About Perspecta z r Editors Thanks ro Send editorial correspondence ro: Carol Burns The printing of J. Glynnis Berry, Aaron BetsÞy, Liz Bmns, Perspecta ,{rchitecture is not an isolated or Robert Taylor this journal was made Mary Curtain, Stacy Genuni/1, Bolt Goll¿/, P.O. Box zrzr,Yale University autonomous medium; it is actively possible in part by Bi// Grego, Sìanøk Hariri, Richard Hays, New Haven, Connecticut o65zo engaged by the social, intellectual, and genefous gifts from: Design Peter MacKeitlt, and Llnn Ulhalen. visual culture which is outside the Gønnar Birþert¡ Joseþb Gugliettì Send orders and business discipline and which encompasses it. Burgee uitb Special thanks to correspondence to: Jobn Though grounded in the time and place Joseph Bednar Sandra C enterlnooþ Arch i tects of its making, architecture is capable Cloud and Aluin Eisennan The MIT Press Journals Department Robert Taylor Dauid M. Child¡ of reshaping the z8 Carlecon Srreet cultural matrix from Henry Cobb which it rises. A vital architecture The Norfolk projects were aided by a Cambridge, Massachuset ts c2t 'lYaten is one 42 Cox Graphic Production grant from the Graham Foundarion for J, that resonates with that culture. It is Page Rbineiteck Gwathmey Siegel and Assocìates this resonance, not reference Âdvanced Studies in Fine Art. In the Unired Kingdom, conrinenral to some Hehnzt locus left behind or yet Europe, the Middle East and Africa, Jahn to be found, Copy Editor Kohn Pedersen Fox gives Perspecta 2r was designed during send orders and business which architecrure its power. Rutb Hein Herbert McLaughlin 1984 in New Haven, Connecticut. The correspondence to: Charles Moore typeface used throughour is Garamond The MIT Press, Ltd. Perspecta zr is a collection which Staff Cesar Pelli examines how #3 and was ser by G&S Typesetrers, rz6 Buckingham Palace Road architecture is affected by Susan Roberî¡on concerns Baggs Inc., of Austin, Texas. Perspecta zr London swr\t England Jaquelin outside those inherent to 9sD Keain Rocbe Oliuia Enery was printed on S.D. SØarren's 8o pound building. It is based on â premise that Molly Hankwitz LOE Dull by Mercantile Printing Der Scutt architecture is inevitably involved with Dauid Ventari, Rauch fz Scotî Broun Horson Company of \Øorcester, Massachusetts, oo79-o958184 $3.oo * .oo questions more dif6cult rhan rhose A4aya Lìn of form or style; questions in an edition of zooo copies. This code indicates the copyrighr owner's arising in literature, consent that copies may be made for politics, philosophy, Advisors and Perspecta: personal or internal use, or for the painting, sculpture influence the MarÍin Gehner The Yale Architectural Journal personal or internal use of specifrc work of architects in America today. Cesar Pelli is published by the MIT Press, clients. This consent is given, however, Alec Purues The essays Cambridge and London on the condition rhat the copier pay included herein study today's Harold Roth architecture the stated per-copy fee through the in relation to the wider cultural field of our time, and Copyright Clearance Cenrer, Inc., z r also Congress Srreet, Salem, Massachusetts consider how the architecture of the past is or97o, for copying beyond that reconceived and repossessed according permitted by Sections ro7 and ro8 of to the knowledge of our own day. By examining the U.S. Copyright Law. This consenr the unsure ground at the does not extend ro orher kinds of edge of the discipline's established precincts, copying such as copying for general by advancing new theory, or distribution, for adverrising or by re-evaluating importanr work of the past promotional purposes, for creating new according ro new criteria, this journal collective works, or for resale. considers architecture as an arrifact embedded in the cultural matrix of the present. To free the discussion of rc: 56-z8oo5 tssN: o-z6z-7g56-z architecture from entrenched patterns, ISSN: oo79-o958 Perspecta 2 r presenrs an examination of the forms and ideas at hand in America today Copyright o r984 by from which fresh parrerns may Perspecta: The Yale,{rchitectural originate to make archirecture new. Journal, Inc., and the Massachusetrs Carol Burns Institute of Technology, excepr <On a J. Redefinition of Public Sculpture, Robert Taylor copyright @ r98z by Mary Miss Contents 6 52 roo r44 Gauìn Mact"ae-G ìbson The Continuity Marlt l,'li¡3 On a Redefinition of ù4¿rc H¿cker Notes on a Hal Foster (Post) Modern Polemics of the Modern Public Sculpture Changed NØorld Hal Foster is a critie in Neu York City and Gauin Macrae-Gibson Mary llliss is ø sculptor Marc Hacker ptzctices setior edìtor of "Art in þractices arcbirecture in in Neu York Ci4 and arcbítecrure in Neu Aneriea," He e¿ite¿ tbe New York Citl and is leacbes at Cooþer Union York City and is a collec¡ion "The Antì- assocìate þrofessor of and the Scbool ofVisral tisiting desìgn critic Aestltetic: Essals on arcbítecture øt Yale and Arts in Neu York, al Haraard Unioersity, Postmodern Culttre" C olunbia U niaersi ties. Recent uorks bate been publisbed in r98j fui He is tbe atthor of at the Fogg Museun, Ba1 Press. "Forns andThougbt: tbe lnstitute of IIO Represenlation in Conrenporary Art i?l Anterican Arcbi tecttre " lnndon, arzd lztmeier Diane Gbìr¿rd¡¡ The Architecture r54 to be published iu t985 Sculptare Park in St. b1 MIT Press. Inuìs, of Deceit Peter Eisennan The End of the Classical: the End of the Beginning, Dìane Ghirardo teaches r4 the End ofthe End 7o arcbilecture øt tbe Uniaersíty of Sottbern K. Michael Hays Critical Architecrure Perer Eisenman is a 1+1 The Norfolk Projects Califonüa atzd bas þartner ìn tbe frn of Between Culture and Form publísbed freqrently Fo*r young sculptors EìsenmanlRobertson ou arcbitecture in both and Architects, Neu York K. Michael Hays is an fozr loung Italian and Englíslt. arcbìrects uere C ì ty, t i s i ting profes sor drcb;tect in Boston and Sbe translated tbe commissioned to baìld in arcbitecttre at ar2 ã ssistant þrofessor Americat edìtion of oat¿oor srructures at Haruard Uniaersity, of arcltitecture and Aldo Rossi's "Tbe Norfol6, Connectictt. and founder of the arclt i tec t tra I lt i s tory a t Arcbitechtre of tlte City" Theìr uorh is lnslítilte of Arcbitecttre tbe Rltode Island School þrblisbed in r98z by docamented tltroaglt and Urban Studies. of Design. OPPosition Books, pbotograþbs, drauings, He is editor of Oþþositions ùlagazine an¿ statements . " " r16 and tbe autbor of 3o nHouse X" pablísbed in rg83 by Rizzoli Books. Steuen Holl Teeter-Tofter Principles 8o Peter Pttptrtleuetrìor COming Of Age The Eclitor¡ Eero Saarinèn and Sreuen Holl is New SØork: ro Architects an Modern American Architecture arcbitect in NeuYork Citl and assistant A selectìon of recent Peter Paþadenetrìot ìs þrojecß by ten Amerìcan þ rofe s s or of a rc b i t ec t u re d þartner in lonnecþer i at Colunbìa Uniærsity, arcbìtects. Pøpademetriot I He is tbe fornder of tbe Waldmøn, Architects, Panpltlet Arcbitecture and associate professor of series, and bas aúhored arcltìtecttre at Rice seaeral of tbe pampltlets. Uniærsity, He is editor of tbe "Jotrul of Arcbìtectaral Education. " Gøain Macrøe-Giltson So-. critics have claimed that modern There are two ways in which change The Continuity architecture is bankrupt and that we can be experienced. Either one can be have entered a postmodern era. Orhers deprived ofwhat one had, or one can be believe that at presenc we are in a rid of it. ìØhen the modernists of the postfunctional period. Then there rgzos lost their beliefin rhe values of are those who have formulated a the Beaux Arrs, they were not deprived neorationalist position. Still others see of these values; rhey rid themselves of the need for a return to traditional them. They could do so because they classicism. Each of these approaches had an alternative world to rurn ro- attempts to put architecture on a new a world of astonishing new forms, theoretical footing after rhe collapse of materials, politics, processes: in short, long-held beließ. rùØorks of beauty have the modern world. been produced according to the premises of all these theories; yer, none can admit \üØe have no such other world to turn ro as valid work produced according to now. It is the same as it was rhen, if any of the alternative theories. This now suspect in subtle and tragic ways. exclusion renders each ofthem suspect, \We have not rid ourselves of utopia, as and the very diversity of contemporary the first modernists rid themselves of architecture jeopardizes them all. An their supposed baggage; we have been approach is needed that begins with an deprived ofit. It has been taken away acknowledgement of this diversity. I from us by culture itself, by the effect of believe that such a condition can be those very facts which seemed so full of described as a new period of modern promise to the earlier modernists. architecture. It is this sense of deprivation that has \ùØhile modern architecture has by no led to the reflective character ofour own means come to an end, it has undergone modernism. There is no "other, world profound transformation. NØe no longer to which we can turn; there is only our focus on the revolutionary will to own industrial one, now so familiar to achieve utopia through technology. us. \Øe can have no new and berter Instead we are concerned with the effects architecture of direction, no common of industrial civilization on the human commitment to another, improved spirit. Thus modern architecture has vision of the future. Rather, what is become an architecture of reflection on widely shared is the apprehension rhat the present rather than an architecrure the present can be comprehended, not of direction toward the future.