Oliver Preston ‘16 Jonathan Edwards College Architecture counterintuitive that in the coming months, wards the modern far before the international Club is a platform such spare structures would be heaped with style while simultaneously respecting our criti-

to encourage 2016 slabs and bricks, slate roofing, gargoyles, and cally regional trades and resources. critical discus th all the other arch and wacky accoutrements From Charles Moore to Turner Brooks, sion of architec of the gothic style. almost all of our former and current faculty ture between students. Actually, construction has already started are influenced by this legacy, which starts It consciously limits its in on some of that. Namely, the chimneys with H. H. Richardson and is made ubiquitous focus on the two products have gone up. Chimneys! That’s so weird to by Vincent Scully. But are we now breaking of the discipline - buildings me. In one place you can see quite clearly this tradition in our pedagogy? In a time of and drawings — in order to cel- that the flues are just adhered to the roof, that increasing globalization and architectural ho- Alexander Stagge, Georgia ebrate a rich diversity of architects, below them there’s only empty space — no mogeneity, I believe it is more important than ideas, and narratives. By narrowing its hearths or anything. Maybe I’m wrong and ever that we attempt to produce an architec- Todd, Maggie Tsang, Rob concentration, Architecture Club does the fireplaces will come later, but even if they ture that responds to unique local conditions. Yoos, Matthew Zuckerman, not wish to exclude ideas from other fields, do, we can be sure they won’t be functional. Our country has changed dramatically since but rather adjusts its lens to investigate how I understand the thought — chimneys signify the Shingle Style and calls for something Heather Bizon, Gina formal, sociological, political, and ecological hearths which signify […] family and warmth entirely new. How can we call on our past to Cannistra, Andreas De

issues imprint themselves specifically within XXI March 7 Fold and the heart. We’re after hominess, here, look forward to new ideals that resonate with Camp, Jamie M.Arch I ‘16 Gagliardi Anthony architecture. By demarcating the discipline after all. “Welcome Home!” says nearly every our current cultural state? to buildings and drawings, Architecture Club video made by Yale Admissions ever. Strange Edindjiklian, Jennifer frames culture through architecture and to think, though, that if we’re looking for a Fontenot, Richard C Green, searches for a welcoming architecture, we’ve chosen one better under that was meant to inspire, in the late-medieval Chris Hyun, Ha Min Joo, standing of churchgoer, something closer to abject terror. Jeremy Leonard, Aymar our capabilities. That’s overstating it, but I think there truly is Architecture Club’s first some confusion here between what is home-y Maza, Jiajian Min, Ali excursion took place on Saturday and what is just around, that is, what is well Nick McClure MEM ‘16 Naghdali, Gordon February 20th, when approximately twenty worn and historically in-step. The other thing When my housemate, a third year M.Arch I students gathered outside of Rudolph Hall and about fireplaces in dorm rooms is that they student, told me that historical appropriation Schissler, Shreya Shah cherished the unpredictable spring weather force us to imagine a time when people actu- was a major theme woven throughout his as they toured five parking garages around ally used them, which reminds us in turn that studies at the Yale SchoolIS of Architecture, New Haven. Over the course of the afternoon, we live in spaces through which many other I was taken aback. As a student at the Yale

BOOK REVIEW Kevin Huang M.Arch I ‘18 students including bodies have passed. Tradition! Maybe that SchoolAPPROPRIATION of Forestry and Environmental Studies, The Pennsylvania-based firm Bohlin Cywinski Maddy Sembler, kind of thought was a comfort once, but now I am used to the word “appropriation” having Jackson“LISTENING (BCJ), in its fifty years of practice, ” Robert Hon, Paul Rasmus I’m not so sure — especially considering that highlyAPPROPRIATE? negative connotations, suggesting theft has established a diverse portfolio of large- sen, and Daniel Marty, it was a very particular kind of person kindling and violence. scale buildings.BOHLIN Their works spans cultural, all M.Arch I students in their sec those fires. We should stay awake to the According to the Oxford English Diction- commercial, civic, academic and corporate ond year, presented on the work of Paul possibility that such histories, which the new ary, the first definition of appropriation is “the buildings —CYWINSKI most notably the many Apple Rudolph, Douglas Orr, Kent Bloomer, and colleges want very badly to quote, are at best action of taking something for one’s own use, stores scattered worldwide from Pudong to Granbery, Cash and Associates. alienating to many of our classmates, painful typically without the owner’s permission.” Fifth Avenue,JACKSON which is why it might be surpris- A curious initiation to Architecture Club, at worst. Cultural appropriation, the phrase I commonly ing that they decided to focus on residential the parking garage tour epitomizes the goals associate with the word, refers to the practice architecture for their latest monograph. Caroline Sydney ’16 Silliman College of the student organization. By visiting a na- When I got into Yale, a dear family friend of borrowing designs or motifs from another Three short essays included in the book scent building type of the 1960s and 1970s, the gave me Vincent Scully’s “Yale in New Haven: culture without permission. This is most (by Alexandra Lange, Michael Cadwell, and Temple Street, Architecture and Urbanism.” Sweatshirts and problematic when a member of a relatively Rick Joy — all written with general tones of Crown Street, varsity sweaters are more typical “getting powerful group takes from a traditionally mar- acclamation) account for the firm’s choice and Air Rights into Yale” gifts […] but this gift was different, ginalized group without properly acknowledg- of projects: in his praise, architect Rick Joy garages asked because it made Yale into a place for me […] It ing their source or understanding the role they claims that “the greatest allure of BCJ’s students to engage in a forced me to think about the insular archi- play in that culture. residential work is in its inherently American close reading of their tecture of Yale before I occupied it. I thought As journalist Jenni Avins suggests in an character.” What is this American character similarities and differences. about gates and courtyards. When I moved article for The Atlantic (October 20, 2015), about? In a time of post-globalization regional It propelled the students to debate into Silliman and looked out from my bay “there are legitimate reasons to step carefully identity-crisis, character is a topic of per- the formal relevance of Brutalism as a window, onto essentially a lawn, I was a little when dressing ourselves with the clothing, tinent interest. A photographic essay that cultural representation of the times, it disappointed. Now, Yale is planting two new arts, artifacts, or ideas of other cultures.” showcases twelve houses by Bohlin Cywinski launched discussion on the profound residential colleges […] Their exteriors resist Borrowing can be exploitative; musicians such Jackson offers some clues to understanding architectural repercussions of Dwight the notion Yale has changed since the 30s, as Elvis and the Rolling Stones rose to fame this “American” character. D. Eisenhower’s and this bores and terrifies me. singing songs originally written by African A first clue lies in materiality. The Federal Aid American musicians, who have never received popularization of concrete construction in Highway credit for the role they played in the birth of the past century has allowed architects to Act of 1956, rock and roll. Another example, involved in a execute forms more expressively than with it triggered recent controversy at Yale, is students dress- other common materials. However, for BCJ, argumentation ing up as ethnic stereotypes for Halloween. form is derived from material properties. BCJ over the social The appropriation, even temporarily, of the deploys materials mostly native to the area. consequences of stylistic tropes of a minority in costume was Looking at their work, a preference for timber suburban sprawl fuel to the fire of a deeper problem: that of is evident as well as other materials from Patrick Kondziola M. Arch II ‘17 that followed, and it How do we approach and understand the perceived racial inequality at Yale. local vernacular buildings, such as slate and examined the realistic vernacular architecture that is around us? For That being said, the intent of historical ap- other stones. However, they do not restrict potential of large-scale the most part I am speaking of what Vincent propriation at YSOA isn’t to trivialize, but to themselves to the more primitive materials. As urban renewal projects ScullyNEW coined the “ShingleENGLAND Style.” When I ar- use styles from the past as didactic inspiration self-proclaimed modernists, the firm adds sig- such as the Oak Street Con- rived at Yale, this was a question I wanted to to drive effective design. Because the use of nature usages of steel into their compositions. nector. Precise and critical, answer,ARCHITECTURE as I had thought about its origins. It is historical precedent plays such an important As a result, several of their houses are clever the parking garage tour difficult to spot good examples of this archi- role in the Yale School of Architecture’s ap- symbioses of steel and timber systems. The foreshadows what is to come tecture, sincePEDAGOGY mediocre versions have been proach to design, perhaps it would be wise to Skyline Residence is a particularly spectacular Jingwen Li Collective Memory Glass Bricks, 2015 from Architecture Club. The subjects will so widely disseminated across the country. find a way of discussing it without using the example where steel reinforcements triangu- be buildings and drawings, the frame will Below is an example of a building many of term “appropriation,” with all of its negative late between wooden members to form roof be architecture, and the discussion will us pass every day without noticing its value. connotations. “Interpretation,” anyone? trusses. In all of the houses, it is hard to dis- Rumor has it the YSoA student elections are pursue our cultural However, whether or not we realize it, it tinguish whether the main structure is wood a sham. The seven committees, to which 13 significance. Up- has shaped our understanding of American or steel — that may be indeed the architects’ members of the student body are elected coming events architecture and culture more than most of us ultimate goal. yearly, hold no governing power and are not will include an would think. Another clue is scale. Scale is manipu- called to meet by the administration. If you architecture lated boldly, such as the deep roof joists in the find this disheartening, come to the Drawing tour in Rhode Henry Island Residence. The depth is exag- Studio at 5PM on Wednesday (03/09) evening Island, firm gerated so that the joists create a dominant toON brainstorm THE more inclusive GROUND and effective office visits, presence in the house. The Henry Island forms of student representation — the kind student desk We would like to thank the faculty and ad- Residence, compared to any timber work of that actually exists. critiques, public ministration for expanding the enrollment of Kengo Kuma, who tends to use smaller and 2/25: ‘To me, Hejduk is too precious. lectures, and close the seminar Rome: Continuity and Change. slimmer wood members with reduced spacing Given the choice between Hejduk and Fam- reading groups that THEWe are grateful COLOMNADE to those who invested the between members, shows the subtle diver- ily Guy....it’s no contest,’ responds KELLER analyze architectural time and energy to change the program, and gences in our cultural sensibilities. EASTERLING to a team of students from the projects. we are especially thankful to the most recent In defining the origins of BCJ’s work, second year urbanism studio. Despite its donor who made this significant expansion founding principal Peter Bohlin, describes an 2/25: We’re lit: packs of Paprika!-themed name, Architec- possible.THANK Collectively, we took YOU issue with the architecture that is guided by people, place matches, instructing us to ‘find renewal in the ture Club is neither ironic nor course’s limited enrollment and the tension it and material. How is this manifested in their light,’ have found their way around the school, oppositional. Instead, it naively searches created within our class, and you listened to practice? They “listen.” Louis Kahn famously surfacing through unknown channels. Please for a definition to our discipline and invites us and took action on our behalf. We are op- asked his students to “ask the brick what it use them responsibly. all students to investigate the value timistic that we can continue to develop this wants to be.” Bohlin is suggesting something 2/29: The PhD forum hosted profes- of architecture. model for exchange between students and the similar. This seemingly passive verb is their sor ZEYNEP ÇELIK of Rutgers and NJIT to administration. Together, as we look forward main action. Their work develops through lis- . . . It is a current of continuous thought whose discuss her research into imperial purveyors to our summer in Rome, encouraged by the tening to the clients, to the nature of the site, Issue Editors: continuity is not at all artificial, for it retains of antiquities in the Ottoman Middle East, and new phase of this program, we hope that the to the material. Daphne Agosin, from the past only what still lives or is capable their resurgence today. Read more in her new It is devastating to me to see this archi- seminar will continue to be a cornerstone of This monograph may be useful to the first MED ‘17 of living in the consciousness of the groups book Empires and Antiquities: Appropriating tecture becoming less relevant in architecture our education at Yale School of Architecture. year students designing a timber residence for Preeti Talwai, keeping the memory alive. the Past. schools like Yale. Why do we start our educa- New Haven. Can character be produced just MED ‘16 Maurice Halbwachs, La Mémoire Collective 2/29: 22 new students and two new tion with Antiquity but don’t study the origins by “listening” to the fundamental elements of Chengqi John Wan, 1950 instructors, MIROSLAVA BROOKS and BREN- of American architecture with the same vigor? a building, site, and client? M.Arch I ’16 NAN BUCK, will join 30 of their peers and I believe this is because, as the new genera- In contrast to History as a source, Jingwen faculty BIMAL MENDIS, JOYCE HSIANG, tion of architects, we are unable to see the Coordinating Editors: Li’s Glass Bricks collect important objects of and GEORGE KNIGHT this summer as the significance of the past that is around us. We Tess McNamara, people’s lives, recalling sociologist Halb- seminar “Rome: Continuity and Change” only see it in its contemporary context. With M.Arch I & MEM ‘18 wach’s ideas of how Collective Memory takes everyone who applied. The cost — as architecture, we analyze its form but rarely Maggie Tsang, M.Arch I ‘17 comes together. As an original way to deal Henry Austin. New Haven City Hall: window details drawing, 1861 does our entire budget — remains a secret, experience its presence as relevant to our with the construction of the immediate past, but by our estimate, between airfare, housing, cultural heritage. Tuesday February 15TH marked the inaugural Design: it broadens the discussion of dealing with and faculty salaries the expansion would be A disturbing experience got me to write meeting date of the YSOA Architecture Club, Rosen Tomov, MFA ‘16 History/histories. Glass Bricks was an exercise enough to print a decade of Paprika! After the this article: only two students enrolled in New Caroline Acheatel, Ava a student group that visits buildings, views for Sarah Caple’s Seminar Participation in announcement last week, rumor is there was England Domestic Architecture last semes- Amirahmadi, Elaina D drawings, and discusses projects. Paprika! 03/7/16 Diverse Communities, Fall 2015. a 14 year effort to secure the funds, but infor- ter, a course taught by Kathleen James- mation regarding the donor remains scarce: Chakraborty, a student of Vincent Scully. Even Berkowitz, Francesca ARCHITECTURE were there stipulations? Will the students go though there are many copies of Scully’s The Carney, H Wilson Carroll, only to Rome? It raises a larger question: how Shingle Style and the Stick Style (and original CLUB much of our education is shaped by the priori- manuscripts), students don’t consider his Anny Chang, Dakota ties of anonymous donors? While grateful work a relevant architectural source by now. Cooley, Robert Cornelissen, for the generosity, can we claim to be critical In response, I’d like to call to attention the Ethan Fischer, Cathryn and aware, if we do not even understand who relevance of applying the lessons of this archi- picks up our bills, and why? tecture in our contemporary design studios. Garcia-Menocal, Jacqueline 3/1: Students gathered for wine and The Shingle Style, born out of a transitional Hall, Wesley Hiatt, Robert cheese in a Salary Negotiation Workshop time in our history, represents some of our presented by PHIL BERNSTEIN and NANCY most original and uniquely American works. Hon, Cecilia Hui, Matthew “HISTORICAL PROJECTIONS ” is an issue driven by a ALEXANDER. Themes included the gender pay It represents turning away from European Kabala, Sam King, Paul J curiosity about how students at YSOA have interpreted, appro- gap and the importance of valuing yourself standards while maintaining its traditional when considering a job offer. The workshop heritage, rejecting authority while accepting Lorenz, Michael Loya, priated, or viewed the multiplicity of discourses on design — amongst gave students the confidence to jump right democratic ideals. Espousing a melting pot of Daniel Marty, Stephen themselves, with faculty, and across campus. The issue focuses on the into the process, prompting one student to cultures, it sought alternative exotic sources Cover ask, “After a successful negotiation, when is such as the Japanese to produce new ideas McNamara, Tess Conversation: polemics of uses or misuses of history. The central piece, “Pride and the next time I can negotiate again?” which, despite being criticized as less rigorous McNamara, Laura Meade, Mildred Huxtetter Precedence,” reaches out to studios that seem to defy modern To which Phil responded, “I would wait at least in its freedom of expression, led to a unique dancing together interpretations of the Classic, to investigate how and why they 15 minutes.” spatiality. Horizontally expansive spaces were Rashidbek Muydinov, with George 3/2: CHLOE TAFT and STEPHEN FAN formed by unusual and inventive combina- Elizabeth Nadai, Anna the Janitor at the incorporate architectural heritage. This graphic survey delivered the lecture “Casino Urbanization, tions of traditional forms, fused together by Nasonova, Cecily Ng, Ball in The purposefully omits critiquing the validity of the particular Chinatowns, and the Contested American an iconic material: the shingle. An emergent Muppet Show, Landscape” at Yale’s International Center. Taft social awareness praised the modesty in the Hannah Novack, Brittany Episode1, precedents, but rather focuses on students’ interpretation of offered that casinos, like Connecticut’s Mohe- TH minimal ornament of the shingle, striving to- Olivari, Andrew Padron, desk Nicolas Kemper’s January 25. 4th Floor Studios entrance, Tuesday, January 16 1976. history in their methods and products of design. Longer articles gan Sun, are emerging as new urban planners Xiaoyi Pu, Paul explore historical projection elsewhere, outside of the studio. They Rasmussen, Nasim invite the contributors and readers alike to question, critique, contrast, Rowshanabadi, Benjamin conserve, or abandon history within design practice and pedagogy at Rubenstein, James Yale. As a whole, “Historical Projections” aims to uncover the Schwartz, Maddy local diversity in readings of architectural history, and provoke Sembler, Ilana Simhon, a critical speculation on its impact for the future of our field. in the post-industrial city while Fan examined While drafting away, I couldn’t help but and an Aureli city — even chalk board — are path in designing the colleges and academic the re-appropriation of single-family homes question the excessive labour that is required radically different propositions. buildings at Yale between the two World for a new population of casino workers. The to re-draw or trace precedents digitally for Back at the AA, Eugene Tan had one last Wars. By the 1930s, critics lambasted the lecture coincides with an exhibit at the Mu- what I observed to be little analytic gain in the question for Schumacher: “What happens if seemingly retrograde, anti-modern character seum of Chinese in America in NYC. actual process. Sure every student is differ- you lose?” of the colleges and Sterling Memorial Library. 3/2: The undergraduate senior studio ent, but blindly drafting lines over the top of a “Don’t think I will.” If the Gothic seems out of place in 2016, it was was treated to three sunny days in Miami, scanned (and sometimes un-scaled) drawing already far-fetched in the time of Raymond practicing yoga on the beach, eating bagels rather than attempting to draw considering 1 Architect Robert Palmer and build- Hood, Frank Lloyd Wright, and the growing beside the pool of STEVEN HARRIS’ Morris actual dimensions seems a waste of labor. ers William Scott and Robert Grews corps of modern architects on both sides of Lapidus-designed condominium, and relishing The real analysis and comparative work then designed the room itself, at the back of the Atlantic. Walter Gropius, after all, had the opportunity for in situ research on motel becomes additional, once the drawing is com- the second floor of 33 Bedford Square, invoked the Gothic as a model for collabora- typologies at the Fairway Inn for their final plete in digital space. I may be revealing my in the late 18TH century. tive building and craftwork, certainly not as project. Hearts were set aflutter when the age, but in undergrad, we used a photocopier, a stylistic model for design. Yale’s seemingly dynamic boy band duo of CHARLES KANE and scale ruler, pen and trace paper to re-docu- conservative embrace of the Gothic did not ANTHONY GAGLIARDI took to the stage dur- ment our precedents. This meant working at a ultimately prove detrimental to the univer- ing karaoke night to deliver a song and dance range of set scales rather than the limitless 1:1 sity’s image or popularity. As more residential version of ‘Hooked on a Feeling’ under the M. Arch II ‘16 Alicia Pozniak digital drafting environment. The scale ruler colleges were added to Yale’s campus in the pseudonym ‘The Sexy TAs.’ We need the first became the tactile link between the scale our middle decades of the twentieth century, single and we need it now. bodies understood in real-time and the brack- their styles varied from Gothic to neo-colonial 3/3: Students of HANS KOLLHOFF were eted scale of the precedent drawing hot out Georgian and modern, but their unifying quali- barred from drawing… in the drawing studio. of the photocopier. It was quick and dirty, but ties lay in their massing, program distribution, After given an assignment to render, in char- dimensionality was lived through the process. and walled courtyards. The residential college coal, 1.7 meter tall depictions of their towers, Romantic moment of nostalgia? Perhaps. enclaves became the building blocks of Yale’s the administration deemed the medium too But our work was still pinned up, compiled EMULATION & decentralized urbanism—“a big place made up messy and banned its use in the basement and bound for the library archives. I found Yale’s campus architecture oozes history, but of many small places,” as Stern has called it. drawing studio. Instructor KYLE DUGDALE such an example here in Haas Arts Library, it is a historyINVENTION whose foundations are IN borrowed Rogers’ seemingly eclectic design ap- had to step in, demonstrating charcoal in a typological study of housing during a 1993 and invented. The university long ago discov- proach turned out to be a “pragmatic” one, action to Associate Dean JOHN JACOBSON studio which George Knight will remember. ered that picturingYALE’S the past could serve as a according to historian Aaron Betsky, author of before it was granted limited use — vine char- As part of Leon Krier’s studio, George com- strategy for shaping its future. As Dean Robert James Gamble Rogers and the Architecture I took Porphyrios’ studio as a challenge to express universal archi- coal remains forbidden. mandeered our first four weeks drawing A.M. SternRESIDENTIAL writes in his 2010 book, On Cam - of Pragmatism (1994). Rogers, a gentleman- tectural ideas through a language that I still don’t speak very 3/4: “His only request was that we kept precedents, mostly from New Haven. Despite pus: Architecture, Identity, and Community, architect who cultivated friendly relationships well, but that I learned to appreciate much more. I wasn’t referen- people off balance,” recounts MICHAEL all the labor in perfecting our digital draw- James GambleCOLLEGES Rogers’ Harkness Memorial with his would-be clients, employed three

BEIRUT, partner of NY’s Pentagram, on DEAN ings, these will essentially leave YSOA on our The many themes in our project center around a political com- Quadrangle (1917) was deliberately conceived Digital Humanities Lab Doctoral Associate, Post Gideon Shapiro architectural strategies that make his col- tial (in my use of precedents) but rather took some of the ele- ROBERT STERN’s initial directive for the hard drives. Perhaps it is time to consider this in emulation of those at Oxford and Cam- leges much more than just wishful appeals ments of buildings I admire and made them my own. It was very graphic design of the YSoA’s many posters student work as a shared archive, a resource mentary on the palazzo type in relationship to the city. Our prec- bridge… Yale’s expansion of the 1930s enabled to Oxbridge prestige, as Betsky explains: and pamphlets, including those for our lecture for future years that cuts excessive work and edent was a painting: Botticelli’s Annunciation as diptych. There it to reinvent its own history in steel, brick, one, the “pavilionization of major program Boris Morin-Defoy M. Arch I ‘16 much about the surprise of going into different shapes and differ- series. A far cry from Stern’s usual order of enables a jump straight into analysis. In the and stone.” This reinvented history helped elements and the reliance on open space ent spatial volumes. Through an act of simplification — by Trajan on Trajan, the posters are meant to same way analog drawings are reproduced in were literal and abstract translations. The spatial movement of Yale to strengthen its institutional identity and or courtyards”; two, a departure from the reflect the ‘eclecticism’ of the school, explains books, can our digital reproductions be com- the (biologically impossible) warped hand, turned into a tridi- to redefine its relationship with the urban strictures of Beaux-Arts Academic Classi- tantredrawing than the specificity and making of Gothic styling sure is thethe projectfrom always the Gothic looked style are to contempo occur, I don’t- be- Beirut to a packed group of congregants at munally valued, formatted, and stored as the fabric of New Haven. According to Stern, cism; and three, the technique of “picturing” spatialrary continuity— I ensuredof cloistered thatenclaves a scat layer- of articulationlieve the colleges remained are the best space from for that the Study, many of whom clutch a copy of legacy our digital labor? mensional composition, was an abstraction. The blank portions to Rogers “used architecture to provide Yale with through visual and experiential composition, tered throughout the grid of public streets. experimentation. Morse and Stiles Colleges Beirut’s new book How To. How to disorient the right of the wall, and the open space to the left, were literal. a kind of WASP version of Roots, with each rather than abstract geometries. The result, the originals. The professors, however,are were visually showing and historically only compelling, prec- but an architect? Just make the font bigger. But we worked on the idea of the program as well, which is some- important event in Yale’s history, and each in Betsky’s words, were “buildings that wore edents of galleries, focusing more on theimagine general a campus functionfull of pairs of ofstylistically it, the important teacher and graduate, memorialized their traditions lightly, not as a corpus of set disparate buildings. You would begin to lose a thing that Eisenman’s students never do. It is political because we in stone.” rules, but as the accretion of the experience directionality, axiality — unlike mysense design of the residential process, colleges it was as anever unique are separating Architecture (Alberti) from the crap that’s be- The two new residential colleges cur- of the ages... that could be relived every day about character. and united collection of spaces organized rently under construction on the wedge- through experience.” around similar values. In a way, Yale College hindnostalgia. him He is proposing— sort a form of offetishizing architec- the wantAlbertian to talk about façade. social issues, I so we should shaped site bordered by Prospect Street, Sa- Rogers’ version of Gothic was not a has become “the ten colleges plus Morse and (Dima)ture and society think which has you collapsed, can’t he be is original talkwithout about social knowing issues. Aureli history. is talking chem Street, and the Farmington Canal Trail, rigorous historical revival, but a rather vague Stiles” — not in the sense that they are deval- hankering for the ‘70s, but there is a reason about social issues. He [Aureli] is talking scheduled to open in 2017, further extend the and somewhat opportunistic appeal to history. ued, but that they seem separated […] I would Eventhat did not subconsciously continue.” making a designnonsense, move, butlike he is drawing still talking about a line what long-running play of emulation and invention. It spoke not of any specific Gothic legacy but wager that our subconscious experience of on aMeanwhile page, comesin San Francisco, from Pierthings Vittorio that you’veinterests learned. them.” It doesn’t just Stern and his office, Robert A.M. Stern -Ar instead of Yale’s self-presentation as a genteel Paprika! asked those who know the residen- visual variation may be a starting place. To Aureli lamented to his Yale studio, which is Schumacher emphasized that his interest chitects (RAMSA), decided to demolish older bastion of learning and society. Elitism was tial collegesNEO best, undergraduates, GOTHIC to share be sure, architectural innovation is also key comeengaged from in designing nowhere, affordable and housing, if thatyou don’t wasknow in social that issues history, not for those you on just society’s their thoughts on living and learning in Yale’s for visual and socio-cultural reasons but this can’tparametricism draw passed that without line. making much margins, but its cutting edge: “What does neo-GothicWONDERLANDS: wonderland. Collected below are innovation does not necessarily need to be Dima Srouji M. Arch I ‘16 & Sarah Kasper M. Arch I ‘16 Dima Srouji M. Arch I ‘16 & Sarah Kasper of an architectural contribution. Schumacher Google need? That is the more interesting responses from a diverse group of students — externally apparent. The new colleges are was now the one hanging onto the past. question than what does a suburb of Mumbai sophomoresUNDERGRADUATE to seniors, majoring in environ- vastly technologically superior to their older Indeed many of the more ruthless ‘proto- need — we know what they need — hot water, mental studies to architecture. Coordinated counterparts, simply because they are newer

engineers’ — Object Oriented Ontology [OOO] shelter, electricity — it is right there on the by EdwardRESPONSES Wang, BA. Arch ‘16. College Wyatt ’17 Davenport Katherine and were crafted with environmental sustain- comes to mind — have written parametricism shelf.” Google, “the research driven swarm,” ability as a priority. If Yale wants to experi- off as dead. Having ridden high in 2005-6, is something we have never seen before, one The cinematic quality of Yale’s campus always ment with new architectural styles, I would Jack Bian M. Arch I ‘16 when, as Patrik said, ‘we could smell blood,’ of many challenges unique to our age. confused and unsettled me. After all, I come look to Kroon Hall as a model of success. It the parametricists took a staggering blow in But it was Aureli, in San Francisco, from a city of socialist housing blocks — the is a modern building, aesthetically interesting the crash, which canceled many of the more whose studio toured the new Frank Gehry de- whole neo-Gothic endeavor felt […] luxuriously and functionally comfortable, but one that fantastic projects and shifted the focus of signed headquarters of Facebook. They asked indulgent in a way that hadn’t been afforded can be permitted to stand alone only because architects onto the plight of the downturn’s its project architect, Greg Sobotka, pointed in any society I’d been a part of thus far. Over it is not a residential college. It is distinct in many victims. A new emphasis and interest in questions about whether Gehry Architects the course of freshman and sophomore year, I its identity. The colleges, on the other hand, social issues left Schumacher — whose clients had considered the blurred boundary between drifted more in the direction of the non-Gothic are 14 individual but aligned bodies, and their are usually fantastically rich — in an ideologi- work and life, a new condition now typical in parts of campus, finding familiar comfort in visual appearance is critical to establishing a cally awkward place. the tech industry (they had not). And it was the brutalist, concrete mass of Rudolph Hall, cohesive student experience. Social issues are Aureli’s raison d’etre. Melinda & Bill Gates who in their foundation’s and often escaping entirely away from cam- In Demetri Porphyrios’ studio, I used a diverse range of precedents His studio spoke more about San Francisco’s letter last week said what the world needs is pus to more conventionally residential parts The tie to an older system of residential col- that influenced my design, but I made sure that the language social and political history than its architectur- to rethink how we approach unpaid domestic of New Haven, for a breath of what simply felt leges is itself a contradiction: if there was al one. For him, the city was, and continues to labor — the very agenda of the Aureli studio. more like normal life rather than constructed one defining style of Yale’s architecture, it drawn from the variety of architectural sources were governed by be, shaped more by social and political forces So if Schumacher’s agenda is no longer fantasy. I moved off campus after sopho- would be eclecticism, the lack of any specific my own compositional imagination. My approach to this project rather than purely formal ones. In discuss- new — is in fact a revival — and Aureli’s is more year, exchanging gargoyles, oak tables style. No doubt, the neo-Gothic was attrac- Amra Saric ‘17 Trumbull College Amra Saric ‘17 Trumbull was in a way similar to that of Soufflot’s in designing the Pan- ing the construction of the Coit Tower, for more in tune with the tribulations and pri- Aymar Mariño-Maza M. Arch II ‘17 and leather sofas for a brick building filled tive, but so was the strangeness of Saarinen’s instance, he was quick to note that the tower orities of the tech industry, where does that with IKEA and salvaged antique furniture, no colleges, and the futurism of the School of theon in Paris — he synthesized different ideas and major was an attempt to control the Leftist groups leave Schumacher? Perhaps he will have fireplace in sight. I have since spent very little Management. I see a missed opportunity with themes from historical architecture into something modern. One that inhabited Telegraph Hill through a philan- some answers in his upcoming issue of AD, time in the residential colleges or the Sterling the two new colleges to put forth something thropic gesture by the West Coast industrial- Parametricism 2.0. Library, going mostly when I decide I’m in the more original. Morse and Stiles, regardless of thing3/28: Porphyrios Do you love Paprika! said ? Can is youthat see we should only look at buildings ists. The architecture is thus directly informed In his talk, Schumacher noted that new mood for pretend play. For a few hours I let opinions on its aesthetics, are defining pieces fromyourself andhundreds a co-editor runningof years the show? ago, If because they have gone through the by, and in relation to, the political environment ideas sometimes just move slowly, likening myself be convinced I’m a monastic scholar, of campus architecture and have imbued both so, consider running for Fall 2016 Coordinat- in which it was created. The formal and socio- ZHA to Alberti, whose project started with devoted to academia, sophia, lux et veritas, communities with their own spirit and culture. ingtest Editor! of time.You’ll get I’ve to work always with an incredbeen- drawn to historical architecture, to political are inseparable. theories and drawings, like Città Ideale — before returning diagonally across the cam- understandingibly talented lineup of Issue what Editors, has writers, been designed.“Unless I thinkyou are naked we canin Alaska, use you major are in the Aureli emphasized to his students that depicting a fantastical gridded and axial city pus to pet some bush-hammered concrete The other day an email informed me that MY and graphic designers. Paprika! is a platform designed space” said Patrik Schumacher, di- he focuses on the past not to revive some — that from there became individual buildings, (work in progress) and glue pieces of wood together, producing PACKAGE HAD ARRIVED at the receiving forthemes our peers from and by historyour peers, andto beingbe inventive a andrector imaginative, of Zaha Hadid Architects and (ZHA),the “Every kind of retro-condition, but to study the great the occasional town square and finally whole structures as unreal as the places I had just office on Prospect, so I had the rare occasion studioCoordinating reinforced Editor means mythat you beliefs. can be single act is framed by a designed artifact.” potential of projects both architectural and gridded and axial cities and nations. Hans Kollhoff’s studio exists in the detail: how a building meets come from. to walk up Science Hill. I’d sort of forgotten in the thick of all that intelligence, energy, The zeitgeist — and the tech and algo- philosophical that were never fully realized. The path might be long, but Schum- the ground, how solid it is, and how certain elements transition about the new colleges, so I was surprised and activity. If interested — you must run as a rithm drivenNAKED design method parametricism IN It is an opportunity for redemption — he acher will not rest until he sees parametric From a purely aesthetic perspective, the to see how far along they are. By “far along” pair — submit your names via email to TESS — is alive and well in London. At the Archi- understands the failings of the 20th century’s cities, nations, even chalk boards, pluralism onto each other. Formally, or at least definitely tectonically, prec- choice to design the new colleges as a I mean something more like “upright” or MCNAMARA and MAGGIE TSANG by 11:59PM tectural Association (AA) Patrik Schumacher, utopian and socialist projects, but believes be damned: “We need to figure out which modern interpretation of the original Gothic “having any ontological status to speak of.” ALASKA edents are important to learn what works well in built work, as College ’18 Ezra Stiles Lim Yun Sheau on Monday, March 28TH. parametricism’s chief evangelist, began a talk they are not without merit. There is something paradigm is best, for the city in the end is colleges is a smart one because it creates a The […] cinderblock walls and steel frames by emphasizing his credentials as a member to be learned from their radical approach to one. Where is the convergence? We need to opposed to in “paper architecture.” In this studio we are taught to sense of visual cohesion across campus […] not completely covered by tarpaulin give only Contributors: of the avant garde, a ‘proto-engineer’ who domestic space, the political formulation of reclaim the ability to judge.” appreciate the physical reality of a building. Travel week was The nature of the residential college system vague suggestions of gables and dormers Elaina Berkowitz (MArch ‘17), imagines new forms of organization to be re- which is central to his studio brief at both Yale Unless you actually are naked in Alaska, fundamental to my understanding of Berlin and its public spaces at Yale is unique and if dramatic departures and eaves. As I passed, it struck me as deeply Jason Kurzweil (MArch ‘16), solved by those who follow (presumably engi- and the AA. the consequences of this convergence Tess McNamara (MArch & M.E.M. ‘18), neers). His co-teacher, Theodore Spyropulos, Schumacher understands that social are very real. Anyone who has taken even — we design in an intrinsic relation from the outside in: the Rashid Muydinov (MArch & M.E.M. ‘18), threw the claim right back at him: how could issues are a weak point for parametricism: the most casual gander at ZHA’s work and window, the unit, and the façade in relation to the city [...] I Maggie Tsang (MArch ‘17), Schumacher — whose office has hundreds of “Many of the most intelligent students today Aureli’s drawings will understand a ZHA city Edward Wang (BA ‘16), employees and buildings going up around the campusthink buildings a project on the cannot site in order be to divorced create froman important the social, part of thistheoretical, architecture, Betsky or Matthew Zuckerman (MArch ‘17) world — possibly claim to still be part of the physicala cohesive ensemble context that incould which hold its ownit lives. Copyingwrites, but or so referencing was “an attempt towithout discipline avant-garde? They used to be out in the wil- vis-à-vis Harkness, Trumbull, or Morse. “The modernization by using existing styles and The views expressed in Paprika! do not repre- derness, but since he has clearly “been asked newconsidering colleges will takethat their fact place doesn’ton Yale’s teach youstructures.” anything. Rogers Appropriating succeeded in accom- or sent those of the Yale School of Architecture. to the table,” what are they now? refutingskyline with a avariety style, of dramatically pedagogy, modeled or theory withoutmodating bothunderstanding the structural rationalism that of Please send all comments and corrections to Schumacher gestured around, “Today, towers,” Stern wrote in 2010. No doubt Stern steel-frame construction and the desire for a [email protected]. everything is designed by a professional. In drawscontext inspiration means from youhistoric won’t context fully and understandmore idiosyncratic how it sensecan ofact space in andcon move- - To read Paprika! online, please visit our web- fact, everything is Bauhaus — Gropius and temporaryseeks to practice context. what he calls, “contextual- ment. Recalling his own experience as an site, yalepaprika.com Mies designed this room, designed these ism.” It is worth noting, however, that context undergraduate at Yale in the late 1970s, Betsky Paprika! receives no funding from the School chairs, designed that television.” Bauhaus. Not is defined, not given. To define context is a writes, “I absorbed this architecture’s practi- of Architecture. We thank GPSS and the Yale the Parametricists. That was the problem. value-laden act of selection, not a neutral cal lessons — its choreography of spaces, its University Art Gallery for their support. The room and the chairs were hardly act of documentation. In the case of the new collaged compositions, its sensitivity to light visible for the students covering every surface residential colleges, Stern defined context not and weather, at the same time as I leaned the — most of them in the AA’s Design Research with regard to the buildings scattered around rules of etiquette, the modes of expression, Lab [DRL] unit started in 1997 by Schumacher the site, such as the now-demolished Ham- and the workings of the Old Boy Network.” and Brett Steele. Today Spyropulos directs mond Hall and Mudd Library, but rather with This distinctive character of Rogers’ archi- the unit, and the teachers focus on technol- regard to the residential colleges situated a tecture is thus rooted in something more ogy in design. Rob Stuart Smith’s students few blocks to the south. profound than its vaguely Gothic styling. Nicolas Kemper M. Arch I ’16 & Dorian Booth ‘16 Nicolas Kemper will design real time drone swarm fabrication Context can be as malleable as history. systems. Shajay Bhooshan — who also works Architects are not simply faced with the ques- for ZHA — wants his students to design a tion, “To be or not to be” (in context), but rath- new ‘maison domino,’ using robotic arm 3D er with the complex problem of which aspects Earlier this semester, beginning my third and printing. Theo’s students will each design 36 of which context(s) offer the most useful or final advancedWASTED studio, a sense of déjà-vu per- houses, in a contemporary recreation of the meaningful framework for engagement. While vaded those first weeks of late night work mid-20th century Case Study Houses. And Eero Saarinen, in designing Morse and Stiles sessions. LABORYet again, I found myself OR in the labo- Schumacher’s students — like the studio at Colleges in the 1960s, took a cue from Rogers’ rious process of digitally re-drawing prece- Yale — are designing a cluster of towers for a massing but not his Gothic styling, Stern has dents. As RESOURCEthis Fold attests, historical prece- site in Shoreditch, London. chosen to give the new colleges Gothic styling dent study is inherent to the YSOA pedagogy. Because DRL seeks to design everything, as well as the familiar massing. It is telling that It is interestingBUILDING? to observe that the dominant its adherents are not particularly content to Stern prefers the term “Gothic” to the “neo- tool and mode of representation used and let their opposition live and let live. Judgment Gothic” used by many historians to describe obsessively relied upon to produce and format of their contemporaries, who are teaching modern stylistic revivals. By omitting the pre- It remains to be seen how the new (work in progress) this work, the computer, digital drafting this semester at Yale, came quick and fast. fix “neo,” Stern implies the interchangeability residential colleges will ultimately fit into this software and polished drawing. In our digital Dismissive of FAT (“Why would you go back of historical styles; perhaps the whole history tradition, but RAMSA’s published drawings For Hans Kolhoff’s studio, precedents act as historical backdrop age, it seems luddite-ish to pose this question, to older, less sophisticated repertories?”), In this project in Eisenman’s studio, Precedent was crucial to the of architecture could be said to consist of an suggest that they accept the basic premise more than a particular focus. We moved from studies of the but I wonder if something is lost in translation they fixed most their attention on Pier Vittorio endless series of emulations and reinventions, of Rogers’ approach. The threatened stigma mass, to the unit, to the tectonics and composition of the whole or if opportunities are missed by discounting Aureli, whose unit is the most popular at the design process. All formal manipulations were stolen, selected, and without clear ties to time or place. But isn’t of pastiche has more or less faded. Emulation

other analog methods and insisting on a final AA. For them, Aureli’s work “was the retro- curated from a small number of works in painting and architec- there some danger of falling into pastiche? and invention lie at the foundation of Yale’s Kurzweil M. Arch II ’16 Jason building. Precedents are neither assigned nor weigh heavily, but reproducible outcome, ie. pdf drawing file. condition, we have been there, it is a form of M. Arch ‘16 Gagliardi M. Arch I ‘16 & Anthony Harrison Michael ture. Interpretation was strictly formal, precedents were evacuated of Rogers himself already ventured down this modern architectural tradition. More impor- rather are used as a “grammar of tectonics”. We interpret the context outside of their architectural characteristics, rhythms, details of construction, where the well-built is as important as the proportions and compositions. Precedents are necessary in order to composition. In this sense I consider it more of a tectonic approach situate one’s work within a broader discourse; however they need to be than a “classicist” approach, as could be superficially inferred read and interpreted closely so we do not become rote copyists. His- from Kollhoff’s work (...) Precedents provide lessons, but a criti- torical precedents should be respected where appropriate, used and cal eye is still necessary. The danger of their misuse can pollute abused when necessary. the work of the designer.