2 CONSTRUCTS YALE ARCHITECTURE Table of Contents

2 Conversation with Deborah Berke 4 Conversation with Kersten Geers 5 Conversation with Hans Kollhoff 6 Conversation with Kathleen Deborah Berke James-Chakraborty 7 City of 7 Billion exhibition reviewed by Gideon Fink Shapiro 8 “A Constructed World” symposium reviewed by Daniel Barber With Dean Robert A.M. Stern’s retire- 10 Pedagogy and Place exhibition reviewed by Richard Hayes ment after eighteen years at the helm 11 PhD Dialogues Fall 2015 Symposium: “Learning/Thinking/ Doing: Educating Architects in the of the Yale School of Architecture, 21st Century” 12 In the Field: we introduce Deborah Berke, founder The Masters Series: Michael Bierut exhibit reviewed by Luke Bulman Drawing Ambience: Alvin Boyarsky and of the New York City-based architec- the Architecture Association reviewed by Craig Konyk ture firm Deborah Berke Partners as “Is This for Everyone” reviewed by Tyler Survant Pedagogy and Diversity: Jessica Varner the School’s new dean. Over the past and Amber Wiley 16 Book Reviews: few months, she has been meeting Architect as Worker reviewed by Lori Brown The Architecture and Cities of with current and prospective students Northern Mexico reviewed by Karla Britton at various school events and “Open Public Natures: Evolutionary Infrastructures reviewed by Brian McGrath House.” In those meetings, and with The City that Never Was reviewed by Kian Goh Constructs, she shares ideas and Imaginary Apparatus reviewed by John Kriskiewicz 18 Peter Eisenman’s Palladio Virtuel goals she has for the school, which she review by Mark Rakatansky “Architecture and the Loss of Authority” will direct beginning in July. by Peter Eisenman 20 Fall 2015 Lectures 22 Fall 2015 Advanced Studios Nina Rappaport One of the pedagogical DB I do think the undergraduate and of view that we didn’t have as architects. Yale School of Architecture books approaches of past deans, from Everett Victor graduate experiences are different. On the At City College, I got a master’s in urban 24 Faculty News Meeks, in 1916, to Bob Stern, has been undergraduate level, I want to rethink the design in an incredibly diverse environment; Tigerman and Chicago pluralism in the selection of professors and major so that more students choose to take the valedictorian the year I graduated was 26 Alumni News the types of architecture students are encour- it—it’s that simple. I would like it to appeal the child of Vietnamese boat people. He Jim Vlock Building Project aged to explore. What does pluralism mean to people who don’t want to be architects gave his speech first in English and then in to you as you take on the school’s leadership? in the traditional sense, to attract students Vietnamese because his parents didn’t speak Deborah Berke I think the term plural- who want to engage a way of thinking that English; he grew up in a two-room apartment ism is used at Yale today with a capital P, they can learn at Yale and then apply in law in Queens. I experienced both the diversity as a way to define how the school sees school, public service, business school, of the schools and working with artists. I also itself—meaning, it is neither Notre Dame nor the arts, and so on. The way it’s structured took statistics and law-related classes, which Constructs Dean a trade school, nor does it have a particular now is so intimidating, and the word among enhanced my urban studies. To form by putting together Robert A.M. Stern parts; build; frame; devise. stylistic point of view, be it Modernism, Post- students is that it is overly daunting. Yale NR Who has influenced you intellectu- A complex image or idea Associate Dean Modernism, parametricism, or whatever. But College offers so many opportunities for ally, both in your education and as a practic- resulting from synthesis by John Jacobson I would posit that pluralism is not just about extracurricular activities, but it is perceived ing architect? How do you imagine making the mind. Assistant Deans style. Twenty-first-century pluralism includes that, if you study architecture, you can’t do students understand their roles in culture and Volume 18, Number 2 Bimal Mendis an expanded understanding of the issues anything else or take advantage of the many society as more than just architectural? ISBN:978-0-9862065-6-6 Mark Gage and forces that shape architecture and that other things Yale offers. We need to be much DB When I was lecturing at Tulane Spring 2016 Joyce Hsiang are shaped, in turn, by architecture. Yale’s more a part of Yale College. recently someone asked what I thought about Cost $5.00 Editor pluralism is a great tradition to build on, for NR What do you envision on the gradu- the long hours students spend in the studio. © Copyright 2016 Nina Rappaport twenty-first-century pluralism involves a ate level? I replied that after working on a project for Yale School of Architecture, broad engagement of architecture with other DB The situation for the graduate twelve hours in one day, the project doesn’t Yale University Graphic design Jeff Ramsey cultural, social, and scientific disciplines. The school is completely different, in that it is an get any better by hour fourteen. Leave your Yale School of Architecture topics in the long list include urban design, accredited degree program; we are training desk, go listen to some music, go to the P. O. Box 208242 Copy editor landscape, climate change, urban equity and future professionals. There, I just think lifting theater, read a novel, walk through a park— New Haven, CT 06520 Cathryn Drake access, local cultures and climate, building one’s eyes from the desk a little more often get away to learn more, go back, and be Telephone Proofreader information modeling, advanced building would be a benefit. It is ideal if a student better. Yes, I read about architecture. I have (203) 432–2296 David Delp technology, advanced digital technology, comes to the school with an undergradu- to—it’s part of my job description. But I sustainable design, resiliency, rapid urban- ate degree in architecture and can opt out also read outside of architecture: I go to Email Student editorial [email protected] assistants ization, and architectural history and theory. of some of the required classes to study art museums, I go to the theater, and I read Tess McNamara (’17) Architecture is inextricably linked to all of Shakespeare or film—or take a law class journals from other disciplines. My husband is Web site David Langdon (’17) these fields and practices; it is what makes about federal low-income housing programs. a doctor, and I occasionally read the weekly (Back issues available) architecture so exciting and so important. But that strikes me as something to solve on JAMA publication. I think it’s good to know www.architecture.yale.edu/ School constructs photographer NR How do you define architecture? an individual basis rather than saying, “We lots about other things; I think it makes you a Scott Parks (’16) Many academics don’t acknowledge that the used to have fifty courses in the curriculum better architect. Constructs is published study of architecture provides an amazing and now we have added ten more.” That is NR How does teaching inform your twice a year by the Dean’s Cover photograph of Office of the Yale School Minerva in Rudolph Hall knowledge base, similar to law and business. cool; that would be a great thing to do too. practice and vice versa? of Architecture. by Tess McNamara Do you see a way to enhance its foundation But I’m much more interested in making the DB Teaching has always informed as a broader realm of study? Even the defini- environment feel more porous. So we could my practice, and I see an interweaving of We would like to acknowl- tion of an architect, outside of the field of have a digital fabricator who’s making build- practice and teaching. Students ask good edge the support of the Rutherford Trowbridge architecture, is someone who can invent an ing parts come in, and maybe somebody questions. I often hire students, not neces- Memorial Publication Fund; idea or a policy, for example. from biomedical engineering who is making sarily my own, but those I’ve met through the Paul Rudolph Publi­ DB I think architecture is a way of think- replacement valves or joints. My first goal is teaching. I’ve been teaching architecture cation Fund, established by Claire and Maurits ing; it is maintaining parallel, disparate, and porosity in both directions through collabo- since I was twenty-two years old, literally my Edersheim; the Robert A.M. often complex pieces of information simul- rations, lectures, and events and finding entire professional life. It is so wholly embod- Stern Fund, established taneously in four dimensions, and coming to ways to engage across disciplines through- ied in my DNA that I can’t conceive of being by Judy and Walter Hunt; a holistic resolution. The thought process, out the university, be it working with the any other way. To me teaching is a dialogue. and the Nitkin Family Dean’s Discretionary Fund the ability to think like an architect, is good School of Art, the Yale Art Gallery, the School I’m not the kind of teacher who says, “It must in Architecture. for doing lots of things. Yes, one can be an of Public Health, the Departments of Film look like this” or “It must look like it’s mine.” “architect” of a piece of legislation or of the and Media Studies, Philosophy, Divinity, and My goal as a teacher has always been to internet. The word is used to describe a Biomedical Engineering. make students be the best possible critics multisided, simultaneous way of thinking. NR You went to RISD, which is of their own work, to move it forward and NR Today at Yale there are cross-listings art-oriented, and then to New York’s City represent what they believe. I think I run my of courses along with joint degrees between College, an economically diverse public office the same way. I like to think the people architecture and the Schools of Manage- university. How do you think these two in my office are largely their own best critics ment, Forestry, and Department of American schools influenced your formulation of an and are encouraged to do their best possible Studies. Recently, you have talked about architectural pedagogy? work—within the vision and values of what other ways to encourage transdisciplinary DB Being part of a broad and diverse we do, of course. studies in a more expansive way. How do you community has contributed to how I think. NR How has your teaching evolved over envision a change in the direction and broad- Studying architecture at RISD, we often got the years in terms of issues you think young ening of curriculum for both undergraduate criticism of our work from painters, sculptors, architects need to learn? and graduate programs in light of an already filmmakers, and fashion designers, which DB My approach has been consistent burdensome program of study? was fantastic because they brought in points since I started teaching options-level studios

Constructs_Spring_2016_Final_1_gr2.indd 2 2/2/16 12:21 PM 3 Spring 2016

1. Deborah Berke being presented to the school as the new dean, with Dean Robert A.M. Stern and President Peter Salovey, September 2015.

2. Deborah Berke

3. 2012 Spring Advanced Studio travel to a distillery in Louisville, Kentucky, photograph courtesy Deborah Berke Partners, 2012.

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4. Marianne Boesky Gallery New York, New York, photograph by Eduard Hueber, 2007.

5. Cummins Indy Distribution Headquar- ters, Indianapolis, Indiana, rendering courtesy Deborah Berke Partners, 2015.

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6. 21c Museum Hotel terms of both faculty and student body, is the Louisville, Louisville, mandate and mission for my tenure as dean. Kentucky, photograph by Catherine Tighe, It is my goal that Yale take the lead on this 2012. under my deanship, and the Yale University president, Peter Salovey, agrees with me. 7. Yale School of Art, Equity and access are priorities for Yale, as Holcombe T. Green Jr. Hall, New Haven, well as urgent issues within the profession of Connecticut, photo- architecture, whose diversity problems are graph by Victoria well documented but not intractable. Sambunaris, 2000. NR How do you plan to address these issues? DB If you are accomplished scholasti- cally and have enough talent and drive to get out of a limiting environment, the chances are you are going to choose something that guarantees economic security and status in society—law, medicine, business, technol- ogy—or something that you believe will allow you to give back to your community. You’re probably not going to choose architecture. If you are destined to be an architect, if you were born to be Julia Morgan, then you’re going to go after it, God bless you. So we need to find those people, and we need to make Yale accessible to them. We also need to recruit from the schools with greater socio- 6 7 economic diversity. From big state schools and small liberal-arts colleges, from anywhere at Yale. No matter where I have taught—at The key to the success of our ongoing work. And since I don’t have deep pockets, and everywhere in the world, including City Yale, Berkeley, or RISD—I have always very relationship with 21c Museum Hotels is a it’s more about being directly involved than College, Howard University, and Berkeley. consciously chosen what I would call an close collaboration with the client. We have giving money. Quite frankly I couldn’t believe how diverse atypical studio project. For instance, when we recently transformed buildings by Shreve, NR I remember when you were my upper-level studio was at Berkeley, never did the Iceland studio at Yale in spring 2014, Lamb & Harmon and McKim, Mead & White appointed as teaching assistant to Charles mind the undergraduate student body. Yale we asked what internet privacy and freedom and are currently working on a building origi- Gwathmey in 2000. How did you negotiate needs to reach out. We are building a more meant. Some answers to those questions are nally designed by Albert Kahn, converting that studio, and how have things changed in inclusive culture in which people of all racial, embedded in Icelandic laws, so we met with them into new hotels with art collections, terms of women in architecture at Yale since ethnic, and socioeconomic backgrounds the member of Parliament who had put that bars, and restaurants. We’re getting a lot of you started there in 1987? and genders can be successful and have legislation forward. It is also about teaching satisfaction out of understanding how these DB When I was first at Yale it was not so an impact on the discipline, the profession, architecture. Back before motels were chic, buildings were originally put together by good. I had been an assistant professor at the discourse, and the built environment. I assigned the design of a motel. Who knew these notable architects and repurposing the University of Maryland and was recruited And perhaps most important is to provide a I would end up designing hotels as part of them, from the inside out, for contemporary by Tom Beeby to apply for a position at lot more scholarship money because many my practice? I have tried to do studios on life. Designing residences also requires a lot Yale and got the job. At the first committee are not choosing architecture because they subjects that force an engagement of bigger, of trust and understanding with the client. meeting I attended, I was the only woman. I cannot afford to take on the debt. I have non-architectural issues while teaching archi- Houses are very personal and direct, and sat down at a table of six people and one of large fundraising goals for financial aid. Merit tecture and through teaching architecture. they bring you back to the fundamental them said to me, “Can you go get everybody scholarships should go to all who deserve NR What current architecture projects concerns of architecture. coffee?” When I told my daughter that story them so that nobody chooses one of our are you and your firm most engaged in, both NR You are also very involved in she couldn’t believe it happened. I was also competitors. No one should say no to Yale if in terms of forming an individual approach to nonprofit urban and architectural organiza- the first YSoA professor to have a baby that they can’t afford it, if they’re qualified to design and collaborating with a client? tions in New York, such as the Design Trust while on the faculty. Things have definitely get in. DB We have a lot of interesting work in for Public Space and the Urban Design changed for the better. NR What about funds for faculty our office right now. We are well underway Forum. Why have you dedicated time to NR How do you envision changing the research and projects in architecture, urban- on the new distribution headquarters for these activities, and what have been some of involvement of women professors? ism, material studies, and symposia? Cummins, in Indianapolis, and we’ve spent the rewards? DB Currently the vast majority of DB I want to strengthen the visibility a lot of time understanding the company’s DB The importance of giving back women faculty teach in the core curriculum. of what I call “ongoing faculty,” rather than work culture and how it will function in was part of my upbringing. I’m from a So although there are a lot of women, we guests. To the extent that they should be the future. It’s an extremely flexible space middle-class family, but my parents were are less represented in the options studios. supported to have book launches and give without assigned desks, so we’ve created very involved in community service. My I think that reinforces stereotypes, and it meaningful papers at meaningful sympo- lots of different kinds of individual and father was on the local school and planning seems relatively easy to change. I would sia, I will do that absolutely. I see that as group workspaces. It incorporates a large boards. My mother was an FIT professor and not diminish the number of women who showing off the strengths and depth of the urban park that will be an amenity not taught sewing in what were, back then in the are teaching in the first and second years, school. We have great people teaching, and only for Cummins employees, but also for 1960s, somewhat economically challenged but I could increase those invited to teach the world needs to know about them. the public, and will provide an anchor for neighborhoods in western Queens, so that options studios. So that seems pretty downtown Indianapolis. women could make nice clothes to wear to straightforward. Diversifying the school, in 4 CONSTRUCTS YALE ARCHITECTURE

architecture, and there is the idea of the we were selected along with seven others. We world—and somehow these two things don’t got very lucky. It was a unique competition fit together. formula. They gave us six months, with three Kersten NR Once you’ve delivered architecture presentations in total—one every two months. to the world, it becomes its own thing. The After two months, we presented a general architect has to let go of the design. idea; after four months, we had to show how KG It is also the experiential side we responded to their feedback. of architecture. There is a certain fiction NR It’s like a studio review process. Geers involved, despite all your good intentions, in KG It was. And we were, by far, the the balance between what it would like to be youngest team involved. I think we had a and what it is. And it finds a solution that is chance because of that. The jury said it was neither one nor the other. clear that we were listening to their comments 1. OFFICE KGDC, NR You and David seem to be able to and were professional. I had the impression Arbor Drying Hall, put your projects forward while maintaining a that it also had a lot to do with the twenty Herselt, Belgium, 2013. critical distance. percent argument. We were very reduced KG Yes, and I think a common problem in terms of what we wanted to define; we 2. OFFICE KGDVS, of architects in general is that they can be essentially designed a complex of five boxes. RTS building at EPFL utterly uncritical. We understood the RTS building, which is a Lausanne, collage, 2015. NR Do you say that because only building for radio and television production, twenty percent of a design project becomes as a big, open workspace, as a continuous architecture? Architecture is built with a interior carried by four big boxes. The context, a client, a site, a budget, and a volumes are structural; they carry the “field” series of zoning and building regulations—an of the production landscape. They contain entire set of parameters—but this doesn’t either big halls for recording studios or a set seem to bother you. of floors for offices. With these spatial types, KG I think that is the beautiful thing many decisions were made, but, at the same about architecture: the moment you time, the precise use and infill was kept open acknowledge the limitations, you can start and flexible. to design quite a bit. I see this on two levels. NR Of great interest to many is your If you work on a specific house for a very drawing technique, which could be consi­ 1 particular client, you can still design a lot. dered very prescriptive, along with the But you cannot design the client’s life, so use of collage and rendering. Who were you organize the space in a certain way. You the main influences, besides Superstudio, are very rigid as to how the architecture is on your technique? translated into matter, but somehow you KG In the early 2000s we were convince these people that a house can be influenced by Superstudio’s perspectives used in many different ways. Maybe they and plans and the idea of composing. It felt don’t know if they want one room or two like a fascinating discovery. We were also rooms, one kid or two kids, and in five years influenced by how David Hockney paintings the kids are gone. These things are funda- and Bas Princen photographs are composed, mental in architecture. Increasingly, we are as well as by our time in Los Angeles. We designing more industrial buildings, for don’t have computer-rendering programs which the envelope is often the only place in the office, so we only make two or three where there is room to design. views with a hierarchical system—and the NR It must be interesting to work in rest you don’t know. We have to decide the area between high-end design and what is important. For the early competition 2 non-design, which few architects are engag- involving the border crossing in Mexico, two ing. How are you able to design a generic perspectives had to tell the entire story. shed with architectural intrigue or specificity NR How does that translate into your in projects such as the Arbor Drying Hall teaching methods? in Herselt. KG We try to make students understand Kersten Geers is the Louis I. Kahn Visit- a transparent volume and claim that it would KG That is very much what we try this simple technique, but they try to mimic ing Assistant Professor in spring 2016. make your building more democratic. We to do. It isn’t easy, but we try to figure out a certain aesthetic. They use SketchUp. He founded his Brussels-based firm tried to go back to simpler ideas, because for the fictions in the existing envelope. When Instead, we ask them to compose the image OFFICE KGDVS in 2006 and is working one thousand years, architecture was what it we did the Arbor Drying Hall, the client so they understand how to draw. I don’t like on projects in Belgium, Switzerland, was, and then all of a sudden with the echo already had a design in a standard box. It it when students try to emulate a professor’s and France. of late Modernism it was something that was was a huge tree nursery that was fulfilling architecture. At the same time, of course, solved in a functionalist, diagrammatic way. big urban plans—for example, they might what you share as a teacher is a way of Then, with the idea being embraced by the need five thousand of a certain kind of tree looking. I’ve been teaching with Andrea Nina Rappaport Your office in Brussels media, everything was more simplistic. at once. They transport the trees in a truck, Zanderigo for the past eight years, and we has greatly expanded in the past few NR You also say that you’re not but they need to dry them first so they don’t share a total love for architecture. We like to years, how did you begin the firm with David functionalists, in terms of the program driving rot. The company had a standard box, with look at buildings and to understand them. We Van Severen, and what initially brought the form of the building, and that you allow a pitched roof and a couple of grills for feel that this generation of students doesn’t you together? for the inhabitant to create the spaces they the wind to pass through. Our landscape really look at buildings—they Google things. Kersten Geers We both share a fasci- need. Is this achieved in your idea of the “big designer, Bas Smets, with whom we often NR What are you teaching in your studio nation with Los Angeles, something we box,” where you provide a shell in which collaborate, convinced the client that it was at Yale this semester? realized on a trip to that city together in people can do what they want spatially? a good moment to do architecture—and KG When I teach in the States, I try to the late 1990s. A few years later we made KG That’s right. Again, we think this is he loved architecture, so he allowed for ten salvage the possibility to do architecture in a a very small project—a mirror-glass room something that architecture has always done, percent additional construction costs for world that isn’t ready for it. There is architec- for a notary office. This project became an not just two thousand years ago but also two “good” architecture, which is not very much. ture for the city, and there is architecture for early manifesto. In the following years, a few hundred years ago—if you look at Brussels, We had to persuade him to use corrugated the countryside. But is that really true? In the competitions for a border crossing and a Paris, or anywhere else. The big houses had perforated metal-panel facades, rather than studios we did recently in Europe, we worked new city in South Korea helped us to further plans that had been endlessly transformed, wood, because he couldn’t afford the wood around the idea of “the even covered field,” define what we thought architecture should whereas the architecture stayed the same. anyway. We peeled off the standard layers a condition in which the distinction between be about. It was a big deal for us to understand that of the box because the wind has to blow city and landscape is annihilated, but hierar- NR Recently, you and David have been you don’t have to define spaces functionally through it, and we made the building a bit chies are very much needed. Perhaps, in focusing on the idea of “architecture without but, rather, sequences, relationships, sizes, too big so that the rain and the wind could the U.S., distinctions between field and city content.” One interpretation would be that proportions, and perhaps materialization. enter. So, we built it for only ten percent more are bigger, but the challenges are similar. you are looking to basic shelter, or the idea That can be a big space—a set of rooms with money. The material was the same price; the Also, we have to re-introduce something to of the “primitive hut,” to construct buildings. very peculiar spatial relationships between difference was that it was highly technical share, a “commons,” which is something But you are also making places with inspiring one and the other, through the perimeter, and precise, like furniture design. that I believe is central to cultural produc- spatial qualities. How do you address this through the corridor, through the corner. NR As you cultivate new scales of work tion and to architecture. It defines its raison desire to design things while keeping a focus NR And, with that, you try to show how in housing developments, can you still focus d’etre. At Yale, we will work on “the village.” on the basics? “architecture is architecture”? Indeed, many on this precision and pragmatism? How The argument is that, perhaps, with a mild KG The basics and making good spaces of your first projects were like artworks or set will you be able to stay grounded with an Classicism, it is possible to awaken Venturi’s are not in conflict. From our very first project, pieces. economy of means? dream of North Canton, Ohio by way of Kevin David and I have been trying to find out what KG We cannot avoid knowing where we KG It is a big challenge for us. There Roche’s and Scamozzi’s simplified architec- the basic tools are that one has as an archi- are today as cultural producers. As such, you is a danger that we could start to repeat ture, which a precise architecture might have tect, not just for ourselves but also for the are always somehow making only a repre- ourselves, but we have developed an interest the ability to create. It’s a gamble, but I think architectural community. I think you cannot sentation of what you want to make. There in collective housing because it is possible it’s worth a serious try. ignore that context. When we started our is an aspect of fiction to doing what you to define individual concepts and fields of NR It seems that you are on a mission practice, OFFICE, in the early 2000s, we were want to do because the world simply does inquiry. In collective housing, there is a place with this process. upset with what surrounded us. It was all not function that way. Referring to artworks, where you have to do something because you KG What we try to regain, as architects, very diagrammatic, and very simple schemes you are right in the sense that every piece of are building a city with it. Of course, this is the is the ability to decide about the hierarchies of were sold as buildings. As representations of architecture that you make holds the narra- latent presence of Colin Rowe. Since we are the building—that you can achieve maximum a schematic idea, these buildings often also tive of what it would like to be. always lost between Koolhaas and Kollhoff, effect with minimal things. You can focus on presented solutions to problems. NR Because it changes over time. we thought it was time to find our own agenda the role of the joint, the plan, the section, the NR What led you to this stripped-down KG Yes, but I would even argue in the house by providing a rigid framework perspective. Ultimately, we want to make approach to designing buildings in an era of something that wasn’t that clear to me that the residents have to negotiate. people understand that architecture is about overproduction? ten years ago: in the Renaissance—with NR How did you win the competition for taking responsibility, about intentionality. KG There were two things we wanted Bramante, for example—you see architecture your new project for Radio Télévision Suisse to address from the very beginning: (a) that is trying to represent what it would like to (RTS) on the EPFL campus in Lausanne, architecture doesn’t solve anything, and (b) achieve. It accumulates elements of what it adjacent to SANAA’s student center? architecture always stands in the way. And, sees as its main reference but is totally aware KG We were invited to be part of a of course, these were provocative positions. of the fact that it is unable to make what it competition, in the first phase of which we had It’s simply a mistake to make a rendering of would like to make. There is the idea of ideal to send a sketch plus a micro-portfolio. Then, 5 Spring 2016

NR How did the rebuilding of Berlin with in Europe, there was not a single Hans Stimmann, the head of city planning skyscraper; they were high-rises, but they and the idea of Critical Reconstruction were all modern high-rises—clumsy, heavy, Hans become an opportunity to create a new city, and a bit dull. And they didn’t have the with both continuity as well as change? How excitement of the American skyscrapers, so do you decide what to build toward in terms it was clear one had to follow the American of city reconstruction, and how was this time model, even in Berlin. a potentially new opportunity for you in an NR Is your 1993 proposal for Alexander- Kollhoff historic continuum? platz, sometimes called “Little Manhattan,” HK After 1989, one had to grasp an still being developed coherently? What key idea of urban development, which is not elements are being maintained from the just architecture but, rather, the tradition of proposed series of high-rises and the lower- urban life translated into architectural form. rise perimeter-block buildings from which Urban space became more important. In the they grow? Is the project obsolete now that beginning, we thought we could proceed in the city has grown and changed so much an ambiguous way and work with modern since it was conceived? objects that, at the same time, created HK In European cities, even the urban spaces, as with Rowe’s ideas of skyscraper has a spatial significance, urban ambiguity. Then we understood that especially how it meets the street and defines Berlin’s rapid development, from the end of public space—it is not just an isolated object. the nineteenth century to the early twentieth The number of towers at Alexanderplatz has century, was overly technocratic in terms been reduced to eleven from twelve, because of building modern infrastructure, such as two East German buildings have been made sewer, water, and electricity systems. These historic landmarks, so we had to develop defined the street network. Stadtbaukunst, strategies to keep them. However, the the art of building cities, was to be added general idea of the urban design is the same. later or limited to how the street is defined NR Do you believe more iconic build- with a specific height line and how the urban ings are appropriate since the core city has block, composed of individual buildings, is been reconstructed? Do you think Berlin can facing the street. The addition of those build- support these kinds of individualistic, new ings, became what you might call “public projects when the rest of the city is filled in space.” Up to that point, it had nothing to with more contextual projects? I understand do with artistic approaches and was quite there is a new glass-and-steel Frank Gehry 1 2 boring. Today, it works well and has a certain skyscraper proposed by Hines Europe for atmosphere, but it can still be quite dull. Alexanderplatz—is that going ahead? Stadtbaukunst, however, as we know it since HK I have to confess, I’m not happy 1. Kollhoff Architekten, 3. Kollhoff Architekten, DaimlerChrysler Build- Ministeries for Health the Renaissance, was to turn this techno- about it. Gehry’s project is quite the opposite ing, Potsdamer Platz, and Justice, Den Haag, cratic structure into a joyful repertoire of of what I would do. Our concept is not just a Berlin, 2000. Holland, 2013. urban spaces. number of high-rises or objects that would NR What were the main concerns of usually be on the periphery. But, of course, 2. Kollhoff Architekten, 4. Kollhoff Architekten, Delbrück Building, model of scheme for urban development at that time? there are other decision-makers. I think Potsdamer Platz, Alexanderplatz Berlin, HK When Josef Paul Kleihues was the Gehry’s building will go ahead. The founda- Berlin, 2003. 1993. director of IBA, before 1989, social housing tions have to be below the subway, so that it was the means to create urban quality and is quite an issue for engineering. There have space. Initially, there was a critical discussion been long negotiations with the city’s public about the role of housing in the inner city and transportation office and other agencies. that it no longer should be built on the periph- NR Looking back, do you think Critical 3 ery, so it was brought back into the center. Reconstruction succeeded, and would you After 1989, the issue became even more do anything differently? important, especially in the blighted areas of HK In principle, I wouldn’t do anything East Berlin. differently because I know the alterna- NR How did this become a part of Criti- tives, and there were disastrous ones that, cal Reconstruction, post–1989, and how did fortunately, were not built, starting with your own projects relate to the parameters urban highways and gigantic projects in set out by Stimmann, who established build- the middle of the historic center of Berlin. ing heights and material uniformity? You should not forget the inhabitants of HK We had been trained to design Berlin: with this gigantic building boom, they modern, sculptural, freestanding buildings, still wanted to recognize their city. It was largely situated in park-like settings, and, of supposed to be their Berlin and not just a course, we were already critical about that playground for architects. In that sense, the idea. Rowe said that “the city in the park” had building construction after 1989 succeeded become the “city in the parking lot.” That had in focusing primarily on urban scale, the a certain relevance to us at the time. Instead scale of public spaces, and the complex- of focusing on freestanding architecture, ity of small-scale development. Berlin is you look at the texture of the city, made of a very young city, and, in addition, it was parceled blocks, then the sculptural activities heavily destroyed. Today, you feel like you would be on the building façade, instead of are walking through a European city again. the building being a sculpture that you can There is enough left of what you recall from walk around. We looked at how you create a the historic images, but along with new façade with depth. Suddenly, we were back in functions. It was not just rebuilding the Renaissance theory and became interested in historic quarters but recalling what the city Brunelleschi. This was a change of paradigm. was, how the city has been growing, and NR Is this how you designed your Fried- what the individual quality of the city is and richstrasse project, with its stone relief and trying to match that with our needs today and textures? the duration of urban life. HK Exactly. At that time, we were build- NR I know architects don’t like to be 4 ing five- to six-story office buildings that pinned to a style, but would you say you have needed a certain representative quality. This a characteristic one? Hans Kollhoff is the Davenport Visiting continuum controlled by the architect. The could be done with stone more easily than HK I don’t talk about style. I talk about Professor this spring. He founded his architect had to have a repertoire and be with any other material. A few years later, architecture, and I think there’s a lot to do Berlin-based firm, Kollhoff Architekten, curious about the direction in which various we were much more interested in plaster today to bring architecture back to the with Arthur Ovaska in 1978 and since forces at work would push a project, as well or stucco, with which it is easier to create a ground again—it has become quite futuristic. 1984, has been in partnership with Helga as architecture and urban form. And this is monolithic expression. The language of the We have lost our métier. Timmerman. He has taught at ETH Zurich what I still enjoy today. façade was established by these stone slabs NR What are you teaching in your studio and the Berlin University of the Arts. NR How did you apply that in terms to create a tectonic approach in connection at Yale? of the relationships between architecture with the small-scale, single-building plot. And HK I will address Alexanderplatz on and the city, the individual building and the the treatment of this physiognomy changed the basis of our urbanistic project. It is a Nina Rappaport Do you still feel the streetscape, as well as how the city functions our interest in architecture. good moment in the development of our influence of Mathias Ungers and Colin Rowe, as a social space? NR How do you transfer that detailed project because it has just gone through with whom you studied at Cornell in the HK Thirty years ago, after treating the language to high-rise projects in Den Haag? certain transformations. It hasn’t changed 1960s? What continues to inspire you from city with Post-Modern strategies, the term HK I think a high-rise is nothing more much, but I would like the students to design their teachings? “European city” became a strong basis. Until than a vertical extrusion of the urban fabric. individual high-rises that we can show and Hans Kollhoff Ungers and Rowe took that time, architects were designing objects The height doesn’t make a big difference. discuss in Berlin. We will study the way the on the city more and more as the basis for that were dropped somewhere either in the Recalling the early American skyscrapers, high-rise goes together with this tradition of architectural practice and theory. I frequently city or the countryside. For my generation along the street, after a while, you don’t look building European cities that can be learned mention Ungers and Rowe as a couple, and, of architects in Berlin in the 1970s, new at the tops anymore, and the street functions from Chicago and New York. We will look at of course, they had a lot in common, which construction was primarily in the peripher- like any European street. On the street level, Hugh Ferriss’s renderings, which feel as if the is why Ungers invited Rowe to Berlin and ies, except for the IBA. Then, when the Wall you need a base, entrances, and storefronts, buildings are created from the earth, from the why Rowe invited Ungers to Cornell. There came down, suddenly, the center of the city so building height is not so important. I urban texture, and pulled toward the sky—in was a time when they didn’t get along very was the issue. East Berlin architects were, learned from New York and Chicago that, the same way Le Corbusier’s sketches of the well, but, basically, they were talking about of course, much more concerned with the above a certain height, you don’t need to Acropolis make it look as if it were an extru- the same thing. They had a critical attitude capital of East Germany, so they were think- indicate the roofline. In Chicago, Sullivan sion of the earth. Of course, the students toward Modernism, especially in terms of ing more organically. West Berliners, like started to neglect the roofline. Entrepreneurs will also get a good idea of how politics and urbanism. They thought morphologically, and myself, suddenly woke up and were forced and architects became much more interested urban design work in Europe. they saw the performative and technological to look at traditional urbanism and conven- in the idea of verticality, so they pulled the possibilities of architecture and the city as a tional architecture. building into the sky—thus, the skyscraper. 6 CONSTRUCTS YALE ARCHITECTURE Kathleen James- Chakraborty

Europe to British Mandate Palestine and wore traditional clothes or the Nehru jacket became a fervent Zionist and then came to were also extremely interested in Modern the United States. Modernism was supposed architecture, partly because the British to have been mostly about social goals, but had made such good use of India’s earlier Mendelsohn was a very successful commer- architectural heritage. There’s a wonderful cial architect. He designed cinemas and essay, published in Delhi just about at the department stores, and these were new and time of independence, that talks about the exciting buildings, including in the way that New Haven train station—not the one we see they doubled as advertising. He also worked today but the one by Henry Austin. It says very well on urban sites, without devastating that if Indian architecture can be turned into them. I’ve always taught a history of Modern- a New Haven train station in the middle of the ism that was inclusive in terms of geography nineteenth century, why shouldn’t Indians and in terms of gender and diversity. I’ve be building Modern buildings? So, you get taught apartheid and its relationship to both a political association with indepen- Modern architecture in terms of the control dence and excitement about the new in this of space. I also find that, in Latin America particular place, as opposed to other forms and Asia, Modern architecture is much more of cultural production in which the British had pervasive and indeed, popular than in many made fewer inroads. You get the sense that 1 Western countries. you can have a new world here. 1. Fiat Tangliero Building NR I think you’ve also found an interest- NR Then there was the ubiquitous in Asmara, Eritrea, ing synergy in the evolution of Modernist use of concrete, which was inexpensive, Giuseppe Pettazzi, 1938, photograph by architecture in tropical climates such as and Modernism became an international David Stanley. Africa and Brazil, where vernacular systems architecture. for air circulation—shutters, verandas—were KJC After World War II, in the West, you 2. Petersdorff Store in absorbed into the movement’s projects. In can no longer pay Italian stone carvers what Breslau, Germany (now Wroclaw, Poland), fact, how do you see the vernacular inspir- you paid them to build the colleges at Yale, Erich Mendelsohn, ing Modernism, and vice versa, in terms of for example. And concrete is the perfect 1928, photograph by expanding into those urban societies? material to use in the third world because it’s Myriam Thyes. KJC If you’re looking at Modernism cheap and labor-intensive. You get amazing 3. Henry Austin, through the corpus of a couple of big stars, work in concrete from a builder-vernacular Train Station New then, clearly, you’ve got a European-to- level all the way up to good architects experi- Haven, 1848, Henry American story. But if you’re looking at menting with what can be done with it. It has Austin Papers, 1851–1865 (inclu- Modernism as it became the architecture been used by indigenous elites in places like sive), Manuscripts of middle-class people, it goes both ways Thailand as well as by people who clearly had & Archives, Yale in some of these other places in the world. an Italian or Classical European heritage. University. Modernism has to engage vernacular tradi- NR You also studied with William Jordy tions, also, in the relationship between interi- before you went to UPenn for your PhD. How 2 or and exterior space, even in a cold climate was he influential in terms of your expansion- such as Japan’s. Kahn was an interesting ist history of Modernism? example of going to South Asia and engaging KJC At Brown, I took two seminars issues of climate when air-conditioning was with Jordy. I was also a slide librarian and, not affordable—opening up many different two or three mornings a week, worked very ways to look, even at ancient Rome, while closely with him to get together his lectures. also borrowing from India. Then, I went to Penn and studied with David NR How has the dialogue between the Brownlee and Renata Holod and, later, at vernacular and Modernism differed in terms Bryn Mawr, with Barbara Miller Lane. I think of colonalism imposing a style on a place like one of the really important things about India? And have you reflected on that in terms having studied with so many of the major of power and control of a local architecture? figures writing about architectural history KJC That is a really an important across those years is that everyone told a question, and I don’t think the Modernists different story—and so you had to write your were necessarily any better than the colonial own story out of the intersection of their architects; they, too, came in and imposed sometimes contradictory ones. their style. Kahn was better, but Corb was NR What’s your next project, and what not, although a lot of Indians were very happy are you captivated by now? with Chandigarh because he looked at very KJC There are several different things sophisticated Indian buildings—the Red Fort, I am working on, including a book on Louis in Delhi, and the Jantar Mantars, in Jaipur. Kahn. I’m also very interested in doing a 3 I think there is a basic tension in architec- project focusing on women—not just archi- ture between those who have agency; the tects but also designers, painters—and the Kathleen James-Chakraborty is the Americans in the resorts, as well as to keep architect and the client have agency but so, topic of migration, and how the possibility of Vincent Scully Visiting Professor in returning to the buildings that continue to look ideally, should the people for whom the build- moving around in space is potentially even the history of architecture. She taught two as strong as when Scully explained why they ings are made. more important for women than drawing from seminars this past fall. were important. NR How did Modernism become the life model. I am looking at the way Linda NR You have traveled to teach at many imbued with different political meanings as Nochlin talked about why there have been schools. How did you end up in Dublin? it evolved or landed in different places? Did no great women artists. I want to go back Nina Rappaport You may be the only KJC I ended up in Dublin very straight- it hold meaning everywhere the way it did to the late sixteenth century and begin by Vincent Scully Visiting Professor who actually forwardly: my husband is Indian and teaches in Europe, or was it evasive because of its comparing Lavinia Fontana’s and Peter Paul studied with Scully! How did he influence you in Germany, so I was teaching half the universal purity? Rubens’s depictions of Eleanor de’ Medici when you were a student at Yale? And what time at Berkeley and living half the time in KJC Modernism was celebrated as a and, then, bring it up through the twentieth is your approach to teaching his subject of Germany. My son was starting first grade, utopian project. But in cities like Asmara, century and beyond. the Shingle Style—is it revisionist interpreta- and we couldn’t continue these parallel lives. the capital of Eritrea, it boomed under the NR Why are you looking at this particu- tion or a continuation of his trajectory? I was lucky enough to get a job in Dublin, Italians while they used the city as a staging lar topic within feminist studies? Kathleen James-Chakraborty Scully’s where the architectural scene is unique for ground to capture Ethiopia. You can hardly KJC There are several different things. class was certainly one of the things that the degree to which women play a major imagine anything more ugly—besides The 1970s was a decade in which opportuni- made me want to be an architectural historian, role, as they do across the visual arts in World War II—than the Italian colonization ties for women changed so dramatically in rather than a historian of painting. Moreover, Ireland. Last summer, I even worked on the of Ethiopia, complete with gas warfare. ten years, and, as a young woman, I thought I realized that architecture mattered because planning permission for a major new build- Nevertheless, it produced buildings that are they would continue to change at that pace. it was public art for everybody and was very ing by Grafton Architects and helped to very compelling to those of us interested In fact, they haven’t changed very much, different from just looking inside a museum. convince the officials that the design should in Modernism. These are, quite exception- and, as a feminist, I’ve always incorporated I took Scully’s seminar, and then he was my be accepted. ally, buildings that were designed mostly by women—as designers, clients, builders, adviser on a thesis focused on the Boston NR Regarding your research, I’m architects, although, in these parts of the and laborers—into my classes, but I hadn’t Public Library. I started this semester’s interested in your expansion of the scope of world, there is often a rich vernacular archi- written very much about them until recently. seminar with his book on the Shingle Style Modernism both in terms of what it is and tecture of Modernism coming out of builders Lately, I’ve spoken at recent conferences as a point of departure. If you’re interested in where it landed and flourished. How did you working closely with clients. But, in Asmara, about Lilly Reich, Sonia Delaunay, and the domestic architecture of New England, begin to focus on Modernism and then follow there is a really interesting group of buildings Margaret McDonald Macintosh. Since there particularly the resorts and suburban houses its trail around the world? by good Italian architects for all the wrong has been much less progress than I antici- of 1870 to 1910, you start with this monument KJC My master’s thesis was on Louis political reasons. pated, I would like to weigh in on creating a in the history of American architecture. Then Kahn’s buildings in Ahmedabad, for which In India, it’s about a fresh start after history that I know is there but is not appreci- I asked the students, where are we today? I used his archive at Penn, and this sent me independence. Indians listened to traditional ated enough. How has the story changed, and what other to India. I took classes with Renata Holod music and reinvented Indian classical dance things do we look at? That gave us the oppor- on the history of colonial architecture, which as something for their daughters, not just for tunity to look at the role of women, the place was really inspirational. My dissertation was girls who had no alternative but to grow up queer identity has in this, the place of African on Erich Mendelsohn, who moved from within the temple. In the 1950s, Indians who 7 Spring 2016 City of 7 Billion

persons vanish into mere pixels of surface films and Cosmos-style documentaries. texture. Yet, this world-city is not devoid of It portrayed a voyage through undersea architecture, even if it contains no trace of mountain ranges and outer-atmosphere architectural form. Hsiang and Mendis trans- cloud formations—or what the curators call form the whole planet into an architectural “a vertical gradient of urbanization.” The field through disciplinary techniques of repre- imagery of this thickened horizon, though sentation. Their sections, plans, axonometric alluring, was a little facile, except for an projections, scale models, and perspective amazing 12-foot-tall section view through the views reintroduce us to our own world as an Earth’s crust and atmosphere showing differ- architectural construct. Drawing does not ent activities occurring at different altitudes— grant autonomy, however: on the contrary, for example, oil wells several thousand feet the human-made elements of the world-city below sea level, commercial airplanes at six are utterly interdependent with naturally miles above sea level, and low-orbit satellites occurring ones. at 440 miles up. City of 7 Billion received the 2013 The bread-and-butter of the exhibition Latrobe Prize from the AIA College of Fellows. was the “Drawing Set,” in which Hsiang and The prize came with a $100,000 research Mendis converted large amounts of geodata grant, and the exhibition was displayed, into representations of architectural systems. in part, at the 2013 Shenzhen-Hong Kong The framed black-on-white prints, evoking Biennale of Urbanism and Architecture. Its fine architectural ink drawings of a bygone 2015 installation at Yale School of Architec- era, pictured the settled Earth as a giant work ture was supported by grants from the Hines of architecture seen from outer space. For Research Fund for Advanced Sustainability example, a “plumbing elevation” showed and the Graham Foundation. The centerpiece rivers and lakes, an “electrical elevation” of the six-part exhibition was a 52-foot-long indicated infrastructure of fuel extraction and model of the Earth’s continents arranged production, and a “mechanical elevation” into a single, sprawling supercontinent, as in depicted typhoons that push and pull vast Buckminster Fuller’s Dymaxion map. Extrud- amounts of pressured air as if they were a ed vertical bars represented current and gargantuan HVAC system. The implication future population density, forming a second- is that self-organizing climatic systems are ary topography of peaks and valleys atop the all but interchangeable with human-made physical topography. Clusters of needlelike infrastructural systems and that architecture extrusions marked the teeming “epicenters” and urbanism should be understood in terms of population, or what most people would of such systems. call the world’s largest cities. They formed In the sixth section, “Models of the something like a global skyline, but they did World,” Hsiang and Mendis returned proper- not represent buildings. These abstractions ly to the role of curators by assembling a of data are the closest the exhibition came to collection of other perspectives from the showing the human beings who inhabit the field: texts, drawings, animations, and other titular city of seven billion. media from various thinkers and practi- The other three-dimensional compo- tioners, many of whom participated in a nent was a 14-foot-diameter globe titled symposium held at Yale in October 2015 (see “Sphere of the Unknown,” suspended review page 8). In contrast to the sections from the gallery ceiling. Part world-image, exhibiting the curators own work, this one part network diagram, it could have been a included an eclectic variety of materials, trite piece of iconography if not for the rich sometimes feeling more like a bibliography information modeled all over its surface: than an exhibition. Nonetheless, Hsiang transmission lines, shipping lanes, air routes, and Mendis deserve credit for attempting to rail and road systems, topography, and both gather an intellectual conversation and bathymetry. The weblike striations seemed to contribute to that conversation with a wealth installation of City of 7 Billion at the Yale Architecture Gallery, photographs by Richard House. suggest full territorial control, but Hsiang and of original content. Mendis invited viewers to draw the opposite The exhibition’s resolute emphasis on conclusion. There remains “a tangible limit to data made a strong case for urbanization as a human knowledge,” they wrote in the exhibi- systematic phenomenon but left unresolved City of 7 Billion, an exhibition organized 7 Billion shows a city without a face, either tion notes, drawing a parallel with carto- the role of architecture within these systems. and designed by Joyce Hsiang (BA ’99, architectural or human. It contains no sign graphic efforts from centuries past. They The revival of systems thinking also calls for MArch ’03) and Bimal Mendis (BA ’98, of buildings or architectural design as we invoked the 2014 disappearance of Malaysia a reminder of the criticism that the architects MArch ’02), was on display at the Archi- usually think of it. It has no form apart from Airlines flight MH370 to suggest that human of Team 10 leveled at CIAM in the 1950s: tecture Gallery from September 1 to systems of geology, hydrology, infrastructure, omniscience is only evidence and notes that that the city consists of important factors November 21, 2015. resource, and energy flows. Most jarringly, Google Earth’s seamless presentation, in beyond schematic “functions” such as the city contains no people, but only abstrac- fact, results from a “hybrid quilt” of images circulation. How do large-scale systems tions of population data and the systematic taken at different times. They might have relate to everyday life and culture? The City City of 7 Billion, an exhibition by Joyce traces of modern civilization. added that some of today’s surveys and of 7 Billion does not address such questions, Hsiang and Bimal Mendis, continues a This conurbation is less an entity virtual models of the world contain pockets but that does not necessarily mean that modern tradition of projecting the dissolu- or a place than a collection of large-scale of terra incognita in the form of blurred or Mendis and Hsiang intend to exclude them tion of urban borders. Frank Lloyd Wright’s systems that govern the circulation of energy, obscured sites of strategic vulnerability. from consideration. The looming threats of Broadacre City (1932–1959) and Superstu- minerals, gases, water, bodies, data, and One of the most fascinating parts of climate change and international conflict dio’s Continuous Monument (1969) both human-made objects. Hsiang and Mendis’s the exhibition was “Urban Cores,” which are prodding a new generation of architects offered scenarios for the endless expansion world-city takes the environment itself as sought the essence of the city far from to focus on extradisciplinary fields such of urban infrastructure and development. a kind of megastructure that seamlessly cultural or commercial centers. In this case, as geoscience and geopolitics, calling into Jean Gottman’s Megalopolis (1961) conjured blurs natural and technical systems. All this the “cores” comprise cylindrical geological question the scope and nature of architec- a city stretching all the way from Boston recalls something of Reyner Banham, but sections that are virtually extracted from tural design. Hsiang and Mendis’s exhibit to Washington, D.C., and Henri Lefebvre without the sense of a protected architectural far-flung mines, wells, nuclear-weapons ventured into these fields and came back theorized the “complete urbanization” of envelope. Their planetary city is inseparable testing sites, and petrochemical storage not with an answer but with a provisional society (1970). More recent contributions to from the shifting land and the swirling clouds. caverns, up to 30,000 feet below ground. The strategy for engaging with global systems: in the idea of a world-metropolis include Saskia Indeed, City of 7 Billion depicts the city not curators’ argument is that “all urban centers short, territory plus data can be turned into Sassen’s Global City, the Urban Age Project’s as an overlay upon the earth but as integral are inextricably tethered to these unknown potential architecture by virtue of superscale Endless City, and Neil Brenner’s Implosions/ and coterminous with it. It takes for granted underworlds.” There is no doubt that representations. Their meticulous inves- Explosions: Towards a Study of Planetary the epoch of human-driven environmental metropolis and hinterland fuel each other’s tigation confirms the tenuousness of the Urbanization. change, the Anthropocene, itself the subject development, though there does remain Anthropocene epoch. The ad hoc world-city Hsiang and Mendis, who are instruc- of an architect-led research project and room to doubt the total conflation of the two. of the twenty-first century is probably more tors at the Yale School of Architecture and exhibition, Anthropocene Observatory, Hsiang and Mendis evidently conceived vulnerable than its predecessors to environ- founding partners of Plan B Architecture and curated by John Palmesino, on display in “Urban Cores” as a three-dimensional exhibit mental and geopolitical catastrophes. City Urbanism, portray the world-city not as a Berlin and London in 2013. of cylinders over ten feet high. For lack of of 7 Billion did not quite make the case that metaphor or a prospect but as an existing City of 7 Billion almost seems funds or time, they converted the concept the world today constitutes one big city, but reality. Their models and drawings, realized postarchitectural, for it supersedes the into drawings. Even in a two-dimensional it beautifully illustrated the connections that with the help of a team of students and traditional scale of architectural operations. state, these studies beautifully reveal latent bind the world together. inspired by the ideas of Peter Sloterdijk, Or it might be prearchitectural, in the sense geological signatures of urban civilization. define the city as a “volumetric bubble” that it prepares the terrain for an architec- The fourth piece, “Scenes from the — Gideon Fink Shapiro that includes the mineral depths below, the ture yet to come. The exhibition set aside Horizon,” was a continuous 255-foot-long Shapiro is a postdoctoral associate at the gaseous heights above, and the watery questions of urban form and cultural life in banner of landscape imagery wrapped Yale Digital Humanities Lab. He earned a margins offshore. Here, their vision of the order to reveal the material and energy basis around the perimeter of the gallery. Its format PhD in architecture from the University of world-city surpasses antecedents that dealt for urban civilization. Seen from the distance was reminiscent of old-fashioned scroll Pennsylvania. primarily with surface phenomena. City of of outer space, individual buildings and paintings, while its scenery recalled sci-fi

Constructs_Spring_2016_Final_1_gr2.indd 7 2/2/16 12:27 PM 8 CONSTRUCTS YALE ARCHITECTURE The We and the World :

The J. Irwin Miller symposium, “A Constructed World,” was held from October 1 to October 3 and organized by assistant professors Bimal Mendis and Joyce Hsiang, in conjunction with the exhibition City of 7 Billion, on display in the Architecture Gallery.

In his landmark 1966 essay “The Economics of the Coming Spaceship Earth,” Kenneth Boulding, a pioneer in the field of environ- mental economics, began by claiming that “we are now in the middle of a long process of transition of the nature of the image which man has of himself and his environment.” He went on to assert that a dramatic change was taking place: a shift from the “cowboy economy” and the image of an endless 1 2 frontier—where there was always somewhere to go if resources ran out or social structures have long resisted the appeal to lead in understanding of biology, and our economic biosphere that far exceeds any other biotic failed and where there was no reason to be the realm of both material and speculative models? Who is this “we” that is being system. The city is our crucible: a test and concerned about potential limits impacting engagements with environmental pressures; invoked, and to what end? an opportunity not only for the present but social patterns—to a “spaceship economy” however, as these pressures become A number of compelling histories also as a record for millennia to come. All in which, as he wrote, “man has been accus- more acute—if the “Constructed World” followed in the sessions “Demolition” and the same, there was an unspoken impera- toming himself to the notion of the spherical conference is any indication—it becomes “Excavation.” Lucia Allais, an architectural tive embedded in his comments: because earth and a closed sphere of human activity,” increasingly clear that some architects have historian from Princeton, in “Designs of humans have produced cities that will leave the world as a closed system “without unlim- been here all along, and a fertile field for the Destruction,” explored the terms by which geological traces, Williams argued, cities ited reservoirs of anything.” discourse has been laid. ancient monumental architecture was an operate as geological beings. So what Two relevant issues stand out from Parallel to the symposium was the important medium for the elaboration of opportunities does this portend? Boulding’s essay, both of which were evident exhibition City of 7 Billion (see page 7), global bureaucracy and dependent upon Historian and Columbia GSAPP at “A Constructed World,” a conference held also curated by Mendis and Hsiang, who the formalization of standards. The League dean emeritus Mark Wigley also sought to at the Yale School of Architecture on October opened the conference with a presentation of Nations and the United Nations, which operate across time scales in his discussion 1−3, 2015, and organized by assistant of their research, which had formed the grew from the first, were both essential in “Excavating the Future,” of the radio as a professors Joyce Hsiang and Bimal Mendis. framework for both exhibition and discus- to, and dependent on, the organization of sort of antithesis of architecture that helped First, are there real physical limits to material sion. Most compelling in their discussion of temporality in both the abstract sense and designers and others to see the world on resources and economic expansion, and, data-rich imagery of global ecological and the bare condition that a major innova- completely new terms—or at least to hear if so, what can be done about them? In his economic systems was the intersection tion of these institutions was the coming it and extrapolate a visual model of time, own time, Boulding’s premise of the closed between architectural capacities to produce together of global leaders. Constructing a space, and atmosphere that would have system came under much analysis and criti- speculative images about “the relation- world, indeed, in the face of the decay of been insensible before the communication cism, even in the period when he worked for ship between man and environment” and ancient monuments. Pierre Bélanger, associ- revolutions of the twentieth century. As usual, the think tank Resources for the Future, a the imperative to strengthen engagements ate professor of landscape architecture at Wigley’s presentation was as entertaining as group of economists and scholars that, since across fields. The imagery portends an Harvard’s GSD, with “Deterritorialization: it was erudite, drawing not only on Buckmin- the mid-1950s, has been looking at how diffi- urgent situation in which architects are called Postmodern Ecology and the Emergence ster Fuller, the subject of his most recent culties in resource extraction could impact on to examine their discipline in new ways— of Urbanism after 1993,” followed with an book, but also on 2001: A Space Odyssey, global economic and political systems. not just to make cooler images, though why idiosyncratic presentation of 1993 as a year the blue marble images in the Whole Earth Boulding’s viewpoint was not the dominant not, but also to inform those images with in which something significant changed. He Catalog, and the architectural visions of one; another economist, Harold Barnett, more precise data, with a better understand- referenced a range of important publications Constant and Friedman. Along the way, he had proposed, in 1959, that “the threat of ing of media and its effects, and with careful on infrastructure and architectural theory— helped the audience recognize that architec- economic resource scarcity,” though in consideration for how images of possible remarking, in particular, on the importance tural attempts to not only see but design the itself illusory, is an important driver for the futures can facilitate or resist the material of Keller Easterling’s work and the establish- world were essential to the late-twentieth- technological innovation leading to the more changes that they imply. ment of a number of women in prominent century expansions of Modernism. Closing efficient use of fossil fuels and other limited The conference took on these issues positions in the field. Bélanger identified the the panel, Liam Young, of the Architectural resources. In other words, the image of a directly, with presentations from a range of increased acknowledgment of the city as a Association, presented a self-absorbed closed system was an important instigator to different fields—from economics to cartog- system of systems, corporations that have video dream sequence in “City Everywhere: technological innovation, which would keep raphy—all concerned with understanding GDPs larger than countries, and increasing Kim Kardashian and the Dark Side of the pushing those frontiers further into the future. the import of recognizing the world as a importance of soft infrastructure, and argued Screen,” which was a low point of the event. As the convening of “A Constructed constructed entity that is subject to, and that the scale of architectural operations has It represented a kind of imagistic excess World” suggests, these debates have now, perhaps, even more available for human approached the regional without adequate and collapse into entertainment-derived returned around the emergence of the new intervention. The first panel, “Surveys,” was assessment of how this shift transforms the production values that felt, despite his facility Anthropocene, a geological epoch, which one of the richest. William Rankin, a Yale practices and principles of the field. with an iPhone, much more twentieth than is characterized by humans operating as a historian of science, in “Coordinating the Bélanger’s presentation also reiter- twenty-first century. It might have gone down geological force on the planet. Architects World: Graticule, Grid, and GPS,” presented ated, if not reified, the parochial sense of the better after the evening’s round of martinis. are increasingly implicated in questions a fascinating history of the transformation of architectural “we.” He repeatedly insisted Closing Friday’s discussions, the related to the carrying capacity of the Earth mapping systems from an abstract system of that “we” misrecognized, took the wrong keynote lecture was by renowned German and, perhaps even more so, the potential coordinates to the all-over data of GPS and opportunity, or inadequately interpreted philosopher Peter Sloterdijk, of the Karlsruhe for human activities to remake an ecologi- the “embedded subjectivity,” as he called some phenomena—from 1993—as if all University of Arts & Design, whose formula- cal world so that it is more amenable to it, that these new means of understanding architects emerge from a similar background tion of a philosophy of cosmopolitanism existing social and economic patterns. A geographic contours and differences imply. and aspire to a similar future. This struck an around the figures of spheres, bubbles, and recent “eco-modernist manifesto,” authored The material resonated across the subse- odd chord in a conference that was explicitly forms suggested a provocative set of inter- by scholars and environmental activists quent discussions in the panel. Kathryn extra-architectural. On a wider scale, the connections with the conferences topics. He including Linus Blomqvist, Stewart Brand, Sullivan, Under Secretary of Commerce for question of the “we”—in Boulding’s formula- has been introduced to architecture, in part, Ted Nordhaus, Michael Shellenberger, and Oceans and Atmosphere and NOAA Admin- tion, the anthropos in the “Anthropocene”— through his imperatives that “the world must Rachel Pritzker, operates on the premise istrator, in “Resilient by Design: The Role of and the implicit return to species showing, itself be construed as having the character that “human prosperity and an ecologically Environmental Intelligence,” explored the after decades of careful arguments regarding of a house” and that the relationship of viable planet are not only possible, but also pressures of the Anthropocene from a multi- the unevenness of modernity and its effects, people in the West “to the world as a whole inseparable.” “Humanity’s extraordinary planetary perspective, full of familiar plati- a need to make the imperative of the Anthro- is that of inhabitants in a crowded building powers,” the authors insist, can be used in tudes about the need for immediate social pocene more specific. called cosmos.” (Kenneth Boulding, “The “service of creating a good Anthropocene.” change, but reframed according to an insis- The conference was ambitious in its Economics of the Coming Spaceship Earth.”) This is in contrast to much scholarship in the tence that careful attention to biotic systems pursuit of fruitful interconnections and new Sloterdijk has been well read and discussed sciences and humanities that has seen the will lead to new knowledge. Aleh Tsyvinski, of kinds of knowledge directed at architects but at Yale, and his comments resonated across Anthropocene as a discursive intervention Yale, in “The Constructed World of Econom- not proscribed by the traditional limitations a number of the day’s discussions. The force that can raise awareness of and quicken ics,” managed to make amusing the bare fact of the field. In this context, the presentation and complexity of his theory was, however, the process toward reducing ecologi- that no one wants to pay the price entailed by Mark Williams, a paleobiologist from the a bit lost in the humility and gentleness of his cal footprints, slowing consumption and by a real reduction in carbon emissions. By University of Leicester and one of a handful demeanor. He projected a number of images economic growth, and generally changing making the audience hypothetically commit of scientists, along with Jan Zalasiewicz to suggest different ways in which the image social patterns to mitigate their impact on an to paying according to how much we cared and others, who has sought to popularize of the world, and human knowledge of it, already damaged planet. about the environment, a number of us and normalize the Anthropocene thesis. The has transformed since the Classical period Architecture has become increas- faced the reality of a hypothetical multi- seminal point in his talk, “Cities Considered and how these images have suggested new ingly invested in both the technologies of thousand-dollar flight to California—should as Trace Fossil Systems,” was that the city alignments between ethics and practice. energy efficiency—and, thus, of stretching we want to not only offset emissions but also of seven billion, or any other city, is the The second day started with the out the viability of existing resources—and compensate for other passengers and other means through which human life can register same level of energy as the first in another the articulation of cultural attitudes in the particulates. At the end of this first panel, across a geological time scale. Introducing diverse and compelling panel, “Scaffolding.” context of persistent environmental threats. It important questions from the audience the concept of the “technofossil,” Williams Nicholas de Monchaux, an architect from is beyond technologies of efficiency that the framed the discussions of the next two days: sought to clarify that urban agglomerations U.C. Berkeley, presented, in “Local Code,” design fields have gained some purchase on Where do politics lie in these accounts? How leave traces across millennia and that these his research on the spacesuit and excerpts recurring debates between neo-Malthusians do we encounter environmental threat and signals brought the human species into from a forthcoming account of codes, data, and their detractors, between the “good” and economic inequity simultaneously? What is contact with a scale of systemic effects— and the realities of living simultaneously in the “bad” Anthropocene. To some, architects at stake in refining our views of the world, our a capacity, as he put it, to dominate the the real and virtual territory. As much as the

Constructs_Spring_2016_Final_1_gr2.indd 8 2/2/16 12:19 PM 9 Spring 2016 “A Constructed World”

disentangle, for the purpose of analysis, geopolitics, information, and material threats, if only to recognize the absolute nature of their entanglements. Bratton’s contribution was a welcome reminder of the complexity of the symposium’s project: how to consider a new means for design in a world that is increasingly reliant on it. A closing address presented by 3 4 5 6 Hashim Sarkis, dean of architecture at MIT, elegantly brought the conference back to some of its central themes: the capacity for architects to see the world; why it is impor- tant for architects to do so; and the complex- ity of negotiating between heterogeneous and homogenous perspectives in the field and on the practices—images, buildings, and technologies—that it produces. Sarkis 7 8 9 10 carefully led a discussion of Le Corbusier’s early images, which approached a world- view in a period when such visions were constrained both by data, or the lack thereof, and by the need to invent new methods of representation. His presentation helped to clarify that architects have tended—at least since early Modernism, if not long before—to design the world on terms that are always deeply enmeshed in the priorities and princi- 11 12 13 14 ples of concerns articulated outside and alongside the field. The architectural capacity to see the world is tantamount to the ability of a new human species, redefined amid the pressures of the Anthropocene, to find effec- tive ways to reconstruct it. Sarkis’s presentation also made clear that the importance of the symposium was not only in questioning the role of the archi- 15 16 17 18 tect in socioenvironmental change but also what new forms of architectural discourse will emerge as the ambiguities in the constructed nature of the world—between 1. William Rankin, networks of the globe. 4. Mark Williams 9. Lucia Allias and Pierre Bélanger with 14. Adam Lowe Elihu Rubin at the podium. the good Anthropocene and the threats of 2. Town of Shimabara, Nagasaki 5. peter Sloterdijk 15. Liam Young species decline—come to the forefront even Prefecture, Kyushu, SW Japan, buried 10. Mark Wigley more. Indeed, debate over the future of cities by the volcano on the island of Kyushu 6. nicholas de Monchaux, Clara 16. Benjamin Bratton as a means to engage the plight of humanity in 1991, courtesy Mark Williams. Irazabal, Annabel Wharton with 11. Clara Irazabal Phillip Bernstein 17. Hashim Sarkis is certainly a growth industry. The organizers 3. Kathyrn Sullivan, William Rankin, 12. John Palmesino of the conference must be congratulated for Aleh Tsyvinksi, with Dana Tomlin at 7. neil Brenner 18. Bimal Mendis and Joyce Hsiang their boldness in bringing together such a the podium. 13. Aihwa Ong 8. Tim Ingold diverse range of scholars and practitioners. At the same time, the precise relationship between economic knowledge, astronauti- cal detail, and prospects for the future city remained a bit vague. We do not, of course, spacesuit served as a technology allowing for the Haus der Kultur der Welt, in Berlin, in from it, occupying an interstitial space rely on symposia to “solve problems”; rather, a different way of inhabiting the universe, so 2014—presented a recent project about the both above the earth and implicated in the they often reveal the aporias that drive future humans, he proposed, remade themselves coast of Europe. Reframing our perception movements and management of the earth research: in this case, developing more in order to live in space—an important of European geography through images that and its systems. effective means of communication between reflection of the embedded assumptions of disrupt familiar viewing methods—including The final session, “Assemblies,” architecture and its new, adjacent fields— a “constructed world” that also necessarily torqued globes and data-driven mapping sought to establish a ground for a more economics as much as art history, climate constructs new humans. The first spacesuits perspectives—the project makes an impor- creative approach to the knowledge of conse- science as much as cinematography— were bespoke products that intensified a tant gesture toward opening up the social quences pervading our historical moment seemed to be the goal, and a worthwhile one. universe of systems knowledge. Clara Iraza- and material basis of territoriality to new of the Antropocene. Artist Adam Lowe, a Some virtual programs that accom- bal, of Columbia’s GSAPP, followed with an forms of intervention. This was followed by member of the interdisciplinary group Factum panied the event were also compelling. Over intricate description of the work she and her Neil Brenner’s presentation of the work of his Arte, presented a number of innovative the fall semester, “A Constructed World” was colleagues have been doing in Latin America research lab at Harvard focusing on “Plane- means of visualizing globes. Harkening back supplemented by the conferences “Conflict in her talk “Transbordering Planning.” Follow- tary Urbanism.” How do distinctions of urban to the revolution inspired by Buckminster Shorelines,” at Princeton, and “The Scales of ing on her work questioning the role and and non-urban continue to serve fields in Fuller’s Dymaxion project, Lowe’s presenta- Environment,” at Columbia GSAPP—demon- effectiveness of urban-planning models in which the visualization of constructed worlds tion brought to the fore an aspect of the strating a wave of interest, perhaps even a the global south, the project brought concep- is paramount? What other forms of visualiza- symposium that was as much about seeing sea change, in the willingness for architec- tual frameworks into real-world conditions, tion are possible? Brenner’s proposal was as it was about constructing the globe. ture to take the climate-change issue head exposing costs and benefits. Her community quite straightforward: Countervisualization Inverting the dynamic relationship between on. All three of these conferences combined partnerships, self-build communities, and can allow for more precise analyses of the land and sea—and the projections and inter- educating architects as to the complications other, similar practices are constructing accelerated geo-economic restructuring ventions this entails—leads to a method for the building industry faces in adjusting to worlds with intricate attention to gender that has been taking place over the past few engaging with the processes, as Lowe put climate change—the stark realities—and the and economic inequity. Annabel Wharton, decades, especially with regard to the broad it, through which our understanding of the cultural transformations that are possible professor of art history at Duke University, diffusion of the urban around the globe. environment has been constructed. Aihwa and already underway, either at the scale of argued for a more nuanced understanding But, of course, there is much more at stake: Ong, an anthropologist from Berkeley, in her the planet or the community center. All of this of “scaffold” and “model” as conceptual Treating the planet as an urban construct talk, “City of 1 Billion,” discussed her research reinforces the importance of reaching out to frameworks for producing scholarship and threatens to integrate the “good Anthropo- on Beijing in which she used visual tools to other fields, as this Yale symposium did, to design. Both terms were seen to be provoca- cene” discourse into that of the technofos- understand complex changes in citizen- expand upon both the “we” and the worlds tive for their multiple meanings, though, in sil, where a critical capacity to understand ship, identity, and biology and to critique the constructed in architectural discourse. the end, it seemed that the latter was privi- human impact on the globe is minimized, if premise of the global city. leged for its inevitable nature of process and not discouraged. Brenner avoided this trap, Benjamin Bratton, a historian and —Daniel Barber for its capacity, as both object and figure of arguing that the analytics he proposed could theorist from UCSD, developed the compel- Barber (MED ’05) is an assistant professor thought, to be deployed tactically. A vibrant prove useful to ongoing struggles for collec- ling thesis from his forthcoming book, at the University of Pennsylvania School discussion followed in which Wharton’s inter- tive engagement. The Stack: On Software and Sovereignty, of Design, the Currie C. and Thomas A. vention was debated for the ways in which Anthropologist Tim Ingold of the which proposes the “stack” as a figure for Barron Visiting Professor in the Environment these different figures re-cast the past and University of Aberdeen closed the panel understanding the multilayered structure and Humanities, Princeton Environmental future of designed interventions, rescripting with an engaging discussion of humans as of the seemingly all-over nature of software Institute (2015–16), and the Alexander von possibilities for infrastructural engagement “exhabitants” of the Earth’s fragile crust. platforms. Focused on the planetary scale Humboldt Foundation Research Fellow, that had been on the table since the previous Using the chalkboard(!), he diagrammed a of computation, Bratton argued that a new Rachel Carson Center for Environment day’s sessions. number of ways to visualize the world, from understanding of space is needed to encom- and Society. Saturday’s second session, children’s drawings to scientific images, and pass both the physical and the virtual, as “Framing,” was another high point. John contrasted the planetary with the earthly well as the frameworks of program and code, Palmesino, of London-based design to indicate the difficulty of seeing humans border and wall, and other seeming anach- research firm Territorial Agency—whose within our standard conception of the globe. ronisms that influence how we think through project “The Anthropocene Observa- This was an urban architectural argument— spatial possibilities. Filled with provocative tory” was one of the richest outcomes of recognizing ourselves as exhabitants, insights, the talk interwove design aesthet- the elaborate “Anthropocene Project” at distinct from earthly life but not removed ics with projective ethics and sought to 10 CONSTRUCTS YALE ARCHITECTURE

Richard Rogers, and Marshall D. Meyers— showed the high quality of design during Rudolph’s tenure. A 1963 photograph of Celebrating architecture students at their drafting tables in the double-height volume of Rudolph’s A&A Building, the sculpture of Minerva presid- ing off-center, presented the single most compelling image of a space for architectural 100 Years at Yale learning in the entire exhibition. A generously proportioned space and, amply illuminated by daylight, Rudolph’s central volume allows for both individualism and community in an optimistic and confident way. After heroics came antiheroics, as shown in the next section, “Architecture and Revolution, 1965–1971.” Focusing on the era of student activism in the late 1960s and early 1970s, the section is, literally, bursting with archival material. A lot happened during Charles W. Moore’s tenure as chairman and, later, as the program’s first dean, once the architecture department became a graduate school independent of the art department. The wall panel and vitrines are packed to capacity with photogenic images from “the most tumultuous period in the school’s history,” an era capped by the 1969 fire that Pedagogy and Place on display at the Yale Architecture Gallery, photographs by Richard House. severely damaged Rudolph Hall, “leaving wounds that would take more than thirty years to heal,” according to the curators. In a video interview, Turner Brooks empha- architectural education at Yale, making it chairman of the art department. The arrival sized what the Post-Modernist Moore was Pedagogy and Place unique among design schools. of Howe and Albers marked the beginning opposed to in Rudolph’s building, but what I As a history, the exhibition is an of the university’s ascendancy in the visual found missing in this section was a statement Pedagogy and Place: Celebrating 100 unqualified success. The curators filled a arts, and the curators asked whether Yale, of the positive principles that undergirded Years of Architecture Education at Yale significant void in scholarship by clarifying and not Harvard, should be considered Moore’s teaching. Fuller information on is on display at the Yale School of Archi- the story of architectural education at Yale. the American Bauhaus. With Albers tailor- Moore and Kent Bloomer’s revamping of tecture Gallery through May 7, 2016. Previously, information on Yale’s program ing a version of Johannes Itten’s renowned the first-year design curriculum would have was available only in pieces, such as a few Vorkurs for Yale, the school cultivated a been helpful, tying Moore to the founding pages in Stern’s 1975 monograph on George culture of making, with strong parallels to of the first-year building project as part of a Mother Love Howe and his 1974 essay in Oppositions the Bauhaus. I was not finally convinced by pedagogic continuum. “Building as a verb” 4, “Yale 1950–1965”; essays in Perspecta the proposition, however, in light of the fact was Moore and Bloomer’s pithy motto for Rudolph Hall is currently the setting for a 29; Eve Blau’s research for the school’s that a central tenet of Vincent Scully’s teach- their new ethos. The section is, nevertheless, fascinating exhibition on the history of the 2000–01 exhibition Architecture or Revolu- ing was a critique of Bauhaus pictorialism in a visual high point of the show, not just for the architecture school, Pedagogy and Place: tion: Charles Moore and Yale in the Late favor of the more humanistic, bodily-based photographs of protests and demonstrations Celebrating 100 Years of Architecture Educa- 1960s; research on Robert Venturi, Denise architecture of Le Corbusier. Nevertheless, but also for the level of graphic experimenta- tion at Yale. Curated by Robert A. M. Stern Scott-Brown, and Steven Izenour’s “Learning the curators make their case well, showing tion in student work, such as Doug Michels’s (’65), Dean and J. M. Hoppin Professor and from Las Vegas” studio; the 2001 exhibition how “Yale was poised to take on the legacy snappy design for TRACK Housing and Jimmy Stamp (MED ’11), an architectural New Blue; the rededication of Rudolph Hall of a European school ravaged by war.” Albers Daniel Scully’s groovy supergraphics for the writer, the show unpacks the distinctive story in 2008; and various articles in Constructs. shaped Yale’s Basic Design curriculum along elevator cabs in the A&A Building. of Yale’s take on how to educate architects. Even the 2012 volume Educating Architects: Bauhaus lines, while Howe brought three The school lost some steam after For this enlightening and upbeat survey of Three Centuries of Architectural Education important architects into the school: Philip the intensity of the Moore era, but that was architectural learning at one of the country’s in North America, edited by Joan Ockman, Johnson, Louis Kahn, and Eugene Nalle. One true of the country as a whole after the most important design schools, the curators includes only scattered references to Yale. of the revelations of the exhibition was the late 1960s. The years that Herman D. J. amassed a formidable array of archival The origins and early years of the program display of construction drawings prepared Spiegel, Cesar Pelli, Martin Gehner, Thomas material. As a result, the exhibition is nothing seemed particularly shrouded in mystery, by students under Nalle, including stunning Beeby, Alexander Purves, and Fred Koetter short of a revelation. a fact I came across while researching my details of the assembly sequence of a wood served as deans are covered in sections Designed by the curators in collabo- book The Yale Building Project: The First pavilion and cross sections of timbers indicat- characterized by precise documentation of ration with exhibition director Alfie Koetter 40 Years. Consequently, the compelling ing the milling of individual wood members. their various mandates and achievements. (’11), the display occupies the central space documentation and persuasive interpretation Nalle’s hands-on constructional pedagogy What is perhaps most notable during those of the Architecture Gallery and is composed presented by Stern and Stamp form a schol- contrasted with the erudite historical knowl- years is the continued visual skillfulness of of four freestanding walls, each present- arly milestone that will be further illuminated edge of Johnson—another example of Yale’s the student work, manifested in outstand- ing a chapter in the school’s history, from in a forthcoming volume with Yale University pluralist teaching. The section also discusses ing drawings by Marti Cowan, Brian Healy, the origins of the program, modeled on the Press with the same title. Kahn’s 1953 design of the Yale University Art Marion Weiss, and Roberto de Alba. Stern French École des Beaux-Arts, through the Under the rubric “An American Beaux- Gallery and Design Center, which originally and Stamp also observe that it was a largely influence of the Bauhaus and continuing on to Arts, 1916–1947,” Stern and Stamp show included studios for architecture students on student initiative that led to the renewed postwar Modernism, Brutalism, the rise and how the school began as a department within the fourth floor and printmaking studios in appreciation of Rudolph’s design, a concep- waning of Post-Modernism, and conclud- Yale’s School of Fine Arts, which had opened the basement. It was a building that seemed tual breakthrough that preceded efforts to ing with themes of rebuilding and renewal in Street Hall in 1869. It was the country’s to fulfill Weir’s hope that all the arts could be repair and restore the structure. during Stern’s nearly twenty-year tenure as first art school to be affiliated with an institu- taught under one roof at Yale. The exhibit ends on a high note, with dean. Visitors experience the installation in a tion of higher learning. The director of the The following section, “A Time of the concluding section devoted to the past clockwise spiral, a subtle pathway alluding School of Fine Arts, painter John Ferguson Heroics, 1958–1965,” is the exhibition’s eighteen years, during which Stern, as dean, to the diagonal vistas Rudolph introduced Weir, was a “fierce advocate” for teaching fulcrum, for it focuses on Paul Rudolph’s has presided over another important era into his orthogonal interior volumes. The architecture alongside courses in painting dual role as educator and designer of the Art in the school’s history. The timeline in this concentric spiral sequence also gives the and sculpture, setting the theme of the union & Architecture Building of 1963, the fullest section is especially full of milestones and impression of progressing ever more deeply of the arts within a humanistic university that manifestation of the curators’ themes of achievements, ranging from the exemplary into the school’s history. Surrounding the would characterize Yale in the forthcoming “pedagogy” and “place.” Describing the restoration of Rudolph Hall, the building of the central panels are four long vitrines that decades. In 1916, the university formalized corduroy concrete building as “a poured-in- Loria Center for Art History, the founding of present supplemental archival material, in a degree-granting department with Everett place pedagogy,” Stern and Stamp explain a doctoral program, funding for digital initia- addition to continuous timelines highlight- Victor Meeks as chairman, a position he how Rudolph sought to foster “a common tives, and an exponential increase in schol- ing significant events and personalities over would hold for thirty years. A graduate of understanding” among artists, sculptors, arships, publications, and faculty appoint- the years. The curators took great pains to Yale College and the École des Beaux-Arts, and architects by housing their studios and ments, all of which suggests that energy, as present student work—largely drawings— Meeks saw Yale’s program as an American classrooms in one building. Reality, of course, well as pluralism, is in the Yale mode. “Ideals from the school’s ten decades, and the successor to the French academy and turned out to be complex and contradic- without Ideology” is Stern’s own update of selection of designs highlights the diversity was keen to hire French-trained American tory, as many artists objected to the often the school’s longstanding inclusive style of of the work coming out of each period. Short architects as instructors. In this section the cramped spaces allotted them, and some teaching. At its best moments, the exhibition videos and brief wall texts presenting the exhibit includes Beaux Arts-style drawings found Rudolph’s masterpiece off-putting, made clear how Yale has been a stalwart major themes are excellent models of how by student Leslie Cheek Jr., in addition to if not authoritarian. Following this line of defender of pluralism in architectural educa- to convey dense information concisely. In renderings and designs by Eero Saarinen criticism, the exhibition includes a shocking tion; curiously, however, this commitment to tandem with the main exhibition, the gallery’s that adumbrate the stirrings of Modernism interview with M. J. Long, who described pluralism seems to have been most evident side trays hold a secondary survey of thirty within the school. While Meeks person- how Rudolph and Johnson, playing off each in educators with the strongest personali- schools that emphasizes the importance of ally and professionally preferred academic other at reviews, would sometimes make ties or clearest positions. The abundance of physical settings in architectural education, historicism, he nevertheless invited Modern- snide comments that she found “poisonous” compelling material on display give visitors with drawings of the school’s buildings, by ist practitioners such as Raymond Hood to students, some of whom were “scarred for a cohesive portrait of a distinctive school, graduate students researched during Stern’s and Wallace Harrison to teach, setting a life.” Such a negative assessment threatens notable for its vital role in the most significant seminar “Pedagogy and Place.” precedent for pluralism, which the curators to undermine the very project of an exhibi- events in architecture for the past century. The exhibition Pedagogy and Place highlighted as Yale’s central contribution to tion devoted to the theme of teaching. By The affection the curators have for their embodies three separate intentions. The architectural education. contrast, in an interview that reasserted the subject is evident and, presumably, will be first is to present the history of architectural The next section, “An American role of pluralism in the school’s teaching, apparent in their forthcoming book. education at Yale as a consistent narrative. Bauhaus? 1947–1958,” is equally informa- a positive appreciation of Rudolph as an The second is to embed this story in the tive and even more provocative. From 1949 educator was conveyed by Allan Greenberg, —Richard W. Hayes succession of physical settings in which to 1950, Charles Sawyer, the dean of the who acknowledged how Rudolph made Hayes (’86) is a New York-based architect teaching and learning took place to make School of Fine Arts, hired two important him aware of the beauty of James Gamble and author of The Yale Building Project: The the case that school buildings are “built educators: the early Modernist George Rogers’s courtyards at Yale. The student work First 40 Years. He is currently working on pedagogy.” The last is to argue for a distinc- Howe, to lead the architecture department, on display in this section—including drawings research about Charles Moore’s years at Yale. tive set of principles that has characterized and former Bauhaus master Josef Albers, as by Stanley Tigerman, Norman Foster with 11 Spring 2016

education at various historical moments? and Nikolaus Hirsch. Anthony Vidler, the What is the ideal balance between critical Vincent Scully Visiting Professor in the History Symposium thinking and learning essential skills and of Architecture, will deliver Friday night’s information for practice? keynote, “Architecture in an Expanded Field.” The symposium, organized by associ- Saturday morning will open with ate professor Eeva-Liisa Pelkonen (MED ’94), a panel focusing on different “turns” that with PhD candidates Anya Bokov and Surry have broadened our understanding of what Schlabs, will open with a keynote lecture architects do at critical historical moments by the School of Architecture’s departing as well as the scope of architectural educa- dean, Robert A. M. Stern. He will discuss tion. Tom Avermaete (TU Delft) will discuss the research for his new book Pedagogy and the urban turn; Daniel Barber (UPenn) will Place: 100 Years of Architecture Education focus on the environmental turn, and Mark at Yale, coauthored with Jimmy Stamp (MED Jarzombek (MIT) will discuss the theoretical ’11), which is the basis for an eponymous turn, moderated by Marta Caldeira (Yale). The exhibition that will be open through May 8, final session will include Pekka Heikkinen 2016 (see review, page 10). (Technical University of Helsinki), Anna Dyson Bradley Horn (NYIT) will moderate (Rensselaer Polytechnic), and Eve Blau the first panel discussion, with educators (Harvard), who will discuss innovative ways to Pier Vittorio Aureli (Architectural Association integrate design-build, technology, and travel and Yale), Mabel Wilson (Columbia), Robert into contemporary architectural education. Somol (University of Illinois at Chicago), The symposium will be concluded Ranya Ghosn (MIT), and Liam Young with a discussion, moderated by Yale (Architectural Association) who will discuss professor Michelle Addington, among deans Yale students in the fabrication laboratory, 2015. their ideas on the subject. In the afternoon, Amale Andraos (Columbia), Monica Ponce attention will shift to dominant models and de Leon (Princeton), Mohsen Mostafavi institutional frameworks, with Barry Bergdoll (Harvard), Hashim Sarkis (MIT), Brett Steele (Columbia), Antoine Picon (Harvard), and Lara (Architectural Association), and Jennifer Learning/Doing/Thinking: Shrijver (University of Antwerp) discussing, Wolch (UC Berkeley) on the challenges respectively, the École des Beaux-Arts, the facing architectural education in the twenty- Educating Architects in the 21st Century idea of the polytechnic, and the Bauhaus, first century. Deborah Berke, newly appoint- moderated by Yale’s Alan Plattus. The follow- ed dean of Yale School of Architecture, will The J. Irwin Miller symposium “Learning/ future challenges of architectural education. ing panel, moderated by doctoral candidate offer the final remarks. Doing/Thinking: Educating Architects in the Acknowledging that architectural educa- Anya Bokov, will debate different models and 21st Century” will be convened from April tion exists at the crossroads of disciplinary, institutional frameworks for teaching archi- —Eeva-Liisa Pelkonen 14 –16, 2016, to celebrate one hundred years technological, and social changes, the tecture, such as the apprentice-master class Pelkonen (MED ’94) is an associate profes- of architecture education at Yale. It will bring symposium will explore the following issues: model and the institute-think-tank model, as sor has directed the MED program since together scholars, educators, architects, and What are the major historical models and well as ways of using exhibitions as educa- 2002. She is editor most recently of the book, administrators to evaluate inherited models, formats of educational methods? How have tional platforms. The presenters will include Exhibiting Architecture: A Paradox?. discuss current trends, and speculate about disciplinary shifts changed architectural Martino Stierli (MoMA), Kim Foerster (ETH),

The school’s lecture series, which features own understanding of the term and present- PhD Dialogues prominent visiting faculty and international ing specific architectural examples. Quoting architects, allows students to engage with Saussurean linguistics, Baird suggested scholarship around the world. By contrast, that poststructuralism’s construction of the Fall 2015 the Monday-night PhD Forum and Dialogue relationship between the “signifier” and the series can be seen as zooming into the “signified” is an arbitrary one and, therefore, lifeblood of arts and architectural research at Eisenman’s reliance on such a framework Yale, closely reading the intellectual process is more slippery than he might purport. among an intimate group of supportive and Baird explained that, on the other hand, critical colleagues. Hosted in the Smith phenomenology simply means that “there Conference Room by the Department of is no autonomous intellect independent of the History of Art and the School of Archi- the experience of the individual in situ in the tecture’s PhD students, the forum talks last world,” a claim that fully acknowledged this fall brought together forgotten places, the contingency as not at odds with the human rebuilding of London, and debates over experience. He referenced the balustrades phenomenology and the New Brutalists— of Alvar Aalto as evidence of a space that disparate topics pursued obsessively with activates a subjective human situation, one common goal: to elucidate issues of the allowing for either a retreat from the world or contemporary condition of architectural and a projection out toward it, depending on the urban thought and practice. psychic disposition of the subject. Elihu Rubin (BA ’99), associate profes- Eisenman rebutted the claim, arguing sor at the School of Architecture, opened the that poststructuralism is not an arbitrary series with an enthusiastic presentation of situation and that the nature of his “signifier” his project “Pilgrimage to Rhyolite: In Search is not relativistic, as Baird suggested. Tracing of the American Ghost Town.” From crossing the Derridean argument, which differentiates deserts to collecting maps, the adventurous architecture from the other arts as a “locus off-road project quickly moved beyond the of the metaphysics of presence,” Eisenman romantic, popularized kitsch of the Western reaffirmed that the architect’s role is to see ghost town toward the heart of the social past the physical and access this locus, just 1 and economic reasons for their becoming as a composer can hear music by reading a deserted places decaying in the elements. score. He described again his “grand tour” The remains of the town of Rhyolite are of Italy with Colin Rowe, in the summer of 1. Collage of images by 2. Map of London 1940s phantoms, and Rubin’s powerful images 1959, and reiterated his practice of formal Mark Linder courtesy of David Lewis of its half-collapsed buildings and spectral analysis of the Casa del Fascio, in Como, by atmosphere inspired a postlecture discus- Giuseppe Terragni, and Palladio’s Villa Pisani, sion about the recent history and current in Montagnana. Much to the delight and state of nearby New England towns and surprise of the crowd, Eisenman proceeded the implications of his study for small-scale to illustrate his point further by reading an American cities today. unpublished parable that he wrote in 1986. In the second talk, David Lewis, Rounding out the forum series, Mark postdoctoral research associate at the Yale Linder (MArch ’86, MED ’88), professor at Center for British Art, presented his work on Syracuse School of Architecture, presented the rebuilding of London following World War The New Brutal: Images, Mies, and the II in “Should St. Paul’s Be in the Middle of a Smithsons, positing the question, “What Roundabout? And other Planning Questions might architectural practice become if its from 1940s London,” when the conflict primary means and ends were images?” between the vision of Modernism and the Locating the early 1950s as a “knot” of trans- pragmatism of the social sciences came to disciplinary work for an alternative, ambiva- a dramatic confrontation. The city of London lent architecture, Linder traced Reyner is a potent historiographical study for the Banham’s theories and the work of Alison issues raised in designing for density and and Peter Smithson as attempts to integrate transportation today. Modernism into the post-war period, propos- The dialogue session, “A Conversa- ing that the Smithsons’ reading of magazine tion with George Baird and Peter Eisenman,” photographs is evidence of an obsessive pit the two theorists against each other in a pursuit of the “Mies Image” in their work. debate centered on poststructuralism and Linder’s research pertains to the oversatu- phenomenology and their relevance today. ration and hyper-stimulation of image in Baird, professor emeritus at the University of contemporary practice and was a perfect 2 Toronto, delivered the opening salvos, accus- conclusion to the series. ing Eisenman, the Charles Gwathmey Profes- sor in Practice, of behaving as a phenom- —Gary He (PhD ’19) enologist before moving on to defend his 12 CONSTRUCTS YALE ARCHITECTURE In the Field

of the exhibition stand out, mostly because different from the one for the IAC Headquar- The Master Series: they break away from a simple monographic Neuromancing: The ters Building (2003). John Hejduk’s studies Michael Bierut format and offer us a chance to see the Fine Romance of Ideas for Berlin Masque (1983) remind us just how work differently. potent a sketchbook drawing can be. Even Michael Bierut, critic at the Yale School of A series of vitrines in the second room and Architecture more interesting for the current genera- Art, understands how big an idea must be contain more than one hundred of Bierut’s tion of young architects is the exhibition’s to be memorable. He is one of the last of the sketchbooks, which have been kept in a Certainly, the Boyarsky years (1971 to “Who’s Who of Who’s That?” Jeremie Frank, Big Idea designers, the legacy of Paul Rand, consistent format for what seems like his 1990) at the Architectural Association, in Michael Gold, Franco Purini, and Alexander Seymour Chwast, and Massimo Vignelli (with entire career as a designer. It’s a project of London, were a heady time. Alvin Boyarsky Brodsky have all remained nearly anonymous whom he worked before joining Pentagram, almost conceptual proportions. They show (1928–1990) created an intellectually rich in current practice, even though they have where he is a partner). And while we still see his incessant obsession with connecting experiment, one that may not occur again some of the strongest experiments in the it in Stefan Sagmeister, Paul Sayre, and a few ideas to graphic expression—you can see for a very long time, if ever. The pursuit of exhibition: Frank’s The Macrophone (1981), other New York City designers, the desire Bierut’s consciousness spilling onto every new ways to think about architecture for Gold’s Millbank Project (1981), Purini’s La and ability to communicate outside of design page. And so many pages! This addition to no other reason than the sheer delight of Terra (1984), and Brodsky’s The Intelligent circles is increasingly rare. In a funny way the show makes us think about the stamina it was very much in evidence in the exhibi- Market (1987). Bierut is a designer’s designer—and oddly he required to produce work of this volume tion Drawing Ambience: Alvin Boyarsky and Yet what is most striking about this is because he does not give a shit what other and caliber. It confirms that virtuosity can be the Architectural Association, displayed at exhibition is the sophistication of image designers think. It is design in the service of found simply in practice. the Arthur A. Houghton Gallery in the Irwin creation in the era before computer-gener- communication, not other designers. A labyrinth of Yale School of Archi- S. Chanin School of Architecture, Cooper ated complexity. The allure of a handcrafted When I first came to New York City tecture events posters is featured in the Union, from October 13 to November 25, drawing, with its carefully considered treat- years ago, I was lucky to meet with Bierut section “How Architecture Can Be Repre- 2015. The works on paper, by some of the ment of line and color, transports these archi- and get his advice on how to make it as a sented on Paper.” According to a brief from most voraciously productive theorists of the tectural sketches into the realm of art. The designer. Curiously relaxed, he looked at my Dean Robert A.M. Stern that highlights the 1970s and 1980s, were stunningly seduc- love and devotion required—the intensity, work, taking the time to see everything and pluralism of Yale’s pedagogy, each poster tive and felt surprisingly contemporary. time, and focus—to make a single drawing commenting on a few details here and there. emphasizes heterogeneity and inventive- The forty-three works selected constitute a seems unfathomable to us today. These I told him I wanted to design books, and ness through its typographic solution. The small sampling of the output of that decade, practitioners seem to have enjoyed the great he said, “That’s great, but you’ll need to do posters were all designed using two major but, taken together, they outline what was a luxury of time and attentiveness to the task. some work to make money, too.” True words. constraints: only black ink and a 22-by-34- powerful and exclusive cultural movement It is something that one does only when one That honesty and generosity of spirit is also inch format. If part of the designer’s task is that characterized a brief moment in time. is truly infatuated with the gestation of the visible in Bierut’s work: bold and expres- to develop variety, we can see how seriously The show embodied the intense period of architectural idea. It was a fine romance. sive type, frequent use of words as triggers, that can be expressed over many, many infatuation with the inventive potential of The exhibition was coproduced by reductive color schemes, the importance iterations. In that way we can also see in architecture as drawing. the Rhode Island School of Design Museum of drawing as a thinking tool, and, most Bierut’s work the patience and confidence What comes through these periods and the Mildred Lane Kemper Art Museum, significantly, a broad but dry humor running required to stay on something year after of serious thinking about architecture, as at Washington University, in St. Louis. throughout. He combines seriousness and year, knowing that the next idea just has opposed to building, is a rich record of possi- Made possible by a grant from the Graham playfulness in a way that is simply classic. to be found, explored, and embodied. The bility, a romantic courtship with the architec- Foundation for Advanced Studies in the The exhibition The Master Series: series was published in the 2007 book Forty tural idea. For better or worse, without these Fine Arts, it was curated by Igor Marja- Michael Bierut—shown at SVA’s Chelsea Posters for the Yale School of Architecture, “in-between” building periods, we would not nivic, associate professor of architecture at gallery to coincide with the release of the and, of course, there are many, many more have Broadacre City, Delirious New York, or Washington University’s Sam Fox School designer’s manifesto–monograph How To by now. even parametric design. A fun parlor game of Design and Visual Arts, and Jan Howard, (HarperCollins, 2015)—is divided into four In 1969, there was an East London to play with the exhibition is to trace the chief curator and Houghton P. Metcalf Jr. thematically organized rooms: “Design and graffito that read “CLAPTON IS GOD,” refer- origins of built projects in unbuilt schemes. Curator of Prints, Drawings, and Photo- the City,” “The Design Process,” “How ring to the effortless virtuosity of the guitarist. Rem Koolhaas’s Boomjes (1980) and Daniel graphs at the RISD Museum. Architecture Can Be Represented on Paper,” It seems to me that we could just go ahead Libeskind’s V-Horizontal (1983) seem to be and “The Search for Graphic Identity.” Each and say it: “BIERUT IS GOD.” diagramming their later built work. Bernard —Craig Konyk room is connected by a hallway graphic Tschumi’s studies for the folio La Case Vide: Konyk is an architect and assistant professor made from a vast array of arrow types that —Luke Bulman La Villette (1985) maintain his filmic and of architecture at the newly formed School guide one farther and farther into the exhibi- Bulman is principal of the New York-based event-based theses. Zaha Hadid’s three- of Public Architecture at the Michael Graves tion. Bierut’s Pentagram partner Abbott graphic design firm, Luke Bulman—Office point accelerator perspective, The World College of Kean University in New Jersey. He Miller carefully edited the exhibition to show and teaches the seminar Books and Architec- (89 Degrees) (1984), is a clear precursor of designed the New York installation of Perfect the greatest hits, from clients such as The ture at Yale. her later built parametric works. The tiny Acts of Architecture, at the AXA Gallery, New York Times, Saks Fifth Avenue, the pen-and-ink sketch by Frank Gehry of the curated by Jeffrey Kipnis and Terence Riley Jets, and so many more—but two aspects Goldwyn-Hollywood Library (1983) seems no in 2001.

The Master Series: Michael Beirut, School of Visual Arts Gallery, New York, photographs by Drawing Ambience: Alvin Boyarsky and the Architectural Association, Cooper Union, 2015. Photo- Stan Narten, 2015. graphs by Anita Kan, courtesy The Irwin S. Chanin School of Architecture Archive of The Cooper Union. 13 Spring 2016

perceived risk of losing out on government Jessica Varner I understand that this JV Back to current issues at Yale, “Is This for Everyone?” contracts. Sperry concluded that universal past fall you presented your work at the including the recent student-led protests On Architecture’s Social human rights should act as the touchstone of “Black in Design” conference at Harvard’s related to faculty diversity. ethical architecture “If we want to pursue the GSD. AW I will say that the announcement of Responsibility dream of universality, of design for everyone; Amber N. Wiley Yes, I was asked by the new dean of the School of Architecture, we must recognize that some objects, like the student-led initiative to talk about black Deborah Berke, was very exciting to me. As part of the panel “Is This for Everyone? supermax prisons, should never be designed pedagogy, which I did, primarily through In terms of diversifying the faculty of Yale, Design and the Common Good,” at the for anyone,” he said. discussing courses I taught at the Tulane recruitment is a part of it, but the student Museum of Modern Art (MoMA) on October The panel discussion that followed School of Architecture. Many of my courses demonstrations bring up another good point: 21, 2015, Raphael Sperry (’99) spoke about touched on the curious relationship between there were meant to address cultural engage- How do you get them to stay? In the past, architecture’s ethical imperative. Moder- schools and prisons, not least the school-to- ment and global (i.e. non-Western) connec- Yale has brought new people in with differing ated by Paola Antonelli, senior curator of prison pipeline. Declines in funding for higher tions. I did this within the architecture history perspectives without thinking about how to the Department of Architecture and Design, education have corresponded to increased survey course and also taught place-based sustain these relationships within the estab- the speakers challenged the universalist spending on corrections, and Sperry classes, including one on writing on archi- lished hierarchy. Faculty and students need to promise of MoMA’s tandem exhibition This suggested that there is also an architectural tecture focused on New Orleans. The course be able to thrive, not just survive, and I think Is for Everyone: Design Experiments for the relationship at play here. Both schools and asked students to examine everyday spaces that is what the students are asking for now. Common Good (through January 31, 2016), prisons are disciplinary institutions, elements as a way to talk about our relationship to JV How did your time at Yale change which displays “humble masterpieces” of Michel Foucault’s “carceral archipelago” in design. For me, it is important to place people your career path? from the collection in the form of everyday the societal infrastructure of surveillance and within accounts of architectural history. AW When I was an undergrad at Yale, products and graphic-design objects with social control. Thus, educational and judicial JV How did you get involved in the I remember taking Christy Anderson’s contemporary social relevance. typologies are informed by common security “Black in Design” debate? architecture history survey. She didn’t look Sperry, a sustainability consultant for concerns and subjected to similar standards AW The conference was initiated at buildings just as objects; she understood Urban Fabrick Inc. and president of Archi- of efficiency. Later, in response to a question by students, just as the “Yale Women in them as cultural products of the societies tects/Designers/Planners for Social Respon- from the audience about design pedagogy Architecture” conference was organized by that created them. I thought this could also sibility (ADPSR), was among three panelists and its tenuous stance toward social issues, alumnae—and pushing the conversation work in terms of looking at African-American who focused on spaces of ambiguity that Sperry noted that, while awareness of forward from behind is how it has to happen. neighborhoods and how they have changed represent both design for the common good public-interest design has increased in the JV Much of the conference conversation over time. That is what I do now. and violence. Laura Kurgan, director of the past decade, it remains a marginal subject was about how to change the atmosphere JV So you did not start off wanting to be Center for Spatial Research at Columbia in architectural education. He appealed and pedagogy within design schools. Why do a historian? University’s GSAPP, spoke about conflict to architectural education to set the future you think this discussion is happening now? AW No, I wanted to be an architect. urbanism and her information-graphics standards for ethical practice. AW In New Orleans, these conversa- But I learned how the history of the built project “Million Dollar Blocks” (2008), which tions emerged in the post-Katrina moment, environment could address so much more. links incarceration and public housing via —Tyler Survant when Tulane was involved in building recov- Schools of design deal with so many prison geographies. Marta Gutman, profes- Survant (’15) is working at New York-based ery, but most of the students were not from important issues. Even NAAB accreditation sor of art history at The Graduate Center at SHoP Architects on the Botswana Innovation the area and needed to learn the history of requires students to learn advocacy, ethical CUNY and the Spitzer School of Architecture Hub and involved in the Architecture Lobby. the city before they could find solutions for responsibility, cultural awareness, and global at CCNY, talked about spatial appropria- the future. Design-school students want to diversity. These concerns are not outside the tion and the design of Harlem’s I. S. 201, be problem solvers, but they don’t always realm of architectural education. And issues the windowless middle school built in the know how to even articulate issues around of diversity and inequality are complicated late 1960s that became a battleground for Pedagogy and social inequality. New Orleans was a great topics that effect so many schools. community control of public education. Diversity: Amber Wiley place to begin those discussions. JV Institutional change is complicated. Sperry used the infamous Pelican JV Can social inequality even really be The question is, how can we make the Bay State Prison, in northern California, as and Jessica Varner addressed in design? current debates productive? a case study exemplifying the supermax AW Yes, these issues can and should AW One of the challenges for design prison typology. He cited the psychological Jessica Varner (MArch ’08, MED ’14), who be addressed, and some can even be solved, schools is how to integrate all these social damage inflicted by solitary confinement, is an architect and PhD student at MIT but not by design alone. issues with the professional requirements. explaining the design principles that induce focusing on the history of building material JV In fact, your own practice reaches There is only so much time—in terms of these effects and positing that, if architec- toxicity in eighteenth and nineteenth beyond the design school to engage public course loads and credit hours. We can talk ture represents society and circumscribes century England and America, met with policy at the institutional level. How does that about social and cultural issues in studios, community, supermax prisons constitute Amber N. Wiley (BA ’03) to discuss her inform what and how you teach? history courses, and seminars. Architecture “anti-architecture” aimed at erasing current work on issues of diversity and AW I ask myself questions like that all schools should be integral to the discus- communal life. For more than two years pedagogy. Wiley is an assistant professor the time. I just returned from back-to-back sions around inequity precisely because now, ADPSR has petitioned the AIA to of American Studies at Skidmore College board meetings. One was the Vernacular buildings are a part of how inequity shapes amend its Code of Ethics and Professional and was the inaugural H. Allen Brooks Architecture Forum, where we talked about our environment. Conduct to bar members from intentionally Fellow of the Society of Architectural how to increase diversity, including regional violating human rights through the design Historians in 2013. She received an MA in representation, gender, and race. The other of supermax prisons. While certain AIA Architectural History from the University was the National Park System Advisory chapters have adopted the amendments, of Virginia and a PhD in American Studies Board Landmarks Committee. Both activities widespread reluctance—from the New York from George Washington University. allow me to engage public policy in different chapter, among others—persists, due to the ways, and that influences my teaching.

1

1. New Orleans parade, photograph by Amber Wiley

2 Studio review at Tulane University, from right Kentaro Tsutaki and Amber Wiley

Pelican Bay State Prison, interogation cell of the Supermax prison in Crescent City, California, drawing by F. Alejandrez & Sonny Trujillo, courtesy of ADPSR. 2 Pedagogy and Place: Celebrating 100 Years at Yale Pedagogy and Place:

Josef Albers in his studio in New Haven, 1954-55. Courtesy Yale University Library, Manuscripts & Archives. Art & Architecture Building as a "favela," 1970s. Celebrating 100 Years at Yale 100 Years Celebrating

Yale Women in Architecture Conference, with Jennifer Newsom (BA ’01, MArch ’05), 2012.

Louis Kahn and George Howe with a model, c. 1950, courtesy Yale University Library, Studio painting class in Street Hall c. 1900. Manuscripts & Archives.

Post-professional students installing a pavilion on the New Haven Green, 2012. Charles Moore (1925–93) chairman of the school from 1965–70.

Zaha Hadid advanced studio, pictured with Joseph Giovannini, 2010.

Eugene Nalle (BArch ’48) and students in Weir Hall c. 1951.

Yale School of Architecture Gallery with the exhibition Model City: Buildings and Projects by Paul Rudolph, 2008. Rome seminar with Alexander Purves (BA ’58, MArch ’65). Pedagogy and Place: Pedagogy

Students playing badminton on the forth floor of Rudolph Hall.

Foam house designed by Yale School of Art and Architecture students on the Yale Golf Course, 1968. Courtesy Yale University Library, Manuscripts & Archives. Pedagogy and Place: Celebrating 100 Years at Yale Pedagogy and Place: Celebrating 100 Years at Yale Pedagogy and Place: Celebrating 100 Years at Yale Judith Chaffe (’60) studio review with Vincent Scully (left), Philip Johnson and Henry Pfisterer in the back- ground, 1960.

Frank Gehry's advanced studio review, 2010.

Dean Robert A.M. Stern (’65). Pedagogy and Place:

Hastings Lecture Hall

Yale Women in Architecture Conference, with Jennifer Newsom (BA ’01, MArch ’05), 2012. Dean Everett V. Meeks (1897–1954, BA 1901), courtesy Yale University Library, Manuscripts & Archives. Drafting room on the fourth floor of the Yale University Art Gallery and Design Center, c. 1953. Courtesy Manuscripts & Archives, Yale University

Rudolph Hall and the Loria Center for the History of Art renovation and addition designed by Charles Gwath- mey (’62), 2008.

Yale Women in Architecture conference gathering, Fall 2012.

Bliss Woodruff (M.Arch 1949; third from left) discussing A National Center of UNESCO, with Louis Kahn. Courtesy Yale University Library, Manuscripts & Archives, c. 1949. Celebrating 100 Years at Yale

John Ferguson Weir inaugural director of the Yale School The Art & Architecture Building after Advanced Studio Lottery 2013 of the Fine Arts, c. 1910. the fire in 1969. Photograph by James Righter, courtesy Yale University Library, Manuscripts & Archives. Rome seminar with Alexander Purves (BA ’58, MArch ’65).

Building Project crew including Turner Brooks (BA ’65, MArch ’70), in Kentucky, 1968. Photograph by James Righter, courtesy Yale University Library, Manuscripts & Archives.

Dean Paul Rudolph, 1963, courtesy Library of Congress, Washington, D.C.

Opening of a Jim Vlock Building Project house in New Haven, 2014 Celebrating 100 Years at Yale Pedagogy and Place: Celebrating 100 Years at Yale 16 CONSTRUCTS YALE ARCHITECTURE Book Reviews

education and practice. Given how much The Architect as Worker: attention gender issues have received in Immaterial Labor, the the mainstream and academic media, as well within the architectural community, the Creative Class, and the omission is significant. As political theorist Politics of Design Silvia Federici has written, one critical omission by Marx was women’s unpaid Edited by Peggy Deamer domestic and reproductive labor, which was Bloomsbury, 2015, 256 pp. required for capitalist accumulation yet not acknowledged because it was not commod- Peggy Deamer’s new book is a critically ity producing. (Silvia Federici, “A Feminist compelling collection of fifteen essays that Critique of Marx,” in Revolution at Point are a call for the discipline of architecture Zero: Housework, Reproduction, and Feminist to create a “new model for architectural Struggle). This unpaid labor remains vital practice.” She has assembled an interdis- for the neoliberal project, where the absence ciplinary group of thoughtful academics of women precludes opportunities for the architecture and development of its the built environment of the region invites us and architects to examine the complex radical transformation. cities since the country’s independence anew into a place of “shifting crosscurrents relationships between labor, education, and Many contributors provide allur- from Spain, in 1821. Burian’s intention is and contested ground.” practice in architecture as it operates within ing possibilities for change. With regard to to uncover the region’s rich and largely the neoliberal capitalist context. In her intro- education, Neil Leach, Mabel Wilson, Jordan unknown architectural legacy—the —Karla Cavarra Britton duction she reminds us that, as proposed Carver, and Kadambari Baxi suggest looking nineteenth- and early twentieth-century Britton is a lecturer at Yale and author of by Marx, labor is a social issue most of all closely at the Bauhaus, where interdisciplin- monuments, alamedas, plazas, and gardens Constructing the Ineffable and the forthcom- because it infiltrates all aspects of life. The ary collaboration engaged new technologies; shaping cities. He eschews focusing on ing, Middle Ground/Middle East: Religious book is organized into five broad themes: Leach asserts rethinking the nation-based architecture’s relationship to the politics Sites in Urban Contexts, among other Part I provides a brief yet essential history of accreditation so that young graduates of the United States−Mexico geopolitical writings on modern architecture. design and creative immaterial labor; Part become better prepared for twenty-first- frontier: there is little discussion of the maqui- II compares the concept of architectural century possibilities that reflect mobile and ladora or the border patrol’s transformation work to other forms of labor; Part III presents globally focused student and practice trends; of large swaths of the landscape into a case studies illustrating the increased use and reconsidering, as Paolo Tombesi argues, security zone. Instead Burian addresses the Public Natures: of legal parameters to define and further the “dangers of creativity as opposed to region’s largely undocumented buildings and Evolutionary Infrastructures distance the architect from social and politi- critical knowledge.” In terms of practice, urban planning, with special attention to the cal responsibilities within building practices; several contributors echo suggestions from powerful industrial city of Monterrey, which By Marion Weiss and Michael Manfredi Part IV discusses the co-option of architec- earlier generations proposing that fixed-fee has long been overshadowed by the cultural Princeton Architectural Press, 2015, ture within the neoliberal project as another compensation be completely eliminated as dominance of Mexico City and its well-known 380 pp. means of production within the creative it deeply undermines the intellectual labor legacy of modern art and architecture in the economy; and Part V concludes with ideas integral to design work and places priority twentieth century. Christian Caryl’s recent book, Strange Rebels: for drastically redirecting the discipline’s on the built object. Additional suggestions A native of Los Angeles, Burian 1979 and the Birth of the 21st Century, has future, including radical changes in architec- include integrating project-delivery models studied architecture at Yale, deepening his finally defined the historical identity of my tural education and the architect’s scope of with collective information sharing and interest in Mexico through study with profes- generation, which followed anonymously in services, and expansion of the discipline’s project responsibility, using incentive-driven sors Vincent Scully, Mary Miller, and George the shadow of the children of 1968. In 1979, perceived value. wages as in the tech industry, provide more Kubler. In this book he tackles the daunting Margaret Thatcher, Pope John Paul II, Ayatol- There are three particular issues expansive service models, and having archi- task of documenting architecture where lah Khomeini, and Deng Xiaoping marked that contributors raise as systemic to the tecture take more responsibility for construc- there has been scarce previous discussion a counterrevolution away from the secular architect as worker. First is the discipline’s tion outcomes. in either Spanish or English. While he pays socialism of the twentieth century toward delusionary tendency to not identify what we The prescient predication that all attention to works by well-known Mexican resurgences of religion and capitalism in the do as work. This conveniently brackets out architects do is work, anytime and every- architects such as Luis Barragán and Ricardo twenty-first century. Like me, Marion Weiss broader economic and political dynamics where, was cleverly demonstrated in Hans Legorreta, his particular interest is in works and Michael Manfredi are children of 1979, that architecture must engage, including how Hollein’s 1969 TV performance “Mobile by largely forgotten nineteenth-century and, in their recent book, Public Natures: value is accessed and compensated and Office.” That we continue to live out that architects such as Refugio Reyes and Alfred Evolutionary Infrastructures, they provide under what conditions people produce archi- scenario is a chilling reaffirmation that Giles, and twentieth-century figures such evidence of maintaining a critical practice tecture (from theory, to design, representa- architects must embrace and promote their as Rodolfo Barragán Schwarz of Monter- that falls under Caryl’s new world order while tion, construction, and management). Not work as labor. Only then will it be possible to rey, Carlos Gómez Palacio of Torreón, and neither abandoning the ideals of the 1960s surprisingly these attitudes are inculcated drastically reorganize the discipline. Archi- Gonzalo Garita of Hermosillo. (The book nor compromising the public ideal of archi- from early on in architectural education, tects must become collectively informed, helpfully includes a section of short biogra- tecture, in order to catch the wave of private so that what is instilled and practiced as a engaged, and organized to fight for better phies of each architect mentioned.) The global development. student is reinforced in professional practice. work conditions. Like it or not, we are all result is a surprising far-reaching collection Weiss and Manfredi’s book, designed Second, the neoliberal game defines the workers, and that requires that we let go of of relatively unknown buildings, ranging from by Project Projects, is a design object in population “as essentially entrepreneurial” the myth of the creative genius. The academy Spanish colonial churches and Beaux-Arts itself, comprising 376 Matcha-color edge-cut and our architectural “creativity” within and the mechanisms of capitalism have theaters to Modernist houses, vernacular pages, hardbound and wrapped with a gray- certain contexts is “working at greater rates exploited this illusion for far too long at the storefronts, and recent work such as Tatiana tone photograph of their Brooklyn Botanic toward the actualization and dissemination of detriment of all of us who do the work. Bilbao’s Biotechnology Park Research Facil- Garden Visitor Center. The green-tea edge neoliberal space and logics,” as described by ity, in Culiacân. enclosed in gray binding reflects the authors’ Manuel Shvartzberg in “Foucault’s ‘Environ- —Lori Brown Burian gives us what one of his interest in architecture that is critically mental’ Power: Architecture and Neoliberal Brown is an associate professor at Syracuse colleagues described as a “gazetteer” of the situated between nature, society, and infra- Subjectivization.” Third, the historical profes- University School of Architecture and author region’s architecture. Each chapter focuses structure, but it also hints at an affinity with sionalization of architecture and the evolving of two books focusing on social spatial on a particular state, moving systematically the environmentalism inherent in Japanese limitations this distinction creates perpetu- relationships. from east to west across the jurisdictions of Metabolism. The book is a diptych of two ates exclusionary hierarchies. However, as the region, identifying and setting in context folios, each containing five examples of the technology becomes ever more affordable each major city’s principal architectural firm’s work. Richly illustrated, the folios allow and accessible, this democratizes who can monuments. To do so he makes creative use for a deep understanding of the conceptual, design, how design manifests itself, and The Architecture and of limited inventories, oral histories from taxi structural, functional, material, constructed, where design can take place. Thomas Fisher, Cities of Northern Mexico drivers, ephemera, and other fragmentary and experiential dimensions of the featured for example, sees great potential in this new documentation—including illustrations from projects. Framing and separating this twin economy to spark innovation and the use of from Independence to local sources, historic photographs, and portrait of Weiss/Manfredi’s work are essays design talent in far more expansive ways. the Present postcards. The book thus makes a valuable, by the authors and edited transcripts of As Deamer and many of the other and even seminal, contribution to recent discussions with colleagues from studio contributors make clear, most authors are By Edward Burian scholarship interested in shaping a more reviews printed in black ink on subtly plum- working within a Marxist critique of capital- University of Texas Press, 2015, 350 pp. balanced history of Mexican architecture. hued pages. ism and capitalism’s effects on the evolution In his short concluding summary, The first half of the volume locates of the discipline. Franco Berardi’s essay, The vast arid territory of Northern Mexico that Burian describes lessons learned and possi- Weiss and Manfredi’s architectural practice “Dynamic of the General Intellect,” discusses borders the United States—El Norte—has ble future directions for the region’s architec- within the “public natures” they say should the implications within the academy as long been a place of legend. In the popular tural culture. With an emphasis on the “liber- be situated between the “evolving infrastruc- our educational systems continue to move imagination the region conjures up images ating” possibility of the border, Burian points tures” of the megalopolis, which emerged toward knowledge as an economic reward such as the border town in Orson Welles’s to Gloria Anzaldúa’s 1987 book, Borderlands/ in the mid-twentieth century and the old for a neoliberal ideology, and questions Touch of Evil, the vaqueros of the scattered La Frontera, which described a mythical lost industrial metropolis. This first folio contains where it leaves intellectual pursuits. In the cattle ranches on the sparsely populated land marked by displacement where a fierce powerful projects in Seattle, Toronto, Seoul, book’s foreword Joan Ockman writes about high plateaus of the Sierra Madre Occidental, environment demands a radical reconsidera- and New York City that harken back to earlier architectural production as not merely being and the harsh climate of the vast Sonoran tion of self and the very concepts of space eras of great public works, while the second about objects but also social relations. As and Chihuahuan deserts. Extending from in the Americas. Echoing Anzaldúa, Burian presents new institutional environments for Pier Vittorio Aureli mentions in “Form and Baja California to the Gulf of Mexico, the observes that in Northern Mexico there is a education and work campuses that adapt to Labor: Toward a History of Abstraction in territory shares much with the desertous hybrid nature that offers myriad unforeseen new societal demands and fiscal challenges. Architecture,” the discipline of architecture Southwestern United States, including an possibilities. Given his focus on the fixed and In the second half of the book, “social emerged along with commodity exchange. association with drug-related violence and static rather than the dynamic dimensions of infrastructures” are addressed in the firm’s The book highlights the interconnectedness poor, voiceless immigrants—issues brought the region’s contemporary identity, the book projects for Barnard, Cornell, University of between architectural education and practice to the fore by Pope Francis’s visit to Ciudad can only point ahead to difficult social issues, Pennsylvania, and the Novartis Corporation. in the neoliberal capitalist context—one Juárez, in February 2016. such those as seen in Bilbao’s recent studio In campus sanctuaries, cultural and institu- reinforces and reifies the other. This popular vision of Northern at Yale on low-income housing in Tijuana, tional spaces provide contemplative retreats What is missing from the book is a Mexico’s identity is challenged by Edward Ciudad Juárez, and Monterrey. In any case, from both the fragmented metropolis and the critique of gender relations in architectural Burian’s (’89) admirable new book on Burian’s astonishingly useful overview of commercialized megalopolis. 17 SPRING 2016

In a transcribed conversation between pathways are interesting and provocative for The text is organized into two parts: the two folios, Preston Scott Cohen, Felipe The City That Never Was the design professions. “The Apparatus” and “The City.” The first Correa, Keller Easterling, Paul Lewis, Hashim The book addresses a clear disciplin- section explores the relationship between By Christopher Marcinkoski Sarkis, and Nader Tehrani discuss the “terms ary gap between design practice—and our the New York City Planning Commission’s Princeton Architectural Press, 2015, and conditions” of form (scale, composition, understanding of it—and scholarship on “Plan for New York City, 1969,” and a film 256 pp. arrangement, image, grounding), position the political economy of city making. The version of the plan produced the same (inclusion, lamination, economy, proliferation, author makes two broad, key points. First, year, entitled “What Is the City But the utopia), and conduct (connection, synthe- Christopher Marcinkoski’s (’04) The City That the condition of speculative urbanization, People?” The author’s analysis of the Plan sis, multiplication, valency, evolution). This Never Was explores the role of urban design- although not new, is an increasingly criti- is illustrated with film stills, and a DVD of section provides a glossary for students of ers and planners in the making of “specula- cal part of economic development and is the movie is thoughtfully included as a architecture rather than a public language tive urbanization,” the rampant building of expanding in scale and intensity. Second, primary resource for the reader. A new type commensurate to the publicness of their infrastructure and settlement for the purpose urban designers, planners, and architects of planning document, the “Plan for New vision. To build a common understanding of economic growth. This discussion is play central roles in these endeavors. To the York City, 1969” came at a time when the around the future societal necessity for a conducted through a study of urban devel- extent that these developments are likely to city was at a crossroads. By the late 1960s, publicly minded yet evolutionary infrastruc- opment in Spain in the decade before and fail, with the ensuing negative effects that despite decades of large-scale rebuilding, tural architecture in a world of market-driven the years after the 2008 economic crash. such failure entails, shouldn’t the design the city seemed to be in even worse physi- real estate and public fiscal authority requires The book attempts to question and explain professions be more responsible for their cal shape than before. Crime was up, tax Weiss/Manfredi to engage in a more policy- the ways in which design professionals are roles in them? revenue was down, infrastructure was aging driven debate with the multiple actors and implicated in ever-expanding and intensifying The book ends on a somewhat compli- and overburdened. Neighborhoods, pushed agencies needed to construct their work. modes of urban development and to illustrate ant note. The design strategies the author and pummeled, would no longer put up with This monograph of recent work new possibilities for design practice. outlines are apolitical solutions to what he top-down planning schemes. It was the end places the firm’s projects within both a Marcinkoski opens with a discussion acknowledges are political problems. He rues of the era of Robert Moses and European historical trajectory of infrastructure and the of the history of real estate speculation. He the fact that designers are instruments of Modernist planning, yet the ideas of critics architectural ambitions of the world’s great cites historical examples from the United politics and economics but does not propose like Jane Jacobs were still just theories. cities. The importance of New York City as Kingdom, France, and the United States. He ways in which designers might become Taking us beyond the Moses/Jacobs a model emerges in evocative black-and- then elaborates on recent cases, including political agents. The key question about the dialectic in Part 1, Clutter writes in great white line drawings and thumbnail images of American Sun Belt housing, Irish housing complicity of the designer is left unanswered. depth about the relationship of the planning Rockefeller Center, Grand Central Terminal, estates, and Dubai’s city building, as well The author might have plumbed, for example, department of Mayor (1965−73) John the Guggenheim Museum, the Highline, developments in Panama, Turkey, a number literature that critiques the role of urban Lindsay and the creation of the Mayor’s the Brooklyn Heights Promenade, and the of African countries, and China. It is a collec- design and planning in the political economy Office of Motion Picture and Television, George Washington-Alexander Hamilton tion of stories of grandiose plans and urban of cities and nations, such as work by James which brought film production to the streets Bridge connector through Upper Manhattan. superlatives. The second chapter illustrates Holston and James Scott or more recent and studios of the city. Clutter examines the Tokyo also figures in the authors’ imagination the trajectory of Spain’s post-1998 boom discussions about insurgent urbanism. cinematic techniques used by the planning as they reverently describe a pilgrimage to and bust, along with its connection to urban Finally, the book also might have commission to communicate to the citizenry Fumihiko Maki’s Hillside Terrace, conclud- growth, focusing on land regulation changes, made a stronger claim on urban and planning as well as to analyze the city in an innova- ing the volume by musing with Kenneth housing production, and infrastructure theory. The author briefly cites Henri Lefebvre tive way, noting that during the same period Frampton about the unfulfilled promise of expansion. The third chapter provides case and David Harvey on capitalism and urban- of crisis and instability commercial media Kenzo Tange’s Tokyo Bay Project. Weiss studies from the Madrid metropolitan region, ization but does not pursue the theoretical began to shape a fresh, more realistic under- also describes the Tange project and Paul with photographs, diagrams, and maps implications of this study. One of the possi- standing of the city. Rudolph’s study for the Lower Manhat- richly documenting both completed and bilities raised by works like this is a stronger In “Part 2: The City,” a wide-ranging tan expressway as promising a “systemic unfinished residential districts and transpor- research relationship between the social study of the media and the mediation of New coexistence of infrastructure and inhabita- tation infrastructure. sciences and design practice and theory. But York City is organized into three sections; tion [which] has still gone largely unfulfilled.” The book draws tantalizing connec- for that to happen, scholarly works arising Chapter I: “Spectator,” Chapter II: “Desire,” Clearly, they have assembled this book of tions between Spain’s rapid city-making from the design fields must be both precise Chapter III: “Ecology.” It is here that we are projects and voices in order to lead in the and worldwide economic restructuring, and ambitious about their theoretical objects taken on a journey through the theories of fulfillment of that promise, during the second the 15-M Movement (anti-austerity), and and categories. This is a tall order—but a Walter Benjamin, Siegfried Kracauer, Chris- half of their careers. the rising popularity of global city metrics necessary one given—as the book sugges- tine Boyer, Christian Metz, Rem Koolhaas, There is much that remains to be and rankings. Marcinkoski traces Spain’s tively illustrates, the complex worlds that Michel Foucault, among others. The author said about the public and institutional spirit recent unconstrained building forays to its designers now negotiate. finds the Foucauldian “apparatus” instruc- of the work itself and the many challenges historical underpinnings, a “collective forget- tive in “discerning the complex network of involved in the realization of such seminal ting” forged out of the post-Franco regime —Kian Goh relationships between policy and design projects within the context of architectural period and manifested in the impulse to look Goh (’99) received her PhD from MIT in during the Lindsay Administration, and the production dominated by private develop- ahead—in ways partly optimistic, perhaps Spring 2015 and is an assistant professor of seemingly unrelated developments in the ment. The authors clearly have gained partly reckless. urban landscape at Northeastern University media industries and urban culture at large.” substantial knowledge from the construction Design played a central role in Spain’s School of Architecture. For architects and planners, of important, public-spirited work within urban growth. Renowned architects such as Chapter III offers a tangible example in which the constraints of a neo-liberal era. The Zaha Hadid, Jean Nouvel, and OMA all had the wide-ranging theories of media and the concise texts by Weiss and Manfredi made major commissions in the country during this city of the previous chapters intersect. this reader long for a greater exegesis in the time. Young Spanish architects landed high- Imaginary Apparatus: Clutter shows that the redevelopment of architects’ own voices beyond the short profile projects. Interestingly, the practice Times Square combined economics and city essays framing each work folio. Not content of awarding public housing projects by New York City and Its planning with the idea of integrating an to ride the market-development surf created design competition resulted in architecturally Mediated Representation urbanity that is derived from a media version by the strange rebels of the twenty-first exuberant social housing projects among the of itself. century, the work in Public Natures: Evolu- staid, market-driven developments. Indeed, By McLain Clutter The book concludes on an optimistic tionary Infrastructures could be framed as the relationship between design and marketi- Park Books, 2015, 200 pp. note: “We might broaden the discipline’s a manifesto from the 1979 generation, zation could have been explored further aesthetic range through the critical appro- staking out a position that is critically differ- here. How did the involvement of the world’s Imaginary Apparatus opens with a compari- priation of the communicative and affective ent from the current limited discourse on best designers—and the making of critically son of “New York City’s mediatic emanations” qualities of media, allowing such appropria- landscape urbanism, with its origins in acclaimed projects—change the way urban in celluloid to that of the “ecology of the city tions to tutor traditional aesthetic categories Bernard Tschumi’s Parc de la Villette and the design was complicit in the political strat- itself, its systematic interconnections between like form and space. In this way, architecture big architecture of Rem Koolhaas’s OMA egizing and economic development in these built form, flow, population, environment, and urban design might be newly significant and its progeny. regions? What becomes of design in a world economics, subjective affect, and more.” in its capacities to consolidate an urban where everything is driven by economics? McLain Clutter’s (MED ’07) objective is to public that is now fully habituated to all —Brian McGrath The book ends by discussing the potential describe the manifold relationships between manner of media.” If the abstruse language McGrath is the dean of the School of of urban design practice in the context of these “two complex objects of sublimity, used in this book were as communicative as Constructed Environment, Parsons the New speculation. The author points to recent between New York City and its mediated the media the author so insightfully analyzes, School of Design, in New York City, and discourse in architecture and landscape representation,” by tracing “one series of this hope might more readily be realized. principle of Urban Interface, a design firm urbanism that proposes cheapness, speed, developments through which New York City specializing in sustainability and cities. and disposability in architecture, as well and its mediated representation become —John Kriskiewicz as the interdependency and flexibility of intertwined.” While much of the writing is Kriskiewicz is an architect and architectural infrastructure. He praises the potential of convoluted in style, the points and compari- historian of New York City and is an assistant designing a built environment that antici- sons in the book are insightful and deserve professor at Parsons School of Design, pates externalities, the practice of what he attention as another worthwhile perspective The New School. calls “dynamic operating systems.” These on the relationship of media and the city. 18 CONSTRUCTS YALE ARCHITECTURE

books Giuseppe Terragni, House X, and Ten Canonical Buildings. Any singular form of analysis (formal, Palladio Virtuel social, economic, political, material)—any reading purely intrinsic or extrinsic—does tend to produce fatigue, and Eisenman is at pains always to hold in abeyance what he By Peter Eisenman with Matthew Roman considers to be aspects extrinsic to “archi- Yale University Press, 2015, 304 pp. tecture” (program, material, actual construc- tion, patron influence, socio-historical shifts, biography, and so forth). Nevertheless, I guarantee that many readers of this book will come away with a new awareness of the oft-overlooked complexity in Palladio’s work. What makes Eisenman’s sustained analysis valuable is the rare degree to which its direct approach compels one to read closely along with him in a way that few forms of criticism do. Any work of historical analysis should make you look, look again and yet again, at the object under consideration to observe and continually test its hypotheses. The limits of the deliberate—and indeed, polemical—isolationism of his sustained form of abstract analysis have already been noted by Rowe. This extends to the sui generis way Palladio is portrayed in the book, isolated from or situated merely in contrast to his own historical genealogy, which leads to some questionable schematic characterizations of history. Eisenman has always lobbied for architecture as an autonomous condition, but what is missed in his analysis is the complex interplay of form and meaning, the play between syntax and semantics, such as is evident in the very novels and films, that over the years, Eisenman has regularly cited as exemplary. And thus what remains unexamined is the Palladio’s Villa Chiericati from the Four Books on Architecture, drawing by Peter Eisenman and productive tension of corroborative or conflic- Matt Roman, 2015. tive evidence, the way syntactic tensions can provide clues to reveal certain cultural or social semantic tensions and vice versa. This was evident at the symposium, Palladio and Eisenman Redux: state (Bernini was particularly adept in this elongated, central figured space that in turn where Eisenman’s Chiericati presentation Outside-In regard). As for the architectural category is narrower than the volumes surrounding it.” drew forth incisive responses from Palladio of colonnades as outside of and supple- In the first section of the Palazzo scholars Guido Beltramini and Charles Hind, In my review of the Palladio Virtuel exhibi- mental to the buildings they engage—as Chiericati chapter, the three-toned physical who noted that as the building’s shallow site tion in these pages three years ago, I wrote certainly seems to be the case with Palladio’s model prepared for the exhibition represents was at the outer edge of the city, the patron that the space then allotted did not allow me barchessa colonnades and arcades—it the relational overlapping and compres- negotiated with the authorities to extend into to examine any of Peter Eisenman’s close should be stated that in many architectural sive conjunction of these spaces as well as municipal land by allowing public access readings of Palladio. Invited back to fulfill that traditions (the Western in particular) an array the virtual emergence of what would be a through his ground-level loggia. These promise now that the book version has been of columns surrounding a central institutional “proper” full portico figure. In the second corroborating pieces of evidence to the formal published, I find it difficult to pick just one space defines and structures the very origi- section, the analysis of the palazzo’s plan properties noted by Eisenman—who still building, given that Eisenman’s contribution nary moment of built magnificence. Thus, using overlapping ideal squares runs the deems them extrinsic to some inner autono- to Palladian studies (and historical studies in the seven types of temples discussed by risk of all those forms of analysis that find mous condition of architecture—do not in general) proposes a close reading of not just Vitruvius all have columns that are integral as alignments of quasi-mystical sections and fact “explain” or worse yet, explain away one villa but of a transformative sequence of thresholds to a central cella, either in the form squares wherever they look. However, Eisen- the building’s form. Rather these “outside” trans-villa modalities through multiple Palla- of porticos or as single or double rows of man clearly states here that this traditional aspects only underscore their intriguing and dio projects. columnar surrounds, with the most elaborate methodology is being used to demonstrate complex “inner” manifestation in this hybrid I suggested previously that Eisen- one having (inside the cella) “columns set the opposite—the lack of correlating stabi- building: at once a villa set before an open man’s own design development outward away from the walls creating ambulatories lized alignments. The most persuasive and expanse and a city palazzo, a “magnificent” into the landscape provided a lens through all round like those in the porticos of colon- valuable technique occurs in the third section building expanded as colonnaded passage which to perceive Palladio’s villa extensions naded courtyards.” In other words, there is through his sequencing of volumetric model- and compressed as portico front in relation by means of “the barchesse—literally large no way, according to Vitruvius, to separate ing, the clearest Eisenman has yet devel- to municipal ordinances, simultaneously estate barns—which were conveniently columns and colonnades from the real archi- oped, to illustrate these unique compressive “private” to the family and “public” to others ignored by Wittkower and Rowe.” This lens tectural work that is culturally constituted as layering, superposition, and conflicting align- (not unlike the barchessa villas). As with the was a way to link and relate twenty projects, a Temple (and equally so in his discussions of ments. Also included here are his diagrams “Parergon,” there is no way one can separate not only the most dissipated structures the Forum and the Basilica). So, the extraor- that push the premise of an ideal villa to the intrinsic from extrinsic conditions, as each such as Villas Repeta and Sarego, but, more dinary transformative insight of Eisenman’s extreme through a demonstration of what a “side” is constituted only through its other. significantly, the unsettling tensions in the triptych organization of the book is that it symmetrical building would look like—which In terms of analysis, plotting the relations of stand-alone buildings. Villa after villa, Eisen- utilizes the “conveniently ignored” barchessa in Palladio’s case is as absurdly mechani- form and content, and tracking their mutual man demonstrates the multiple and mutable projects with their seemingly supplemental cal as those fabricated views of perfectly constitution and conflict reveals the ways ways Palladio’s porticos and loggia disturb, “colonnades around magnificent” villas as symmetrical human faces, losing the charac- the historical plot always thickens, becoming push into, or pull out from the mass of the the central means to reveal, on the one side, ter of distinguishing features. more critically significant. main structure, disrupting prior notions certain agitated and syncopated complex Regarding the self-avowed formalistic But that has never been Eisenman’s regarding the “perfect” idealized symmetries coordinates that structure the “classical” methodology of this book, it is worth recall- mode when it comes to architectural analy- and stabilities in Palladio’s work. villas and, on the other, the very dissipation of ing Rowe’s statement on the limitation of a sis, so the crucial clues contained in this In this manner Eisenman evokes the villa type. purely formal analysis in the 1973 postscript book will be left for others to pursue. And his own version of what he considers a There is one building chosen by Eisen- to his essay, “The Mathematics of the I suppose it is too much to ask of Eisen- Derridean indeterminacy, which suggests man (“The one that was the most difficult Ideal Villa”: “A criticism which begins with man, given the contribution of this work, to not the impossibility of any reading, but for me and remains so is Chiericati”) for the approximate configurations and which then spend another decade producing another rather of a mapping of cross- and counter- symposium “Recombinant Palladio” held proceeds to identify differences, which seeks eight hundred drawings—the number he determinations that allow for multiple at Columbia University six years ago, which to establish how the same general motif can said that were involved in developing this readings. But there is another Derridean I will discuss as to why I seem to invert be transformed according to the logic (or the book—for a follow-up volume exploring the concept that may be said to be pertinent the title (“Inner Agents”) of my previous compulsion) of specific analytical (or stylis- transformative sequencing of the palazzi not here, even if it is not cited by Eisenman: the review. Palazzo Chiericati, was among the tic) strategies, is presumably Wölflinian in included here, as well as the churches and “Parergon,” Jacques Derrida’s discussion many villas Eisenman’s teacher Colin Rowe origin; and its limitations should be obvious. civic works, such as Palazzo Valmarana, of those aspects of art that Immanuel Kant, positioned him in front of, and told him to It cannot seriously deal with questions of where Palladio’s two-dimensional represen- in The Critique of Judgment, stated were draw what he couldn’t see. The clue to the iconography and content. . . .and because tational techniques manifest as compressed extra (para-) to the real integral work (ergon) strange hybrid form of this palazzo-villa, it is so dependent on close analysis, if multilayers onto the building surface—like of art. Kant provided three such examples: however, is actually a very pertinent visible protracted, it can only impose enormous so many Eisenman projects. Or Il Reden- frames around paintings, drapery on sculp- detail mentioned by Eisenman, the “doubled strain upon both its consumer and producer,” tore, where Palladio’s superimposed outer ture, and “colonnades around magnificent column: one column literally pressed into which nevertheless “might still possess the structures again push into the surface of the buildings.” Derrida’s seminal insight was to another,” expressive of the conjunction merit of appealing primarily to what is visible façade (as multiple temple fronts) and then note how these seemingly extrinsic supple- wherein out of the continuous loggia across and of, thereby, making the minimum of emerge as colonnades inside the church, ments to the work were, indeed, integral to the entire front of the building—a feature itself pretenses to erudition and the least possible outer agents now inner agents—like so many the very intrinsic epistemological structure unique in Palladio’s non-barchessa projects number of references outside itself. It might, Eisenman projects. of the work. In other words, a painting is just that suggests its potential to extend out past in other words, possess the merits of acces- pigment on some surface until its physical the main mass into the landscape—there is sibility—for those willing to accept the —Mark Rakatansky and cultural boundaries are demarcated the figuration of a portico, nearly compressed fatigue.” After 1973, Rowe himself was not Rakatansky, principal of Mark Rakatansky by framing its edge condition, whether in a into the loggia. This feature provides the clue willing to accept the fatigue, and his descrip- Studio, is an adjunct associate professor gilded elaboration or a wrapping and stapling to another unique aspect of the building, tions of buildings became exceedingly brief at Columbia’s GSAPP. He is the author of of the canvas. Drapery in sculpture, rather another doubled compression: “The inward and elusive. Not that they were considerably Tectonic Acts of Desire and Doubt (Architec- than extraneous, has been a means to depict compression of both the front portico and sustained prior to that time, in sharp contrast tural Association, 2012). its subject’s integral social and psychological the internalized rear portico produces an to Eisenman’s, as evidenced here and in his 19 Spring 2016

and what constituted the architecture of the street, of the “new street,” or strada novis- sima. The Deconstructivist Architecture show at The Museum of Modern Art, in 1988, hastened the end of Post-Modernism as an authorial idea, but what is important is that it did not replace it. Thus, near the end of the last century, the idea of an internal disciplinary authority began to erode in academic circles. There could be several reasons for this situation. One would be the demise of disciplinary giants. While the media named and then expanded the influence of “starchitects,” few of these architects had any ideological or pedagogic project to compare with people such as Rossi, Tafuri, Venturi, or O. M. Ungers. The demise of the influence of these figures, coupled with the proliferation of increas- ingly sophisticated computation and software, created a seemingly unbridge- able gap between a younger generation and their older mentors and colleagues. This new phenomenon has often contributed to a generational disregard for any disciplinary authority and has prioritized software as a driving force in architecture. Whether this generational divide ultimately has any validity, only the future will be able to judge. Unmoored from any disciplinary concerns, not to mention the loss of authority, the digital software explosion has led to a cacophony of work without a corresponding critical apparatus to assess this production. Moreover, the idea of a criti- cal matrix seems more necessary today than Palladio’s Villa Pisani, Montagnana, Italy, 1552 ever before, since popular software is able to produce an infinite number of singular itera- tions without any value system in place, other than personal aesthetics or expression. In a concluding paragraph to his book The Alphabet and The Algorithm, Mario Carpo says, “The modern process of architectural design and the architects’ authorial role in it “Architecture and close reading of the relationships between at Cambridge, the authorial voice shifted may not survive the digital turn. Yet, as archi- articulated architectural elements, such as from Wright to Louis Kahn. But, for me, the tecture preexisted both the invention of the the Loss of Authority” porticos, arcades, cortiles, and staircases. important change in this context was my Albertian author and the rise of mechanical Peter Eisenman Part of the authority that has been lost PhD dissertation, written in the void of the copies, neither may be indispensable to its in architecture today deals with this idea of early 1960s, before Aldo Rossi, Manfredo future. The post-Albertian architecture of our December 3, 2015 how to see as an architect, how to see what Tafuri, Robert Venturi, and Jacques Derrida. digital future will have something in common cannot be seen, as opposed to the visualiza- Looking back, I see it as an important with the pre-Albertian architecture.” Under- The Charles Gwathmey Professor in tion of the digital. In its literalness and its attempt at a different disciplinary authority, standing the changes prefigured by Carpo will Practice, Peter Eisenman delivered a capacity for ever-increasing detail, computa- swerving away from the authorial legacy begin to help us to shape a possible future for lecture at Yale on the occasion of the tion has taken away much of the possibility of the individual. It is this difference that is architectural pedagogy. publication of his book Palladio Virtuel, of thinking about something that one cannot attempted in Palladio Virtuel—it is not your Palladio Virtuel begins with Leon with his coauthor Matt Roman (’06). The see. It also has affected how architecture is potted view of his work. Battista Alberti’s implication of homoge- lecture is printed in full below. taught and practiced today. My interpretation of the events of the neous space in his De Re Aedificatoria [“On The United States is an example of the early 1960s did not become conscious until the Art of Building,” 1452], which originated evolution of authority within the pedagogy Venturi’s book Complexity and Contradiction the discourse about how to conceptual- I want to use the work Matt Roman and I of the architecture school. Unlike other (1966), which precipitated quite conscious ize space. After Bramante much of what is did on Palladio as an introduction to what Western countries in the nineteenth century, reactions within architecture circles in the known as architectural mannerism, including I consider the loss of authority within the the United States did not have an estab- United States. While those thoughts on a Palladio, is in fact a questioning of Albertian pedagogy of architecture. This idea goes lished tradition of education and practice. revised disciplinary authority might have spatial principles. An important aspect of back to my earliest experiences of teaching The first university schools of architecture subconsciously powered my earlier disser- Palladio’s work is the shift from the Albertian and traveling. I first saw a Palladian build- were opened in the 1870s and modeled their tation, it did not, at that time, interrupt the idea of homogeneous space to what might ing, the Villa Pisani, in Montagnana, in 1961. curriculum on the French Academy, the École sequence of the Corbusian authority of be called heterogeneous space. In Palladio That summer, I traveled with Colin Rowe des Beaux-Arts. Beaux-Arts pedagogy was the individual. His authorial voice was so Virtuel the evident conceptual transforma- after my first year of teaching, between 1960 the authority in American schools of architec- virulent and persuasive that students and tion from homogeneous to heterogeneous and 1961, at Cambridge. Rowe instructed: ture, until MIT and Harvard introduced some faculty alike would converse in shorthand in space is variously referred to as the dissipa- “I want you to stand in front of this villa until modernist ideas in the 1920s and 1930s. the schools where these ideas flourished, tion of a supposed “ideal” toward “virtual” you can tell me something about it that you One of the earliest authorial voices reacting such as Princeton and Cornell. In fact, many spatial conditions. This brings us back to cannot see.” And I thought, “What does he against the Beaux Arts was Walter Gropius students’ desks were stacked with the five seeing the unseen and my first architectural mean by ‘cannot see’? What is he talking and the Bauhaus. There were other teachers volumes of his Oeuvre Complete for quick lesson after encountering a Palladian villa about?” This would become a seminal who had come from Europe to the United reference. It was only after Venturi’s book in Italy. Although computation promised moment for me. I must have spent about an States, to places like Harvard and Chicago, that it was possible to articulate two differing heterogeneous, singular instances, space is hour looking at the building, and I did not where the Bauhaus teachings and curriculum disciplinary authorities—American pragma- understood today in terms of parametrics, know what to do or what the lesson was. were being practiced. Another significant tism and Modernist ideology—putting to spatial or temporal, which translate into Upon my return to the States in 1963, authorial voice from the Bauhaus was Mies rest the notion of an individual dogma for the homogenizing data. I still did not understand what that lesson van der Rohe, who headed the new school ensuing years. This is an interesting moment for was. Today, I realize that it was to read at IIT. In this context, it is impossible for me These differing authorities spawned you, as students, to come into the world architecture as if it were a musical score. to think of pedagogy without some form of people like Aldo Rossi, who brought a new as architects because there is no authorial Composers don’t need music to be played in authorial condition inherent in it. idea of architecture from continental Europe, script. If I asked you, “What are you reading? order to hear it; they can hear the notes on a The two curriculums, the Beaux- called the Tendenza—an idea about the What are you doing?” the answers would be staff. Architecture is the same: one can know Arts and the Bauhaus, which were often organization of the urban in relation to what a multiplicity of things. There is no one voice it by seeing not what is on the façade but, for mixed into a rather bland form, became he called “urban artifacts.” We were fasci- that tells you that you are on the right or the example, seeing only the plan. An architect the dominant pedagogies well into the nated by Rossi’s work from the Milan Trien- wrong track because there is no right track sees differently than does an art historian 1950s. Then, the disciplinary authority nale (1973) and his book The Architecture of or wrong track anymore. This is the problem or critic. Architects look for how buildings began to change. While certain Beaux-Arts the City, first published in Italian in 1966. Next we face as teachers, too. But one thing is teach them to see through their facture. For terms remain to this day, like “charrette,” came James Stirling’s early projects, such certain: without an authority, there is nothing example, Palladio Virtuel is clearly a book “esquisse,” “poché,” and “rendu,” a new as the Churchill College competition and the to react against. by an architect, not a historian or a critic. I kind of authority—based not on a Classical iconic Leicester Engineering Building (1963). I want to leave you tonight with a wrote about Palladio in order to elaborate my curriculum but on the voice of an individual Again, this is something that came to the sense that, although the authority within the own pedagogy in architecture and, perhaps, architect—came into being. This was not so United States with a great flourish because architecture pedagogy may have been lost— to reaffirm the necessary authority of Palla- much a shift from the Beaux-Arts to Modern- Stirling was a visiting professor here at Yale, and, therefore, architecture as a discipline dio. The book is also an attempt to open ism as one from a systematic disciplinary in 1959, staying until 1983. He was one of as opposed to a practice, may have lost the architecture to investigations that promote authority to the authority of an individual those figures who taught, built, and thought capacity to be critical of authority—in under- change from the status quo and propose a architect. Then, slowly, by the middle of about architecture. He was one of the last standing and facing this loss, one can rethink theoretical matrix from which to understand the 1960s, even the authorial voice of the individual voices of authority at the time. and recalibrate what authority means today. those changes. individual architect changed. By 1980, things began to change In Palladio Virtuel, the “virtuel” refers From one individual to another, from again, and Post-Modernism, as a style if to architectural aspects that are implied by a Frank Lloyd Wright to Le Corbusier, from not an ideology, became the new autho- condition of presence and that exist beyond my own experience in the 1950s and 1960s, rial voice within architectural pedagogy. the literal or the ideal. These characteris- and from Cornell to Cambridge to Princeton, Its most prominent manifestation was “La tics of Palladio’s villas are not necessarily there is an interesting barometer of the Strada Novissima,” the first international “visible” in any one space; their indetermi- changes in authority within the pedagogy of Architecture Biennale, in Venice. This exhibi- nate qualities can be revealed through a architecture. In 1960, when I began teaching tion radically changed the idea of the façade 20 CONSTRUCTS YALE ARCHITECTURE

The students first designed a conceptual exercise as an “image manifesto” to repre- sent their position in response to precedent Advanced Studios studies. This emblematic image—a technique that Zenghelis developed and refined—generated provocative imagery, from collage to innovative drawing methods, guiding their thought processes. Fall 2015 Prior to the studio trip, the students worked collectively on a comprehensive design for the formal, landscape, and programmatic organization of the site as a kind of master-plan framework that would continue to receive input from local archi- tects, historians, and planners during the visit to Thessaloniki. Over the course of the studio, they negotiated their individual portions without a “master hand” in the project, with new programs, including a museum, a hotel, housing, a research insti- tute, a theater, and a school. After the trip to Thessaloniki, what 1 2 3 emerged from the student’s collective efforts was a series of principles and mutually held regulating geometries, which they developed either individually or in small teams toward more focused architectural proposals. The planning principles included returning housing to the center; providing lateral connections from the mountains and the upper city down to the sea, against the grain of the linear city; continuing the existing streets into the municipal park as connective tissue between the historic center to the west and the residential fabric to the east; and 4 56adapting old buildings from the expo site as well as inserting new buildings to reinforce a 1. Xinyi Wang, project for Jonathan 5. Justin Oh, project for Demetri Rose, Sara Caples, and Everardo Porphyrios advanced studio, fall 2015. cultural zone within the park. Jefferson advanced studio, fall 2015. Students adapted their “emblematic 6. Heather Bizon and Patrick Kondziola, image” to envision aspirations for the future 2. Anne Householder and Clarissa Luwia, project for Edward Mitchell and Aniket life of the park. Issues such as the edges, project for Marion Weiss and Michael Shahane advanced studio, fall 2015. Manfredi advanced studio, fall 2015. new urban programs, open-space access, 7. Anne Ma and John Wan, project courtyard typologies, dimensions of a 3. Andrew Dadds, project for Elia for Alan Plattus advanced studio, block, connectors, parking, and pedestrian Zenghelis advanced studio, fall 2015. fall 2015. infrastructure provided necessary insertions 4. Sarah Kasper and Dima Srouji, project 8. Luke Anderson, project for Sunil Bald into the city. Some students concentrated for Peter Eisenman advanced studio, advanced studio, fall 2015. on developing a conceptual underpinning fall 2015. for the park and elaborating on the more 78 tangible design of the western edge—one of the key lateral paths to the waterfront. In The Fall 2015 Advanced Studios focused on urban layering, with through- as Facebook’s and Google’s headquarters, another scheme a variety of planted plots focused on the unique urban textures block development that connected views as well as creative enterprise spaces such were manipulated to create path edges and of Thessaloniki, New York City’s Harlem and created architectural experiences for as IDEO and Stanford’s Institute of Design. “rooms” (clearings) in the park. One student and Roosevelt Island neighborhoods, residents both above and below the street. While visiting these sites, they evaluated designed a pedestrian path to reveal an postindustrial towns near Boston and Other students questioned the housing issues of worker satisfaction and productiv- archaeological site beneath. Along the street Beijing, and a palazzo in Italy. Two studios program’s rigidity, essentially dictated by ity; the intersections of, or buffers needed she designed a series of pavilions, providing centered on dramatic landscapes that affordable-housing lenders, proposing, between, academia and industry; and how park infrastructure as well as a new hammam. required the rethinking of two typologies— instead, alternate forms of more flexible a space can encourage innovation and Other students focused on design- the observatory and the art gallery. housing that promote communal interactions collaboration. The precedent studies fused ing a variety of housing types and scales between non-nuclear family households. projects with conceptual frameworks and at the edge of the park, introducing a new The brief also demanded high organizational approaches for structure and mixed-income neighborhood and mediating Jonathan P. Rose, Sara Caples, and standards of sustainable design, headed form. Some took cues from precedents in between the university and a busy thorough- Everardo Jefferson toward net zero, to support a more satisfying terms of scale, circulation patterns, program- fare to the north. The addition of commercial Bass Distinguished Visiting Architecture occupant experience with maximal use of matic compartmentalization, or archetypal and student gathering spaces culminated in Fellow Jonathan P. Rose (BA ’74) along with controlled daylight and natural ventilation. form, such as the monument on a plinth or a sports hall. The students presented their Sara Caples (’74) and Everardo Jefferson The students investigated cladding systems the mat-building. projects to Ross Adams, Marta Caldeira, (’73), Kahn Visiting Assistant Professors, and window shades that provided shade In terms of ecology, some of the Preston Scott Cohen, Peter Eisenman, led a joint studio focused on the developer or reflected light, depending on the orien- projects embraced the East River and Kenneth Frampton, Theo Issaias (PhD ’17), as driver of an architectural project, asking tation and planned spaces that could be the reality of rising water levels by includ- Alan Plattus, Demetri Porphyrios, Brett Steele, students to design a mixed-use building manipulated according to the season. One ing canals, tidal wetlands, docks, and Dimitra Tsacharelia, and Marion Weiss (’84). across from the Apollo Theater on 125th student used the façade as a projection promenades, while others simply floated Street in Harlem. The midrise complex would screen to flash images of films relating to the megastructures above the fifty-year flood Peter Eisenman provide housing for retired jazz musicians, interior program. plain. Most of the projects proposed the use Peter Eisenman, the Charles Gwathmey cultural and creative work spaces, a film At the final review, students showed of water transportation, with new ferry stops Professor in Practice, and Miroslava Brooks screening room, a public meeting room, a how the building could be a cultural anchor and kayak launches, and bridges to western (’12), critic, challenged their students to restaurant-café, and a visitors’ desk for the on the main street of America’s most famous Queens. A few transportation schemes use the site adjacent to Palazzo Rucellai, in Harlem cultural district. black neighborhood and how to depict proposed burrowing under the island to Florence, Italy, as a base from which to inves- Working according to the parameters its significance through architecture that reach the subway train below; several tigate the design of a structure with a binary for a project owned by the Upper Manhattan manifests both its rich history and ongoing connected to pedestrian and vehicular traffic opposition—that is, a diptych. The students Empowerment Zone (UMEZ), the students cultural production. They presented the final on the Queensboro Bridge. worked individually before their studio trip were asked to integrate a complex program projects to Vincent Chang, Sharon Davis, Alex Some of the projects were clearly with Pier Vittorio Aureli, to Italy, where they into a tight site that would provide both Garvin (BA ’62, MArch ’67, MSU ’67), Lisa phased, sequenced linearly or in nodes in visited the site and various other buildings, economic and social-cultural returns on Gray (BA ’82, MArch ’87), Angela Howard, village-type settings. Most of the schemes emphasizing diptych façade compositions. the UMEZ’s investment. The students thus Julie Iovine, Kenneth Knuckles, Steven Lewis, optimized Manhattan views and capitalized For the midterm, they worked in pairs to addressed questions beyond architecture, Alan Organschi (’88), Terence Riley, Verdery on sun exposure, allowing light into court- create a diagrammatic parti presenting including issues of cultural representation Roosevelt, and Madelyn Simon. yards, internal streets, and canals. Many various possibilities of a diptych. Through versus the mutability of the site’s ethnic of the projects transcended the distinction endless sketching, drawing, and modeling, anchoring, especially given the distinctive Marion Weiss and Michael A. Manfredi between architecture and infrastructure. The one project achieved a highly articulated qualities of tragedy and hopefulness in Marion Weiss (’84) and Michael A. Manfredi, students presented their final projects to a yet subtly complex diptych composition in Harlem’s great cultural past. The students Eero Saarinen Visiting Professors, with jury including Felipe Correa, Joyce Hsiang which the multiple spatial readings and the made frequent trips to New York City, where Britton Rogers (MED ’14), critic, asked (BA ’99, MArch ’03), Florian Idenburg, Paul architectural nature of the hinge—arguably they studied Harlem’s historic context, met students to design a new type of incubator Lewis, Thom Mayne, Hilary Sample, Joel the most critical yet elusive component of a with the UMEZ, and presented their ideas campus at the southern end of New York’s Sanders, and Alison Wicks. diptych—came closest to the poststructural- to restaurateurs such as Derek Fleming and Roosevelt Island that is being developed ist idea of a reading of the internal wall that Danny Meyer. by Cornell University and Israel’s Technion Elia Zenghelis oscillated between a permeable edge, a solid The students were each given not only Institute of Technology. Focusing on the Elia Zenghelis, Andrew Benner (’03), critic, object, and a void separating two courtyards. the program but also the zoning envelope impact of rising water levels and on inter- and Ioanna Angelidou (PhD ’18) led a studio Another group of students presented for two towers with a central lower-rise rogating the term “innovation space,” the in Greece’s second city, Thessaloniki, asking an urban scheme in which the exist- landscape volume, tasking them to tease 250,000-square-foot studio project includes students to redesign and densify a vast ing façade of Palazzo Rucellai was left out the significance of the project elements. an R&D center with live-work spaces, dry area of the center as an active municipal untouched yet radically reconceptualized by While this caused some initial skepticism, labs, classrooms, a conference center, and park. A waterfront town, the plan of Thessa- the proposed addition of a bent-bar parti, each student approached the problem with a incubator spaces for start-up tech compa- loniki has been likened to that of a butterfly, which was seamlessly incorporated into a unique formal design and organization, with nies on an island in the middle of a global city. with the park as its body. In addition to the newly formed urban ensemble. This triggered variety gained from program organization The students researched Modernist collective park design, each student focused a discussion among the jurors about and diverse configurations for a lower-rise, corporate campuses and traveled to Silicon on one of seven public areas and programs whether this project was actually a diptych mid-block public space. Some students Valley to see contemporary versions, such that contributed to the life of the park. at all. A third group of students designed 21 Spring 2016

an extensive façade matrix that allowed for One team focused on public venues and a During travel week, students visited dormitory rooms for visitors were included. a systematic review of multiple variations new courthouse for Lowell. Another reimag- historic and contemporary buildings in The typologies of the village, castle tower, within a clearly defined set of rules. From ined the towns of the Merrimac River Valley Edinburgh and Glasgow, and traveled to the and Cistercian monastery inspired one there, they produced a façade parti. Another as a “linear city” comparable in size to central site to experience the observatory’s program student’s project that merged the clustered- project approached the problem through Boston, replete with a 100-mile-long nature and to see the sacred and secular vernacular town geometry with the cubic and spheri- part-to-whole relationships, referencing trail, river-restoration landscapes, public architecture at the English-Scottish border. cal disjunction of the observatory. Some Alberti’s idea of homogeneous space, which amenities, and new intercity government Upon returning to Yale, students focused students reinforced the assumed elements of resulted in a unique ground plan. agencies. One team created a “honky-tonk” on qualities of the sphere and the circle as the program; others reinvented a combina- One team early on established key waterfront reconnecting the oceanfront in primary elements, as well as on the techni- tion sphere and undulating roof that merged urban connections between the triangular Lynn to downtown, another team designed a cal accommodation of telescopes. In many with the ground. A sphere embedded in the piazza, the diagonally positioned building “Shoe Parade,” binding Lynn’s manufactur- ways, they were developing representational forested site allowed for a vista that emulated across the square, and the adjacent loggia ing heritage and its new ethnic communities techniques for the celestial. being in the heavens. through an investigation of Palazzo Rucellai’s in a ritual of architectural interventions, In focusing on the observatory’s A jury of Kenneth Frampton, Anthony vertical surface and its surroundings. The costume designs, a street-long community exterior roof surface, some projects took on Vidler, Anya Bokov (PhD ’17), Susannah diptych composition was carried through the picnic table, and an inflatable cultural center horizontal orientations. Only two projects Drake, Joyce Hsiang (BA ’99, MArch ’03), entire project in section, plan, and program. to house local festivals. were vertical, one of them a tower comprising David Lewis, Michael Manfredi, Billie Tsien, It presented a radical “peeling away” of the The projects enthralled the jury, which stacked spheres. Other students considered and Michael Young engaged in the ethereal existing façade, which could be seen as a comprised Tim Love, Kim Poliquin, Brian a low-tech observatory for local visitors. In qualities of this exploratory typology. critical commentary of the palazzo, ultimately Healy (’81), Na Wei (’04), Carie Penabad, an exploration of the surfaces and clear- exposing it as a Renaissance version of a Peter de Bretteville (BA ’63, MArch ’68), ings of the rigidly planted forest, building decorated shed. and Andrei Harwell (’06), along with Anne columns resembled a tree canopy, and The jury of Michelle Addington, Haynes (’94), Noah Koretz, and Joe Mulligan Preston Scott Cohen, Harry Cobb, Cynthia of MassDevelopment. The student work will Davidson, Palmyra Geraki, Jacqui Hawkins be exhibited in the communities to promote a (’10), Ingeborg Rocker, Matthew Roman public dialogue. (’06), David Salle, Brett Steele, Anthony Vidler, and Guido Zuliani, debated the Alan Plattus and Andrei Harwell Yale School of projects with intensity. Professor Alan Plattus and Andrei Harwell (’06), critic, taught the sixteenth China Demetri Porphyrios and George Knight Studio as the fifth year of collaboration Architecture Books Bishop Visiting Professor Demetri Porphy- between Yale and Tsinghua University rios and George Knight (’96) challenged School of Architecture, in Beijing. As in the students to design a gallery for a collection of 2014 studio, they examined the develop- contemporary sculpture, including works by ment corridor created by the high-speed Jeff Koons, Louise Bourgeois, Damien Hirst, commuter-rail connection from Beijing to the Fernando Botero, Dennis Oppenheim, Kiki port city of Tianjin. The students were asked Smith, and Charles Ray. They first studied the to consider the reuse of a historic shipbuild- history of the gallery typology in buildings, ing factory complex on 130 acres east of such as corderie, basilicas, stoas, arsenals, the new Beijing CBD, where the Hai River lazarettos, corridors, urban arcades, archaic flows into Tianjin Harbor and the Bohai Sea, temples, libraries, and diverse industrial forming an island. They grappled with ways buildings. Expanding upon these studies, to accommodate dense mixed-use develop- the studio researched the evolution of the ment in a complex linear site that borders salon of the Venetian palazzo from a working the southern, less desirable area. Students space to an exhibition hall as seen through- traveled to China, met with local planning out the Venetian empire and, specifically, officials, and collaborated with graduate Dalmatia, the site of the proposed project. students at Tsinghua to develop preliminary The students also researched the Croatian site analysis and design concepts. towns of Dubrovnik, Korula, Trogir, Hvar, Working in teams, students designed and Split, creating detailed models by hand a variety of complex projects, many of them and computer to examine their history and responding to the linear site by proposing The Marine Etablissement Claudel (BA ’13) reveals agency as the crucial topography, which they further investigated connections via bridges, elevated roads, and Isaac Kalisvaart qualifier of formal analysis and discusses on studio visits there and to Venice. tunnels. One group located a string of sites The Marine Etablissement: New Terrain for the deep fractures in the profession caused The students’ final schemes on the Tonghui River in water villages with Central Amsterdam presents the studio of by parametric software. Kyle Dugdale (PhD included the restoration and expansion of high-density towers, a workers’ canal village, the ninth Yale Edward P. Bass Distinguished ’15) draws an analogy to Homeric analysis, Dubrovnik’s arsenal; two projects in or near and rural farms, which included a method Visiting Architecture Fellowship taught by exposing the web of deceit that underlies the Korcula, including a reclaimed island gallery for river pollution remediation. Another Isaac Kalisvaart, CEO of MAB Development, ostensibly dispassionate analytic exercise, comprised of loggias and plazas whose plan team designed an elevated infrastructure to with Alexander Garvin (BA ’62, MArch ’67, arguing for analysis as a subversive means recalled the exemplary urban pattern of the connect the sites to the north and south of MSU ’67), Kevin D. Gray (lecturer in real of controlling architecture’s history. John city; a gallery set in a wooded site that drew the river with an armature system that could estate at the Yale School of Management), McMorrough asks what constitutes archi- inspiration from lazaretto buildings; and a occupy an area from Beijing to the country- and Andrei Harwell (’06) of the Yale faculty. tectural analysis after close reading is over. gallery sited on an undeveloped monastic side. Some schemes looked to enhance local The studio proposed designs for the Marine Emmanuel Petit reviews the different ideolo- settlement in Hvar featuring a stoalike struc- programs in an adaptive reuse project of, for Etablissement, Amsterdam’s historic closed gies that concepts of analysis have occupied ture as a market building and using a cloister example, the historic railway yard, for artist military installation for over 350 years, which in architectural theory throughout modernity. as an organizational device for the exhibi- housing, or in a future sports complex, for is currently undergoing a urban reintegration Leeland McPhail (’15) was the assistant tion spaces. The students presented their the 2022 Winter Olympics. The reduced city plan for varied and public uses. The students’ editor and designed the book to the guide- projects to a jury of Tom Beeby (’65), Kyle bike usage served as a focus for a team that projects imagine numerous approaches with lines of MGMT.Design. Funded with gener- Dugdale (PhD ’15), Melissa DelVecchio (’98), tapped into old-fashioned bike production schemes for housing, schools, tech centers, ous support from Elise Jaffe + Jeffrey Brown, Judith DiMaio, Ann Morrow Johnson (’MBA with the design of a cycle-culture hub for performance spaces, public parks, sports the book is distributed by Actar D. ’14, MArch ’14), Barbara Littenberg, Alec making, repairing, and testing bicycles. facilities, museums, and infrastructural Purves (BA ’58, MArch ’65), David Schwarz In an innovative presentation method links to the city’s core. The book includes (’74), and Ellis Woodman. of comic books, graphic novels, and posters, interviews with the professors, and essays Exhibiting Architecture: one team postulated new ways for urban by Alexander Garvin introducing the studio; A Paradox? Ed Mitchell and Aniket Shahane design to negotiate the relationship between Kevin D. Gray, outlining the broad economic Exhibiting Architecture: A Paradox? brings Post-Professional Design Studio conventional top-down strategies and local environment and financial feasibility of each together a collection of essays that are an Ed Mitchell, associate professor (adjunct), community desires in the form of experimen- design proposal; by Erik Go, head of Studio outgrowth of the eponymous symposium at and Aniket Shahane (’05), critic, led the tal design proposals for “insurgent” spaces MAB, and Hans-Hugo Smit, a senior market the school, in fall 2013, convened by associ- Post-Professional students in analysis and on the site. The students presented their analyst at MAB; describing the nature of ate professor Eeva-Liisa Pelkonen (MED ’94), design for the redevelopment of three former complex projects, together with the students collaboration between designers and devel- with David Andrew Tasman (’13) and Carson Massachusetts mill towns—Lowell, Lynn, from Tsinghua, to a jury including Naomi opers; and by Liesbeth Jansen, project direc- Chan, who were the book’s coeditors. and Haverhill—which have rich textile and Darling (’06), Alexander Felson, Liu Jiam, tor of Marineterrein Amsterdam with Maarten The ambition of exhibiting architecture shoe manufacturing histories. The concept David Korris, Ed Mitchell, Carie Penabad, Dai Pedroli of Linkeroever describing the latest entails paradoxes: how to exhibit something was to reimagine these cites not as bedroom Songzhou, David Tseng, David Waggonner developments on the site. Edited by Owen as large and complex as a building or a communities accessible by commuter line (’75), Na Wei (’04), and Zhu Wenyi. Howlett (’14) and Nina Rappaport, the book city, and how to communicate something to Boston but as new cities for living and is designed by MGMT.Design and is distrib- as elusive as an architectural experience working that build on their industrial legacies Sunil Bald uted by Actar D. that unfolds in space and time. To be sure, and recent immigrant populations within the Sunil Bald, associate professor (adjunct), architecture poses a challenge to exhibition framework of a redevelopment scenario. with Nicholas McDermott (’08), critic, led as a medium. What is it we exhibit when we After performing some conceptual exercises, students in a project intended to reclaim the Analytic Models in exhibit architecture? Should we be satisfied the students visited the communities and stargazing experience through the expan- Architecture with photographs of buildings and sites, or met with city officials and representatives sion of an observatory and building complex Analytic Models in Architecture documents should we aim to display whole buildings or of MassDevelopment, the sponsor of the in a man-made forest, in Northumberland, Yale School of Architecture student work fragments and models of them? These were redevelopment studies. Highlights included England. They asked the students to design from the undergraduate studio course “The among the questions the organizers posed to tours of the operating mills: a self-created individual proposals to enhance the mission Analytic Model: Descriptive and Interpre- the group of architectural and art historians, shopping street in one mill, inspired by the and ethos of the Kielder Forest and Observa- tive Systems in Architecture,” taught by practicing architects, and curators who were Marseilles Unité d’Habitation; an exhibition of tory, which is by day a part of the landscape Emmanuel Petit from 2005 to 2014. The invited to participate and contribute essays Theo Jansen’s Strandbeests; and the start of and at night becomes an instrument for both projects are organized according to a set of to the book. Their discussions address the the Haunted Happenings in Salem. amateurs and professionals to view Northern ten conceptual categories that emphasize exhibition as a medium and challenge the These fabulous chance encounters Europe’s largest swath of unpolluted night varying strategies of formal analysis: aggre- preconceived idea of what architecture is sparked the imaginations of the students, sky. Initial design exercises simultaneously gation, cinematics, condensation, diagram- by examining a range of possibilities as to who worked in teams to redesign the urban explored the ephemeral and the material in matics, DNA, fluid interlocking, fragmenta- how architecture is made, experienced, and character of the towns. Several students terms of the architecture’s relationship to tion, morphology, seriality, and thickened discussed. The book was designed by Amy imagined an intricate development for a darkness. The roof plane was identified as 2-D. Five critical essays focus on particular Kessler to guidelines by MGMT.Design with public riverfront in Haverhill. Another group the architectural element open to invention, aspects of analysis in architecture: Anna Nina Rappaport as managing editor and it is created a complex of community gardens in the way it engages the landscape as a Bokov (PhD ’17) illustrates an episode in the distributed by Actar D. and green public “rooms” framed by housing. mediator between day and night skies. history of the Soviet avant-garde. Matthew 22 CONSTRUCTS YALE ARCHITECTURE Fall 2015 Lectures

The following are edited excerpts from part of central Harlem.” They had acquired urban majority. the fall 2015 lecture series a garage and a social club and had workers Bimal Mendis And the authors—such training to perform the construction. . . .We as the United Nations, the source for the thought no one would find the agency in the story in this case—lent the story credibility. September 3 garage, so we decided to put a new facade We were captivated but also skeptical of on it. However, they didn’t have the money these fables of one woman in the fields or Jonathan P. Rose for that, so we came up with the idea of one man on a camel, single-handedly tipping Edward P. Bass Distinguished Visiting working with a wonderful artist, Nathan Slate the scales of humankind toward an urban Architecture Fellow Joseph, who worked with distressed metals. majority. Such fabrications are entertaining “Design Like You Give a Damn” . . .We find that programs change in response at best and deceptive at worst when they to dialogues with the community. Because evoke a mysterious urban-rural divide. What My lecture tonight is called “Design Like You we often have to present them to so many is this divide? Where does rural end and Jonathan P. Rose Give a Damn,” and the title comes from a different publics, we don’t always talk about urban start? How can one even begin to book published by Architects for Humanity them frontally. . . .The question is, how do define urban versus rural? This great shift that describes socially responsible architec- we find a voice, one that makes the project from a rural to an urban majority is often ture from around the world. I love this phrase specific to a particular community? cited yet completely opaque. . . .What if, because it alludes to the fact that the work instead, we consider what it means to be we do provides key DNA to the evolution of urban in terms of all its people, wherever cities. By 2050 eighty percent of the world’s September 17 they might be, and not in terms of walls, population is going to live in cities. And the limits, or boundaries? What if the fundamen- difference we make with each building we Kathleen James-Chakraborty tal building block of the city were quite liter- design—actually each room, each structural Vincent Scully Visiting Professor in ally the individuals who comprise it? Could nuance—contributes to what this overall Architectural History we not understand urbanization as a topog- DNA is going to be, the “metagenomics” of “The Architecture of Modern Memory: raphy of people, aggregating and accumu- cities. And we can do that well or we can do Building Identity in Democratic Germany” lating over time, all seven billion of us and it poorly. . . .We’re seeing a growing middle the billions before—that is, the world as a class, and one of the issues is that, although This evening I want to tease out the relation- city of people? . . .Our project, “The City of it brings many positives, as we get to a ship between multiple pasts, including Seven Billion,” is not simply a proposition for population of ten billion people the amount of Modernism’s own history, in a series of us. It’s a reflection of an unrelenting reality. resources we’re going to consume is huge. German buildings whose occupation with The resultant topography is a continuity The Earth doesn’t really have the capacity to precedent reinforces how right Andreas of people, a model of us, and yet we are not provide at that scale unless we move from Huyssen was in two assumptions that in control. linear systems, in which we mine and make pervade the enormous literature on memory Sara Caples and Everardo Jefferson stuff, consume it, and then throw it out, to a and on Berlin. The first is that there is cyclical system. That is a whole lecture that something specifically Post-Modern about October 2 I’d love to give another time. We really need the palimpsest; the second is that Berlin to think about how we make our buildings is the paradigmatic place where public- Peter Sloterdijk and cities in a cyclical system. memory spaces based on this approach “Architecture as Spatial Immune My father was a great developer, and have been created. Systems: Toward a General Theory of toward the end of his life he said, “The best I want to challenge these accounts. Topo-Immunology” buildings that have been done were really First, there was nothing specifically new Keynote to the J. Irwin Miller Symposium about partnerships with the architects.” In about this strategy, which had been used Brendan Gill Lecture the last weeks of his life, he turned to me in West Germany and West Berlin, first and said, “I want to do something special in churches and then in museums, since What I want to do tonight is deliver a short for architects.” So, we cocreated the Rose immediately after the war. Second, within the and informal introduction into a very good, Architectural Fellowship, a national program debate over the architecture and planning of but rather ominous, enterprise—the Spheres that takes young architecture graduates the center of Berlin following reunification, trilogy. All together, these books represent, who want to do socially responsible its ongoing engagement with Modernism especially the second volume, something architecture and puts them in community- was in conscious opposition to the strategy that Sigmund Freud would have called development groups, where for three years, of “critical reconstruction,” which followed Errinerung—the labor of mourning for they collaborate as designers with all sorts New Urbanist principles; it was certainly not metaphysics. It is a long meditation about the of developers. They learn to put together a purely Post-Modern position. Furthermore, necessity of abandoning all kinds of world the building and the financing to produce what I term the “architecture of modern pictures based on this spherical “totalitarian- amazing community-based work. memory” was not originally used to confront ness” of the monospherical worldview and but rather to evade accepting responsibil- to replace these visions with new concepts. I Kathleen James-Chakraborty ity for the horrors unleashed by National have proposed the term foam to make clear, September 10 Socialism. A relatively consistent approach from the very beginning, that we are now to representing the Federal Republic—that dealing with spatial multiplicities, and there is Sara Caples is, West Germany and more recently a no longer an idealism of an all-uniting space Everardo Jefferson reunified Germany—at first obliquely but, available to us. Louis I. Kahn Visiting Assistant Professors increasingly, overtly; its purpose, however The last word is addressed to those “This Particular Time and Place” morphed over time. Finally, the architecture among us who still feel the urge not to dive of modern memory has been supported into totalities. That leads me back to my Everardo Jefferson This particular consistently by the right-of-center Christian introductory remarks about modernity as place, Yale, is where it started for us. And Democrats, while German Social Democrats a farewell to monospherical construction. this seems to be a particularly good time have often patronized a more orthodox The promise of totalitarian insight grows in to review the concepts and principles that Post-Modernism. The simplistic equation tandem with the foment of the immersions created our body of work. Three core values of Modernism with progressive politics and of incorporating units. Today it is obvious remain with us today: First, we strive to Post-Modernism with a neoliberal reaction that people living in the second half of the perform at least fifty percent of our work for against it falters here. twentieth century had no regard for empire- the community, for the broader public, building. This is obviously perceived from a especially those underserved by designers. European point of view. They seem to have Second, we base each project on intensive October 1 lived according to the motto “No more grand research that uncovers deep layers related success stories.” They prefer to assemble to an individual place, encompassing issues Bimal Mendis those elements from home-improvement from physical space and site analysis to Joyce Hsiang centers or do-it-yourself markets, which help Bimal Mendis and Joyce Hsiang philosophies underlying a client’s endeavor. Opening Lecture: J. Irwin Miller to build immunity against totalitarian forms Finally, we look at these multiple layers to Symposium of immersion. . . .The moral of the story is fulfill connections between the conceptual “City of Seven Billion” obvious: Dwell in your own place and refuse and the physical that seal in the unique poten- immersion in false connectivities. Do not tial of a place. Four projects have involved Joyce Hsiang The work in the exhibi- dwell in racial totalities. Do not engage in these principles: a nonprofit in Harlem, a tion City of Seven Billion—primarily models super-collectivizations. Choose your furniture community center in a tropical area, a theater and drawings—represents the ways we from your own supplies. Take responsibility on the old World’s Fair grounds, and a approach our curiosities and questions, for the micro-totalitarianism of your dwelling museum in Brooklyn. many of them quite simple or innocently circumstances and never forget that, in your Sara Caples When we started we asked, to explore and discover new home, you are the infallible perpetrators of imagined, naively, that all we needed was problems. To that end, we always saw the your own bad taste. the formal skills and design perspectives we exhibition in conjunction with the symposium developed over fifteen years working in some as a project in and of itself. While the exhibit of the nation’s leading design firms. But we suggests a framework for looking at the soon found that almost every project required world as one city, as a constructed entity, it a retuning of our design approach, in terms was just as much a framework for the accom- of a community’s values, visual and spatial panying symposium and its conversations. cues, history, events and emotions—making The collective experience is a very important each project specific to its particular time and platform for our research. . . . There are fables place. A project typical of our beginnings was about May 23, 2007, when a woman left the a renovation for a nonprofit in Harlem. The fields and entered the city of Shanghai and client said, “It’s on a midblock here in a funny single-handedly tilted humanity toward an Peter Sloterdijk

Constructs_Spring_2016_Final_1_gr2.indd 22 2/2/16 12:33 PM 23 Spring 2016

October 3 unemployment”? No, we’re on the other side and studies of the vernacular, especially “Big of a curve. This is a radical situation that is House Little House Back House Barn.” Using Hashim Sarkis not that simple. a single material, big variations in size and “The World According to Architecture” In my research practice, I expose. I scale reflect the patterns of use on the interi- Closing remarks to the J. Irwin Miller would call it the “zone before method,” to or. . . . This work has also raised questions Symposium give it a name. Mind you, I’ve done whole about architectural authenticity, especially Paul Rudolph Lecture lectures on this subject, and now a publisher in areas where the new industry is the tourist has asked me to produce a little book titled trade. The simple shed, built as it always has In Hamlet, Act II, Scene II, when the prince of Before Method. It is not called After Method been, can be manipulated to create working Denmark describes his mental ability to break because it is really the notion of two things, spaces hugely varied in their qualities of light through the confines of Elsinore, boasting and one is the more interesting “zone” of the and space. This search for a direct and real Hashim Sarkis to his old friend, “I could be bounded in a paradigm, whatever paradigmatic knowl- response to current architectural challenges nutshell and count myself the king of infinite edge you are dealing with. This would hold in Cornwall is seen in my projects such as space.” . . .Hamlet goes on to qualify: “were it for architecture as well, as actually this is the Maritime Museum, Charlestown Harbour, not that I have bad dreams.” . . .I am here this the place where a paradigm becomes weak and the Studios in St. Ives. . . .Aalto has been evening to correct this mistake and bring the at the edges. I work at the fuzzy edges of a particular inspiration. At the Villa Mairea, he bad dreams back into our discussion. paradigmatic knowledge. At these edges we incorporated a vernacular sauna seamlessly We cannot have an architectural can interrogate, interpolate, do away with, into a clearly Modern building. His ability approach that is not constructionist. There and say something else is coming up here. To to quote directly from other architectural is no other way. This is my response to do that, I engage the social sciences, where sources and from the vernacular produces Sloterdijk’s critique of constructionism. the imaginary plays a far smaller role than it a form of inclusive modern architecture— Architects construct new worlds and encour- does in architecture and design. You have to honest and authentic to the core—that age new forms of inhabitation or habits in use analytic tactics to clean it up a bit … but makes Post-Modernism unnecessary. these worlds. This is not bad. There is a what you can do is sort of destabilize it. Or In Cornwall and elsewhere in this world welcome tension between the internal world you can ask, “What don’t I see when I invoke of limited resources, I find myself increasingly that the architectural object represents and this?” In the social sciences, the economy, engaged in making use of existing build- the world outside it. From this construction- and the middle class, you can think of a ings—finding ways of transforming them to ist approach, one can also infer that these whole range of terms that are invitations to new uses without losing their individual archi- smaller worlds, through which architecture not think. tectural quality. At Porthmeor Studios in St. rehearses a world, are predicated on the Ives, we found ourselves working on a build- fact that we inhabit these new contexts with ing with a long history of serving both fisher- new eyes, shaped partly by the architec- October 15 men and artists. We managed to transform ture and making habits of seeing. The new the building and give it new life while keeping Saskia Sassen habits of living also encourage new forms of Marion Weiss its historical aura intact. We spent five years representation, which, in turn, help achieve Michael Manfredi and several million pounds in the effort—and another level of significance in architecture. “Public Natures: Evolutionary my favorite (and very un-Yale) comment was, But we have to constantly remind the world Infrastructures” “But you haven’t done anything.” and ourselves that these habits are acquired, Eero Saarinen Visiting Professors rather than imposed. They are encouraged rather than dictated. Paul Rudolph’s Art and Architecture Building November 12 But it is time to start thinking more is a Piranesian paradox, with a topographi- like Shakespeare than Hamlet. Here, Shake- cally charged section that insists that archi- ElIZabeth Danze speare is highlighted as someone who had tects must be exposed and be exposed to Roth-Symonds Lecture “negative capability,” meaning the ability to unfamiliar territories. The subliminal subtext “Space and Psyche” be able to act without full certainty. But then of the building is that architectural education again, it was Shakespeare who invented is, indeed, public in nature. The room we are in is a special one. It’s Hamlet, a tragedy of inaction haunted by Our new book and the title of our talk orange, it’s dark, it’s narrow, it’s tiered, it’s ghosts of certainty. Hamlet could not get out this evening, Public Natures, Evolutionary windowless; it once was new, and then old, of the nutshell. This, by the way, is a globe— Infrastructures, shares this conviction and we and then new again. It is at once familiar or maybe it’s not a globe. Thankfully we believe that “public natures” can be created and easy and also terse and uncomfortable. have no choice. In a nutshell, and between in improbable settings—ranging from the Sometimes it is too big, and sometimes it is the monospherical monsters and the seven nano-scale to the territorial, and equally too small. It is remarkable for being under- popes of kitsch we heard about last night, shaped by yet-to-be-discovered ecological ground, and there is a seven-story building there is an infinite space of action for archi- and social infrastructures. weighting heavily above us. To arrive here we Marion Weiss and Michael Manfredi tects to explore. If infrastructure has become the descend. . . .When we cross the threshold of byword of so many practices that blur the the room, we are not immediately aware of boundaries between architectural and an exit. This room is unlike any other room; October 8 landscape practice, it is because it encapsu- it holds powerful suggestive associations. It lates the challenges of scale and complexity is somehow chapel-like yet simultaneously Saskia Sassen that are the preconditions of meaningful feels like a cave or an underground bunker “Expulsions” public design work today. Increasingly, we for safe refuge. The physical manifestation of Myriam Bellazoug Memorial Lecture designers are operating in a global environ- this room taps into our psychological feeling ment and discovering that the public realm is states and evokes memories of other places. I want to talk briefly about my book Expul- becoming heavily privatized and specialized, I associate this place with the pleasure of sions. In many ways what I try to do is inter- with short-term ambitions shaping long- being a student. When I recall the thoughts polate the category “inequality.” Everybody term effects. And as the amount of public and feelings that I had while in this room, is talking about inequality. I have been talking open space decreases, we must become they are always connected to the explicit about inequality for thirty years. But inequal- increasingly inventive with compromised or and specific qualities of this room. This room ity by itself is just a distribution that you have orphaned sites. embodies some of what I will talk about to interrogate with something, so I’ve done If new forms of ecological and social today; that is, the effect architecture has on that with many questions of social justice. systems are a hallmark of contemporary our psyche, on the way we feel in the world, When does inequality become profoundly debates, both within the density of cities and on the way we navigate the world. As socially unjust? And when is it manage- and at the fragile edges of natural realms, architects and designers we have a crucial able? Any complex system is going to have we believe the stakes of this debate resist role to play in how people experience the inequality. In this particular book I want to oppositional clarity—nature versus city, world, and, hence, in their well-being and understand the moment when the familiar— individual versus collective—but instead very identity. M. J. Long not the monstrous—becomes so extreme suggest evolutionary forms of public nature. I have frequently cited the photo- that our categories, conceptual and statisti- graphs that psychiatrist Sebastian Zimmer- cal, of the imaginary can almost no longer mann has taken of analysts in their offices. As capture them. November 2 an architect, I have long been fascinated by This “zone of expulsions” is very this sanctum. And the photographs capture specific, and I think it’s growing. But if you M. J. Long the richness and complexity of the connec- think most of our cities, for instance, are “Anatomy of a Shed” tions and links between these two worlds. . becoming more beautiful, redone, and built . . I consider the role of the room neither tacit up, a lot of people are also being expelled I graduated from this school over fifty years nor passive but, rather, active in the creative and becoming invisible. If you look at the ago. I thought it might be interesting to work of analysis. It is an amalgamation of mainstream zone of our current world, you look at some of the ideas that interested office, examination room, confessional, and might ask, “Hey, what’s wrong?” New York us as students then, and how those ideas nest. Each conveys a sense of sanctuary, looks more beautiful and cleaner, and has have persisted or changed over time. … protection, and safety, but it need not be more high-rise buildings—out with the little The British influenced students in our day. neutral or inactive. It may advocate for, and old buildings (I hate that part). As I say in the My early work (with Colin St. John Wilson) even provoke, introspection, awareness, and book, I don’t want to talk “climate change”— is now classified as part of the “School of growth as well as be a supportive participant my God, it sounds beautiful. No, it is “dead Cambridge.” From the mid-1990s, however, in the therapy that occurs within its walls. land” and “dead water.” And so in its full when my firm won a competition to design a . . .The bounded space of the room makes materiality it becomes invisible. We don’t go Maritime Museum in Cornwall, I have been clear the dialectics of inside and outside that there. A long unemployed thirty-three-year- largely engaged with buildings along the permeate our human experience. old black man of Harlem who never held a Cornish coast. This has taken me back to EliZabeth Danze job: Can you capture that with “long-term sources like Vincent Scully’s “Shingle Style” —Excerpts compiled by David Langdon (’18) 24 CONSTRUCTS YALE ARCHITECTURE Faculty News

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Michelle Addington, Hines Professor of Peggy Deamer, professor, published the Sustainable Architectural Design, delivered article “Parametric Schizophrenia,” in Politics keynote lectures at the Design Model- of Parametricism (eds. Manuel Shvartzberg ing Symposium, held at the Royal Danish and Matthew Poole, Bloomsbury Press). Academy of Fine Arts in Copenhagen, and Her essay “Globalization and the Fate of at the South Dakota AIA Annual conven- Theory” was published in Global Perspec- tion in Sioux Falls. She also gave a lecture tives on Critical Architecture (ed. Gevork at the University of Manitoba in Winnipeg, Hartoonian, Ashgate); and her “Architects, and spoke in symposia at both the Yale Really,” appeared in Can Architecture Be an Schools of Architecture and Management. Emancipatory Project? Dialogues on Archi- She wrote the chapter “Smart Architec- tecture and the Left (ed. Nadir Lahiji, Zero 3 4 ture, Dumb Buildings” for the book Build- Books). She wrote the introductory essay ing Dynamics: Exploring Architecture of “Letter to the Editors,” in Volume 45: Learn- Change (Routledge, 2015), edited by Branko ing (Fall 2015). Deamer presented the work Kolarevic and Vera Parlac. Addington’s of the Architecture Lobby at SOM’s New essay “im-plastic” appeared in the book York office; led the panel discussion “The Plastics Now, edited by Billie Faircloth, and Entrepreneurship Question” at Columbia’s her chapter “The Unbounded Boundary” GSAPP; and helped organize the Architecture was published in Thermodynamic Interac- Lobby exhibition at Co-Prosperity Space, in tions (Actar 2015) edited by Javier Garcia- Chicago (October 28–November 1, 2015) as German, and is being featured on urbannext. an alternative biennial. In October she and net. She served on the jury of the Storefront Joanna Merwood organized the conference for Art and Architecture competition to “Feminism and Architecture Part 2: Women, design the “Closed Worlds” exhibition and Architecture, and Academia,” in Wellington, was appointed to the advisory board for New Zealand—the Antipodes version of the Bilkent University, in Ankara, Turkey. same topic held at Parsons, the New School last spring. Deamer also presented the paper Karla Cavarra Britton, lecturer, published “Architecture, Labor, and Subjectivity” at the an essay on Le Corbusier’s sacred architec- AA in London for the conference “Architec- ture, “Pavement, Piety, and Prophetic Art,” in ture and Labour,” organized by Pier Vittorio Marginalia (July 21, 2015). Her essay “Robert Aureli, in November 2015. 5 6 Damora and the Mission of Architectural Photography” will appear in the Journal of Kyle Dugdale (PhD ’15), critic, has Architecture issue on Modern architecture received a Scott Opler Emerging Scholar and photography, in spring 2016; it was award from the Society of Architectural presented as a talk at the RIBA symposium Historians. His book Babel’s Present will be “Building with Light,” in London in November published with Standpunkte in 2016. His 2014. Britton’s piece “The River and the article “They Too Were Silent” was published Point,” about landscape and contemporary in Yale’s Perspecta 48: Amnesia, and the sacred architecture, will appear in Faith and essay “Odyssean Analyses” appeared in the Form January 2016; it is based on her paper Yale School of Architecture book Analytic for the annual “Symposium of the Forum for Models in Architecture, edited by Emmanuel Architecture, Culture, and Spirituality,” held in Petit. He will speak on the panel “Pre-Modern June 2015 at Ghost Ranch, New Mexico. She Architecture and the Shift of Historiography,” participated in the first of an ongoing series at the 2016 meeting of the European Archi- of interdisciplinary “Conversations on Place,” tectural History Network in Dublin in June. convened by the Collaborative for Southern Appalachian Studies (University of the South Keller Easterling, professor, received a and Yale) in Beersheba, Tennessee, and fellowship from the Velux Programme of the supported by the Paul W. Mellon Foundation Royal Danish Academy in Copenhagen to 7 with students and faculty from Yale’s Schools research material related to global migra- of Forestry and Medicine. tion, spatial assets in new climate-change bargains, and other spatial variables in global 1. Alex Felson, Rebuild By Design, 4. Office of Architecture, Watermill Center for the Arts, Pittsfield, Brennan Buck, critic, and partner governance. She has recently delivered talks Proposal for Southend, Bridge- House, Watermill, New York, Massachusetts, November 6, David Freeland, of FreelandBuck, recently about her book, Extrastatecraft, at numerous port, Connecticut, 2015. completion scheduled for 2015. displayed a drawing series in the exhibition international academic venues and confer- summer 2016. Surface Tension, at NYIT’s Gallery 61, in ences. Recent articles include “An Internet 2. FreelandBuck, Dodecahedron 7. Keller Easterling, Gift City, instal- Parallel, drawing, 2015. 5. StudioSUMO, Josai International Manhattan. Their firm was a finalist in Florida of Things,” reprinted in Brian Kuan Wood, lation at the Henry Art Gallery, House, Togane, Japan, 2015. Seattle, Washington, 2016. International University’s Emerging Architect Julieta Aranda, and Anton Vidokle, eds., 3. Mark Foster Gage Associates, Competition last summer. FreelandBuck’s e-flux journal: The Internet Does Not Exist The Residences on Bond Street, 6. Tessa Kelly, Hawthorne Studio, New York City, 2015. The Mastheads, Lichtenstein urban infrastructure proposal for Detroit is (Sternberg Press, 2015); “Uses of Extrastate- featured in Bracket 3: At Extremes (January craft,” in Volume 8 (Autumn 2015); “The 2015), and the duo contributed a series Dispositions of Theory,” in James Graham, of short essays and drawings to Possible ed., 2000+ The Urgencies of Architectural Mediums, a book forthcoming with Syracuse Theory, (GSAPP Books, 2015); “KOH-wa- School of Architecture. Their Second House ee,” in Simon Denny, Products for Organizing project was included in the inaugural exhibi- (Serpentine Galleries and Koenig Books, tion of the Architecture + Design (A+D) 2015). Easterling’s exhibition Gift City opened Ecological Society of America in Baltimore— under construction. Gage recently became Museum’s new home in downtown Los on January 23, 2016, at the Henry Art Gallery, with graduate students, scientists, landscape part of the new fashion line Nicopanda—as Angeles, Shelter: Rethinking How We Live in Seattle, Washington. She will deliver a architects, and city officials—to bridge director of design for products and accesso- in Los Angeles, displayed from August 6 to keynote lecture at the LafargeHolcim Forum research with community-based planning. ries with Nicola Formichetti, after designing November 20, 2015. on “Infrastructure Space” in April 2016. Felson participated in the NSF’s SESYNC their stores—which launched at the 2015 with hydrologists, ecologists, designers, New York Fashion Week. He published the Trattie Davies (BA ’94, MArch ’04), critic, Alexander Felson, assistant professor, and social scientists modeling green infra- essay “Killing Simplicity: Object-Oriented and her partners Frederick Tang (BA ’98, together with the Urban Ecology and Design structure. He spoke at Columbia, Cornell, Philosophy in Architecture,” in Log 33, and MArch ’03) and Jonathan Toews (BA ’98, Lab (UEDLAB), secured a patent (March UPenn’s “Simulating Natures” symposium, “Architecture, Branding, and the Politics of MArch ’03) in the firm Davies Tang + Toews, 2015) and a three-year National Science AIA’s Center for Architecture “Extreme Heat” Identity,” in Routledge Handbook Architec- recently completed the Hudson Linear Park Foundation (NSF) grant (2014–16) for the conference, WNPR’s “Where We Live,” ture: Established and Emerging Trends. Gage with the PARC Foundation, in Hudson, New thermo green wall (tGW), which transforms and an ASLA symposium. The UEDLAB was on the panel discussion at the “NOW” York. Construction on a second park with modular green walls into active heat-rejection completed its fifth year of research on Million- symposium at Sci-Arc and gave lectures the foundation began in December in technology. The UEDLAB coauthored the TreesNYC’s long-term urban forest project. this fall at the University of Pennsylvania, Memphis, Tennessee. In fall 2015 the firm first Community Coastal Resilience Plan in Marywood University, and the Pratt Institute. produced the book on the history of the Arts Connecticut for Guilford (April 2015). Felson Mark Foster Gage (’01), assistant & Crafts movement, as part of preliminary led the design on the HUD National Disaster dean and associate professor, with his Alexander Garvin (BA ’62, MArch ’67, design for the Powerhouse in Gowanus, Resilience Competition and served as a New York-based firm, Mark Foster Gage MSU ’67), professor adjunct, has contin- Brooklyn. The firm is developing the core member of Rebuild by Design. Gover- Architects, is working on the design of a ued his ongoing work as a consultant with design of the UCCW Charter School with nor Malloy selected Felson to serve on SAFR, performance-arts studio building at Bard Google’s Project Sidewalk. He has given the University of Chicago, scheduled for the twelve-member “State Agencies Foster- College, projects for the fashion company talks at the Urban Land Institute in Boston, construction in fall 2016. ing Resilience Council.” The UEDLAB led an Diesel, and the Fort Dickerson public park the American Planning Association in Atlanta, NSF-funded land-planning program with the in Knoxville, Tennessee, which is currently and the International Business and Wine 25 Spring 2016

Society in New York, and was on a panel Tessa Kelly, critic, and Chris Parkinson of Architecture in Brussels, University of Watermill, New York and a Brooklyn row discussing affordable housing at the New exhibited The Mastheads at the Lichtenstein Delft, and the Michael Graves Public School house that was featured in Architectural York Public Library. Garvin’s sixth book, Center for the Arts in fall 2015. The show of Architecture at Kean University in New Record and ArchDaily. His entry for the focusing on the public realm in the interna- presents designs of five writing studios for a Jersey, where the East Asian version of her “Axis Civitas” competition, which engages tional context, What Makes a Great City, will new residency program in Pittsfield, Massa- Vertical Urban Factory show is on display the future of the Gowanus neighborhood, be released by Island Press in summer 2016. chusetts, a project supported by the NEA. through March. The entire version of Vertical received an honorable mention and will be The studios are based on a literary network Urban Factory, will be installed permanently displayed in an exhibition in Brooklyn. The Andrei Harwell (’06), critic, recently of five American Renaissance authors who in the Industry City Innovation Lab, in Sunset work of the office was featured in Archinect completed design and construction for produced work in and about Pittsfield in the Park, Brooklyn, in February. She is giving and The UPress magazine. Four Flours Baking Company, a commer- mid-nineteenth century: Herman Melville, talks this spring at MIT, Harvard, University cial bakery and storefront retail space on Nathaniel Hawthorne, Henry Wadsworth of Michigan, Cornell University, and in Berlin. Robert A. M. Stern (’65), Dean, gave talks Chapel Street. At the Yale Urban Design Longfellow, Henry David Thoreau, and Oliver She is on the program committee of the last fall at the Yale Center Beijing and the Workshop, Harwell’s planning work for the Wendell Holmes. Design Trust for Public Space and is a Vice New York School of Interior Design. He also development of a Thames River Heritage President of Docomomo New York/Tri-State. participated in a panel discussion organized Park in Groton and New London has led to Eeva-Liisa Pelkonen (MED ’94), associ- by the University of Houston’s Hines College a successful bid for two surplus U.S. Navy ate professor, gave the keynotes “Aalto’s Elihu Rubin (BA ’99), associate professor, of Architecture in celebration of devel- launches to be used as part of a new water Entangled Geographies,” at the European joined the board of directors of the Society of oper Gerald D. Hines’s ninetieth birthday. taxi system connecting Fort Trumbull, Fort Architecture History Network’s biannual American City and Regional Planning History In spring 2016 he will be honored with the Griswold, and the Submarine Force Museum thematic conference, “Entangled Histo- (SACRPH) at its biennial conference in Los College of Charleston’s Simons Medal of with downtown New London beginning in ries, Multiple Geographies,” in Belgrade, Angeles in November. While at the confer- Excellence and the Innovator Award from summer 2016. It will be Connecticut’s first and “In the Zone between Theory and ence, Rubin presented new research on his Connecticut Cottages & Gardens magazine. state heritage park. Practice: Three Exhibitions by Reima Pietilä, Ghost Town project. His firm Robert A.M. Stern Architects saw 1960-1972,” at the conference “Research the completion of Correll Hall for the Terry Dolores Hayden, professor, spoke on on Display: The Architecture Exhibition as a Joel Sanders, professor adjunct, and his College of Business at the University of Alice Constance Austin at a panel at the Model for Knowledge Production,” which she New York City-based firm, JSA, completed Georgia (Athens); early 2016 will see the Guggenheim Museum, in New York, in cochaired at the Second Annual Confer- the first phase of renovation of the exhibition completion of 30 Park Place, an 82-story October. Her essay on the same subject will ence of the Jacob Bakema Study Center, galleries at the National Museum of Fine Arts hotel and residential tower in lower Manhat- be part of the NEH-funded archive of early hosted by the TU Delft and Het Nieuwe Stockholm, whose collection includes fine tan, a residential building and an office build- women architects, sponsored by the Beverly Instituut, in Rotterdam. Pelkonen also gave art and design from the Middle Ages to the ing in Washington, D.C., and Schwarzman Willis Architecture Foundation. In November a Rewald Seminar at the CUNY Art History present. The firm also completed a scope College at Tsinghua University in Beijing. Hayden gave the talk “How It Would Be If Department on her new book project, Archi- development study for the expansion and Stern is a coauthor of the recently published Some Ladies Had Their Own Way: Feminist tecture, Exhibited: A Documentary Anthology renovation of the Institute of Contemporary City Living: Apartment Houses by Robert Perspectives on Housing and Urban Design” of Architectural Exhibitions that Mattered, Art (ICA) at the University of Pennsylvania. A.M. Stern Architects (The Monacelli Press). to the school’s student group Equality in 1951–1990. The book, Exhibiting Architec- JSA also designed the national headquarters His book Pedagogy and Place: 100 Years Design. In May she will speak on urban ture: A Paradox?, which Pelkonen coedited, of GLSEN (Gay Lesbian Straight Education of Architecture Education at Yale, which preservation, gender, and ethnic history at with Carson Chan and David Andrew Network), a non-profit committed to making he coauthored with Jimmy Stamp, will be the inaugural conference at the new Museum Tasman (MArch ’02), was published by Yale K-12 schools safe for all American youth. released with Yale University Press in April of African American History and Culture, in School of Architecture last fall. In addition, The firm’s projects were published in the 2016. Having served as Dean since Septem- Washington, D.C. Hayden’s poetry appears she published two essays: “Reading Aalto Financial Times, House & Home, Architect’s ber 1998, Stern will step down at the end of in the current issue of Ecotone and is forth- through the Baroque: Constituent Facts, Newspaper, The Magazine of the American June 2016. coming in The Common: A Modern Sense of Dynamic Pluralities, and Formal Laten- Library Association, and the Journal of the Place and the New Haven Review. cies,” in Baroque in Architecture Culture, National Academy of Art (China). Sanders Carter Wiseman (BA ’68), lecturer, 1890–1990, Andrew Leach and Maarten lectured at the Aula Medica in Stockholm, for published the essay “Rekindling the Dream,” Kathleen James-Chakraborty (BA Delbeke, eds., (Ashgate, 2015), and “Plastic the Swedish Association of Architects; Tongji in The United Nations at 70: Restoration and ’82), Vincent Scully Visiting Professor of Imagination,” in the new online magazine, University, in Shanghai, China; the China Renewal (Rizzoli, 2015), on the occasion of Architectural History, recently published Forty-Five. She also served on the jury for the Academy of Art, in Hangzhou, China; and the 70th anniversary of the founding of the “The Bauhaus Has No Place,” in Bauhaus Society of Architectural Historians 2016 Alice Hartford University, in Hartford, Connecticut. United Nations. The book was celebrated News—Contemporary Remarks; an “Edito- Davis Hitchcock Prize, the top book prize in He also delivered the AIA NY Interiors 2015 with a public conversation at the UN rial,” in ABE Journal: Architecture Beyond the history of architecture. Oberfield Lecture. on October 14, 2015, between Wiseman Europe 7; and the essay “Ausstellungen and Martti Ahtisaari, a former president of erleben. Lilly Reichs Produktdisplays Nina Rappaport, publications director, Aniket Shahane (’05), critic, with his Finland and winner of the Nobel Peace Prize, 1927–31,” in Jörn Schafaff and Benjamin recently published her book Vertical Urban Brooklyn-based practice, Office of Archi- who contributed a companion essay on his Wihstutz, Sowohl als auch dazwischen. Factory with Actar. In the fall she presented tecture, is currently working on several experience as a UN diplomat. Erfarhungsräume der Kunst. her research in lectures at the MAST commissions in the New York City area, Fondazione in Bologna, the Public School including a 6,000-square-foot house in

1. Stanley Tigerman, The New Titantic: Epiphany, 2015.

2. 821 Stanley Tigerman Sketches 821, Volume Gallery, Chicago, fall 2015.

3. Stanley Tigerman Margaret McCurry, “Cluster Container Housing for the Disabled,” exhibited in BOLD, at the Chicago Architecture Biennial, fall 2015. 1 2 3

parallel to the main exhibitions were descending on a moonscape after the world for a comprehensive center for architecture, Tigerman and gallery shows featuring Tigerman’s work. For is over. I have a problem with the making of design, and education. Additionally, Mayor Chicago’s Biennial example, 821 Stanley Tigerman Sketches icons.” Reproductions of the original photo- Rahm Emanuel honored Tigerman’s contri- 821, curated by Sam Vinz at the Volumes montage were auctioned off by the club in a bution to arts in the city with a Fifth Star The Chicago Architecture Biennial, “The gallery, reprinted sketches and “Architoons” closing event on December 5. Award—alluding to an additional star on the State of the Art of Architecture,” directed from 1976 to the present, tracing his design Tigerman was also asked to partici- four-star city flag. by Joseph Grima and Sarah Herda, was an projects and personal stories. Recalling pate in an installation at the Cultural Center, Tigerman admitted that not everyone especially significant occasion for Stanley Tigerman’s 2011 retrospective, Ceci n’est titled Bold: Alternative Scenarios for Chicago, liked the Chicago Architecture Biennial: “Who Tigerman (BArch ’60, MArch ’61), as both pas une reverie: The Architecture of Stanley curated by Iker Gil who selected eighteen is Patrik Schumacher? That is the question. contributor and enthusiastic supporter in Tigerman, displayed at Yale’s Architecture projects by Chicago-based architects that And why didn’t he like it? The fact that it was numerous articles in the architecture press. Gallery, however this displayed an array of evoked speculative design concepts relating social instead of formal is terrific because Throughout the fall 2015 citywide festival, sketches on the walls like wallpaper. to public issues. Tigerman and his partner, that is part of the architects’ charge—to he was enthralled and honored by the atten- In October Tigerman’s photomon- Margaret McCurry, were included in David take care of the good of humanity. I am tion focused, not only on his own work, but tage The Titanic (1978) was displayed in Brown’s project, “Available City,” which optimistic about the future of architecture also on the city. Tigerman, who was part of the exhibition Celebrating a Chicago Icon, invited architects to postulate an idea for one in the city. Now we have the beginnings of the Chicago Seven group of Post-Modernist organized by the Chicago Architecture Club, of the 15,000 city-owned vacant lots with the third ‘Chicago School,’ if the first was architects, said, “Personally I thought it was at the Chicago Architecture Foundation. One communal spaces. Tigerman’s proposal, in the 1880s and second in the 1930s. The fabulous and that it included the younger evening Tigerman unveiled a contemporary “Cluster Container Housing for the Disabled,” result is that I have recast myself as Gertrude generation, from across all six continents. response in, 2015 New Titanic: Epiphany, which he completed with Jessie LaFree, Stein, and once a month Margaret and I have The venue, the Cultural Center, looked a photomontage created for the occasion, would provide flexible and accessible a salon in our apartment, where we invite better than those of the Venice Architecture explaining: “I have been antagonistic to icons housing units along with room for caregiv- some members of the younger generation to Bienniale. A quarter of a million people saw because they become diluted, such as the ers constructed around courtyards, using digress about what is happening.” the exhibition in three months, whereas Miesian icons of Lakeshore Drive, of which shipping containers as building blocks. Venice gets that number in six months.” the buildings on Sixth Avenue in New York Tigerman was also a member of —NR Chicago, he continued, “is always up for the are watered-down reflections. So for my several design juries, one for IIT’s Burnham game and looms large on the landscape of new version I use an example of Crown Hall Prize and the other for the Chicago Architec- actualizing and shaping history.” and the Guggenheim Bilbao with a bomb ture Foundation’s ChiDesign Competition 26 CONSTRUCTS YALE ARCHITECTURE Alumni News

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Alumni News reports on recent projects by MArch ’86), and J. B. Clancy (’96), all of graduates of the school. If you are an Albert, Righter & Tittmann Architects, won alumnus, please send your current news to: the Marvin “Architects Challenge” Best Remodel/Addition award for their Adirondack Constructs, Yale School of Architecture Camp, in Indian Lake, New York. 180 York Street, New Haven, CT 06511 Scott Ageloff (’81) and his firm, Ageloff By email: [email protected] & Associates, have recently completed the redesign and decoration of a duplex apart- ment on Park Avenue, the redesign and interiors of an East Hampton home, the 1950s renovation and redesign of a historic country Hugh Jacobsen (’55), with his Washington- house in Westchester County, the restoration based firm, Jacobsen Architecture, was of a Bing & Bing apartment building lobby, inducted into the AD100, Architectural and the expansion of a cooking school in the 3 4 Digest’s list of the top one hundred archi- Flatiron District, both in Manhattan. tects and designers in the world. The Aaron Betsky (BA ’79, MArch ’83) firm has a number of new projects on the was named dean of the Frank Lloyd Wright boards, including homes in the Cayman School of Architecture, at Taliesin West, in Islands, Martha’s Vineyard, and Nantucket, Scottsdale, Arizona, last year and has begun Massachusetts. a huge funding development campaign. Marc Goldstein (BA ’58, MArch ’59) Betsky was also cocurator of the 2015 passed away this September in San Francis- Shenzhen Biennale of Architecture and co at 80 years old. Goldstein was a design Urbanism this past winter. partner at SOM, leading many of the firm’s Michael Winstanley (’83), with his most prominent projects over his thirty-year Alexandria, VA-based firm, Michael tenure, including the Mauna Kea Beach Hotel, Winstanley Architects & Planners (MWAP), in Hawaii; the 52-story Bank of America was awarded a National Design Award from building, in San Francisco; and the Crocker the Society of American Registered Archi- Center, in Los Angeles. After leaving SOM in tects (SARA) for the Bay Harbour Waterfront 5 6 1991, Goldstein taught an architectural theory Community Master Plan, in Provincetown, seminar at the California College of Arts. Massachusetts. This is the third national award MWAP has received in the past three 1960s years. The Bay Harbour project proposed a Brent Brolin (’68) has recently published an luxury development at the site of a former iBook titled Architectural Ornament, Old beach hotel, established a uniform plan to be and New: Practical, Social, and Visual Uses. implemented by the developer and individual In addition to text, it contains photographs property owners, and issued design guide- and short animated films, designed for lines for both architecture and landscapes in anyone interested in how we see architecture the development area. and design. Ken Boroson (’84), with his firm, Kenneth Boroson Architects, is design- 1970s ing “DISTRICT,” a $20 million technology Buzz Yudell (’73) and his architecture and incubator center planned for the former planning firm, Moore Ruble Yudell, received Connecticut Transit bus depot at 470 James 7 8 four AIA Awards in 2015. The firm won the Street, in New Haven, as reported by the AIA CC Merit Award in Urban Design for New Haven Independent on November the Providence Saint John Phase 2 Master 5, 2015. Boroson’s firm will be joined by Plan and the Ocean Avenue South project, Studios Architecture for the design of the 1. Merrill Pastor & Colgan Archi- 4. Charles Bergen Studios, 7. Jacobsen Architecture LLC, both in Santa Monica, California. The AIA project, which will be developed by David tects, rendering of North Perimeter Fence Artwork, History The Night Watchman, Nantucket, Somerset Street, Alys Beach, of the River Terrace Community, Massachusetts, completion Los Angeles Next LA Competition was also Salinas and Eric O’Brien. This partnership Florida, 2015. Washington, D.C., April 2015. date 2016. awarded to the Providence Saint John project, will build the tech center, along with a kayak and for the Dublin City Library and Parnell launch and riverfront beer garden and 2. smithmaran architecture + interi- 5. Miró Rivera Architects, Observa- 8. Oliver Freundlich Design, One Square Cultural Center, in Dublin, Ireland. bakery, and the complex will house mixed- ors llc, Insight Venture Partners, tion Tower at the Circuit of the Girl Cookies, Brooklyn, 2015. New York City, 2015. Americas, Austin, Texas, 2015. Andrés Duany (’74) and Elizabeth use office space, too. Plater-Zyberk (’74), together with their firm, Scott Merrill (’84) principal of the Vero 3. Ashley Klein, MDFG’s show- 6. DRAW architecture + urban de- Duany Plater-Zyberk & Company (DPZ), Beach, Florida-based firm Merrill, Pastor & room, Williamsburg, Brooklyn, sign, Gillham Park Row, Kansas were awarded the Transect Codes Council’s Colgan Architects received the 2016 Richard June 2015. City, Missouri, 2015. Code Innovation Award in 2015. In March H. Driehaus Prize of the University of Notre 2015 the firm outlined recommendations Dame. He will be honored in a ceremony on for changes to Charleston, South Carolina, March 19 in Chicago. His recent projects listing a set of guidelines for future develop- include multi-family housing and mixed use ment that respond to the city’s urbanism buildings in Alys Beach, a campus design and architecture. for a residential school, and private homes, East Bay. Upcoming projects include a new 1990s David Waggonner III (’75) and Mac all in Florida. commercial building with a restaurant and a Charles Bergen (’90) has recently submit- Ball (’78), of Waggonner & Ball Architects, Richard W. Hayes (’86) was one of yoga studio in San Francisco; single-family ted proposals for a number of public art participated in the Rockefeller Foundation’s ten recipients of an Independent Projects and multi-unit residences in San Francisco, commissions and grants including “Perim- “Rebuild by Design” competition with “Resil- grant from the New York State Council on Marin, and Sonoma counties; and a brewery- eter Fence Artwork, History of the River ient Bridgeport.” The project team included the Arts. He also received his fifth fellow- restaurant in Los Gatos, California. Terrace Community,” commissioned by the Yale’s Urban Ecology and Design Labora- ship to the MacDowell Colony. Hayes Dale Cohen (’89), with her firm, Dale D. C. Public Schools for the River Terrace tory, along with alumni Derek Hoeferlin (’08), published an essay on Charles W. Moore Cohen Design Studio, was selected as a Special Education Center, in April 2015. Carl Pucci (BA ’73, MArch ’76), and Don and affordable housing in Scroope 24: finalist for the 2015 New York Cottages and The artwork includes a series of thirty-inch- Watson (BA ’59, BArch ’62, MED ’69). Their The Cambridge Architecture Journal and Gardens Innovation Award in the category diameter painted steel medallions connected Bridgeport proposal includes incremental a chapter on Joseph Papp and the Public of interior design. She was presented this with four-inch metal “waves.” Other recent changes through catalytic projects, integrat- Theater in Setting the Stage: Perspectives award for an apartment interior in an historic public artwork includes New Forms of the ing urban development with natural systems, on Twentieth Century Theatre Architecture Emery Roth building, with a particular nod to Southwest, in Tattnall Square Park, Macon, facilitating more resilient forms of urban living (Ashgate, 2015). He presented a paper at the “flow” of the space and “design layers” in Georgia; and Pair of Great Blue Herons, in the to confront damage caused by sea-level the Construction History Society’s annual the apartment. JCC Sculpture Garden, in Tucson, Arizona. rise and storm systems. The project was meeting in Queens’ College, Cambridge. Erik Maran (’89) and his firm, smith- Bergen had a solo exhibition at the Capitol published in the book Rebuild by Design by In 2016 Hayes will return to the U.K. as a maran architecture + interiors llc, were Hill Arts Workshop, in Washington, D. C., in the Rockefeller Foundation (June 2015). visiting scholar at Cambridge University’s featured in the September 2015 issue of January 2016. Peter Calthorpe (’76), principal of the department of architecture. Interior Design. The magazine featured the Lance Hosey (’90) is principal and urban design, planning, and architecture Cary Bernstein (’88), and her San firm’s corporate interiors project for Insight the first chief sustainability officer at Perkins firm Calthorpe Associates, was featured Francisco-based firm, Cary Bernstein Venture Partners, in New York City, highlight- Eastman. He was elevated to the AIA in the film A Time to Choose, by Academy Architect, won five design awards for the ing its walnut-paneled walls and custom College of Fellows in 2014, and in 2015 the Award winner Charles Ferguson. The movie project Hill House, in San Francisco. The workstations. U.S. Green Building Council-elected him a provides a compelling overview of the many awards include the 2014 AIASF Merit Claire Weisz (’89) of WXY Studio was LEED Fellow. He is among only two dozen dimensions of the climate-change challenge, Award, 2015 AIA East Bay Exceptional noted in a New York Times article by Michael people in the world who are fellows with highlighting sustainable cities as key to a Residential Merit Award, 2015 IIDA NC Merit Kimmelman (December 21, 2015) praising both organizations. Hosey’s latest book, The low-carbon future, along with other issues. Award, 2015 Remodeling Magazine Grand the NYC Department of Sanitation’s new Shape of Green: Aesthetics, Ecology, and Award and Best of the Year. The house was garage and salt-shed complex in TriBeCa, Design, was a 2014 finalist for “Book of the 1980s published in the May 2015 issue of Dwell designed by Dattner Architects in association Year” in the U. K. ’s Urban Design Awards Jacob Albert (BA ’77, MArch ’80), James and presented at Dwell on Design LA that with her firm. and has been Amazon’s No. 1 bestseller for Righter (’70), John B. Tittmann (BA ’81, month. Bernstein also presented it to the AIA sustainable design. 27 Spring 2016

Juan Miró (’91) was appointed associ- also produces Tibetan hand-knotted rugs. ate dean for undergraduate programs at the Both MDFG and Booth Ceramics are located School of Architecture, University of Texas in Williamsburg, Brooklyn. at Austin. A founding partner of Miró Rivera Jessica Varner (MArch ’08, MED ’11) Architects was recently honored by the is currently pursuing a PhD at MIT, focusing university with the 2015 Regents’ Outstand- on the history of environmentalism and archi- ing Teaching Award. Last spring, the firm tecture from the eighteenth century to the received design awards from the Texas present, with a particular interest in material Society of Architects (TSA) for three projects: toxicity, environmental law, and construction the Chinmaya Mission in Austin, the Obser- industries. Varner recently received a travel vation Tower at the Circuit of the Americas, grant to research building materials resource in Austin, and Vertical House, in Dallas. distribution in Uzbekistan, India, and Qatar. The TSA also recognized Miró with a 2015 She is presenting a paper on chromium and Honor Award for Outstanding Educational Mies at the Society of Architectural Histori- Contributions for “his talent, dedication, and ans conference this spring and cotaught a enthusiasm for teaching.” studio last fall semester at MIT with artists Dana Tang (’95) was made partner Gediminas Urbonas and Tobias Putrih, about at Gluckman Tang Architects in September islands in the Charles River. 2015, prompting the firm’s change in name from Gluckman Mayner Architects. She 2010s joined the practice in 1995 and has helped David Bench (’12) and Jonathan Chesley the firm to expand its portfolio into new typol- received a Storefront for Art and Architecture ogies and places, including China. Gluckman Special Prize, in 2013, for their competition remarked that the promotion “acknowledges proposal “Taking Buildings Down,” which Dana’s deep experience and significant calls for proposals for the production of voids contributions over the last twenty years.” and the demolition of buildings and struc- Alex Barrett (’97) celebrated the tures and will be launched this year. ten-year anniversary of his firm, Barrett Design, on December 15. The firm’s most Class of 2015 Update recent project is 4Downing, ten condominium Leah Abrams is working at Robert A.M. Stern residences, in Clinton Hill, Brooklyn. Architects, in New York; Maya Alexander is Lori Mazor (’99) graduated from NYU working for Davies, Tang & Toews Architec- Stern Executive MBA program in January ture, in Brooklyn; Elena Baranes is working 2014 and launched Synthetivity (a portman- at Walker Workshop, in Los Angeles; Emily teau of synthesis and creativity) to provide Bell is at Anmahian Winton Architects, in Jim Vlock Building Project, 2015. strategic and real estate planning services to Cambridge, Massachusetts; Amanda N. institutional clients, primarily hospitals and Bridges is at Woods + Dangaran, in Los universities. She also launched FIT+LOVE, Angeles; Suhni Chung is at Studio AHA, in an economic-development marketing Seoul; Michael R. Cohen is the Bass Scholar The corner property at 193 Winthrop company aimed at connecting brands, at the University of Cambridge Department Jim Vlock Building presented a formidable design challenge nonprofits, and consumers around a shared of Architecture; Karolina Czeczek works with Project 2015 that had an impact on the site strategy and passion for health and wellness. In 2015 it Only If – Architecture, in New York; Thomas landscape design. Low-lying walls along mounted NYC’s largest fitness festival, the Day and Tom Friddle are at Robert A.M. Since 1967, first-year students at the Yale both Winthrop and Scranton streets define Union Square Sweat Fest. Mazor advises Stern Architects, in New York; Raphael de School of Architecture have worked collab- the backyard as a private space while small creative companies in the start-up and la Fontaine is studio leader at Oppenheim oratively to design and build a structure as preserving connection to the urban context. scale-up phases of business. She also joined Architecture Europe, in Basel; Julcsi Futo part of their graduate education. Unique The canopy of a sycamore tree on Scran- the board of directors of Enstoa, a systems- works for Studio Gang Architects, in New among architecture schools, the Jim Vlock ton Street defines active outdoor space integration technology company that has York; Tamrat Gebremichael is at Beyer Building Project is a required component through its natural shading. An American been listed as one of Inc.’s 500 fastest Blinder Belle, in New York; Bruce Hancock is of Yale’s curriculum. In recent years, the elm was planted parallel to the existing tree, growing companies. at WRNS Studio, in San Francisco; Stepha- Building Project has focused on the design on the south side of the house. Both trees nie Jazmines is on a Fulbright scholarship and construction of houses in New Haven’s are visible through transparent slots in the 2000s for a year in Helsinki; Julie Kim is working economically distressed neighborhoods. façades, establishing a strong axis across the Dominique Davison (’00), founding princi- at Robert A.M. Stern Architects, in New For the second consecutive year, house and property. An outdoor patio was pal of DRAW Architecture + Design, is the York; Hyeun Jason Lee is at Walt Disney the school partnered with NeighborWorks constructed underneath the newly planted upstart CEO of PlanIT Impact, maker of the Imagineering, in Glendale, California; Peter New Horizons, an organization dedicated to elm. A border of low bushes starts along eponymous interactive tool to help design- McInish is at Steven Harris Architects, in developing high-quality, affordable housing. the patio and wraps around to the street ers, planners, developers, and students New York; Minu Lee is at Pelli Clarke Pelli This year’s brief targeted a 1,000-square- side, creating a visibly permeable barrier better understand the impact of a project at Architects, in New Haven; Mengran Li is foot house on a corner lot at 193 Winthrop across the front yard. Kousa dogwoods were the early stages of its planning and design at Ayers Saint Gross, in Baltimore; Daniel Avenue, in New Haven’s West River district. planted in the front yard to define the formal process. Davison and PlanIT received a grant Luster is working for Tod Williams Billie The students were challenged to develop a entry space. from the Gigabit Community Fund through Tsien Architects Partners, in New York; Ross cost-efficient and flexible design prototype, After the class of 2017 disbanded Mozilla and KC Digital Drive, and participated McClellan is at Robert A.M. Stern Architects, with a total construction budget of $130,000, for summer vacation, fourteen summer in the 2015 Global Cities Team Challenge, in New York; Olen Milholland works for Weiss that could be adapted to similar sites in interns from the first-year class, along with bringing the firm into the sphere of national /Manfredi, in New York; Michael Miller is New Haven and other urban environments four teaching fellows from the classes of civic tech innovators trying to change the at HOK, in New York; Nicholas Muraglia is across the country. In 2015, the project was 2015 and 2016, worked through August to way cities function. at Sou Fujimoto Architects, in Paris; Philip honored by the Connecticut Green Building complete the house, resolving finish details, Ron Stelmarski (’00) has been working Nakamura is at Takenaka Corporation, in Council for its environmental efficiency and selecting paint colors, and fine-tuning the for the past four years at Perkins+Will as Tokyo; Andrew Ruff is a visiting assistant economic affordability. landscaping strategy along the way. As a design director for the three-office Texas professor at Wesleyan University and a During the first half of the spring result of the rapid timeline of the project, the practice. The regional office has won numer- research associate at Gray Organschi Archi- semester, the students worked individu- design process continued on the construc- ous design awards from the AIA, including tecture, in New Haven; Benjamin Smith is ally to develop a prototype for the dwelling. tion site. Project director Adam Hopfner the AIA Dallas Design Honor Award, for working for Gray Organschi Architecture, Eight of these initial schemes were selected (’99) and assistant director Kyle Bradley the Richards Group Headquarters; the in New Haven; Sarah Smith is at Olson for further development, and the class was (’02) worked through design decisions with AIA National Healthcare Design Award, for Kundig, in Seattle; Ian Spencer is at Robert divided into teams, each tasked with creat- the students, explaining everything from the Vitenas Cosmetic Surgery; the AIA Dallas A.M. Stern Architects, in New York; Brent ing a final design proposal. At the end of the intricacies of waterproofing details to the Unbuilt Design Award, for Dallas Fire Station Sturlaugson is teaching design history semester, one project was chosen, and the appropriate thickness for planting mulch. The No. 27; the AIA Houston “On the Boards” and theory at the University of Kentucky; entire class worked together to refine the success of the Building Project also depends Category and AIA Dallas Unbuilt Design Jonathan Sun has started his PhD in urban selected design and begin construction. on corporate and local sponsors who donate Award, for One-Forty Retail Center; and the studies at MIT and is continuing his comedy The winning proposal this year a range of materials and services. the AIA Dallas Unbuilt Design Award, for work on Twitter as @jonnysun; Emau Vega is centered on the idea of a multifunctional A few months later, with a fully Preston Royal Branch Library. Stelmarski working for FXFOWLE, in New York; Adam core, consolidating stairs and utilities into completed and purchased house, the was recently profiled in the article “A Cultural Wagoner is at Tatiana Bilbao Estudio, in a central spine and leaving the remainder benefits of the project have only become Shift,” in Texas Architect magazine. His Mexico City; Perry Wexelberg is at 450 Archi- of the first floor open and able to connect clearer. As in any participatory, hands-on current projects include the Louisiana State tects at Pier 9, in San Francisco; Matthew graciously to the site. On the second floor, program, there are countless intangible University College of Engineering, University White is working with the Capital Projects the core opens onto a study area that accom- lessons learned from a fully immersive of Dallas School of Business, and a health Real Estate team at Goldman Sachs, in modates two desks and an ample window experience. We saw a project through from and wellness building at the Dallas Cowboys’ London; Jack Wolfe is at Grey Organschi seat. Surrounded by the living quarters, this design to construction in less than eight new practice facility. Architecture, in New Haven; Kin-Tak Yu is communal space is flooded with natural months. We participated in all of the design Oliver Freundlich (’01) and his New working for Nava Companies, in New York; light from a skylight and a large corner decisions and contractor negotiations; we York-based firm were featured in Remod- Boyuan Zhang is at Robert A.M. Stern Archi- window. Windows in each bedroom look poured concrete and grouted tile, installed elista in September 2015 for the design of a tects, in New York; and Sheena Zhang is at out to expansive urban vistas along the two millwork and flooring and windows, painted third space for One Girl Cookies, in Industry BKSK Architects, in New York. intersecting street grids of the corner lot. The and then painted again and again. The Build- City, Brooklyn. house is pushed to the apex of the triangular ing Project provides students with the oppor- Ashley Klein (’08) recently began a new Current student notes: lot, shielding the large backyard from the tunity to work through design issues in the business, MDFG, with her husband, Jeffrey Anya Bokov (PhD ’17) was awarded a exposed corner while claiming a prominent field and to see their drawings and models Graetsch, which focuses on Modern and Citation of Special Recognition by the position in the urban context. realized at full scale for the first time, in most midcentury French design, including pieces Graham Foundation for her research The core design addresses the propo- cases. The richness that this experience by Le Corbusier, Pierre Jeanneret, Charlotte “Teaching Architecture to the Masses: sition of a replicable and flexible housing adds to our understanding of architecture at Perriand, and Jean Prouvé and works by VKhUTEMAS, 1920–1930.” prototype. Its position is not prescribed: the this stage in our education is inestimable. other Modernist furniture designers. Klein Xiao Wu (’16) and Xinyi Wang (’16) won urban context of future build scenarios would also owns and manages Booth Ceramics, a first prize in the Shelter International Design determine the location of the core within the —Tess McNamara and Alexander Kruhly (’17) store selling collectible ceramics and glass, Competition in Tokyo. volume of the house to both shield and reveal ranging from ancient Roman ceramics and space. At 193 Winthrop, the core is deployed Venetian glass designed by Picasso and at the highly exposed street corner, providing Carlo Scarpa to midcentury French ceramics privacy and protection for the kitchen, living and contemporary Japanese stoneware. Klein room, and outdoor space. Constructs Non-Profit Org. U.S. Postage Yale University School of Architecture PAID PO Box 208242 New Haven, CT Permit No. 526 New Haven, CT 06520 – 8242 Exhibitions The Yale School of Architecture’s exhibition School of Architecture’s The Yale is supported, in part, by the James program Fund, the Resource Dean’s Wilder Green Kibel Foundation Fund, the Nitkin Family Fund in Architecture, Discretionary Dean’s Fund, Resource Chilton Dean’s the Pickard the Paul Rudolph Publication Fund, the Robert A. M. Stern Fund, and the Rutherford Memorial Publication Fund. Trowbridge Gallery is located on The Architecture the second floor of Paul Rudolph Hall, Street. 180 York Exhibition hours: Mon. – Fri., 9:00 a.m. – 5:00 p.m. Sat., 10:00 a.m. – 5:00 p.m. Pedagogy and Place: Celebrating 100 of Architecture at Yale Years May 7, 2016 Through to pinpoint the interrelationships In an effort - between the physical settings of architec tural education and the pedagogy itself, this exhibition, curated by Dean Robert A.M. Stern (MED (’65) and Jimmy Stamp ’11) and designed by Alfie Koetter (’11), program the development of Yale’s presents a years through over the past one hundred alumni work of representative presentation of the succession set against a background of buildings designed to house the school. An auxiliary installation that depicts more schools than twenty other architecture the world around and their buildings from further illuminates the various relationships the setting between the spaces that provide for disciplinary training and the various modes of that training that have evolved over the past two centuries.

Yale School of Architecture Yale www.architecture.yale.edu/constructs Fertile institutional settings will be Participants include: Robert A.M. Stern, social changes, the symposium will explore social changes, the symposium will explore questions in a manner that is historical, What are and critical in nature: theoretical, the major historical models and formats of educational methods? How have disciplinary education shifts changed architectural at various historical moments? What is the at various historical moments? What is the ideal balance between critical thinking and learning information essential skills and for practice? along with pioneering educators explored, and their methods. Special attention will be paid to alternative settings platforms and education, as well as key for architectural is paradigm changes in how architecture thought about, taught, and practiced. While the main focus will be on contemporary and twentieth-century developments, nineteenth- century foundations also will be addressed. Rania Ghosn, Anya Bokov, Aureli, Pier Vittorio Bradley Horn, Somol, Surry Schlabs, Robert Anya Bokov, Mabel Wilson, Barry Bergdoll, Nikolaus Hirsch, Eeva-Liisa Kim Foerster, Pelkonen, Antoine Picon, Alan Plattus, Lara Tom Martino Stierli, Anthony Vidler, Shrijver, Eve Blau, Marta Daniel Barber, Avermaete, Caldeira, Anna Dyson, Pekka Heikkinen, Mitchell, Michelle Mark Jarzombek, Edward Addington, Amale Andraos, Deborah Berke, Monica Ponce de Leon, Mohsen Mostafavi, Steele. Hashim Sarkis, and Brett

Thursday, April 7 Thursday, OPEN HOUSE FOR ADMITTED STUDENTS Zaha Hadid April 14 Thursday, A.M. Stern Robert April 15 Friday, Anthony Vidler Symposium J. Irwin Miller Symposium “Learning/Doing/Thinking: in the 21st Century” Educating Architects April 16 April 14 to Saturday, Thursday, Professor Norman Foster Visiting Lord Work” “Current of Architecture J.M. Hoppin Professor School of Architecture Dean, Yale “Pedagogy and Place: Celebrating 100 Years Yale” at of Architecture to the J. Irwin Miller Opening Lecture symposium, “Learning/Doing/Thinking: in the 21st Century” Educating Architects of Professor Scully Visiting Vincent History Architectural Expanded Field” in an “Architecture to the J. Irwin Miller Keynote lecture symposium “Learning/Doing/Thinking: in the 21st Century” Educating Architects This symposium, convened by Eeva-Liisa Pelkonen, brings together scholars, educa- and administrators to evalu- tors, architects, trends, ate inherited models, discuss current challenges of and speculate about future education. Acknowledging that architectural - education exists at the cross architectural technological, and of disciplinary, roads Events Calendar Constructs Spring 2016 Thursday, January 14 Thursday, Wolf Prix January 21 Thursday, Eugene Kohn January 28 Thursday, Kersten Geers February 4 Thursday, Justin Hollander February 25 Thursday, “Eero Saarinen: The Architect the Future” Who Saw 28 March Monday, Stig L. Andersson 21 March Thursday, Francine Houben Lectures

Professor Norman Foster Visiting Lord “The Himmelb(l)au Project” H. Smith Lecture Gordon “Under One Roof: Mixed-Use” Assistant Professor Louis I. Kahn Visiting Content” Without “Architecture Saarinen Lecture Eero of Neuro-Architecture” “The Promise by Peter Rosen and Directed Produced Timothy Egan Lenahan Memorial Lecture “Empowerment of Aesthetics” Paul Rudolph Lecture “People, Place, Purpose”

begin at 6:30 p.m. (except where All lectures noted) in Hastings Hall (basement floor) Doors Street. of Paul Rudolph Hall, 180 York open to the general public at 6:15 p.m. Spring 2016 Yale of School Architecture Celebrating Constructs 100 Years