the Timothy Newton, Andrew Steffen, and have become popular. The exhibition will Organization of Labor: Architecture”; Rodd accompanying catalog in various capaci- Kathryn Stutts, all (’07). The original ver- show not only the variety but the high-qual- Merchant, John Taylor, John Nastasi, and ties. The principal sponsor of the exhibition sions of these projects were completed for ity design of prefabrication—created by Martin Fischer on “The Organization of is Assa Abloy and other sponsors include the fall 2005 seminar “Eero Saarinen Digital architects rather than builders—allowing an Labor: Construction.” Paolo Tombesi will the Ministry of Education, Finland; Metroradio Modeling and Animation,” taught by Eeva- owner to have a more personal home. be a featured evening speaker on Saturday. and Deco Magazine, media sponsors. The Liisa Pelkonen and John Eberhardt. On Sunday Ewa Magnusson (IKEA/BoKlok), show will travel to the National Museum of The exhibition alsos feature two slide —Adapted from curator Andrew Blauvelt’s Robert Kelle, Charlie Lazor, and James Art, Architecture and Design, Oslo; CIVA, shows demonstrating Saarinen’s work- Walker Art Center exhibition materials. Timberlake will speak on “The Market”; Brussels; Cranbrook Institute; the National ing process, from sketches through con- and Mark Goulthorpe, Michael Speaks, Building Museum, Washington, D.C.; struction to finished building, as well as a Barry Bergdoll, Reinhold Martin, and Peggy Minneapolis Institute of Art and Walker Art documentary featuring interviews with his Deamer on “The Big Picture: Architecture Center; and the Skirball Cultural Center and colleagues and critics by the team of Bill Labor in as an Expanded Field.” Robert Gutman will Museum, Los Angeles over the next three Ferehawk (’90), Bill Kubota, and Ed Moore, provide concluding remarks. years, before coming to Yale. of KDN-Fill, as well as newly discovered Architecture A Whitney Griswold Foundation grant The first section of the exhibition pro- video clips of Saarinen himself. provided the resources for interviews with vides basic biographical information: Born A symposium, “Building (in) the Future: other professionals engaged in similar in Finland in 1910 and emigrating to the —Donald Albrecht and Eeva-Liisa Pelkonen Recasting Labor in Architecture,” will issues—such as Cecil Balmond, Sheila United States in the mid-1920s, Saarinen Albrecht is exhibition cocurator with Pelkonen be held at the Yale University School of Kennedy, Tim Eliassen, William Baker, began by working with his remarkably gift- (MED ’94), assistant professor, who was Architecture from October 27–29, 2006 James Carpenter, Marc Simmons, Bill ed family, led by his father, Eliel, architect director of the curatorial research team. and is cosponsored by Autodesk. Zahner, Scott Marble and Karen Fairbanks, of Helsinki’s main train station and many Gregg Pasquarelli, and architects at other residential, commercial, and govern- “Building (in) the Future: Recasting Labor MADE—to ensure that the most topical ment commissions. This section explores in Architecture” will examine how contem- issues were identified as part of symposium Saarinen’s early work, which was often cre- Some Assembly porary design practices are rethinking the preparation. Bob Gutman, Brant Hightower, ated either in collaboration with his father design/construction process, especially and the Princeton School of Architecture or in partnership with young architects at Required as it relates to fabrication, detailing, and also lent assistance with the interviews. Cranbrook, the school designed by Eliel in ultimately the organization of labor. The The symposium promises to stimulate dis- suburban Detroit, Michigan. The exhibition Some Assembly Required, program will explore the supposition that cussion and raise issues that are often left The main body of the exhibition is orga- organized by the Walker Art Center, in the players who produce architecture unspoken as technology changes at a rapid nized into five primary sections: “Nation” Minneapolis, will be shown at the Yale today—architects and their staff, engineers, pace and professional organizations try to explores Saarinen’s capacity to help build School of Architecture Gallery from fabricators, contractors, construction man- keep in step. an image of modern America both abroad October 27, 2006 to February 2, 2007. agers, and technical consultants—make and at home at the height of the Cold War different artifacts, have different contractual —Peggy Deamer by designing embassies, memorials, and Curated by Walker design director Andrew relationships, and boast different claims to Deamer is associate professor and confer- airports that served as national gateways. Blauvelt, Some Assembly Required will design authority than in the past. ence organizer. “Business” looks at the architect’s work exhibit a variety of prefabricated homes This symposium grew out of an interest for leading corporations, underscoring his using a wide range of materials, processes, in a number of current trends in practice 1. Eero Saarinen on mock up of stair brilliant understanding of architecture’s and scales that have challenged many of and my own research. For example, the of the St. Louis Arch, Photograph Tulsa, value in creating a company image, often the preconceptions about prefab homes paper “Architecture and Craft,” which I courtesy Eero Saarinen Collection. using new building technologies to brand as cheap cookie-cutter structures of last presented at the Jerusalem Seminars on Manuscripts and Archives, forward-thinking corporations. “Living” resort. Today’s prefab movement has Architecture, explored the status of craft Yale University Library.

Alison and Peter Smithson, ideogram of a net of human relations: “A constellation with different values of different parts in an immensely complicated web crossing and recrossing. Brubeck! A pattern can emerge.” (From the Team 10 Primer, 1953–1962, Architectural Design 1962:12) methods of construction. They rely on arguments and build layers of questions ment and stasis negotiate their respective Architecture isn’t color, composition, and sequence to with great generosity both to her read- privileges.” Whatever their tools—whether transforms basic building blocks into good ers and those she is reading. The journey crafted in Euclidean or epigenetic geom- just for special spaces. It might not seem like rocket sci- of thought relies on her voice, that of a etry—computational architects can always ence to them, but somehow the quality narrator who is actively conceiving a con- reassert their routine quest for the tran- occasions they are able to build into their humble versation with the reader. Her narrative scendent or the perfect naturalness of their little constructions is so much higher than often gestures toward something ahead, forms. But that recurring habit collapses Koning Eizenberg Architecture the elements with which they start that the recovering a previous character or acquir- the intricate manifold that Ingraham has so By Julie Eizenberg buildings take on the quality of high art, ing permissions and thresholds to enter the carefully hoisted and softens her praise for The Monacelli Press, 2006, pp. 240 thus gaining them access to the East Coast self-styled hallowed ground of a useful aca- computational ingenuity. publishing realm from which this book demic discourse. It frequently summarizes Animality exceeds the architecture It’s a lot easier to make an everyday issues. In the past Koning and Eizenberg and apologizes for not being able to pro- that we possess and yet will always be Modernism if you are a good architect. have tried to translate that ability into a vide more information about an attractive intimately tied to it. The text is like the Luckily, Hank Koning and Julie Eizenberg set of semiscientific rules, called a “shape train of thought for which there is no time. animal as it moves near the edges of our are that. In their new book, Architecture grammar.” These days they seem content And it indulges and strays on the reader’s constructs and lifts the veil on their logic. Isn’t Just for Special Occasions, they to show how they make their buildings, behalf, as if on a journey, telling us that we Animal mimicry and lust are faint symptoms present the forms and spaces they use assuming that we will understand the rules haven’t gotten there yet. of something much more profound. In our to shape, facilitate, and enrich everyday just by seeing the results. Animals expose and help to index denial of the animal we have made animal- activities. In this attractive volume, schools I am not sure we do. There is an argu- architecture’s relationship to biological ity an instructive paradox that interrogates are not just civic monuments but collec- ment to be made for the composition of life. Ingraham’s primary intention is simply our “being.” Thought, like the difficult think- tions of light-filled classrooms organized basic elements to create humble yet joyful to open a field of inquiry that can begin to ing that is the central activity of this book, around pathways whose twists and turns building blocks for a better society. Charles grapple with this relationship. She collects produces an effect similar to an encounter kids might see as an adventure trail. Social Moore tried to articulate this in books a scattering of questions and evidence with the animal. It produces its own about- housing is not a mean box into which you such as The Space of Houses, and Robert in this field by touching down first in the face surprises and cold showers. Under install low-income people; it is a commu- Venturi once sought its roots in architec- Renaissance, then the Enlightenment, and the spell of the architectural peregrinations nity of spaces designed for different social tural history. I for one wish that these “ah finally in contemporary architectural cul- found in Architecture, Animal, Human, situations grouped around a sheltered shucks” Australian expats playing in the ture. From her previous book, Architecture Ingraham has opened up territory that courtyard. Even a house for a rich person is sun-dappled sprawl of Los Angeles would and the Burdens of Linearity, we are pre- nourishes and instigates while reconnect- not just an expression of one person’s van- continue that particular project. I want to pared to cast architecture as the discipline ing with a history of architectural thinking ity but a relaxed response to the rhythms know why they are so good—and how you that captures biological life in its Cartesian and making. and rituals of everyday life. Taken together, can make the architecture they present crosshairs. Both books take delight in these projects show that Koning and with such matter-of-factness in this seem- allowing the ageless Le Corbusier to epito- —Keller Easterling Eizenberg have the knack of doing the ordi- ingly open but actually rather enigmatic mize this sentiment with statements such Easterling is associate professor at the nary extraordinarily well. monograph. as the following from his City of Tomorrow: School of Architecture. Partially this success is the result of the landscape in which they have operated for —Aaron Betsky The Winding Road is the Pack-Donkey’s most of their lives. For all its horrendous Betsky (’83) is director of the Netherlands way; the straight road is man’s way. social, economic, and environmental prob- Architecture Institute, in Rotterdam. The winding road is the result of happy- Perspecta 38: lems and in its sprawl, Southern California go-lucky heedlessness, of looseness, remains one of the most easygoing sites lack of concentration, and animality. Architecture for an architect to build on. You can get away with minimal shelter, you can open Architecture, Yet Ingraham follows the sentiment from After All your interiors to light and air, you can do the Renaissance through the Enlightenment away with inherited traditions, and you can Animal, Human: and the “taxonomic sciences” that further Edited by Marcus Carter, Christopher usually operate under the radar emanating diminish the association between animals Marcinkoski, Forth Bagley, and Ceren from some distant point of either intellec- The Asymmetrical and magical or alien powers. At this junc- Bingol tual or building control. Koning Eizenberg ture she focuses on Giorgio Agamben’s MIT Press, 2006, pp. 152 has made its career by accepting the limi- Condition assertion in The Open: Man and Animal that tations that different situations bring with humanness “results from the practical and Fourteen. That is the greatest number them (including low budgets, a lack of clear By Catherine Ingraham political separation of humanity and ani- of footnotes for any of the articles in precedent, a dearth of chances to build Routledge, 2006, pp. 368 mality.” This moment, which she calls the Perspecta 38: Architecture After All, the kinds of structures that have long been “post-animals,” is the purported subject of edited by Marcus Carter (’05), Christopher considered the backbone of true archi- “I must state that I personally belong to the book. The animal has become human- Marcinkoski (’03), Forth Bagley (’05), and tecture, and cheap materials) and making a class that is accustomed to treat with ized, and the post-animal human can more Ceren Bingol (’05). Ten years ago that structures that just plain fit. They suit their extreme suspicion all such persons as are easily store the mind (and body) in an archi- could have described the number of foot- sites, programs, and, perhaps most impor- unprovided with tails.” tectural cage, by which it is reciprocally for- notes on a page of one of the esteemed— tant, the life their clients make in the place. —Flann O’Brien, At Swim-Two-Birds matted. Architecture can be “indifferent” to though now defunct—journals of the 1980s Koning and Eizenberg make it look the animal, standing as a counterpoint to its and ’90s. This observation by no means easy. Partially that is because of the clear, Catherine Ingraham’s book Architecture, wildness or even portraying that wildness questions the intellectual rigor of this even simple layout of the book. There Animal, Human: The Asymmetrical as pathology. Navigating architecture’s intriguing issue’s set of contributions or the are no long and turgid essays, no build- Condition has been much anticipated. “It’s “various doctrines of humanism” points dynamic interplay between them. Rather, it ing descriptions giving way to plans and about animals,” one was told. And it is. The to a human who has learned to exist in is a clear sign that architectural thought is sections that catch forms in the technical most interesting people in the world always an architectural construct or that, quoting looking within its own production for mean- language of construction and composition, manage to write about animals, about the Agamben, “has learned to be bored.” ing instead of outside of it. but “just the facts, ma’am.” All we get is a profound puzzle they present to our con- Ingraham’s question, of course, turns Architecture After All is structured few musings on what they are doing—writ- ception of knowing and being. The least out to be a very good way of indexing around a series of themes that engages ten in Eizenberg’s slightly ironic but always interesting people in the world—ratifying architectural history and theory. As a major a dynamic cast of young theorists sincere tone and printed in large type— a comic false knowledge—use animals as thinker in the architectural culture of the last (Schaefer, Petit, et al.), young practitio- many color pictures, and a few testimoni- proof of their own elevated rank as human, two decades, she is a remarkable guide, ners (Dubbeldam, Tajima, Wiscombe, als by users as to how the buildings have where “human” means “not animal.” able to thread the story through Bernini, et al.), young-thinking established prac- changed their lives. Ingraham’s book is about animals, but it is Darwin, the hyena, Lefebvre, Lévi-Strauss, titioners (Woods, Tigerman, et al.), and It would all seem either naive or like perhaps above all about architecture, since Derrida, the praying mantis, Deleuze and those straddling both theory and practice a Weiden & Kennedy advertisement if it it is ultimately architecture that houses the Guattari, Greg Lynn, Sanford Kwinter, and (Hight/Perry, Wamble/Finley). These essays wasn’t for the architecture. Koning and compelling conundrum of the book. Coetzee. Ingraham steers neither toward are strung together by the roundtable Eizenberg I use the word “conundrum” because an architecture that makes animals a “fel- discussion “Screen vs. Script,” held at work while the book is about animals and archi- low architect” nor one that mimics animals the Architectural League in 2004, in which with the tecture, it is also about thinking—about or humans. Rather, there remains an asym- Michael Speaks spoke with five practitio- simplest growing the mind or causing the mind metry to be negotiated. Perhaps that is ners who innovatively utilize the computer forms and to outgrow its own structural logic. why, when Ingraham praises inventive uses in the design and production of responsive use the Ingraham’s book is a collective reverber- of computational tools, she finally also calls architecture and environments. most basic ant space tailored specifically to anticipate for “stasis” to “see now, newly, how move- The issue proposes “chapters as postmortems” that solicit contemporary of endings, the energy and optimism of the static structure of the city but demon- “change is concentrated and accelerated.” reconsiderations of making (after practice, Architecture After All is both pervasive and strated its fluid relationship to the changing In all cases, as this book aptly demon- after form, after technology), thinking (after persuasive, supporting Winka Dubbeldam’s interests and values of the inhabitants. strates, these “other spaces”—as hybrid meaning, after theory, after narrative), con- call for a “productive crisis.” However, Accordingly, the City of Faith, as a sacred realms embedded in normative urban sys- text (after pedagogy, after globalization, most fissures are never clean, and often center of power, is “stable and hierarchi- tems—seed urban transformations. In fact, after urbanism). The use of the preposition they are not endings at all. Interestingly, cal—a magical microcosm in which each heterotopias as defined by Shane are now after as opposed to the more ambivalent the theorists in the issue seem to recognize part is fused into a perfectly ordered the norm rather than the exception, forming prefixpost deployed by a previous genera- this more clearly than the practitioners. whole.” In the City as a Machine, a practi- the basis for a dynamic recombinant strat- tion suggests a historic fissure where one As described by both Speaks’s distinc- cal task-based settlement, “the stability is egy of design. must create new categories of thinking and tion between intelligence and theory and inherent in the parts and not the whole.… Such a strategy is best exemplified by making to describe a genuinely revolution- Ashley Schaeffer’s positing of a new utility It is factual, functional, ‘cool,’ not magical what Shane calls “rhizomic assemblage,” ary moment. It is this implicit assertion for theory, one hopes for a realignment at all.” Finally, in the City as an Organism, a the last in what he identifies as the “seven that energizes the issue in both form and in the relationship of objects, ideas, and dynamic heterogeneous community, “form ‘-ages’ of postmodern design” (collage, content. Despite these separate categories, information rather than the end of critical- and function are indissolubly linked, and montage, bricolage, etc.). It eschews total the interrelationship of making, thinking, ity in deference to the purity and beauty the function of the whole is complex, not control, favoring a recombinatory system of and context pervades all of the articles, of the object. Some of the participants of to be understood simply by knowing the ready-made parts that thrives on “multiple particularly in relation to the new resources “Screen vs. Script” are understandably so nature of the parts.” It is “self-regulating” narratives that thread through the city.” and environments afforded by digital tech- consumed with the possibilities for making and “self-organizing.” As such it provides “designers with a new nologies and the consequent shift to an which technology affords that implications Shane takes Lynch’s concept one step freedom to break old molds and make new academic architectural discourse that sur- of the design object beyond its own exis- further, arguing that three basic recurring combinations” and allows “for multiple prisingly is more, rather than less, engaged tence remain underconsidered. However, urban elements, or “organizational pat- actors, surprising juxtapositions, and plac- with the material world. as Stanley Tigerman observes in his after- terns,” are fundamental to the construction es of negotiating and mixing.” Rhizomic The editors of Architecture After All word, it is a single-mindedness that is of these dominant models. These elements assemblage offers a potent strategy with have recognized the importance of this necessary for innovation and the continual are the enclave, “a centering device, a which design can address the contempo- shift, and the chapter headings are really progress that periodically energizes a dis- static enclosure with a single center, and, rary network city of myriad flows and mul- provocations for contributors to discuss cipline. While Perspecta 38 reasserts the often, a single function”; the armature, a tiple voices. a restructuring in both the production of continued importance of the themes that linear organizational pattern or sequencing Human motives transform human ideas and that of architecture. A generation its editors suggest are dead, Architecture device, perspectival in structure”; and the settlements, as Lynch notes in the first sen- ago in the academy, a premium was placed After All does identify and articulate an heterotopia, a “special form of enclave” tence of Good City Form. In Recombinant on the utility of theory to manufacture exciting and truly innovative movement that is “hybrid, with multiple subcenters Urbanism, Shane not only shows us how ideas that would help formulate intention with great potential for the academy, for and subcompartments…differentiated from this happens but demonstrates what use to direct design processes. This paradigm the profession, and for architecture. its surroundings.” While all three elements we can make of the knowledge. Harnessing exacerbated the age-old tension between are always present in each model, each is the conceptual power of Lynch, Rowe and the schools and a profession operating in —Sunil Bald fundamentally structured by one over the Koetter, and Foucault, among others, he a sphere defined by material, institutional, Bald is principal of Studio SUMO, in others. Thus the City of Faith is a city of offers us a positive foundation for our work and economic constraints beyond the con- New York, was the Louis I. Kahn Visiting enclaves; the City as a Machine, a city of on cities, one that is neither falsely nostal- trol of the architect. While both the acad- Assistant Professor in spring 2006 and will armatures; and the City as an Organism, gic nor hastily dismissive of older models emy and the profession became computer- return as critic in spring 2007. a city of heterotopias. but rather dynamic in its mixture of old and ized, the new tools were incorporated into In charting the interrelationships new, form and action, in the service of a the existing structure of each realm. between enclaves, armatures, and het- vigorous and heterogeneous urban realm. In the academy this often led to more erotopic zones in the formation of cities, sophisticated representations, more for- Recombinant Shane constructs a clear development —Keith Krumwiede mally challenging and less gravity-bound of history from the single-center City of Krumwiede is assistant professor at the and materially specific design, and refer- Urbanism Faith to the often bipolar City as a Machine School of Architecture. ences that replaced Derrida with Deleuze/ and onto the multicentered City as an Guattari. Computerization allowed the By David Grahame Shane Organism. He then discerns critical con- streamlining of existing production meth- Wiley & Sons, 2006, pp. 344 ceptual shifts that occurred “after the col- ods, from reduced staffing requirements to lapse of Modernism,” singling out the ideas the practice of “cutting and pasting” manu- Like its subject—cities—the book of Colin Rowe and Fred Koetter in Collage facturers’ details rather than innovatively Recombinant Urbanism is sprawling, rich City of 1978, in which the city is seen as a rethinking assemblies. with information, and occasionally hard to “system of fragmentary enclaves…each While its contributions are diverse, there navigate. It is also an essential book in a with its own self-organizing system of is an underlying sentiment in Architecture field that is intellectually undernourished. order.” Of critical importance to the disci- After All that digital technology can be What David Grahame Shane has produced pline, this concept of the city—at odds with deployed to restructure the production in this volume—subtitled “Conceptual “the utopian total-design aspirations of the of architecture and ideas, not only in the Modeling in Architecture, Urban Design, early Modernists”—allowed for the design academy but also in the way that practice and City Theory”—is one of the first truly of independent city fragments free from the itself is approached. The use of new tech- cogent, comprehensive, and operative demand for coordination with others. While nologies and techniques for making were theories of urban design. Collage City was an important conceptual encouraged, albeit at a small scale, in the While there are many histories of the breakthrough, it failed to account for any academy before; now they are increasingly city and its form, both specific and general, coordination of various urban fragments being adopted into the profession and in there are few systematic analyses of city (barring the intervention of some princely building industries. These new paradigms form as a consequence of human actions. authority). Shane’s critical addition is to potentially bring the contemporary archi- In a text that builds upon the urban model- recognize that heterotopias, as fragmentary tect closer to the Gothic master mason, ing techniques of Kevin Lynch and Michel urban enclaves, can and do have catalytic as discussed in Tom Wiscombe’s article, Foucault’s concept of the heterotopia, effects on the larger city. intertwining design and construction. Shane describes three “normative city In fact, for Shane, heterotopias are Furthermore, as our cities are being more models” and argues that the transition the sine qua non of urban transforma- defined and described by digital systems, from one to another is propelled by “novel, tion, and their addition to the catalog of some in the academy—such as Mark unstable, shifting processes developed” primary urban elements is what distin- Wamble and Dawn Finley—are theoriz- by urban actors “in heterotopic places of guishes Recombinant Urbanism from other ing the urban environment through direct change.” urban theories. He extracts three critical material engagement and research. At Like Lynch before him, Shane under- heterotopias from Foucault’s essay “Of both the architectural and urban scale, the stands city models as conceptual tools that Other Spaces”: heterotopias of crisis that engagement of the material through the provide ideal urban images associated with hide “agents of change with the standard digital can lead to the production of ideas. clear organizational systems and methods building types of the city”; heterotopias of This arguably reverses the model of theory of implementation. In his book Good City discipline, comprised of “institutions that preceding the production of form and Form, Lynch identified three significant foster change in highly controlled envi- potentially reduces the need for the archi- city models: the City of Faith, the City as ronments”; and heterotopias of illusion tectural footnote. a Machine, and the City as an Organism. comprising “realms of apparent chaos and Despite being framed around a series For Lynch, these models mapped not only creative, imaginative freedom” in which 1.

semester course taught by Fuermann. The of Delhi, Sheila Dikshit; the deputy chief cational and professional environment. The On Site: class met weekly at the Yale Center for of the U.S. Embassy, Robert Blake; the group met weekly during the semester to British Art and effectively combined travel managing director of the Delhi Metro Rail address such issues and to gather informa- British Landscape with lectures and the direct experience of Corporation, E. Sreedharan; and members tion regarding student enrollment, faculty paintings, prints, and manuscripts from the of the Environmental Research Institute. and critic representation, and the feasibility Architecture museum’s collection. The wide range of opinions and viewpoints of outreach opportunities for Yale. discussed exposed one of the major diffi- In support of these efforts, the group The best way to learn is to travel, and for —Melanie Domino and Abigail Ransmeier (’06) culties India will confront in the near future. found that the Royal Institute of British ten days in March students enrolled in The various agencies are in conflict on how Architects (RIBA) had conducted research Bryan Fuermann’s seminar “The History of to proceed. A meeting with the Government in July 2003 into the drop-out rate of British Landscape Architecture” embarked of NCT of Delhi exposed the apparent women from architectural practice. on a journey through England to visit inability of policy-makers to collaborate Conducted by the University of the West outstanding examples of the genre. Our with the many constituencies. of England on behalf of RIBA, the survey garden tour began immediately upon arrival New Delhi’s Taught from a policy-maker’s perspec- of 170 women found that numerous fac- at Heathrow Airport: The tour bus drove tive, the focus of the class was on the envi- tors, “including poor employment practice, us north of London, past Chiswick Estate, Transportation ronmental impact of alternative transporta- difficulties in maintaining skills and profes- through English sheep pastures, and past tion and urban land-use policies, aimed at sional networks during career breaks, and Stonehenge to our first garden destination, Dilemmas understanding the different options and paternalistic attitudes, cause women to Stourhead. There, a soggy stroll along the corresponding implications associated with leave the profession.” It also revealed that famous circuit walk was followed by the Over the past few semesters an increased transporting the anticipated 2 billion new “the gradual erosion of confidence and purchase of many pairs of Wellies and rain- number of architecture students have been urban inhabitants. On the trip, the students de-skilling caused by the lack of creative coats—wise acquisitions, since the rest of participating in Forestry School classes, probed the experts, questioning their poli- opportunities for female architects, side- the trip proved just as muddy. which has been formalized by the newly cies and offering potential solutions, includ- lining, limited investment in training, job Although the trip was wet, the weather formed Joint Master’s Program between ing biodiesel, bus rapid-transit systems, insecurity, and low pay, led to reduced self- and the time of year were in fact blessings the School of Architecture and the School and monorails. It was an opportunity to esteem and poor job satisfaction in archi- that afforded visits to all of the landscapes of Forestry. take case-study information from Bogota, tectural practice.” This report thus served in relative solitude; and garden follies, used On December 30, 2005, the Delhi Metro Singapore, Dubai, and other cities and as a backbone and catalyst to investigate historically for relaxation and entertainment, Rail Corporation successfully completed apply the information to a new situation in the issue more deeply at Yale. were for us respites from the rain. During the installation of sixty-five kilometers the process of rapid development. Delhi’s For its inauguration, YWA hosted a our visit to Iford Manor—an Italian-style of metro rail in New Delhi, the first of growth in population and commerce, as panel discussion with faculty and alumni garden in Wiltshire—we toured the historic four phases. When finished in 2021, the well as that of India in general, makes the on April 17, 2006. The event drew a large estate and the current owner’s recent addi- 244-kilometer project will be the most city the perfect laboratory for an investiga- audience to the fourth-floor pit to hear tion: a walled garden with topiary shaped expensive infrastructural move in the tion of current land-use applications, merg- panelists Phillip Bernstein (’83), Carol Burns like furniture and a large mural of England’s subcontinent’s history and a first-class ing the skills of architecture, urban design, (’83), Peggy Deamer, Eeva-Liisa Pelkonen mythological Green Man. At Studley Royal, light-rail system. Despite having the lowest public policy, and environmental planning (MED ’94), Kevin Rotheroe, and Joel a misty hike past hunting grounds and for- fare in the world, the metro is used by only in a contemporary setting. Sanders share their experiences of gender mal water gardens brought us to the ruins 2 percent of the city’s population, accord- and career. A broad range of topics were of Fountains Abbey, a medieval Cistercian ing to E. Sreedharan, managing director —Marc Guberman (’08) covered, from the role that money plays in monastery. At Castle Howard, site of the of the corporation. As the number of city men’s and women’s professional lives to BBC television series Brideshead Revisited, dwellers continues to grow, what will be the the sometimes incompatible demands of we visited the Howard family mausoleum. long-term effects? raising a family and maintaining an archi- And in Scotland the group to traveled to These were some of the issues that tectural career. Burns gave fair warning to Dumfries to see Charles Jencks’s Garden were explored by thirteen students from women entering the field: “You have to be of Cosmic Speculation, designed by the Yale School of Forestry along with smarter to be considered as smart; you Jencks and his late wife, Maggie Keswick. six architecture students who traveled to have to work harder to be considered as Throughout the trip students formulated India during spring break in March 2006. hard-working. You just have to be ready to topics for their final projects, often inspired Seher Aziz (’06), Michael Grogan (’06), struggle more.” by daily visits and on-site research. Several Marc Guberman (’08), Sean Khorsandi The issue of struggle is clearly not a studied the garden at Stowe, which is (’06), and Gray Shealy (’06) accompanied new one. Deamer put the occurrence of the one of the best documented of England’s Professor Ellen Brennan-Galvin on a nine- panel discussion itself in perspective: “The estates since it exemplifies the eighteenth- day trip to New Delhi. The opportunity was gender issue in terms of the modern dis- century transformation of the British land- offered through a Forestry School class course is clearly there intellectually, but in scape from formal gardens inspired by on “Transportation and Urban Land Use” 2. terms of talking about gender as architects French and Italian designs into those char- and turned the subject of study into a real- and talking with students in an architec- acterized by a natural appearance. Three life investigation. The trip was the second ture school, it comes in fits and starts. For students traced the path of two series of annual opportunity to bring students in example, there was a similar roundtable historic prints: one by Jacques Rigaud the course closer to the work they study. Yale Women five years ago, and there was a sense that and Bernard Baron, which shows Stowe in The first, in 2005, was an excursion to ‘of course now that it’s on the table, every- its original formal state, and the other by Curitiba, Brazil, to investigate a city that in Architecture one’s enlightened.’ And then lo and behold, Chatelain and George Bickham, revealing has undergone tremendous change. This nothing changed. It is not about instant the naturalizing techniques employed by year’s agenda was to examine an urban If you attended the lottery for advanced progress—it’s a daily battle.” William Kent, James Gibbs, and Lancelot environment that is at the very beginning of studios at the outset of last spring’s semes- It is to this daily battle that Yale Women “Capability” Brown. Other student projects a major new stage of development. ter, you might have noticed that something in Architecture hopes to turn and face included an analysis of the transposition Over the next fifty years, India will didn’t seem quite right. Of the sixteen head-on. The group will continue its weekly of Italian Renaissance theater principles to be the fastest-growing economy in the faculty and visiting critics seated in an arc meetings this fall, with plans to include early British landscape design, the reuse world, largely because its population around you, every one of them was a man. further panel discussions, alumni events, of ruins to create new landscapes, and the comprises a workforce that will age at a Taking an advanced studio taught by a mentoring sessions, and professional net- study of water as an organizing slower rate relative to other nations (as female critic was simply not an option. working opportunities. As Burns advised, principle at Stourhead, Blenheim noted in a 2003 projection by Goldman A new student group, Yale Women “You really should cultivate relationships of Palace, and Studley Royal. Sachs, reported in Newsweek on March in Architecture (YWA), was thus formed all kinds—professional, personal, political. This unique travel opportunity, 6, 2006). To understand the complexity of to offer a supportive network and critical It’s your best offense and defense in life.” made possible by grants from the the country’s current situation, students forum for students and faculty (both women Paul Mellon Foundation and the met with a wide array of organizations and and men) to discuss—and seek possible —Elizabeth Barry (’07) Lenahan family, was part of a full- professionals, including the chief minister solutions to—issues of gender in the edu- Barry cofounded YWA with Shelley Zhang (’07). He expressed the irony in the practical philosophical arguments and obvious MED Program problem of the people needing to be repre- urban problems of exodus and cultural Undergraduate sented in some way or risk anarchy and the divergence—contextualized the themes Colloquium: Situations, Not Plans loss of similar parks. Delving further into of the course, revisiting our earlier discus- Studio the powers of the seemingly innocuous and sion of Guattari and introducing ideas from Each year, Master of Environmental deceptively practical elements of the built other thinkers who were also relevant to As the culmination to their undergradu- Design students in their second year have environment, Associate Professor Keller the dialogue, such as Michel Foucault and ate studies, the seniors in the architecture the opportunity to lead a colloquium for Easterling presented issues around the Jane Jacobs. The 2006 colloquium brought major undertake a design competition for architecture students as well as the wider identity and practices in the surreal place of together a very diverse set of thinkers and their final studio. Last spring’s competi- university. They select a theme, develop Dubai, highlighting the question of strategy ideas but consistently questioned con- tion studio, “A GreenStop for California’s a syllabus, and invite diverse speakers to and the need to be quicker and smarter temporary urban conditions and the role Central Valley,” was led by Steven Harris present their work. This year the colloquium in architecture’s struggle with twenty- that designers can have in such a complex and Bimal Mendis (’02) and focused on the was titled “Situations, Not Plans” and was first-century global capital as well as to array of situations. design of a rest stop on California’s Route led by all four second-year MED students: clarify the nature of that adversary. Noa 99. The one-stage international design Joy Knoblauch, Frida Rosenberg, Leslie Steimatsky, assistant professor of History competition—cosponsored by California’s Ryan, and Sara Stevens. Ten speakers of Art and Film Studies at Yale, shared with Thesis Research Department of Transportation and the visited during the fourteen-week course the class her research on Cinecittà, the Green Valley Center—sought to redefine comprising a group of students evenly split Italian film-studio complex that doubled This year’s graduates from the Master’s the idea of the roadside rest stop through between architecture and graphic design. as a camp for refugees during World War of Environmental Design program pre- an innovative design that was self-sustain- II. The appropriation of soundstages into sented four distinctive thesis projects. able and “off the grid.” Out of the eighty small cubiclelike domestic spaces and the Leslie Ryan received the John Addison professional and sixty student entries, two stories that explain how and why this hap- Porter Prize, a university-wide honor, for Yale College seniors—Victoria Wolcott and pened are at the center of Steimatsky’s her thesis, “Seeing Through Water: Waste Chibuzor Ugenyi—were chosen as finalists. research, tying together political and eco- and Forgetfulness in Olin’s Pine Swamp, Wolcott’s final scheme,Tulare Blend, not nomic threads against a fascinating and Hamden, Connecticut,” a case study of only won the overall Student Award, but sometimes unbelievable backdrop. the environmental and social legacy of the jury thought so highly of it that they also Addressing the issues of technology industry, war, and secrecy that is stamped awarded her third prize in the Professional and the city, Antoine Picon discussed the on the landscape of twenty-first-century category. difficulties of being a historian dealing with America. The Pine Swamp was a peat In January, the studio visited digital technologies, situating the short meadow flooded by a reservoir, later California’s Central Valley, which is one of history of digital technology against larger becoming a “powder farm” for gunpowder the most productive and fertile regions in questions of technological determinism, storage and munitions testing, and as a the country. The 415-mile stretch of Route control, and electronic subjectivity. Picon result is a cocktail of chemicals, metals, 99 connects both rural and urban com- projected complex scenarios and formulat- and pesticides. The site is now a Superfund munities, from the north at Red Bluff to the ed a position for architects within the digital project. Landscape remediation of sites south near Bakersfield, and acts as a major realm as strategic planners. Benjamin like the Pine Swamp forces us to come to commercial corridor. The extensive farming Aranda, a principal in the firm Aranda/ terms with the complex, intractable, and industry accounts for the large number of Lasch and the group Terraswarm, present- ubiquitous problems of industrial produc- trucks on the highway, and traffic volumes ed his Brooklyn Pigeon Project, in which tion. Less visible are the social impacts of reach up to 140,000 vehicles per day in 3. small digital cameras were attached to waste, such as the stigma of being asso- certain sections. birds to remap the city through their flight ciated with contamination and the costs The studio investigated the existing The colloquium investigated the con- patterns and movements. Preferring to of maintaining the waste products of the infrastructure and its underlying ecology, temporary urban situation, exploring the work on “recipes,” Aranda also discussed past. Being able to see and not being able together with the valley’s unique political splinters of the metropolis through the pro- his book Tooling, which proposes “tooling” to see, as dangers hidden underwater or and cultural history. While developing a duction of subjects and urban ecologies. as a way of understanding relationships to behind veils of secrecy, is an aesthetic prototypical and sustainable design was Speakers from fields as various as South processes and outlines his dissatisfaction issue with deeply ethical implications. fundamental to the goal of the studio, the African anthropology, nineteenth-century with the concept of mapping because of Sara Stevens’s thesis, “Systems of student projects also addressed a broad American farming, and mobile technol- its incompleteness as a way of seeing. This Retail: The Bigger Box,” studied the retail range of issues from the history of water ogy raised many questions regarding the led to a lively discussion regarding archi- techniques used by large-scale companies rights in the region to the unique subcul- accepted preconditions that determine tectural practice and its tools. such as home-improvement chains, retail tures that exist within it. The program itself fixed plans. By focusing on the fluctuating Anne Galloway, a PhD candidate at pharmacies, self-storage facilities, and was loosely structured around basic rest- connections between environments that Carleton University in Ottawa and host of megaplex movie theaters. Approached stop amenities, including parking for cars respond to social and political forces, they the Space and Culture blog (www.space- through architecture, corporate history, and and trucks, bathrooms, vending machines, probed the theoretical foundations (and andculture.org), presented a scenario in economics, Steven’s essay analyzes the and picnic areas. By addressing the diversions) of contingent and contradictory which she questioned our celebration of development and context of a small set of broader physical and cultural landscape, relationships within the built environment. new technologies. Contrary to William retail industries to investigate the spatiality the competition entries sought to redefine As an alternative to plans, this course found Mitchell’s earlier visionary talk on the future of mega-retailing. Stevens’s research on the rest stop as both an iconic presence on its interest in situations: infinitely layered, use of technological devices in everyday self-storage connects an unexpected link the highway and as an integral part of the unobjective, and messy. Questioning the life, Galloway called for mediating tech- between incipient moments in the devel- surrounding region. modern versus various forms of the anti- nologies that operate in the service of opment of this industry and its increasing Wolcott’s winning Tulare Blend modern, the students engaged an analysis community as fixed points of reference, dependence on investment markets, illus- extended the patterns and textures of the of contemporary urban conditions through producing communication with the prom- trating the tenacity of economic pressures surrounding agricultural landscape into the discussions with the speakers, who were ise of dialogue. Her criticism of many new in the built environment. site and combined them with the parking invited to situate urbanism as an inter- technologies questions the belief in their Joy Knoblauch’s thesis, “Architecture grid to create a hybrid landscape of the related field that punctures or exceeds the capacity to recapture a sense of commu- and Contingent Subjectivity,” presented two systems. By using a series of perme- urban plan. nity that seems to have been lost in a cul- Robin Evans’s early work (1963−1982) as able pavers at different scales to allow for In an attempt to produce a viable turally complicated world. The talk turned an alternate thread of Post-Structuralist varying degrees of softscapes and hard- hybrid from the diverse interests of the into a lively discussion on how to develop theory in architecture that accounts more scapes, she integrated reed beds, picnic four coleaders, the students highlighted smart systems that allow for resistance fully for its historical and psychological areas, parking, and rest-stop programs. In overlaps in their research on the topic or filter out the continuous buzz of com- insights. Evans led design studios at the contrast to the landscape-oriented scheme of the construction of urban and social mercial exposure. Reflecting on a lecture Architectural Association that focused of Tulare Blend, Chibuzor’s Rest-Stop milieu. They then wove the course around by Stephen Johnson—“The Urban Web,” on alternate housing designs intended Convergence located a central facility sur- loosely related key texts, including Bruno given at the school earlier in the week (see to foster uninhibited social relations and rounded by a system of “wind-scrubbing” Latour’s We Have Never Been Modern, page 21)—students discussed utopian invert the alienation of postwar public walls to filter dust and chemical pollutants Felix Guattari’s The Three Ecologies, attitudes toward technology. Professor housing described in his well-known from the prevailing winds through the site. Donna Haraway’s “Cyborg Manifesto,” and Dolores Hayden, who visited the colloqui- essay “Figures, Doors, and Passages”. Other notable entries included landscapes Stephen Graham’s Splintering Urbanism. um, contributed to the discussion. Knoblauch examined Evans’s early work that recycled the gray water from the site to Coincidentally, these were all mentioned in The next speaker, Steven Stoll, assis- and influences regarding the contingency introduce self-sustaining parks within the an endnote to William Mitchell’s Me++: The tant professor in environmental history at of self-perception, such as R. D. Laing and highway infrastructure; a building that har- Cyborg Self and the Networked City, which Yale’s Department of History and American Michel Foucault, bringing it back to the vested the wind generated by traffic along further directed the selection of speakers. Studies, centered his talk around the role forefront of the discipline. the highway to provide power to the rest- This framework allowed an exploration of agriculture as it plays into the history Frida Rosenberg’s thesis, “Shifting stop facilities; and a system of mobile pro- of the role of designers in responding to of Modernism and societal development. Identity in the Urban Structure,” traced the grams that could be deployed on trailers in physical and psychological relationships Questioning social, natural, and eco- emergence of the new European political any configuration along the highway to suit between humans, culture, and the envi- nomic causes for human profit from natural order that has led countries to reposition the specific demands of each site. ronment, challenging definitions of what resources, the discussion raised the ques- their national identity and state image, with Yale students have had remarkable is architectural. Thomas Blom Hansen, tion of what Post-Modern farming might particular emphasis on her native Sweden, success in the competition studio, winning from the Yale anthropology department, be. Stoll, a political economist at heart, where large-scale social, cultural, and first prizes for two consecutive years. While presented his field work on “Sounds described how agrarian society is the basis political transformations have been par- winning is a tangible goal, the studio’s main of Freedom: Music, Taxis, and Racial of modern society and how theories of ticularly apparent the last fifty years. Four emphasis lies in exploring and develop- Imagination in Urban South Africa,” arguing economic development and progress are poignant architectural examples revealed ing creative ideas based on research and for the interconnection between city plan- intricately tied to agriculture. The history of the peculiarities of the former welfare state analysis, sometimes at odds with the goals ning, political regimes, and the styles of soil science, the technology of harvesting as it dealt with the internal and external of the competition itself. teenagers of various races in the country. guano (Peruvian bird waste) for fertilizer, pressures of global economic restructur- Continuing on the themes of identity and swidden (slash-and-burn) farming all ing, including the new suburb Vällingby —Bimal Mendis and infrastructure, William Mitchell (MED became tied to a materialist version of the (1954), the Kulturhuset (1970), Stockholm’s Mendis (’02) taught this studio in spring ’69), of MIT Media Lab’s Smart Cities social contract, Southern slavery, manufac- Mosque, converted from a power plant in 2006. research group, presented his recent work turing, and the Modern project. 2000, and Santiago Calatrava’s Turning on the challenge that mobile technologies Our final speaker perfectly synthesized Torso—Sweden’s first high-rise, built in pose to the architect’s traditional role as the diverse ideas that had floated through 2005. master of “program.” To foster the con- the course. Edward W. Soja, renowned versation, students were able to use the urban geographer from UCLA, spoke on —Joy Knoblauch, Frida Rosenberg, Leslie back-channel discussions on the online what he calls “The Spatial Turn,” recapping Ryan, and Sara Stevens (all MED ’06). forum to pose more critical questions, and some major points of the course includ- the class discussed issues such as the ing spatiality, geography, challenging the ethics of congestion pricing. The strong Modern project, and the interplay of eco- 1. Landscape Trip to England, March 2006. critical current was developed in a visit by nomics in urbanism. The talk was a rethink- 2. Women in Architecture Panel, April 17, another MED alumnus, Daniel Barber (’05), ing of the primacy of history over space 2006, from left Peggy Deamer, a PhD student at Columbia’s School of in how the world is studied, a call to think Kevin Rotheroe, Phillip Bernstein, Architecture. Barber presented a portion of regionally, as well as a questioning of the Carol Burns, and Joel Sanders. his MED research on the history of People’s terms used to describe spatial conditions, Photograph by Adrienne Park in Berkeley, California, which spot- such as “urban,” “suburban,” “yuppie,” and Swiatocha (’07) lighted the problems of humanist assump- “exurb.” In many ways Soja’s skillful cross- 3. Leslie Ryan, Seeing Through tions about what users want from spaces. disciplinary discussion—moving between Water, thesis image, spring 2006. 1. 2. 3. 4.

5. 6. 7. 8.

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13.

The following are excerpts from the thinking about how the simplest of contain- by the same professional. Landscape west of London, right next to Heathrow spring lecture series at Yale. ers, the envelope, had become so much architecture today, as in Baroque Rome, Airport, called Feltham. … It’s really a place more complicated through automation is a highly interdisciplinary practice. I will that is sort of an accidental urbanism, very Stuart Lipton rather than less so, and how this envelope be speaking of this interdisciplinarity in a much ad hoc rather than planned—a series Edward P. Bass Distinguished embodied the ubiquity of protocols and pro- number of ways using transposition, not of consequences rather than any logical Visiting Architecture Fellow cedures in our lives. Since Yolande Daniels as a tightly or fixedly construed theoretical thought. Interestingly for London, it’s per- “Does Real Estate Have a Social and I began working together at SUMO eight construct but rather in a broad sense—a haps a kind of model of the kind of place Function?” years ago, we’ve always been very interested philosophical and physical one. Also I hope that the city is going to become. … And January 9, 2006 in how architecture scripts procedures that to show one of the most important things it’s an example of a kind of urbanism that’s shape our everyday experiences. that historians of landscape architecture probably swallowed too much, maybe it’s My office in London looks out over Yolande and I have worked with folding and historians in general work with: speci- even urban indigestion, but it’s also thrilling St. James’s Square. It’s a beautiful place, in a rather banal way. Rather than folding ficity in a given culture. in its diversity of flavor. with buildings designed by Nicholas space, our concerns are perhaps closer The question of what that configuration FAT’s interest really is to engage with Hawksmoor, Robert Adam, John Soane, to the process of folding laundry and its is and how the territory is carved is one of cultures beyond the traditional architectural and Edward Lutyens. Whenever I look out eventual unfolding. We’re interested in how general interest for designers. A good way scope: taste, techniques, and languages. the window it is not the buildings that catch ritualized action opens, closes, animates, to make known its structural quality is to Essentially, we view it as a kind of realism, my eye but the square itself. …Changes and alters domestic space, whether to study how those issues operated in a differ- that architecture isn’t an idealized and still happen today, but the spacious sim- be compressed and stored or expanded ent place or time, for example, involving the abstract art but very dirty and very messy plicity of the square has not been impaired; and engaged. student in the professional design school in and very compromised. It’s through those it is a fine example of great and timeless FlipFlop was a project done way back the matter of translation from one situation problems that contemporary architecture public space. …I describe this scene in the day when four hundred dollars a to another, in the historical situation not as can truly emerge. because for me this is what urban life is all month could get you a burned-out, aban- a model but as a way of synthetic thinking. We’ve borrowed shamelessly from the about. People of all ages and nationalities doned 300-square-foot storefront on the This in my view is one of the key roles of sourcebooks of many others, which we from a spectrum of social backgrounds Lower East Side. The project incorporated history as a subject in the design curricu- think is a very legitimate way of making meet, talk, enjoy a break, work, flirt, watch, found objects with custom hardware and lum. Such a translation involves, in fact, the architecture. Like the Post-Modernists dream, shop, and go about their business. furnishings to create a wall-mounted living rehearsal of the act of synthetic thinking, we’re not ashamed to copy and to not be It is sociable, convenient, pleasurable, safe, space that unfolded on a daily basis. As which is how you conceptualize the land- original. Certainly there are some stylistic and adds to our quality of life. This type of floor space was especially precious in this scape architectural dialectic in design. similarities, but I think the difference maybe experience can be found all over the world. environment, the intention was to keep it Today the professional practices of is that the way we’re using those sort of I work as a real estate developer. We as open as possible and to avoid spatially architecture, landscape architecture, urban motifs and techniques is not really directed are supposed to be hard-nosed, tough compartmentalizing the complexities and design, and planning are separate; in against Modernism but toward an engage- business people focused on the task of ambiguities of daily life. Baroque Rome they were one. Today sci- ment with the cultures surrounding it. … It’s building rent slabs with a maximum floor Much of our work has been with art ence has a logical and abstract structure; about trying to do the right thing in a par- area as efficiently as possible—buildings organizations; and while our investigations in seventeenth-century Rome—the time ticular context for a group of people. that prescribe the client’s budget with no into domestic space have been so much of Galileo Galilei—science was severely squandering of profits on fancy architec- about programmatic complexities and the subject to religious dogma and oscillated ture. Why should we care what goes on mess that accompanies them, the ideal in a tension between studying the beauty Tony Fretton outside these buildings? For me, it is abso- of a pure white hermetic space for art has of external forms and surfaces in nature Paul Rudolph Lecture lutely crucial. always been, admittedly, a comforting but and the move to investigate the internal “Buildings and Their Territories” The spaces between buildings have elusive thought—the equivalent of a beauti- structure of nature in logical and abstract February 6, 2006 always been important; if we don’t design fully pressed dress shirt. But our projects thought. Today many materials are syn- those spaces properly, we won’t enjoy have been anything but clean, a bit messy thetic or artificial; at that time the range was Theory in the broadest sense of what I success within the buildings and conse- in fact—very much entangled with the great, between artificial ones like stucco do comes after making the buildings. For quentially they won’t be profitable. So this world outside or by institutional aspirations. and mortar to marbles and travertine. In me, that is an important thing to say after leads us to the proposition today: Does real In the initial projects one creates the focusing on Baroque Rome—a period of teaching at Harvard, where there has been estate development have a social function? problem and the detail to solve the prob- exceptional innovation in architecture, in a tendency for students to assume that To start, let’s be clear what we mean lem, but in a problem like [a large university relation to social and scientific develop- theory can somehow drive practice. I would by this: Do buildings and people have a building] so much of the conventional ment—and on figures such as Rinaldi like to advocate that architectural design relationship? Do buildings have an impact materials, details, and systems are given to and Borromini as test cases in landscape is its own craft and a sophisticated one at on people? Do people have an impact on you that there isn’t that problem anymore. architectural design, we can address such that. It is capable of embodying physical buildings? Do new developments have an The problem ends up becoming finding issues and tensions. and emotional rituals and behavior directly important impact on our quality of life, on moments that occur at a very different into the body of the building. how we live and work, on how we enjoy scale and somehow trying to design or The Lisson Gallery, from 1992, is a our towns and cities? The answer is an imagine what those moments might be and Sam Jacob social space. I believe that architecture unequivocal yes. how they might occur within the cracks of Myriam Bellazoug Memorial Lecture can in fact be a social art. For example, the institutional structure. “Everything You Can Eat” the rear façade of two floors is open to a January 26, 2006 schoolyard. The gallery spaces are simple Sunil Bald in plan but can be activated by social Louis I. Kahn Visiting Assistant Professor Mirka Benes I’m from a practice called FAT, and this activity. The ground-floor gallery is lower “Fold, Crease, & Tear Along Perforation” Timothy Egan Lenahan lecture is called “Everything You Can Eat,” than the pavement and allows for a differ- January 19, 2006 Memorial Lecture so I guess that means the stuff that makes ent experience of the pavement as public “Meaning Through Transposition us—well, me—fat. In some ways it’s about space. Both constituents share possession When I was asked to give in Landscape/Architecture: why being fat is almost an inevitable result of the space: The building and the galleries this lecture, it occurred on The Case of Baroque Rome” of consuming too much. Then fatness, if become a public space for the eye and a a day when I had just had January 23, 2006 one is to believe the statistics, is an almost private space for art. an unfortunate mishap inevitable contemporary condition, cer- Working in continental Europe, I have with an envelope con- In the case of Rome, the design of land- tainly physiologically but maybe also archi- become aware of the empirical nature of taining a check from the scape and of architecture were very closely tecturally. the British mentality: It is looking at what IRS. This tragedy left me related activities. Often they were done This talk is a study of a suburb in the exists. In Germany and Holland it is more principled; architects see themselves as in each case is to render and draw three- tors. We are doing in geographic space which of course can be done. I don’t know holding a body of knowledge and tradi- dimensionally and design an urban master what we did originally with information whether the generations coming after me tion, which like medicine or law is available plan, which becomes our tool for engaging space. You can say, “Show me all of the will love the buildings or not; the only thing for society. That is very different from the the community and explaining what we’re blogger posts of The Brownstoner site I want to give the buildings is the possibility English point of view. When design is pure- trying to do to get consensus. In the end that are within two miles of this particular that they can be taken away. ly empirical or pragmatic it leads to horrible these rezonings, which are very important point in space in Brooklyn.” This is called and dreadful work. Today, I have found that for the growth of the city, will be adopted “geotagging.” You are tagging bits of tech- we have all been influenced by European by the city council and become law, so that nology and information with geographic Greg Lynn architecture. However, what interests me things can be built without approvals or coordinates so you can build maps. Davenport Visiting Professor is a kind of plurality where local sensibili- private developers. When you combine it with GPS-aware “Current Work” ties become embedded in architecture. This shows you how finely grained the navigational devices, that is the cocktail. If April 6, 2006 When I was in Portugal I was able to see zoning is: It’s street by street, block by the device knows where it is and the infor- a number of buildings by a local architect block. We are very careful and work with mation knows where it is, those two things It’s important to distinguish what is archi- who liked Stirling’s work. He had produced the community slowly and deliberately to together will create an entire ecosystem of tecture and what is industrial design or an oeuvre that was Stirling-esque, but he create zoning that builds on the inherent people blogging, writing, and sharing infor- something else. For me architecture is had completely transformed it with his character of the area. With every one of the mation about space that does not exist now. about the assembly of vast numbers of own Portuguese sensibilities. So this is my rezonings we go from the ground up; we pieces to make something whole. The term fascination with Europe: While we share a always find the value of a particular area I gave that concept with an exhibition we body of knowledge about form and style, and build on that. If it can grow, we grow it; Joseph Riley did here at Yale was “intricacy”: how you each nation has its own sensibilities and and if it can’t, we rezone very carefully to “The Mayor as Urban Planner” put together hundreds or tens of thou- individual character with stylistic informa- reflect what has been built there. March 30, 2006 sands of components to make a thing that tion passing between them. is whole and proportional and coherent. America everyday becomes more urban- What’s most interesting for me today is that Craig Dykers ized and this urbanisation will increase with the computer we can put more and Wendy Steiner “A Way of Thinking, a Way of Working, forever. The future of the country, the more different parts together to make more Brendan Gill Lecture and the Works of Snøhetta” quality of civilization, our economy, and and more complex wholes. The problem “What Is Aesthetic Conservatism?” February 20, 2006 our culture increasingly is dependent that arises is how do you create something February 9, 2006 upon what we make of these urbanized other than just variety? And how does an Most of us like to separate history into places. Are they collections of stuff? Or architect or a designer have a signature or Art history is certainly at an interparadig- moments of time—the past, the future, are they inspirational, beautiful, and livable a coherent path to their work? matic moment. The continuing importance the present—but in some way this is too spaces? What about average citizens, I’ve been trying to get away from the of Modernism seems indisputable, but at simplistic and has created a sort of collision how do they feel about things? This is notion of typology, where you have a fixed the same time the story of art that went of histories. We like to therefore describe Sal’s Liquor Store. It’s an interesting place thing that gets deformed, and instead go with it is not. The rise of the avant-garde architecture in clearly defined ways. We call because everyone in there wears a pistol. to a strategy where something generic gets and its ceaseless exploding of pre-modern some architecture Modern, some Classical; It is warm in Charleston. They don’t have differentiated, varied, and changed. orthodoxies is becoming a closed chap- I prefer to use the terminology avant-garde jackets on, they have a holster and a pistol In a project for a house where the ter in aesthetics rather than an ongoing and derriere-garde. Everyone knows that and I guess a permit from the state. I went ground folds up and makes a volume in the thought. Formal innovation for its own sake the derriere-garde is just as important as in there one day, and all these guys I know thickness of a surface. In an upside-down is tired and self-referential and has proven the avant-garde; somebody has to care for converged to one place behind the counter, view of the dining room, you can see how sterile; and political confrontation has flat- what has happened before us. So in a way like I was going to get some information. I the ceiling folds around and makes a vol- tened into political correctness. Since 9/11 none of these definitions define any one was nervous. Well, these guys in the liquor ume, and the wall folds out and makes a in particular, irony and the artist’s auton- thing as being better than the other; they store with pistols want to talk about taxes fireplace, and this wall folds out and makes omy from the audience no longer seem simply describe to us that some things are or something. They wanted to talk about a room. All of these surfaces that undu- matters to celebrate. …At a time when the familiar and some things are unfamiliar. this intersection that had a no-man’s paved late and deform to make all the functional categories of art, craft, fiction, and design We realized that although there is a area, and one of these men wanted to spaces of a house. are overlapping more and more, and when lot of discussion about the master plan plant something there. I sent that idea to “beauty” and “pleasure” are becoming criti- of the World Trade Center by Daniel my landscape architect. Instead of a paved cal watchwords, the equation of art with Libeskind, we were intrigued by the mas- no-man’s-land they received a planted Frank Gehry and Paul Goldberger an assault on the viewer sounds distinctly ter section, that it somehow began to tell sidewalk. One of those guys said, “Joe, you in Conversation rear-guard. Classicists proclaiming “I told a story that was deeper than what the know what you did down there at Roberts April 7, 2006 you so” are rushing into this void bearing plan represented, which is very clear in and Doyle, well, that’s the prettiest thing I the gift of beauty. the way the memorial proposals dive into ever saw. I drive two miles out of my way Paul Goldberger: We are going to ramble The issues of beauty, universals, and the ground—they are sort of pieces of the to see it every day, both to and from work.” over a number of subjects over the next utopian community raised by classicists past. The commercial buildings are sort And then they wanted to talk about a new hour or so. I would like to begin not with point to Modernist blind spots and failures. of incised into the sky; they are about the building in town where they felt the archi- your own work but with the building you They do form the beginnings of a brief, I future. They are optimistic, and our building tecture had respected the other buildings are sitting in right now. Everybody at Yale believe, for the next phase of aesthetics, [the museum] sat somewhere in between. It on the block. All these guys at Sal’s Liquor has been grappling anxiously with this A&A and as such they need to be addressed. was about the everyday life of the city and Store wearing pistols wanted to talk to their Building for more than a generation. What But at the moment conservatives seem about the life of the present, and we were mayor about beauty. is your sense of it? to be the ones addressing them; indeed, going to bridge this world of the past and Our country is begging for it. There is Frank Gehry: I watched it incubate, so many critics and art historians consider the future. enough harshness and violence and dif- when I was a student at Harvard I was in this brief intrinsically conservative. The only Very quickly we found that the memorial ficulties in life with just getting by. When we city planning, but Paul Rudolph was omni- choice, they assume, for someone step- was not a vertical space; it had a very hori- give our citizens an enhanced public realm present. I used to go to his studios at mid- ping outside the ideology of Modernism zontal identity. And if you were to create and public space, they support it every time. night, when he would arrive, that was his is classicism or some other elitist revival. a window through that space—a vertical arrival time to talk to students. At the time I Classicism, in contrast, has program- window—in many ways it would dissect or found he was sleeping underneath his desk matically preserved cultural traditions and bisect the memorial itself. We rotated the Werner Sobek in studio. I was fascinated by the drawings. cooperated with social power structures. window 90 degrees to create this transition Gordon H. Smith Lecture PG: That was when this building was in design. It would be a pity if moving beyond space. It is done very easily: We simply April 3, 2006 FG: And so I was fascinated with Rudolph’s Modernism meant eliminating the pos- lifted the building to create a zone through “Archi-Neering the Future” translation of thoughts through drawing to sibility of aesthetic wonder or ethical which people move regularly, back and built form and his was particularly seduc- democratic engagement through art. But forth, between the city and this place of One can design buildings in such a way tive as a student for me. So I was gaga it would be equally sad to keep propping repose. The roof of the building became that they can be called “ephemeral build- over him, like maybe some of you guys up Modernism in the name of liberal values the primary façade. … In a sense we tried ings.” If we do so, it is not only a way of are about me, but you get over it. So my while ignoring the issues that are pushing to design the space. Although you cannot coming to the highest level of science and watching him sculpt this building over the us beyond it. And worst of all would be really design space—you can only design scientific work, but it is also combined years was amazing. Nobody was trying this the specter of conservative progressivism, the objects that form the space—but it was with the question of how are we living and kind of stuff, and I was very enticed by it. a brave new world in which classicism is our way of thinking about this place that working the day after tomorrow. We are But then when I came to teach, as a equated with the avant-garde. was primarily derived from its air. keen enough to anticipate what could be, whole environment, I found it difficult. I have been tracking some artists. … which of course is the optimum intellectu- Except for this room, Hastings Hall, which I There is a reciprocal appreciation and self- ally, taking a big risk. ... One has to think love and think it was inspired by Mr. Wright. appreciation in the experience of beauty, Steven Johnson about designing buildings that do not need PG: This room inspired by Mr. Wright? Really? a revelation of our value through what Roth-Symonds Lecture any energy. It would be even better if those Dean Stern: Yes! counts for us as valuable. Little in life is as “The Urban Web” buildings could produce energy. PG: In its quite difficult functionality or in its moving, as seductive, as this moment of March 27, 2006 We ask the question, What are the spatial configuration? matching between the beautiful other and most advanced building materials? They FG: In its spatial complexity. the beautiful self. Conventional telling has been warped and are unfortunately not steel or concrete but PG: I remember somebody once describing optimized to make a triumph of medical glass and textiles. What has been devel- it as a train crash between Wright and Le detective work and of information design. oped on the research and scientific level in Corbusier… Amanda Burden But the actual truth is the triumph of a textiles in the last two decades is breath- FG: I would say more Wright. Eero Saarinen Lecture certain kind of urbanism and the way taking, and most people don’t know about PG: It always seemed more Wright to me “Shaping the City: A Strategic information gets shared in certain dense it. The terms engineered fibers and engi- as well. Clearly the Larkin Building, but Blueprint for New York’s Future” environments. All of those patterns that are neered fabrics indicate what is doable. … maybe a bit of La Tourette in there, too. February 13, 2006 at work in this story are being replicated In a building you can apply much more of If the Larkin Building and La Tourette had on the Web today and are being applied those phase-change materials. Introducing been married they would have produced New York is a city that is growing, and to real-world cities to augment the kind of such things as fabric technologies and this child. it has always attracted immigrants who information-sharing that is happening on materials that show a very high strength But, how do you experience the building come to the city and provide a very impor- the ground. and robustness along with breathability, we now as opposed to then? tant component of our economy. They’ve Now what about this idea of the took the idea and wondered if it would be FG: It’s like an old friend…. always come in platoons and moved on. “swerve”? There has been this kind of possible to apply this to a building’s skin— But now they’re not moving on—they’re cliché about the Web being too polarizing totally prefabricated, easily exchangeable. —Compiled by Andrew Lyon (’06), actually staying—so our population is and everybody living in their own enclave Imagine what it would mean to have a Marc Guberman (’08), and Alek Bierig growing quickly. We went from 8 million in and never having any kind of surprise or breathable façade. (Yale College ’07). 2001 to 8.2 million now; we will be at 8.9 serendipity. But if you look at what the There is also the idea of decompos- million by 2010. We have a tremendous blogs are doing, the swerve is the link ability. There is often a very simple way 1. Stuart Lipton 2. Sunil Bald challenge: to grow the city and to provide the blog offers up to take you someplace that steel elements are bolted or clipped 3. Mirka Benes 4. Sam Jacob housing and jobs but also to strategically you didn’t really expect to go. Blogs are together. The electronics and automotive 5. Tony Fretton 6. Wendy Steiner find places to grow because New York City largely made up of people linking to things industries in Germany are now urged by 7. Amanda Burden 8. Craig Dykers is indeed built out to its edges. that they have found—crazy things that law to have a return guarantee. … You can 9. Stephen Johnson This is what we used to do: We would they have stumbled across on their travels make the fitting tools, bolts, or whatever is 10. Hon. Joseph Riley go to a community and say we are going to around the Web. The swerve is alive and easy to see; use one or two bolt diameters; 11. Werner Sobek do this for them, and of course they would well in the hypertextural world of the Web. use one or two types of bolts so that you 12. Greg Lynn be very upset because C-6-2 sounds Part of the reason why the Web took off can decompose it easily. What we try to 13. Frank Gehry and pretty frightening. So what we have done is because you have these universal loca- avoid like hell is all of these sealed joints, Paul Goldberger likened it to a Lina Bo Bardi paradigm of building shape from the surrounding a series of buildings around tranquil, semi- the suspended box in the style of Brazilian buildings’ geometries, they engaged land- private inner courtyards. Jennifer DuHamel homes. Other strategies, such as David scape to create an edge condition at the placed the building at the perimeter of a Nam’s, looked at ideas of the crowd and River Spree. Nicole Lambrou and Abigail city block, with an interior courtyard for flow. Heather Kilmer made a fluid, open Ransmeier rejected the simple juxtaposition administration; Susan Parapetti arranged building with a slab moving through form- of democracy versus communism, instead four galleries around an interior corridor, ing ramps that turned spaces into knots. highlighting the Cold War’s global effects. concentrating support spaces to one side A cluster of undulating towers represent- and opening the galleries onto a sculpture 1. ing five vertical galleries, each displayed garden. Marina Dayton designed a wedge geographically diverse Cold War material. between the galleries and museum school As these galleries move vertically through that embraced Breuer’s Pirelli Building and Sunil Bald space and chronologically through time, enclosed a courtyard space. Dariel Cobb’s they merge to create overlapping zones simple exterior box was divided internally Sunil Bald, the Louis I. Kahn Visiting used for circulation and exhibitions, form- into galleries separated by a circulation Assistant Professor, proposed that his ing an event space. The studio’s work was spine and museum support spaces. students build a new headquarters for the exhibited at the Aedes Gallery in Berlin, this The existing infrastructure of the site World Social Forum (WSF), a non gov- 2. summer (see page 27). served as a base for Mike Grogan, who ernmental organization with far-reaching placed galleries in the Pirelli Building and networks based in Brazil. To be located on reestablished its demolished base by the Avenida Paulista, a boulevard that cuts Stefan Behnisch inserting offices and a parking garage. In through São Paulo, it is a place for protests reconnecting the water through the site, and public gatherings. By embracing the political and cultural Mike Lavery situated his museum both The studio visited São Paulo to meet complexities of post-Communist East over and under the freeway, with galleries with the WSF and experience the culture. Berlin, Stefan Behnisch, Eero Saarinen above and services below. In general, the Mapping exercises about NGOs and their Visiting Professor, with Ben Pell, critic in projects reinforced the need for a cultural global issues helped to inform the building architecture, challenged his students to attractor in New Haven and the potential designs. The projects—presented at final design a Museum of the Cold War at the for architecture to improve the city’s self- review to Will Bruder, Yolande Daniels, 1976 Palast der Republic, currently being image, as well as demonstrated new ways Leslie Gill, George Knight (’95), William demolished. On the site of the former to integrate cultural buildings into the urban Mitchell (MED ’70), Joel Sanders, Galia baroque Berlin City Palace, the building infrastructure. Solomonoff, and Marc Tsurumaki—includ- served as the Parliament for the German ed meeting spaces, offices, libraries, and Democratic Republic until reunification 3. research centers that sought to express the in 2000; in recent years it hosted cultural organization’s ideology tectonically through events. The students were free to retain themes such as fluidity, transparency, inter- or eliminate the building as they deemed Will Bruder change, connection, weaving, and continu- appropriate. ity, proposing a structure that would frame The students visited Berlin, meeting Will Bruder, Bishop Visiting Professor, with an agency claiming to be “neither a group with public officials and architects as well John Eberhart (’98), focused on the poten- nor an organization” with nonhierarchical as exhibition designers. Back at Yale they tial of New Haven’s underutilized waterfront decentralized systems and forms. worked together on a global Cold War to make a connection back to the urban Since the schemes could be open- timeline and then on projects in pairs. The core—investigating urban design issues ended—interpreted as an infrastructure studio incorporated sustainable issues, and that include, parks, pedestrian circulation, 4. for a variety of unforeseen activities—the the development of new interventions with and housing—culminating in the design spatial elements of circulation, gather- innovative curatorial strategies to interpret of a contemporary art museum, or ing nodes, and public assembly rooms post World War Two history. Most students Kunsthalle, and an art school with artist Keith Krumwiede became emphasized. Brent Fleming posed directly engaged the program rather than studios/residences along the waterfront the question, What does it mean for an the physical context of Schinkel’s Altes adjacent to Marcel Breuer’s Pirelli Building, Keith Krumwiede’s studio was to rede- institution’s program to be fluid when it Museum, focusing on the Cold War and its now subsumed by Ikea. velop eighty-seven acres at Edgemere, in is normally compartmentalized? Basing representation. Their final schemes were The students jointly conducted an inten- New York’s Far Rockaway. Once an active his research around the issue of water presented to Harry Cobb, Adrian Eberhart, sive site analysis of New Haven and stud- resort community, it has been awaiting shortage, Fleming designed metaphorical Peter Eisenman, Mario Gooden, Keith ied museum and housing precedents. For development for over forty years and is cur- streams through the site to make physical Krumwiede, Annabelle Selldorf, Maren inspiration they traveled to Amsterdam and rently undergoing a re-development plan, overlaps between research, library, and Sostmann, Marion Weiss (’84), and Claire Rotterdam. They were asked to address adjacent to Arverne-by-the-Sea and Robert landscape connected by various circuits Weisz (’89). issues of contextual appropriateness, tec- Moses−era tower blocks. The student’s with public points for an amphitheater, Only a few students maintained the tonic refinement of structure, detail, and proposals were to be adaptable with con- café, and gathering spaces. original building. Mark Davis inserted a natural and artificial light, as well as diverse sideration of ecological, economic, and Interested in how the local and global glass box within the Palast, recycling an approaches to sustainability. social factors. functions of the WSF could come together icon that had “good roots and needed In the projects presented to the jury— Working in two groups of five, they then or separate, Ross Smith grafted different some pruning.” A powerful photo-montage Stefan Behnisch, Steve Christer, Marilou conducted environmental and site research materials to form a series of interlocking of a crowd inside the space showed the Knode, Ben Pell, Jon Pickard (’79), Alec to develop a strategy. Students traveled systems that would have the potential to transformation of the building into a public Purves (’65), and Tod Williams—many to London and Manchester visiting similar both separate and infest the project but not piazza. Brian Hopkins and Sean Khorsandi of the students incorporated complex scaled projects. One group established an necessarily inhabit it. The vertical became retained more than 75 percent of the build- landscape schemes, inserting fluid green armature of circulation linking the subway the private hardscape with a horizontal ing, employing relational typologies to swathes and water canals throughout to stops with a restructured and bifurcated level opening up into a public softscape, permit the injection of a public program into make sustainable projects. Eron Ashley boardwalk along which various housing, highlighting the potential for organizational the existing infrastructure, thereby investi- placed the building on a green strip as an commercial, and institutional programs transparency. gating the symbiosis between the museum object, with a tower and views toward the were deployed. The other presented a less The idea of the whole made up of its as a civic space and the potential for a 24- city and the sea. Naomi Darling formed plan-oriented strategy that examined the parts was the focus of Timothy Newton’s hour public place. a composition of gardens and galleries possible overlay of different uses in relation project, providing space to colonize a sta- The other students demolished the wrapped with museum offices around the to the various types of urban surface, creat- ble environment with the added program building and reconnected the site to the core, adding a canal to connect the site ing a distributed public infrastructure which of an urban campus. Using the metaphor city, providing a variety of focal points. to the coast. Joyce Chang located the provided ecological, social, and cultural of a Portuguese man-of-war—a colony of Matthew Byers and Paolo Campos mod- museum on the water, separating different benefits to the area. They then developed organisms that functions like one big indi- eled a building as a roofscape with slits for museum functions into programmatic fin- individual parcels, aimed at incorporating vidual—he designed a building light wells; lawns and terraces provided gers. Jeremiah Joseph made his museum new concepts for an ecological response. that could either be a single abundant public spaces. Maxwell Worrell a ship floating in the harbor, with open The projects were presented to a final jury entity or be broken down into and Christopher Kitterman proposed that platforms and enclosed galleries picking up of Jim Axley, Sunil Bald, Diana Balmori, autonomous units. Modular the institution was a container of informa- cues from the way barges operate. Michael Bell, Patrick Bellew, Andy Bow, office spaces were expressed tion, providing layered experiences of To address the highway noise and the Peter Cavaluzzi, Keller Easterling, Karen on the façade linking back to the Cold War by creating three unique need for an oasis at the edge of the city, Fairbanks, Nick Johnson, and Albert Pope. the building core. Joel Sanders “museums.” Generating the orthogonal some students organized the museum as Julia Suh and Carol Ruiz’s scheme provided the residents a local street with to people from a skybox, following sports the legacy of the Olympics, the project is bike paths and an elevated boardwalk with stadium typologies. Yonha Rhee integrated phased so that the central core gains den- parking underneath. Retail on the edges a parking garage that has public seating sity over time with an intricately developed would lead to a residential tower so that the adjacent for couples, groups, or dining section of retail and a service spine above. boardwalk would be an active recreation and could open up to a lawn. Interested in Finally, Drake Hawthorne and Xinghau space. Issues of density, housing location, surface and skin, Roy Griffith designed an Zhao designed a park around the edge with and block scale were addressed, as well inhabitable roofscape that people could nodes as generators of new development as the orientation of the sun and the wind. access by climbing through the complex. for schools, residences, and a hotel at the Ayat Fadaifard expanded the existing land- Tim Campbell designed a large, thin town center. 8. scape fabric with natural berms adjacent glass wall, turning the field vertically to to the housing; vegetation like grass and allow people to circulate through the site, trees to a green roof would create continu- around protruding lounges and restaurants, Demetri Porphyrios ity from the subway to the water’s edge. arriving at an outside amphitheater with Aaron Fox’s network of dunes and fences a panorama of the city. In an urban land- Demetri Porphyrios, the Bishop Visiting gave attention to the water system that was scape investigation, each student manipu- Professor, and George Knight (’95) asked integrated with high- and low-rise high- lated the grades and sculpted the land to their students to adapt the historic granary density apartment buildings. Yoo Jung improve flow from the street into the site. and former industrial site at King’s Cross, created alleys between the houses and lot in London, for use as a fine arts school with lines, opening up a new infrastructural sys- a centralized campus. In the midst of a tem, carved out the semiprivate space, and 7. major redevelopment, the area will become extended the beach system into the hous- a new hub for the Eurostar with Foster and ing with three scales, from low- to high-rise Partners’ expansion of St. Pancras Station, with landscape filtering through the site. Greg Lynn now in construction. Julia McCarthy and Meaghan The students first researched various Smialowski focused on five surface treat- Greg Lynn, Davenport Visiting Professor, pedagogies of art schools, from teach- ments for “drainage, green roofs, public and Mark Gage (’01), assistant professor, ing methods to spatial needs for common spaces, and vertical elements.” In design- proposed an architectural investigation of areas, student exhibition areas, audito- ing a community and cultural center, 6. movable stages and temporary facilities riums, and libraries. During a site visit to they offered a new focus for the large for the Coachella summer music festival, London they met with developers and site. Marisa Kurtzman created a campus in Palm Springs, California. These events toured other significant reuse projects to wrapped in wood, with a retail spine along Stuart Lipton, thrive on the interrelationships between see how development influences architec- the subway. Jason de Boer designed the the media of live performance, film, video, ture. Back at Yale the student schemes boardwalk with parking below and event Malcolm Smith, sound, image, and advertising, which sug- became resolved with contemporary inter- spaces in circular forms as superstructures, gests an architectural and spatial response. ventions, which they presented to jurors developing his analysis as a “mood” strip. and Chris Wise with The studio began with research on Tom Beeby (’65), Deborah Berke, Darin Mustapha Jundi inserted a watershed pro- outdoor concerts and robots as the main Cook, Paul Finch, Charles Gwathmey (’62), gram into the site for local water treatment, Richard Rogers paradigm for motion. Instead of abandon- M. J. Long (’65), Cesar Pelli, Alan Plattus, with streets as channels and an overflow ing monumentality and form in favor of Jaquelin Robertson (’61), Daniela Voith basin leading to a wetland and a visitor’s As the second Edward Bass Fellow in movement and electronic mechanisms, (’81), and Chris Wise. education center. The site would change Architecture, London-based developer each student was asked to combine spa- One thread was to conserve the main uses according to water levels for new Stuart Lipton taught an advanced studio tial focus and intensity with mechanical building, another to save only part of it, concepts in wetland developments. with Davenport Visiting Professors Richard and/or electronic pyrotechnics, for a duality and the third to raze it completely. The Rogers (’71) and Chris Wise, of Expedition between the permanent (polo playing field) granary building, which looks onto a plaza, Engineering, Malcolm Smith (’91) of Arup, and temporary activities (music festival) on offered a conflict for the students since the and Paul Stoller (’98) of Atelier Ten. The the site. warehouse has low ceilings and no public studio, which each year brings a developer The students met with the festival orga- expression, but is in a central location. together with an architect, offered students nizers in Los Angeles and toured the site. Mary Jane Stark proposed to demolish the the opportunity to build a contemporary As the semester progressed they analyzed interior floors and float rooms in the space; urban environment in Stratford City, in East issues of mechanization of parts in relation other students projected balconies into the London—the site of the 2012 Olympics— to the whole to make an operable structure. space or reestablished different levels in that will remain relevant for many genera- As the students got more invested in calcu- the building. William West maintained only tions. The 178-acre former railway site lation and its relationship to performances, the columns in the Head House; his detail 5. will contribute to the redevelopment of the stage took on an animate quality in drawings simulated nineteenth-century the new mixed-use metropolitan hub that sync with the music. Their strategies are architectural engraving techniques but has as its focus a new stop on the high- visible in the different approaches, from were executed in AutoCAD. New kilns like Frank Gehry speed line to London as part of the new ways to make landscape into mounds and those of the period were set within the fili- Channel Tunnel expansion. Environmental, faceted surfaces that puff up during the gree design for gallery spaces, which Paul Frank Gehry, Louis I. Kahn Visiting sustainable development was a significant festival to those that close and open as Finch thought was meaningful both histori- Professor, and Gordon Kipping proposed aspect of both the master planning and separate objects. Scott Baltimore designed cally and metaphorically. that the students consider a new Music individual office building designs. The a tower with subtle cracking that opened Some students relied on infrastructure Center on Grand Avenue in downtown Los students were encouraged to develop to reveal an interior with animated lighting. as the starting point. Aston Allen was Angeles. The Music Center includes the solutions for a future-proofing strategy of Frank Nan designed peacocklike feath- intrigued by Roman sewer infrastructure Chandler, Ahmanson, and Taper Theatres. a minimum of one hundred years, showing ers to enclose a small gathering that then and the building’s brick vaults as a tectonic With the Walt Disney Concert Hall as a a robust thought process based on prior- opened up for larger ones. Mako Maeno vocabulary. He excavated the courtyard centerpiece. Grand Avenue is under going ity assessment, “what if?” scenarios and designed a serpentine scheme that nestled and distributed retail space along the pub- a revitalization project that will include a even Darwinian genetic algorithms. After into the landscape as a combination of lic length of the building, placing the work- Gehry design for Related Properties to a trip to the site in London to meet with landscape and industrial design object. shops and an assembly hall below ground; include a hotel, apartments, and commer- Richard Rogers and Arup, the planners for Nathan Hume and Armand Graham created Charlotte Henderson removed all the build- cial spaces. Students were asked to design the project, students analyzed social and an alien animal with biologically related ings except for the Head House and gra- an opera house to replace the Chandler, time parameters, community precedents, movements of fluttering and moving lights. nary and developed an undulating building removing it from its elevated pedestal and the impact of economic, technological, Kate Burke and Chris Dial broke down the generated from the flow of 1,000 railroad and integrating it into future development. and social change while keeping in mind surface area in movable parts that fold in tracks that eventually enclosed a sanctu- The students traveled to Los Angeles, the design goals of firmness, commodity, and lock together. Fred Scharmen’s project ary for making art. Katherine Corsico, also where they went to the Technology, and delight. was all stealth, with hydraulics and panels; influenced by the rail lines, proposed to Entertainment, and Design conference and Dividing into teams of two, the stu- he used scripting in the Rhino program that move the existing train shed, making the visited both the site and Gehry’s office. dents were first asked, contrary to most functioned like soap bubbles and packed gallery space tangential to a brick-walled Each student created a master plan and urban-design studios, to design a build- geometries. Abby Coover’s was a differ- room for installation artists, with a signifi- opera house design. They were asked to ing for midterm and then the master plan entiated trellis on which various canopies cant below-grade work space and an audi- eliminate two perpendicular administrative for final review. When they presented the opened and closed, but it didn’t move; torium in the existing shed. Andrei Harwell bar buildings and to create more open build- schemes to Diana Balmori, Andy Bow, activities would take place on it and designed the only tower in the courtyard, ings in order to manipulate the circulation. Patrick Bellew, Peggy Deamer, Paul Finch, underneath it. with sculpture studios located in an assem- The student’s individual schemes were Mark Gage (’01), Alexander Garvin (’67), During the semester the studio met with bly space where a gantry moved through presented to the final review of Anand Nick Johnson, John Gattuso, Alan Plattus, engineers who have worked with motion, the granary building to the central public Devarajan (’00), Ernest Fleischman, Ara and Demetri Porphyrios. In the master plan such as Aron Chadwick and Neil Thomas square. Guzelemian, Jim Houghton, Sylvia Lavin, by Chris Beardsley and Ashley Klein, the of Atelier One and with media designers The studio brought to the fore issues Frank Lupo (’83), Greg Lynn, Eeva-Liisa topography of the site and the potential to who work with special effects, such as Nico of an architect working with a unique voice Pelkonen (MED ’94), Cesar Pelli, and move the earth were key elements. They Van Gastil and Peter Frankfurt of Imaginary in a complex of historic buildings. The Stanley Tigerman (’60). In contrast to suggested placing the stadium in a depres- Forces. The project was a challenge both students were forced to make philosophi- Chandler Hall’s aloof position on a podium sion to create a network of green space to the students and the final review jury of cal choices about what to keep or to elimi- they each designed buildings to engage and an edge for the waterfront and the Peter Arnell, Arnand Davarajan (’00), Lise nate. In the closing Paul Finch, editor of the street. One common theme was to highway, basing the main infrastructure Anne Couture (’86), Hernan Diaz-Alonso, Architectural Review, cleverly summarized mitigate the divide between the residential on an underlying grid that could be flex- Peter Frankfurt, Stuart Lipton, Jeffrey each project as a different type of bread in and the cultural corridor with paths, an ible in the hierarchy of public spaces and Kipnis, Sylvia Lavin, Ed Mitchell, Jung the basket of architectural references. outdoor amphitheater, and public parks as increase density with only seven-story Ah Suh, and Andrew Zago who saw how neighborhood attractors that focused on residential buildings. Their office building motion—the realm of engineers and indus- 1. Timothy Newton, Project for Sunil Bald making the opera house approachable for design brought social space to the inte- trial designers—is rarely addressed by Advanced Studio, spring 2006. younger audiences. rior with flexible courtyards and potential architects. The studio was also discussed 2. Chris Kitterman and Max Worrell, Project Louise Smith achieved this integra- for office expansion or shrinkage, as well in a May Los Angeles Times article on the for Stefan Behnisch Advanced Studio, tion by spreading rectilinear volumes over as gradients of public and private space. Coachella music event. spring 2006. the site to break down the scale within a Topography was essential to Andrew 3. Jennifer DuHamel, Project for Will Bruder public park. Shauna McBay’s plan cre- Steffen and Mario Cruzate’s design: They Advanced Studio, spring 2006. ated varied situations for the audience; focused on water collection and links 4. Melanie Domino, Project for Frank Gehry Sara Rubenstein designed alternative through the site from community node to Advanced Studio, spring 2006. types of space for the audience with the community node. Pedestrian networks 5. Aaron Fox, Project for Keith Krumwiede understanding that they don’t just watch related to a hierarchy of private to public Advanced Studio, spring 2006. a performance and leave—there is oppor- spaces. Community-focused centers put 6. Russell Greenberg and Adam Ganser, tunity for other types of interaction such activities on display, such as the recycling Project for Lipton-Rogers-Wise-Smith as people-watching. In addition, students refuse displayed in a tower. Open space Advanced Studio, Spring 2006. revealed how nineteenth-century opera was a theme for Russell Greenberg and 7. Fred Scharmen, Project for culture was more a social gathering—with Adam Ganser, who sought to make a Greg Lynn Advanced Studio, the ritual of audiences’ comings and vital center for Stratford City by using the spring 2006. goings—and experimented in that vein. Chunnel Station as a base for retail and a 8. Andrei Harwell, Project for Melanie Domino offered various projection central park around which development Demetri Porphyrios Advanced methods, such as flat screen and views could occur. Using the infrastructure as Studio, Spring 2006. Deborah Gans, critic in architecture, art at the Buffalo Niagara Medical received a HUD grant to build a model Campus, and the other as part of a block of housing, infrastructure, and land- team for the Toronto Central Waterfront scape in New Orleans. Her essays were (with Weisz+Yoes, Snøhetta, Balmori included in the books Design Like You Give Associates, and H3). In the spring 2006 a Damn and Good Deeds Good Designs the Savannah College of Art and Design 2 (both Architecture for Humanity, 2006). commissioned a series of public environ- She lectured last spring at Kent State and ments/art installations by the firm. nAr- as part of the “Art, Exile and Memory” chitects also designed and fabricated the conference series at the Five Colleges project Wind Shape, which responded (U. Mass, Williams, Amherst, Smith, and to and registered the wind in Lacoste, Mount Holyoke). Gans placed third in France, in spring 2006. Switch Building, a Architectural Record’s international com- seven-story apartment building in New petition “High Density for High Ground,” York’s Lower East Side, will be com- and her built work was published in Home pleted this fall. The firm was selected as magazine. one of the Architectural League of New York’s Emerging Voices 2006, giving Alexander Garvin (’67), adjunct profes- them a lecture opportunity in New York sor, with his firm, Alex Garvin & Associates and at the National Building Museum, in Inc., is continuing work on the Beltline Washington, D.C. The firm also gave lec- Emerald Necklace project, with the addi- tures on its work at Ohio State University, James Axley, professor, working with campus surrounding a Sikh Temple tion of the Bellwood Quarry to the program, Parsons School of Design, Columbia Stephen Kellert of the School of Forestry (Gurdwara) in Phoenix, Arizona, which acquired by the city of Atlanta, Georgia, University, and the University of Rome. and Environmental Studies (FES) as co- will include two schools and housing. The in April 2006. The firm is planning major Its work was published in the New York coordinator of the new Joint Masters garden is created in conjunction with Kent parks in Memphis, Tennessee, and Prince Times, Lotus, Techniques et Architecture, Program with FES, has admitted the first Bloomer Studio, Towers Golde landscape George’s County, Maryland. It is complet- Azure, Canadian Architect, and in the book round of students to the program. Axley architects, and Guru Dev Khalsa (’04). ing a study for New York City’s Economic Activity Diagrams (Damdi Press, Korea). was invited to be a participant and pan- Development Corporation, which offers elist at the “Bringing Buildings to Live” Keller Easterling, associate professor, recommendations for major new hous- Keith Krumwiede, assistant dean and symposium, held at the Whispering Pines recently received two grants—one from ing construction and improvements to the assistant professor, is currently working Conference Center, West Greenwich, the Graham Foundation and the other from city’s public realm. The firm is also advis- on several residential projects in South Rhode Island, May 10−12, 2006. He also Yale’s Griswold Fund—to transfer to DVD ing developers on an 11-acre site along Carolina: A 16-unit condominium will be made two presentations, “The Port Plane a laser disc of Call It Home (Easterling Brooklyn’s East River waterfront. In Austin, completed this fall; a 4,000-square-foot Approach to Macroscopic Ventilation and Richard Prelinger, Voyager, 1991). Texas, the firm is part of a team that has house is in design, as is the Hurricane Analysis” and “Port Plane Multi-Zone She gave talks about her recent book been selected by the city and the Capital Tower, a 12-story oceanfront condomini- Airflow Analysis with Embedded CFD Enduring Innocence: Global Architecture Metropolitan Transportation Authority to um in Myrtle Beach. This past semester he Models,” at the American Industrial and Its Political Masquerades (MIT Press, develop six Station Area Plans along a participated in a discussion on the current Hygiene Conference and Exposition Vent 2005) at the University of Belgrade, the new commuter rail line. In April, Garvin state of architecture and design in New 2006 conference held in Chicago on Museum of Contemporary Art in Novi gave talks at Harvard’s GSD and at the York hosted by New York magazine. May 14−17, 2006. He wrote the essays, Sad, the Fundacion COAM in Madrid, Sustainable House Symposium, in Dallas. “Analytical Methods and Computing University of Chicago, and the University He also conducted a “visioning” session Tools for Ventilation in the book, Building of Houston. Easterling was interviewed on the I-80 corridor between Omaha and Ventilation: The State of the Art, by M. about the book in the spring 2006 issue Lincoln, Nebraska, focusing on scenarios Santamouris and P. Wouters and with of Bidoun. She has contributed to several for future development. An interview with P. A. Nielsen, “Modeling of Ventilation conferences and symposia: “Cities in a Garvin was published in the July 2006 issue Airflow. Ventilation Systems: Design World of Migration,” at the India China of Architectural Record. and Performance,” in H. Awbi, (both Institute of the New School for Social Earthscan Publications, James & James, Research, in New York; “Applications,” Anne M. Gilbert, lecturer, co-authored London, 2006). at Syracuse University; “Up Close and with Kenneth Leet and Chia-Ming Uang the 3. Remote,” and “Parathesis,” both at third edition of Fundamentals of Structural Phil Bernstein (’83), lecturer, was an Columbia University. In June, Easterling Analysis (Valore Books, 2006). Eeva-Liisa Pelkonen (MED ’94) received adviser to a new PBS series, Design: e2, served as one of the faculty members of the grants from the Graham Foundation and on sustainable architecture and hosted Metropolis Program in Barcelona, offering Yale’s Frederick W. Hilles Publication the world premiere, at the conference seminars and a public lecture. Easterling’ Fund toward her book Alvar Aalto: The Sustainable by Design in New York on Enduring Innocence, was awarded the Geopolitics of Architecture, to be pub- May 31, 2006. The event featured a 2005−2006 Gustav Ranis International lished by Yale University Press in 2007. roundtable discussion between William Book Prize of Yale’s MacMillan Center for In June she lectured on Aalto’s use of McDonough (’74), Douglas Durst, Sadhu the best book on an international subject wood at the Scandinavia House in New Johnston, Michael McDonough, Robert F. by a member of the Yale faculty and pro- York, in conjunction with the exhibition Fox, and Richard A. Cook and was moder- vides $10,000 of research money over the Contemporary Finnish Wood Architecture. ated by Metropolis editor Susan Szenasy. course of two years. 2. The book Eero Saarinen: Shaping the Bernstein participated in the AIA Integrated Future, which she co-edited with Donald Practice Conference in Los Angeles on Martin Finio, critic in architecture, and Steven Harris, adjunct professor, with his Albrecht, will be published by Yale June 7, 2006, discussing “Freedom Tower: partner in Christoff: Finio Architects of New firm Steven Harris Architects, designed University Press in September 2006, in Pioneering Digital Design and Process York, presented his work and led a panel the master plan for a hotel and private conjunction with the Saarinen exhibition Change” with Paul Seletsky of SOM, and discussion at Scandinavia House in New residential development on the Peninsula and research project. Pelkonen’s work “Integrated Practice: Technology Is Just York on May 25 to inaugurate the exhibi- Papagayo, in Guana Caste, Costa Rica. on Saarinen led her to consult IBM on the Catalyst” with Larry Rocha of WATG. At tion From Wood to Architecture: Recent Construction began on a single-family changes to Saarinen’s Thomas J. Watson the AIA National Conference in June 2006, Designs from Finland. He was a member residence and guesthouse overlooking Research Center, in Yorktown Heights. Bernstein presented “Moving to BIM: A of the jury for the AIA NY “New Practices” the Atlantic from an 80-foot bluff near the Progress Report” with Patrick MacLeamy competition, and his firm designed the eastern tip of Long Island, New York. The Ben Pell, critic in architecture, with his of HOK, Douglas Palladino of RTKL, and exhibition for the winners, at the New York Professional Children’s School, a New office, PellOverton, has recently completed Scott Simpson of Stubbins Associates. AIA’s Center for Architecture in New York. York City secondary school for artisti- a residential gut renovation in Windsor Finio presented the results of the first “New cally gifted students, opened last spring. Terrace, Brooklyn. The office is cur- Practices” roundtable discussions at the Play, a 10,000-square-foot lounge, bowl- rently working on a residential renovation AIA Convention in June. He and his part- ing alley, and restaurant in Queens, New in Park Slope and a 1,500-square-foot ner, Taryn Christoff, lectured at Columbia York, received a merit award from the AIA retail project on New York’s Lower East University on August 2, 2006. His firm NY Chapter. The firm’s work was pro- Side with CNC-fabricated finishes. From recently completed the headquarters for filed this year in several books, including May 12–August 31, 2006, Pell’s project a private foundation in New York and is Domesticities, Houses on Difficult Sites, “Walldrobe/Wearpaper” was featured in working on the design of a 20,000-square- Modern House III and was featured in an exhibition of Brooklyn-based design- foot house and gallery that will house an the New York Times, “The Talk: Car and ers titled Blockparty, which was a BKLYN 1. extensive collection of work by Donald Driveway.” Designs/ICFF Connected event. His essay Judd, Carl Andre, and Dan Flavin. “Walldrobe/Wearpaper” is published in the Turner Brooks (’70), adjunct professor Dolores Hayden, professor, is a fellow September 2006 issue of 306090. and principal of Turner Brooks Architects, Mark Foster Gage (’01), assistant pro- at the Center for Advanced Studies in the is designing houses for students at the fessor, with his firm Gage / Clemenceau Behavioral Sciences at Stanford University Emmanuel Petit, assistant professor, suc- Center for Discovery, a progressive institu- Architects, in New York, had work pub- for the academic year 2006−2007. An cessfully defended his dissertation, “Irony tion for the treatment of autistic children lished in Interior Design (July 2006) and in exhibit based on her book A Field Guide in Metaphysics’ Gravity: Imagination and in New York State. The housing involves Vogue: Homme (May 2006). Gage was also to Sprawl, with photographs by Jim Wark, Iconoclasm, 1960s to 1980s,” at Princeton an expansion of the existing campus and included in an article in the Los Angeles was on view at the Hudson River Museum University in January 2006. In May 2006 he will be integrated with a new educational Times on the studio he taught with Greg in the spring. She gave numerous talks last participated in a conference at the Centro facility to be designed by Peter Gluck Lynn at Yale. In June, his office collabo- spring, including the Loeb Fellows keynote Internationale di Studi di Architettura (’65). Brooks is also designing a shacklike rated with Greg Lynn FORM and Imaginary for the conference “The Power of Place: Andrea Palladio, in Vicenza, called house on the Delaware River in Easton, Forces on a proposal that was short-listed Urban Landscapes as Public History,” at “L’Architetto: Ruolo, Volto, Mito,” present- Pennsylvania; the structure is perched for the Harmony Atrium Project at Lincoln Harvard; “Building Suburbia: Green Fields ing the paper “Architecture’s Satirical Alter high up on legs to avoid floods like the one Center, in New York. Gage’s firm is design- and Urban Growth, 1820−2000,” at MIT Ego: Caricature as Embodied Critique that took its predecessor down the river. ing houses in Millbrook and Southampton, for a lecture series on “Myths of America”; of Architecture in the 20th Century.” He is also completing renovations of a New York, and conceptual design strate- and a talk for “The Just City” conference Petit recently published interviews with hilltop house for Gus and Cameron Speth, gies for a boutique hotel in downtown at Columbia University. Hayden also gave I. M. Pei and Carter Wiseman about the in Strafford, Vermont; and a small early- Brooklyn. It is also working on competitions a Lefrak Lecture on race, memory, and former’s Museum of Contemporary Art in nineteenth-century barn for Akhil and Vinita including an addition to the Stockholm public space in the American South at the Luxembourg and an essay in Perspecta 38, Amar, on the property of Charles Moore’s Public Library, by Gunnar Asplund, and University of Maryland, and at the annual “Botox-ing Architecture’s Hermeneutical Stern House, in Woodbridge, Connecticut. the Kulturevaerftet, in Helsigor, Denmark. meeting of the Organization of American Wrinkles” (MIT Press 2006). In this complex, independent guest quar- Gage’s review of the book Leon Battista Historians on monuments of labor history, ters and a study will be built inside the Alberti and the Philosophical Foundations she chaired a panel. Two essays were Alan Plattus, professor, helped plan and barn, with various penetrations to the of Renaissance Architectural Theory will published in The Politics of Public Space, served on the resource team for the first outside. The firm is also appear in the Journal of Architectural edited by Setha Low and Neil Smith Connecticut Mayor’s Institute for City renovating a Victorian barn Education in September 2006. He also (Routledge, 2006 edition). Design, held at Yale University. The event into a community arts space received a grant from Yale’s Griswold included a keynote by Joe Riley, mayor and children’s museum for Fund for continued work on the publication Mimi Hoang, critic in architecture, with of Charleston, South Carolina, and was the town of Hamden and is “Computational Formalism and the Digital- her office nARCHITECTS, was short- cosponsored with the Connecticut office completing landscaping and Romantik.” listed in two public-space master-plan of the Regional Plan Association of New master planning for the competitions last spring: one for public York and the Connecticut Conference on Municipalities. Plattus served on this the annual meeting of the Lincoln Square as seventy years ago. Bernard Tschumi’s participated in the studio research process. year’s New York City AIA Design Awards Business Improvement District, in New ideas of event and disjunction, developed The book is distributed by W. W. Norton Jury. He lectured at a Stanford University York City. New York 2000, the fifth volume in part through studying the films and tech- & Company is available in bookstores world conference on U.S.- China relations, cover- of a series of books on the architecture and niques of Sergei Eisenstein, culminated in wide and through the Norton Web site as ing the subject of contemporary directions urbanism of New York City that Stern has his competition-winning design for the Parc well as Amazon. A panel discussion on the in architecture and urbanism. Plattus led co-authored, will appear in November. de la Villette, in Paris. Rem Koolhaas start- topic of architect and developer will take a Yale Urban Design Workshop (YUDW) ed his career as a screenwriter and recently place in New York in the fall. charrette in Meriden, Connecticut, to study Hilary Sample, assistant profes- directed a film based on his research on the a downtown brownfields site for possible sor, received grants from the Graham city of Lagos, Nigeria. Indeed Tschumi’s future reuse. In addition, the YUDW worked Foundation for Advanced Studies in and Koolhaas’s direct engagement with “L’Architetto: with Perkins & Will and with the planning the Fine Arts, a Griswold Grant from film may explain their positions of relevance firm Harrall & Michalowski to plan the new Yale’s Whitney Humanities Center, and within architecture now. Ruolo, Volto, Mito” downtown New Haven campus of Gateway a MacDowell Colony residency for her As in the creation of architecture, Community College. The YUDW was forthcoming book Sick City. Her essay selecting the films for the series became “The Architect: Role, Face, Myth,” a confer- recently selected to develop a new down- “Emergency Urbanism” was published in a process of identifying the parameters of ence of the Centro Internazionale di Studi town plan for New Britain, Connecticut. Building Material #15, in 2005. the problem, developing a theme, and then di Architettura Andrea Palladio, was held at Their design of the Dwight Daycare Center selecting and creating elements that would the Palazzo Barbaran da Porto, in Vicenza, for the Greater Dwight Development Lindsay Suter (’91), lecturer, contin- strengthen and clarify the issues. on May 11–13, 2006. At the invitation of Corporation will be complete in the fall. ues to work in the area of sustainable The spring semester theme was Guido Beltramini and Howard Burns, a design. Connecticut Public Television will “Cultural Invasions,” an exploration of series of international scholars presented Nina Rappaport, publications editor, had feature his work and commentary on the the point at which two cultures meet. For their research on the public image of and her project, Long Island City: Connecting final segment of its seriesConnecticut example, Jacques Tati’s Playtime was used myths about the architect throughout his- the Arts, published by the Design Trust Energy: On the Line, discussing the future to explore the metastasizing expansion of tory. Conference speakers roamed through for Public Space (summer 2006). It is of energy-efficient building in residential the International Style into provincial com- more than three millennia—“from Imhotep being distributed by Episode Books, structures on June 15, 2006. munities of the mid-twentieth century; Baz to Frank Gehry”—in search of a long tradi- Rotterdam. As a Design Trust Fellow, Luhrmann’s Moulin Rouge dealt with the tion of the architect as a changing figure Rappaport developed the project work- clash of Post-Modernism in the structure with multiple temperaments and roles: ing with David Reinfurt (graphic designer and style of a traditional musical about artisan, artist, hero, gentleman, aristocrat, of Constructs) and Colin Cathcart (Kiss love. Films such as Lost in Translation are avant-garde figure, politician, and noble + Cathcart Architects). She received a paeans to the experience of a foreign city savage. In the context of the conference Graham Foundation research grant for (in this case, the infinitely rich archiscape and with the special attendance of James her book on innovative engineers to be of Tokyo) but were used to explore the Ackerman, the study center also inaugurat- published by The Monacelli Press. Her impact of aural-spatial experience, thanks ed the exhibition Volti di Architetti, display- essay “Deep Decoration” was published to director Sofia Coppola’s deft cultural ing architects’ portraits, each with identify- in 306090 (September 2006). She has 5. juxtaposition of music and space. And films ing props and backdrops, from 1978−2006 written an essay for the catalog of the like Zhang Yimou’s Shanghai Triad were by photographer Pino Guidolotti, includ- exhibition Industry!, on exhibit from August Claire Weisz (’89), critic in architec- aimed simply at introducing a city where a ing Tadao Ando, Andrea Branzi, Peter 8–September 24, 2006, at the Norwegian ture, with her partner Mark Yoes (’88) cultural clash is happening today. Each of Eisenman, Frank Gehry, Zaha Hadid, Hans Center for Design and Architecture, in Oslo. received the Chrysler/House Beautiful the movies was accompanied by written Hollein, Philip Johnson, Richard Meier, Design Innovators Award for 2006. They notes to clarify the film’s role, its relation- Renzo Piano, Aldo Rossi, and Massimo lectured about their public-space design ship to architecture, and topical discussion Scolari. The conference started off with under the New York Now series of talks themes. a series of presentations on the architect at the Architecture League of New York. Next semester the theme will be from Greco-Roman antiquity to the Middle Their firm, Weisz + Yoes, under the rubric “Hubris,” with films such as Fellini’s8 ½, Ages. But without a doubt the thematic P.O.R.T, was named runner-up in the King Vidor’s adaptation of Ayn Rand’s emphasis was on the Renaissance archi- Toronto Central Waterfront Competition, The Fountainhead, and Irwin Allen’s The tect, with presentations on figures such collaborating with among others Mimi Towering Inferno, a disaster movie involv- as Brunelleschi, Filarete, Giuliano da Huang of nARCHITECTS and Balmori ing an architect’s attempt to create the Sangallo, Jacopo Sansovino, Bartolomeo 4. Associates. world’s tallest building. Ammannati, and Piranesi. Future Yale Architecture Film Society It was made evident that each country Dean Sakamoto (MED ’98), lecturer Carter Wiseman, lecturer, is currently series will encompass dystopian visions had a vision for the architect at every cen- and exhibition director, had his project editing the book A Place for the Arts, which of the city (Lang’s Metropolis, Godard’s tury, with allegories and mythical views. for the Botanical Research Center at the will celebrate the 2007 centennial of the Alphaville, and Gilliam’s Brazil), expressions Placing the entire architectural image today National Tropical Botanical Garden on MacDowell Colony, the country’s oldest of topophilia (such as Woody Allen’s filmic in context, the conference concluded with Kauai, Hawaii, exhibited in the Asian Trade retreat for creative artists and architects. interpretations of New York, Wong Kar- the recent past, including with Stanislaus Gallery of the Honolulu Academy of Arts. Victoria Sambunaris, lecturer, is the pho- Wai’s Hong Kong, Bertolucci’s Paris, and von Moos’s (University of Mendrisio) dis- The project was designed in collaboration tographer for the book. Almodovar’s Spain), and digital worlds (as cussion of Le Corbusier; Emmanuel Petit with New York-based artist Sang-Bin Im. created by Peter Jackson, George Lucas, (Yale University), who analyzed the image Other projects in progress include a per- Pixar, and the Wachowski brothers). of the architect in the caricatures of the manent Veterans’ Memorial to be installed Information is available online at http:// generation of Saul Steinberg and Ironimus in New Haven City Hall. In January, Michelle Addington www.architecture.yale.edu/events/film_ in the second half of the twentieth century; Sakamoto and Karla Britton, lecturer, society.htm. and Jeffrey Schnapp (Stanford University) presented their paper “Lewis Mumford’s Michelle Addington, formerly an associ- and Nicholas Adams (Vassar College), who Recommendations and Vladimir Ossipoff’s ate professor at Harvard GSD, has been —Quang Truong (’08) scrutinized the contemporary architect’s Architecture in 20th-Century Honolulu” appointed associate professor to teach tools and props, such as black turtlenecks at the Hawaii International Council for the courses on technology, environmental and online access to virtual places like Humanities’ annual conference in Honolulu. systems, materials, and design beginning “Second Life.” In the summer of 2006, Sakamoto served in fall 2006. She started her career as an Bass Fellowship on the AIA Honolulu Design Awards jury. engineer at NASA, working on structural —Emmanuel Petit is associate professor analysis for satellites and rockets, and then Book Series at Yale School of Architecture. Joel Sanders, associate professor, and his worked with chemical processes in vari- firm, Joel Sanders Architects (JSA), in New ous industries. After studying architecture The book Poetry, Property, and Place, York, collaborated on Mix House with Ben Addington became interested in ways to 01: Stefan Behnisch / Gerald Hines is the Rubin (Ear Studio) and Karen Van Lengen integrate environmental systems, such first in a series from the Yale School of 1. Turner Brooks, Delaware River House, (KVL) for the Vitra Design Museum exhibi- as heat transfer and fluid mechanics, and Architecture that studies the collaborative Easton, Pennsylvania, 2006. tion “Open House”. The exhibition, which completed a PhD on the subject, bringing process between architects and develop- 2. Steven Harris Associates, Hotel and explores the future of technology and the her concepts to the field of architecture. ers and is made possible by the Edward Development in Costa Rica , 2006 home, will travel to the Art Center in Los She is also interested in smart materials P. Bass Distinguished Visiting Architecture 3. Keith Krumwiede, Hurricane Tower, Angeles. JSA’s project incorporates sonic and the ways in which the environment Fellowship. In a Yale advanced studio, Rendering of project 2006. “picture windows” that allow occupants and materials interact. At Yale she gave the students designed projects that would 4. Dean Sakamoto Architects, NTBG, to hear as well as see the landscape. The keynote talk for the symposium “Numbers transform Garibaldi Repubblica, a neglect- Project Hawaii, 2006 team presented the project in lectures at Count” in spring 2004. ed site in central Milan, into a vital urban 5. Claire Weisz, Weisz + Yoes Architects, the Architectural League of New York, place. The book includes interviews with Carousel, Battery Park City, 2006. University of Virginia, and the conference Bass Distinguished Visiting Fellow Gerald 6. Poetry, Property and Place, Stefan “Architecture Music Acoustics” at the Architecture D. Hines, Eero Saarinen Visiting Professor Behnisch/Gerald Hines, Yale School of University of Toronto. In May, Sanders Stefan Behnisch, as well as those who Architecture, 2006. gave the keynote at the conference and Film “Professionalism and the Modern Interior,” at Kingston University, London. JSA has The decision to put together an architec- designed a new multipurpose Media ture film series came from the simple desire Lounge for the lobby of the newly reno- to watch some films related to the topics vated Yale University Art Gallery, which will and themes covered in our first-year design open in fall 2006; and the Watson/Laudato studio, organized by Keller Easterling. For House in Hudson, New York, will be com- example, one of our projects focused on pleted in spring 2007. The studio is also readings on the idea of informe, so it would collaborating with Balmori Associates on a have made sense to watch Guy Debord’s GSA First Impressions project, the renova- The Society of the Spectacle, the movie tion of the Peck Federal Office Building and based on his eponymous book. Another plaza, in downtown Cincinnati. project dealt with the idea of animality, including readings of texts by Catherine Robert A. M. Stern (’65), dean, with his Ingraham, for which Christopher Guest’s firm, Robert A. M. Stern Architects, com- filmBest in Show could have deepened our pleted the McNeil Center for Early American understanding of the necessities for the Studies at the University of Pennsylvania, sports arena we were designing (or at least in Philadelphia. New commissions include give us some sorely needed laughs during the Jonathan Nelson Fitness Center at a period of incredible stress). However, Brown University in Providence, Rhode what became clear was that the relation- Island; a chapel at Salve Regina University ship between film and architecture—too in Newport, Rhode Island; and resort hotels often prematurely dismissed—is imperative on the island of Hvar, in Croatia. Stern was to an understanding of the role of architects honorary chancellor at Founders Day at and architecture today. Florida Southern College, where his firm is The screen has become the dominant designing a humanities building as well as medium of our age. Walter Benjamin and a residential life center. He also spoke at Marshall McLuhan realized this as far back

6. Gensler. The firm is currently designing two Robin Osler (’90) participated in a round- private schools in California and a highway table discussion on sustainable build- bridge across the Minnesota-Wisconsin ing strategies for New York City at the border spanning the St. Croix River. Architectural League on June 15, 2006. Her firm, Elmslie Osler Architects, recently Kevin O’Connor (’78) was named director completed a prototype Anthropologie of the New York office of Arquitectonica, store in Jacksonville, Florida. where he is working on the Queens West housing development in Long Island City. William Massey (’94), principal of the firm, Massey Hoffman Architects, is in his 1980s second year of practice in Chicago. The office’s current projects include a 5,500- Brian Healy (’81) won a competition for square-foot shingle-style house in the the Mill Center for the Arts, in Henderson, North Shore suburb of Glencoe, a 4,200- North Carolina, with his firm, Brian Healy square-foot classic apartment interior on Architects. The planned 85,000-square- the Chicago Gold Coast, and a 1,800- foot cultural center will include a symphony square-foot contemporary addition and full hall, a black-box theater, art galleries, artist renovation to a historic Wicker Park brick studios, and a children’s museum. Healy’s row house in Chicago. firm is also working on two multifamily resi- dential projects in Boston and a recital hall Kara Bartelt (’99) and Michael Chung Alumni News reports on recent projects planning for college campuses, private at Brown University. (’01) launched the Los Angeles design by graduates of the school. If you are residences, and a wide range of public think tank, Lettuce, in May 2004. Their cur- an alumnus, please send us your cur- projects from schools, libraries, health-care Kay Bea Jones (’82) received the Environ- rent projects include high-end residences rent news to: Constructs, Yale School facilities, and commercial buildings to state mental Design Research Association in Hollywood, a music studio in New York, of Architecture, 180 York Street, New parks, and town planning and redevelop- (EDRA) Places award—intended for several furniture lines, and the restoration Haven, CT 06511. ment in eastern Kentucky, Lexington, place design and research—for the con- of the historic midcentury Modernist home southwestern Virginia, and West Virginia. In ception of a program and design of the of architect Boyd Georgi. Chung continues 2004, Richardson and his wife, Josephine, Buckeye Village Community Center on to teach design studios at the University of 1950s were corecipients of the Milner Award for the Ohio State Campus, in Columbus. The Southern California School of Architecture. Lifetime Contribution to the Arts from the 280,000-square-foot complex includes James Stewart Polshek (’55) was select- Kentucky governor’s office. child-care facilities and a variety of meet- Lori Pavese Mazor (’99) was appointed ed by Hotels AB (Andre Balazs) for the new ing places for students in social and assistant vice president for Campus Standard Hotel, on Washington Street in 1970s academic settings. Yale faculty member Planning and Design at New York New York’s meatpacking district. There are Susan Farricielli received the commission University (NYU) in October 2005. She will two Standards in Los Angeles and a third Davis Buckley (’70) continues to work in for public art for the site. Jones is currently have principal responsibility for developing in Miami, in a spa motel originally designed and around Washington, D.C., with his firm, an associate professor at the Austin E. space-planning guidelines for academic, by Morris Lapidus. But the New York loca- Davis Buckley Architects and Planners. Knowlton School of Architecture, at Ohio administrative, and residential areas, tion will be the first to be built from the Currently the office is acting as the pres- State University. including faculty and student housing, and ground up and will be constructed around ervation architect for the conservation and for supervising the development of a uni- the park envisioned for the High Line, an reconstruction of the historic Woodlawn Charles Dilworth (’83) continues his versity master plan and supporting schools abandoned railroad viaduct. Plantation, designed by Dr. William work as a partner at Studios Architecture, in the creation and development of their Thornton, and Decatur House, by Benjamin in San Francisco. He recently com- master plans. Mazor previously worked Herbert McLaughlin (’58), of Kaplan Henry Latrobe. The firm is also designing a pleted a 200,000-square-foot sustainable at Polshek Partnership, where she man- McLaughlin Diaz Architects, in San National Law Enforcement Museum, to be office building for the State of California aged projects for NYU, including the FAS Francisco, has won two Asian design com- located one block from the national mall, Department of Health Services. Currently, Master Planning Study, the 269 Mercer petitions recently: one for the new City Hall and a 1.1 million-square-foot mixed-use he is designing two library projects in San Street Lecture Hall, and the Departments in Seoul, South Korea, and the other for the development next to the new Washington Jose, California, a 21,000-square-foot new of Economics, Politics, and Journalism headquarters of Jie Fang, the Communist Nationals Baseball Stadium. library, and a renovation and addition to an renovation projects. Party Newspaper of Shanghai. His firm is existing 13,800-square-foot library. also very active working on projects in the Peter Kurt Woerner’s (’70) Tuscan farm- 2000 United States and Mexico. house, Le Tanelle, was published in the David Leary (’87) lectured at the University February 2006 issue of Architectural Digest. of Kentucky for the opening of the Irene Shum (’00) published the article 1960s exhibit At the Threshold of Eternity: A “Private Initiative, Public Good?” in Buzz Yudell (’73) and his firm, Moore Ruble Consideration of the Sacred in Late 20th- “Regarding Public Space,” vol. 9 of Theoharis David (’64) helped inaugurate Yudell Architects & Planners, received the Century Western Architecture. For the 306090 (August 2005). The issue was co- a new Department of Architecture at the 2006 National Firm of the Year Award by exhibit, he provided the basswood models edited by Cecilia Benites and Clare Lyster University of Cyprus, the first school of the American Institute of Architects. The of the important sacred structures, which (’00). Tim Culvahouse (’86) also had an architecture in the island’s history. He studio was also recently given the Calibre were culled from several generations of article, “The Not for Profit and Public was a guest juror for the “Urban Design Award for environmental leadership from his students at the College of DuPage, in Policy,” in the issue. and Theory” program last summer at the the International Interior Design Association Glen Ellyn, Illinois. Leary’s Chicago-based Polytechnic University of Catalonia, in and a Los Angeles Building Council Award firm, Alcaçova & O’Leary Collaborative, Yansong Ma’s (’02) Studio MAD won Barcelona. Last November, Theoharis for sustainability for its recent Santa was awarded a citation in the High Line an international competition for a sixty- lectured in Shanghai at the 2005 China Monica Public Library project. Design Competition and has completed the story high-rise building, the CN Tower International Cultural Exchange and was Naper/Davis and Owen/Leary residences in Mississauga, just outside of Toronto, named president of the Congress of Andres Duany (’74) and Elizabeth Plater- in Chicago. which will begin construction in 2007. He International Modern Architects, a New Zyberk (’74) have been major players in was also selected for a Young Architect York-based networking organization. the rebuilding efforts resulting from the Craig Newick (’87) won an AIA Award from the Architectural League in destruction caused by Hurricane Katrina. Connecticut Design Award for his Colman- 2006, and his work was exhibited at New Peter Gluck (’65) and his firm, Peter L. The architects and their firms’ associates Maori House, in Clinton, Connecticut. The York’s Urban Center from April 27–June Gluck and Partners, in New York, have have presided over a number of planning residence uses simple elements to redefine 16, 2006. been at work on a number of public and charrettes in Biloxi, Mississippi, and in the the client’s small beach bungalow. private projects, including the Floating Box Gentilly and St. Bernard Parish sections Dan Gottlieb (’03) and Penny House, a 14,000-square-foot residence of New Orleans. Duany was a featured Frank DeSantis (’88 YC, ’93) has been Herscovitch (Yale College ’03) started in Austin, Texas, which hovers above the speaker at the 14th Congress for the New made an associate at Polshek Partnership. PadLAB, in Los Angeles. Gottlieb was land to preserve the local ecology. The Urbanism in Providence, Rhode Island, Robert D. Young (’88) has been made an interviewed in the “Innovation” supplement firm’s building for the Little Sisters of the in June. associate partner at the firm. to Architectural Record (November 2005), Assumption Health Service, in New York focusing on his material investigation of City, combines the programs of the non- J. David Waggonner III (’75) and Frederic Eric Watson (’88), Gilbert P. Schafer III Flexicomb, a porous, malleable material profit organization’s previous five buildings M. Ball (‘78) and their firm, Waggonner & (’88), and Hans Baldauf (’88) spoke on fabricated from recycled plastic drinking into one structure. Gluck is also working Ball Architects, won all three Honor Awards March 2, 2006, at the Institute of Classical straws. Their firm was also featured as a with Turner Brooks (’70) on the Center and one of four Merit Awards from AIA Architecture and Classical America, in New Next Generation finalist in the July 2006 for Discovery, in Harris, New York (see Louisiana in fall 2005. The New Orleans- York, on their respective experiences in issue of Metropolis magazine. page 24). based office received honor awards for architectural practice after graduation. The Dog Trot Weekend Home, in the rural hills talks focused on recent projects and pro- Nathan B. St. John (’03) is working in Craig Hodgetts (’66) was made a fellow of of southern Mississippi; and the Isidore fessional development of the classmates, Phoenix at Will Bruder Architects. In addi- the AIA this year. His firm, Hodgetts + Fung Newman Lower School Expansion and the each of whom now heads his own firm. tion to a variety of multi-unit residential Design and Architecture, was awarded first A. B. Freeman School of Business, both in projects, he worked on the recently com- prize in February in a design competition New Orleans. It received a Merit Award for Steve Dumez (’89) and his New Orleans- pleted 21,500-square-foot Hercules Public for Menlo-Atherton High School Performing the Trinity Episcopal Nursery School in the based firm, Eskew + Dumez + Ripple, Library, in Hercules, California. Arts Center, in Atherton, California. The Garden District of New Orleans. received two AIA Louisiana Merit awards jury of San Francisco Bay-Area architects in fall 2005 for a 4,000-square-foot mixed- Frederick Tang (’03) is working for and local school officials unanimously William McDonough (’76) and his firm, use residential/commercial property gut Polshek Partnership on the conversion selected the firm to complete design work William McDonough + Partners, contin- renovation in a historic warehouse in the of the former MetLife Headquarters at for the 24,000-square-foot complex and ues to work at the forefront of sustainable Garden District of New Orleans. For the One Madison Avenue (at 23rd Street), in surrounding landscape, which will include architecture. Under construction in Banff, Louisiana State Museum, in Baton Rouge, New York, into a hotel and condominium a public gallery, an assembly room, a Alberta, is the Bison Courtyard at Bear the architects created a composition of complex for hotelier Ian Schrager and rehearsal room, classrooms, a 500-seat Street, a 35,000-square-foot mixed-use concrete, glass, and metal wall panels, developer Aby Rosen. Tang is an adjunct theater, and an outdoor amphitheater for project that attempts to engage the sur- which transition from solid to perforated at assistant professor of Architecture at student and community performances. rounding Canadian Rockies National the entry terrace. Columbia University Graduate School of Park both formally and environmentally. Architecture, Planning, and Preservation. Bill Richardson (’69), architect and Under construction in Barcelona is the 1980s The last two terms, he has taught founder of Appalshop, an arts and educa- Ecourban22 project, a 21,500-square- advanced studios with Lars Spuybroek tion center focused in Appalachian culture, meter mixed-use development that Yong Cho (’90) and Catherine Mercer of the Dutch firm, NOX. His essay, was elected to a six-year term on the Berea attempts to combine “technological and (’90) and their firm, Studio Completiva, had “De-Programming: The Dead Malls College board of trustees in February ecological intelligence,” engaging both their lofts and townhouses in Denver fea- Competition,” was published 2006. He is principal of Richardson “technical and biological nutrition.” The tured in the New York Times. The 1.36 acre in PRAXIS 8, 2006. Associates Architects, in complex will house offices for a developer, site will include the new Denver Museum Whitesburg, Kentucky, an a trade union, and an “Aparthotel.” of Art, designed by Daniel Libeskind, and architecture and planning the Museum of Contemporary Art, by David firm that he founded in Kevin Hart (’78) has started his own firm, Adjaye. The development employed a 1976. Over the past thirty Kevin Hart Architecture, in San Francisco, novel strategy of incorporating residential years the studio’s projects after more than twenty years of practice and retail into the surrounding cultural have included master with Pelli Clarke Pelli Associates and buildings. 4. 3.

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was instrumental in restoring many vacant givens provoked the scheme. traveled to Pondicherry in 2003 and pro- City of Culture buildings—designing numerous projects For the new addition the main idea is duced the traveling exhibit Golconde: The throughout southeast Michigan, includ- that the primary figure of the Art History Introduction of Modernism in India, on The exhibition, City of Culture: New ing the Broadway District Master Plan, the Building is in limestone, articulated by a view at the Graham Foundation in Chicago Architecture for the Arts, was displayed North Corktown Master Plan, the Lafayette submaterial of aluminum that describes from February 21 to May 25, 2006. Gupta at the Center for Architecture, in New East Master Plan, Messiah Housing, volumes and weaves through the façades, and Mueller have an architectural practice, York, from July 19 to September 7, the conversion of the five-story Eureka with the knitting between the two in zinc. Vir.mueller Architects, and teach at the 2006, and was curated by Brad Walters Building, the Small Plates restaurant, and The aluminum and limestone walls are University of Texas at Austin. (MED ’04). renovations of the Michigan Opera Theater rain screens, not caulked, which is also a and the Madison Theater. As president of LEED plus. In Bedford-Stuyvesant, Brooklyn, stand Preservation Wayne, Detroit’s oldest non- New terraces referencing those of Second Year Red four plain nineteenth-century wooden profit historic preservation organization, Rudolph’s are designed for each roof level houses, the only surviving remnants of McIntosh stood as a barrier to the wrecking of the building. One is on the York Street Hook Studio Weeksville, the first community for free crews that threatened many of the city’s side, which extends the art history faculty blacks in New York City. Once lost within early-twentieth-century treasures, including lounge space. Another on the fifth floor Brooklyn Waterfront Artists Coalition of the dense urban fabric, the buildings the Park Avenue, Michigan Central Depot, is above the departmental lounge; and Red Hook, as part of its summer show were rediscovered in the 1960s and have and Book Cadillac buildings. a major terrace on the fourth floor has a “Food for...A Feast for the Eyes” from July recently been restored. Sara Caples (’74) green roof over the major lecture hall. 22 to August 20, 2006, at the 499 Van Brunt and Everardo Jefferson (’73), of Caples The project is filled with meaning for me Street Pier included the work of the second Jefferson Architects, have been hired to because Rudolph was department chair- year core studio for the redesign of Red recreate the historic landscape and provide Charles Gwathmey man when I was there. I saw the A&A under Hook. The studio, held in spring 2006, was an interpretive center. construction. I was not a student in it, but I coordinated by assistant professor Edward City of Culture: New Architecture for the Designs for Yale did presentation drawings for the building Mitchell with faculty members Peggy Arts is the first comprehensive look at the for Rudolph. In 1962, Lou Kahn was my Deamer, Emmanuel Petit, Andrea Kahn, Weeksville Heritage Center and the sixty On the occasion of the design and con- adviser at Penn and recommended that I and Alan Plattus. The past few years the other new construction, expansion, and struction of the new building for the Art transfer to Yale, so the connection of com- final term of the core has addressed impor- renovation projects in progress at muse- History Department and the renovation ing to a Kahn building (the Art Gallery), then tant areas of the New York City waterfront in ums, concert halls, historic sites, zoos, of the A&A Building, as well as the Art having taught in the A&A, and finally to be transition from industrial to residential, which and gardens across the five boroughs. Library, Charles Gwathmey (’62) shared selected to restore the building is an amaz- is frequently one step ahead of the city. The exhibit focuses on six representative with Constructs his approach and ing cycle for me. Receiving the commission The exhibition showed the student’s projects: Weeksville; the New Museum of design concepts for the buildings. He was both humbling and a great compli- theoretical projects, which answered basic Contemporary Art on the Bowery (SANAA will give the lecture, “Renovation of Paul ment. It is also a spectacular pressure in questions that are real issues for today’s with Gensler); the renovation of the Bronx Rudolph’s A&A Building and the New terms of scrutiny and schedule. Red Hook. Are “green space” and “urban Zoo Lion House (FXFOWLE Architects); History of Art Addition,” on Wednesday, space” mutually exclusive? Is waterfront the new Administrative and Visitors’ Center September 6, 2006. —Charles Gwathmey (’62) an obsolete asset? Is Red Hook just an iso- at the Queens Botanical Garden (BKSK Gwathmey is principal of Gwathmey Siegel lated urban island? How do you integrate Architects); the restoration of the Snug The most interesting formal problem is how & Associates in New York City. the diverse sectors of Red Hook, which Harbor Cultural Center Music Hall, on to make an addition and still have an iconic include public housing, industrial sites, Staten Island (Rafael Viñoly Architects); and identity for the new Art History Building so substantial (but inaccessible) park areas, the transformation of Lincoln Center for the that the programmatic piece is articulated. and a waterfront (also largely inaccessible Performing Arts (Diller Scofido + Renfro How do you articulate the history of art as Garofalo on Exhibit to the public)? The premise for this proj- with FXFOWLE Architects), as well as the a discipline through the architecture? We ect is that the problem is not large-scale complex and sometimes controversial are maintaining the integrity of Rudolph’s Douglas Garofalo (’87), of Garofalo development itself, but the concentration of process of coordinating, designing, and building and reinforcing it with the addition. Architects, is featured in the first exhibi- such developments along the water’s edge funding major capital improvements at cul- It is more similar to an urban insertion in tion created by new architecture curator where traffic flow and proximity to public tural institutions in New York City. Curated the composition of the streetscape and the Joe Rosa at the Chicago Art Institute. transportation is limited. by Brad Walters (MED ’04) on behalf of the transition to the Yale Daily News Building The show, which runs from June 16 to Alliance for the Arts and produced with the and fraternity row. Rudolph’s A&A Building October 8, 2006, focuses on Garofalo’s cooperation of the AIA New York Chapter and the new Art History Department role in emerging digital representation and and the Department of Cultural Affairs of Building on York Street are separate on fabrication trends in architecture. Both his Yale Studio the City of New York, this exhibit illustrates a certain level, but they will be intercon- theoretical writings and his built projects the influence of the arts and innovative nected by their dual entrances, the vertical demonstrate how these new frontiers are at Aedes Gallery architecture on the revitalization of institu- circulation, and the fine-arts library bridges. widening as architectural practices work tions, neighborhoods, and the city. Rudolph’s building is really unforgiving with new technologies to create a new aes- Berlin’s Aedes Gallery exhibited Cold War A continuously updated online gallery because of the concrete, and to restore it thetic. Comprising drawings, models, and Museum and Steel and Freedom from of city-funded building projects for requires a certain amount of intervention digital media, the exhibition displays the June 2 to July 20, 2006, featuring the work the arts accompanies the exhibition at that is in the “spirit of” rather than literal vast range of the architect’s work, from the of Stefan Behnisch’s studio with Ben Pell www.allianceforarts.org. to the original. The idea to reconstitute theoretical Camouflage House to the soon on the Cold War Museum at Yale and of Rudolph’s original building in spirit will to be completed Hyde Park Art Center. Lars Spuybroek with Frederick Tang (’03) —Brad Walters (MED ’04) is in the PhD replace the 1994 windows with ones more A 96-page exhibition catalog in a new at Columbia University. Both studios did program at Columbia University School of consistent to the original, replace the ceil- “Architecture and Design” series, published projects for the site of the Palace of the Architecture. ings, improve energy consumption, repli- by Yale University Press, includes an essay Republic, in Berlin. The Yale studio showed cate the intention of the lighting, as well as by Rosa that outlines Garofalo’s work to its projects for a museum that features a install air-conditioning in the building for date, including several theoretical and conference center, shops, a bar, and a res- the first time. A major goal is to improve the visionary projects. taurant. The Columbia studio developed a Douglas McIntosh comfort level. The new glass will be more rethinking of Cedric Price’s Fun Place using efficient and more heat-resistant. The AC steel as the “Material of Freedom.” (’90) Dies is a ceiling radiation system that is used in Europe, with a surface that will incorporate Gupta Receives Architectural designer and preservation heating and cooling and electric trays that 1. Studio MAD, Yansong Ma, winning activist Douglas McIntosh, who led the cut the ductwork by almost 60 percent. The Award proposal for CN Tower, Mississauga, Motor City’s preservation and renewal environmental engineers, Atelier Ten, have Ontario. 2005 efforts, died in Detroit of a pulmonary been extremely valuable, and it will be a Pankaj Vir Gupta (’97) was awarded a 2. Peter Gluck and Partners, Little Sisters of embolism on July 11, 2006. The principal of silver LEED-certified building. national AIA research award in 2005 for his the Assumption Health Service, New York McIntosh Poris Associates was forty-four There are three primary program- involvement in the Golconde project. This City, 2006. years old. He received a BS in architec- matic initiatives from the user groups: dormitory for the Sri Aurobindo Ashram 3. Aedes Gallery installation of Cold War ture from the University of Michigan and a the Art and Architecture Library, the Art in Pondicherry, India, was designed by Museum, 2006. master’s in architecture from Yale School History Department, and the School of George Nakashima and Antonin Raymond. 4. William McDonough + Partners, of Architecture in 1990. Architecture. The architecture school’s Completed in 1942, Golconde—the first Bison Courtyard at Bear Street, McIntosh worked for seven years at main thrust was to retain the views north cast-in-place concrete building in India— Banff, Alberta, 2006. Cesar Pelli & Associates, in New Haven, from the studios over the campus; the exemplifies Modernist architecture through 5. Douglas Garofalo, before partnering with childhood friend library was to have a major identity from the a combination of aesthetics, technology, Nothstine Residence, Green Michael Poris to form McIntosh Poris street and to have contiguous spaces; and and social reform while addressing the prag- Bay, Wisconsin, 2005. Associates, in Birmingham, Michigan, the Art History Department was to have matic impositions of its tropical context. 6. Art History Department in 1994. The firm worked to revitalize a variety of office configurations without Funded by the Graham Foundation, Building Model, Gwathmey Detroit’s downtown neighborhoods—and being off double-loaded corridors. These Gupta, Christine Mueller, and Cyrus Samii Siegel & Associates, 2006. Yale School of Architecture Kazuyo Sejima Symposia Friday, October 27, 3:30 p.m. Lectures, Symposia, and Exhibitions Paul Rudolph Lecture Phillip Bernstein, Klaus Bollinger, James Fall 2006 Thursday, November 2 Hastings Hall (Basement Floor) Carpenter, Peggy Deamer, Branko “Recent Work of SANAA” Kolarevic, Scott Marble, Kevin Rotheroe A&A Building, 180 York Street Team 10 Today New Haven, Connecticut Stephen Kieran Thursday, September 21, 6:30 p.m. 6:30 p.m. Monday, November 6 Kenneth Frampton, Keynote Address Lectures “KieranTimberlake Works: Our House, Held in conjunction with the exhibition Lectures begin at 6:30 p.m. in Hastings Your House” Team 10: A Utopia of the Present, this dis- Saturday, October 28, 9:30 a.m. Hall (basement floor). Doors open to the cussion examines the legacy of the group Victoria Allums, Howard Ashcraft, Philip general public at 6:15 p.m. Gregg Pasquarelli as it intersects with contemporary archi- Bernstein, Martin Fischer, Kent Larson, Eero Saarinen Visiting Professor tectural thought. Long marginalized, the Rodd Merchant, John Natasi, David Nelson, Charles Gwathmey Monday, November 13 work of Team 10 is the subject of renewed Joshua Ramus, Hilary Sample, Corie Wednesday, September 6 “Versioning 3.0” historical and renewed theoretical interest Sharples, Marc Simmons, John Taylor, Neil “Renovation of Paul Rudolph’s A&A Building as the discipline turns once again to the Thomas, Paolo Tombesi, William Zahner and the New History of Art Addition” Elizabeth Diller intersections between architecture, urban- Thursday, November 16 ism, infrastructure, landscape, and society. Sunday, October 28, 9:30 a.m. Massimo Scolari “I.O.U.” Barry Bergdoll, Peggy Deamer, Mark Davenport Visiting Professor Thomas Avarmaete, Peter de Bretteville, Goulthorpe, Robert Gutman, Charlie Lazor, Thursday, September 7 The fall lecture series is supported in part Keith Krumwiede, Ana Miljacki, and Ewa Magnusson, Reinhold Martin, Kevin “Crossing Architecture” by Elise Jaffe + Jeffrey Brown, the Myriam Alan Plattus. Scott, Michael Speaks, James Timberlake Bellazoug Memorial Fund, the Brendan Jeffrey Kipnis Gill Lectureship Fund, the Timothy Egan Building (in) the Future: Recasting Labor The symposium is supported in part by Brendan Gill Lecture Lenahan Memorial Fund, and the Paul in Architecture Autodesk Inc. Thursday, September 14 Rudolph Lectureship Fund. Friday–Sunday, October 27–29 “A Basis for Discrimination for Current The Yale School of Architecture is Speculative Architecture” Exhibitions This symposium will examine how contem- a Registered Provider with the AIA porary design practices are rethinking the Continuing Education System. Credit Kenneth Frampton Exhibition hours are Monday through design/construction process, especially earned by attending the School’s sympo- Monday, September 18 Friday 9:00 a.m. – 5:00 p.m. and Saturday as it relates to fabrication, detailing, and sia will be reported to CES Records for “Structure, Identity, and Existence in the 10:00 a.m. – 5:00 p.m. The Architecture ultimately the organization of labor. The AIA members. Certificates of Completion Work of Team 10” Gallery is located on the second floor. supposition that the players who pro- for non-AIA members are available upon duce “architecture” today—architects, request. Thomas Avarmaete, Peter de Bretteville, Team 10: A Utopia of the Present staff, engineers, fabricators, contractors, Keith Krumwiede, Ana Miljacki, September 5–October 20, 2006 construction managers, and technical con- Alan Plattus sultants—make different artifacts, have dif- Thursday, September 21 Some Assembly Required: ferent contractual relationships, and boast “Team 10 Today” Contemporary Prefabricated Houses different claims to design authority than in October 27, 2006–February 2, 2007 the past will be explored. Adriaan Geuze Timothy Egan Lenahan Memorial Lecture A Utopia of the Present is organized by Thursday, October 12 the Netherlands Architecture Institute. “Lost Paradise” Some Assembly Required: Contemporary Prefabricated Houses has been organized Tom Wiscombe by Walker Art Center, Minneapolis. Myriam Bellazoug Memorial Lecture Monday, October 23 Exhibition publications produced by the “Parts and Wholes” school are supported in part by the Kibel Foundation Fund, the Nitkin Family Dean’s Marc Tsurumaki Discretionary Fund in Architecture, the Paul Louis I. Kahn Visiting Assistant Professor Rudolph Publication Fund, the Robert A. M.

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