Spring 2014 Constructs Yale Architecture

2 Conversation with David Adjaye 10 Stage Designs of Ming Cho Lee 17 2013 Building Project 24 Faculty News 3 Conversation between Pier Vittorio exhibition review by Richard Hayes Perspecta 46: Error reviewed by Tribute to Alvin Eisenman Aureli and Peter Eisenman 11 High Performance Wood by Stephanie Tuerk 26 Alumni News 4 Conversation with Dan Wood Alan Organschi 18 Book Reviews Yale School of Architecture Books 5 Conversation between Craig Buckley 12 Architectural Forum by Brent Sturlaugson Corrections and Collections by Joe Day Yale at ARCAM, Amsterdam and Marta Caldeira Architecture Dialogues by Surry Schlabs Close Up at a Distance by Laura Kurgan Norman Foster’s Yale building 6 “Exhibiting Architecture: A Paradox” 13 Representing Urban Decay by Elihu Rubin Paradise Planned by Stern, Fishman 28 Spring 2014 Calendar symposium review by Kevin Repp Yale Women in Architecture and Tilove 9 Everything Loose Will Land in 16 Spring 2014 Events Pedestrian Modern by David Smiley Los Angeles exhibition review by Exhibition: Archaeology of the Digital 20 Fall 2013 Lectures Joseph Giovannini Symposium: “Digital Post-Modernities: 22 Fall 2013 Advanced Studios From Calculus to Computation” 2 CONSTRUCTS YALE ARCHITECTURE David Adjaye

London-based architect David Adjaye, the spring Lord Norman R. Foster Visiting Professor discusses his design approach. He gave the lecture, “Work” on January 9, 2014.

Nina Rappaport As an artist’s architect, how did you transition from small-scale house and studio projects to public projects, such as the libraries in London and Washing- ton, D.C., and even larger urban projects? How did this trajectory increase your engagement with architecture as a public and social art? David Adjaye The trigger was a series of competitions being held in England at a time when the reinvention of the public realm 1 2 was being discussed. Much of my work had been in the East End of London, a borough where ideas for new library programs were being planned and then came to prominence with committees that launched competitions for several buildings. I had to learn to deal with not only one building but also a new sequence of operations for a bigger infra- 1. Adjaye Associates, William structure. I had always been in a community O. Lockridge/Bellvue Library, of public intellectuals who have been very Washington, D.C., 2010. inspirational and nourishing in terms of the 2. Adjaye Associates, rendering of making of the city, so, when I received my the Smithsonian National Museum first public commission, I could articulate of African American History and Culture, Washington, D.C., 2013 what I was interested in doing. NR And then, in Washington, you 3. Adjaye Associates, Moscow carried out that creative and social process School of Management, Skolkovo, on a new set of libraries that had to address Moscow, 2010. community needs. How did you engage in the community issues as a non local architect? DA We had extensive stakeholder meetings, talking first about why it was “architecture” and not just “building.” The community realizes that architecture is more than the act of putting something together when there is an engagement in bringing up their collective aspirations. I am always 3 mindful to distinguish between designing with the community and letting the commu- nity understand what you are doing so that DA It is an anthropological approach, for the essence of the Constructivist diagram, taken on as a narrative, as if it were a collec- there is confidence in the delivery and the and it is concerned with how we are evolv- and people say it looks like something tion of experiences that make sense in this expectation of quality. Community engage- ing now. I am less and less convinced by they’ve seen before, but there is no similar grand symbol. In the end, it’s about denying ment is about opening up what we do and universal approaches and more and more building in the canon. Rather, it is a collage of particular tropes such as atriums or certain listening to public concerns. It is important to persuaded by specifics. I think universals can painting, strategies by Malevich, and certain Classical ways of building. There’s never a respond to not only practical but also philo- exist in certain mechanics; but, even then, thoughts by Tatlin, so it looks familiar. If you large atrium but a cavity. There’s a certain sophical voices. it extends to specific rules. simply repeat a trope, you are making a way of experiencing volumes or the section. NR It’s interesting to hear you talk about NR How do you approach the specific deafened statement; if you think that repeat- There’s an idea of being between things, so the design process in this way, particularly characteristics of a place such as Ghana, ing it communicates its authenticity, then you you can see content and your position within in light of the social issues involved in your where you have an office and numerous have completely lost the plot. it—where the architectural resistance to the current work in Africa. There, we can see projects? NR Your design for the National labyrinthine creates a conscious relationship. the benefits of your having grown up around DA Ghana is very precise. It’s equato- Museum of African American History and You are always between things. The Classical the world in your focus on regional and rial and coastal. It has both savannah and Culture, in Washington, was featured most narrative of a building is that you are fed into geographic characteristics, along with the forest. It also has a very diverse multicultural recently in your The New Yorker interview. it to terminate at something. Mine avoids community and the social aspects. How did society. There is a specific hierarchy in terms How has that commission changed your that strategy by creating a series of scenarios your decade-long study of African tradition, of the way the people see the world, and outlook, culturally and professionally, in that allow for options that engage you in landscape, and urbanism transition from they overlay that trope over any mechanism terms of pushing different design aspects, as particular ways while showing you options for an understanding of regional work and the of architecture or social construction. The well as the program and its content? disengagement. I would suggest that it is very environment to inform your own projects? culture creates a particular scenario that I am DA I think that commission is my career- much a black experience, if I can say that. DA It took years to crisscross the conti- very careful about. defining project, in the way that it is related NR What is the focus in your Yale nent of Africa and write the book Metropolitan NR For the Museum of Slavery and to politics and how the architecture arrives advanced studio regarding the potential for Africa, with Peter Allison, and I learned so Globalization, in Elmina, in design now, how at a form. It’s very rare that architecture has new types of factories in Bangladesh? much. But what it really opened me up to was do you incorporate your knowledge of place a symbolic role that is not trite, but there is DA I am not a full-time teacher, but, the realization that, in my early work, apart as well as the people? a moment when it comes together where every so often, I am compelled by certain from dealing with art, I was focusing on the DA Elmina is a very traditional fishing symbolism in architecture suddenly makes parts of the world, and the issues associated craft of making. In dealing with the commu- village that sits next to a cosmopolitan city, sense. It’s a rare moment, and I think we are with them, so, for me, teaching is a great nity, I was incorporating the notions of history, founded in the seventeenth century, called lucky enough to have one of those moments thinking laboratory in which students experi- place, and patterns. Returning to Africa, I Cape Coast. It is the site of the old slave in this project. ence a project directly while rehearsing it. realized that is how I think of geography is castle from which many African-Americans NR What was it about the program I will look at the fashion business and the more than just a school textbook; it is really began their voyage. So, we are trying to plan and the issues of housing history that were idea of the “other.” I am interested in how the the phenomenon of place, or the way in which this project to be nuanced about the myriad particularly challenging or rewarding? idea of architecture moves from one place place conditions communities, cities, and issues surrounding its multilayered historical DA Sometimes, it takes a stranger— to another and how factories have been seen societies that, in turn, form a place. When you engagement with the world. the insider-outsider you mentioned—to as having universal, objective functions, move around a lot, you start to realize how NR How do you design a project incor- look effectively at things that are incredibly which has created terrible social problems. explicitly those geographies inform the ways porating the heritage of the region without emotional to a community. I think that’s what I’m captivated by seeing the students grasp of cities and places. There is a very primary making it nostalgic or trite? And, particularly I brought—a very wide-angle gaze. I had a the idea of labor as a fundamental part of geography in Africa, and it was surprising that as an insider-outsider, how do you make clear sense of wanting to present the infor- civilization. But the empowerment of that the diverse cultures of the continent don’t it authentic? mation in an open way. I also look at it as labor structure is really critical in terms of always recognize this. It is very clear in Africa DA I use the biology term DNA, and I try my heritage: African-American history is feeling like you are either enslaved or have a how neighboring cultures are so different from to dig deeper than the skin. Cultural rituals black modern history, in terms of its impact sense of purpose. I’m interested to see how one another. These things—history, place, need to be repeated, but repetitive symbols on black culture and emancipation around architecture in the twentieth century holds and patterns—are a very important part of the or forms become problematic because they the world. In terms of post-colonialism, up. Several great architects, such as Kahn matrix I negotiate as the driver for my work. lose the agency of their initial power, which the African-American trajectory is the begin- and Le Corbusier, in India and Bangladesh, NR Your research on geography and its derived from their originality, not in repeti- ning of Modernism. Also, it is part of my for example, have also reacted to place. We relationship to people employs an anthro- tion. Representative devices are meant to history, but it is not my specific history, so I will visit their work. One of the lessons of pological method as well as a new approach communicate ubiquity. I am always searching can empathize but also be objective. those operations were mistakes that we can for your work. I wonder how this connection for the essence of those systems, which I’m NR How are these ideas translated see with hindsight, and I am interested in the between anthropology and architecture has interested in recalibrating within twenty- spatially into the visceral hierarchy. How did opportunities and skills that were created, become important to you as a method of first-century mechanisms. When it’s good, the form of the building take shape? which are possible to use with this generation. design, not only as a regionalism but as a it should be clear. For instance, my Moscow DA There are certain concerns I have more in depth and fundamental study? School of Management Skolkovo is a search been working through which the building has 3 SPRING 2014 Pier Vittorio Aureli &

1. Dogma, A Simple 2. Dogma, A Simple 3. Dogma, A Simple Heart, Amsterdam Heart, Duisburg, Heart, Dusseldorf, Peter Eisenman aerial view, 2011. aerial view, 2011. aerial view, 2011.

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Pier Vittorio Aureli the Davenport Visiting Vitruvius was actually a great fan of Greek conceptual understandings of space is PVA Not at all. His main concern was Professor spring 2014 discusses his work architecture. He didn’t like the barbaric expressed in “Transparency: Literal and collective memory. There were issues such and the idea of the “project” with Peter kind of mélange that was already Roman. Phenomenal” written by critic Colin Rowe, as the urban artifact, in which implicitly, there Eisenman, Charles Gwathmey Professor Rome was made at that time, like today, of who was very interested in painting, and is an issue of limits, but the question was in Practice. very different architectural conditions. He painter Robert Slusky. never addressed specifically by Rossi. In conceived of architecture as a practice in PE If you would take some of your fact, his research went more directly into the which you confront not only technical but heroes—Ludwig Hilbersheimer, Oswald production of archetypes. Peter Eisenman I think the major also philosophical issues. It is not by chance Mathias Ungers—they are what I would call PE And archetypes deal with limits. question is, what is a project? You would that Vitruvius is the first to apply what today literalists about space, not painters. PVA Yes, but indirectly. argue that you explain what a project is in is called an “encyclopedic” format, through PVA I don’t agree. You can hardly under- PE That is a limit condition! your new book, The City as a Project. But which architecture actually begins as a stand Hilbersheimer’s idea of the metropolis PVA Yes, but in Rossi’s project the I have read it, and I still don’t know what global project. without taking into consideration his deep question of limits was related not only to a project is. Certain architects have had PE Vitruvius set the framework for philo- interest in abstract cinema; he was very close the question of architecture but also to the a “project,” such as Rafael Moneo, Frank sophical inquiry as a categorical treatise, to Hans Richter, and Dada. He understood problem of urbanization. Gehry, Greg Lynn, John Hejduk, Superstudio, which was followed by Alberti and picked up that the redefinition of space was at risk and PE Rossi was one of the first postwar Cedric Price. What do you think a project is, all the way to the eighteenth century. There that the metropolis was not only a quantita- architects to talk about the architecture of and how you would define your own? are two aspects in the “project” as a histori- tive but also a qualitative definition. the city and to try and theorize not what he Pier Vittorio Aureli A project is a strategy cal genealogy. It comes from why architec- PE If you were in Ithaca in 1972, as built but what he theorized. How would you through which something is brought to light, ture at a certain point, may even come to Rem Koolhaas was, you would have had the say what your theorizing differs, in the most which necessarily involves not only design- disappear, as a form of knowledge and not as problem of antagonism between Ungers and fundamental sense, from Rossi’s? specific issues but a myriad of cultural and a means to produce. Rowe over the definition of space. PVA I admit my work tries to pursue a social questions that have to be put together. PVA It won’t disappear as a form of PVA One possible way to answer this line of thought in which that kind of research In that sense, a project is something that is knowledge; eventually, it will disappear as question is actually very personal: I have to had stopped. Rossi’s work is very much more intellectual than technical. a way of production. I’m interested in the admit that I’m an extremely voracious and informed by certain historical conditions PE You said a strategy­—however, you invention of architecture as a project and the eclectic person in my own way. I never align that no longer exist, which is a problem of could say that Richard Meier has a strategy, political and cultural triggers that allowed myself with one direction. urbanization and of the generic, of the funda- but he doesn’t have a project. that invention to happen. I am very interested PE Except that the name of your firm mental erasure of the possibility of collective PVA By strategy I mean that you do not in the question of limits because I believe one is Dogma. memory and of the things that Rossi rely on the conventions of the profession, of the fundamental purposes of architecture PVA Yeah, well . . . What I share with advances as a remedy to the modern city. but you keep on redefining them. I think it’s has not been to offer a shelter, but to create these architects and you is the problem of PE I would have argued that the main different because strategy means that you limits and boundaries. form. I have always been interested in archi- difference between a Rossi, an Ungers, are not relying on something given, which is PE The plinth and the wall are two limits. tects who are either for or against it. There is a Hilberseimer, and an Aureli is a question basically something that is either a profes- PVA Yes. Any form can be a limit, as a huge denial of this particular problem. of figuration. sional mandate or a social role, but you long as one thinks about it that way. Today, it PE Let me ask about a subject we PVA Okay, that is more specific! I have basically strategize architecture from the very is a very critical issue because we have lived haven’t discussed—the question of language. always had an interest in the question of premises from which it is created. through a century in which the denial of limits How is this question of idea manifested and abstraction. But unlike Ungers and Rossi, I PE Would you say that criticality is has produced even more problematic bound- appropriated in space and time in a linguis- am not interested in having a style. This is the involved in a project? aries. The whole phenomenology of global- tic way? I just finished writing about my critique you made of my book The Possibility PVA Inevitably a project implies that ization is based on this contradiction: the Holocaust memorial, and I said that for the of an Absolute Architecture when you said, you are critical of the existing conditions, no elimination of any kind of boundary so that first time in my own work I had to experience “I don’t know how the students can apply matter whether this is explicit or implicit. everything can flow, which, at the same time, the space of the design. I couldn’t just have what you actually describe in the book.” I am PE If we talk about solidity, we could creates even more pernicious conditions and an idea of it. In other words, you can’t just not constructing a methodology to produce argue that your project could be manifest in boundaries. In terms of walls and boundar- have literary theory; you have to have a liter- a certain kind of architecture. I am reading the word wall. You could say that an aspect ies, it is a way to rethink the very purpose of ary work. What about language with respect architecture to form a critical framework in of your project is the manifestation in a criti- architecture as well as react to this condition. to the realization of work? which other people might have unexpected cal context of the deployment of the wall or We are left with a kind of theory of modern or PVA I think language is not just a interpretations—which is what happens in the plinth. And of course you would argue contemporary architecture that is unable to metaphor. Our use of architecture relies on the book. It is not a manifesto for a certain that a Classical architect would say that the confront political and social problems. a geological accommodation of habits, of kind of architecture that might look like my wall has no basis in Greek architecture but PE There is another important aspect coventions. My interest in architectural history kind of architecture. It is a definition of a criti- has a basis in the Roman vernacular. Yet of your thought worth probing—your inter- is in constantly reconstructing and reinventing cal framework. you would argue for Vitruvius writing about est in sixteenth-century painting. How does it as a language. To me, the most convincing Michel Foucault said that research is the Greek project, as opposed to Alberti, that influence both your pedagogy and parallel is with poetry, because nobody writes about moving beyond yourself. I don’t think who is writing about a Roman project. So your project? poetry to describe something. Poetry is the research should be used to defend your how do you square this? Your discourse is PVA It really has to do with my interest manipulation of our ability to speak and to existing convictions. When I write a book, it Albertian as far as I am concerned, and yet in space. When you talk to architects about write. Architecture is a way to define space: is, first of all, for myself, to test and reformu- you would argue that your project comes space, they immediately jump to phenom- whether it built, written, modeled, or drawn, it late my convictions and perhaps see where from Vitruvius. enology and the understanding of space. always articulates space. The space without I am wrong. There is a beautiful epigram in PVA We have to disentangle this. First of This is one of the biggest mistakes because the language would be lost in some undefin- Manfredo Tafuri’s book Theories and History all, to talk about someone is not to endorse space is, first of all, a mental and conceptual able condition. of Architecture, where he quotes Peter them. Vitruvius happened to work in a very construction and it cannot be reduced to a PE Can we go back to the question Weiss’s Marat/Sade: “The important thing is specific time, a very paradigmatic time; he literal volume of a particular condition. But it about what is your “project”? You never really to pull yourself up by your own hair to turn arrived at his invention of architecture at also has to do with representation. In a way, said what it was. yourself inside out and see the whole world the very beginning of the Roman Empire. representation is not something other than PVA A project is not a means to an end; with fresh eyes.” The problem is you. If you Vitruvius wrote his book to be presented to our reality; it is embedded in the way we think it is a direction which you have to constantly want to define who you are and how you are Augustus, who was in need of a new kind of about reality. Without the whole construction reassess. The endpoint is something that working, you must do this. We do what we do ruling system, not only in the field of archi- of perspectival space, our real understanding others, perhaps, will find useful or will reject. because we have to constantly change our tecture but also in the fields of language and would be completely different. For me, this My direction is trying to rearticulate archi­ life and test our understanding of the world. economy: a system that would construct a problem of thinking about space concep- tecture as a form, beyond the fragmentation new universal knowledge. tually is a fundamental focus of painting. that we have had to move through in the PE From a Greek basis… There is much more for architecture to learn past century. PVA When you build a theory, you rely from painting related to this key conceptual PE What you have just said could apply on something that has already been defined. problem of space. One of the most refined equally to Aldo Rossi. 4 CONSTRUCTS YALE ARCHITECTURE Dan Wood

1. WORKac, Edible Dan Wood of New York-based practice School Yard NYC, WORKac is the Kahn Assistant Visiting Brooklyn, NY, Professor spring 2014 and gave a lecture, photograph by Iwan NAME, on January 14, 2014. Baan, 2013. 2. WORKac, Edible School Yard, Brooklyn, Nina Rappaport How did you and your NY, photograph by Iwan Baan, 2013. partner, Amale Andraos, start WORKac and combine teaching with practice? 3. WORKac, rending Dan Wood When we started WORKac, of New Holland Island, from our New York apartment in 2003, St. Petersburg, Russia, 2013. we didn’t know what our aesthetics were because we had happily been in this big 4. WORKac, rendering brainwashing machine, working with Rem of Assembly Hall, Gabon, 2013. at OMA, in Rotterdam, where we met. We 1 2 felt there were two directions we could take: teaching and doing competitions to build up a theoretical side, or being practitioners, which given that the recession at the time seemed to be just about over—we decided to do. Our first five-year plan was to “say yes to everything,” just take anything that came our way and discover our work—thus the name of the firm. We had rejected the academic route, but then after a year or so someone asked us to teach and we had to say “yes” to that too. After that, we decided that it was a very important part of our practice. It’s like exercise—you have to stay on your feet and respond and yet make sure you are not projecting too much on your students; you don’t want to end up with twelve identi- cal projects. We can also explore and think about things we are not commissioned to do. We did a seminar on ecological urbanism, for 3 4 example, and we were able to research those ideas. I am really interested in how you can hang onto the theoretical and experimental while also engaging in building. At Yale, we NR The Edible Schoolyard project, DW We got that project by winning an something new, and what kind of tensions are looking at “representational” architecture initially conceived by Alice Waters, is a invited competition, for which David Adjaye have resulted? for the country of Gabon; how infrastructure perfect blend of interests for your practice, and Diller Scofidio + Renfro were partici- DW The project has been driven by a and architecture can combine to create new both playful and educational. How did you pants, among others. This was an initiative deep engagement with history, in that the institutions and a new national identity. meet Waters and receive the commission for of Ali Ondimba Bongo, the president of warehouse buildings, built for the Russian NR One of your interests is urban the project school in Brooklyn? Gabon, who is trying to make the country navy, are very repetitive and are quite dense. vegetable gardens and so-called produc- DW John Lyons, who sits on the board into an emerging economy that focuses on They were never really meant for human tive landscapes, which follows on the long of the Chez Panisse Foundation in California green issues. His head of National Parks, habitation; they were built to dry wood, trajectory of community gardens: programs but lives in New York, always wanted to do an professor Lee White, is a one of his right- and façades were added later. But they are such as Operation Green Thumb in NYC, the Edible Schoolyard here. He was “Principal for hand people, and previously worked for the robust It is a delicate dance between how Brooklyn Grange, and vertical farms. How a Day” at P.S. 216, where we were to eventu- Wildlife Conservation Society, and lived in the much you want to impact historic structures does urban farming inspire and affect your ally build. He happened to see PF1 and jungles. So we took those goals as our initial visually and what you chose to preserve. architectural design projects as well as your then we met Alice and went out to Berkeley inspiration. Bongo is also a pan-Africanist, Since they are strong structures, we realized conceptual research? to see her work. Our first project for Edible if I can say that, and is very interested in the we could cut big holes into them. An inter- DW A sudden revolution contributed Schoolyard NYC just opened after five years future of Africa and the African Union. Having esting aspect is that Norman Foster had an to our thinking about food and architecture. of planning and construction. the African Union summit in Gabon puts it earlier project on the island where they tore First, it came out of our research for the book NR Why was it such a long organiza- on the world stage. We felt it should have a down a huge number of buildings, which 49 Cities, an outgrowth of our Princeton tional process? How did you integrate the strong representational side to it, like a mini represented basically everything after the seminar, where we looked at the history of various productive functions of the program? UN. Instead of looking to Gabon’s past, we nineteenth century including the radio station urbanism and saw the ecological implica- DW They had to build the Edible tapped into the positive side of modernism where Lenin gave a significant speech during tions of these visionary cities. Many discov- Schoolyard NYC organization first and get in Africa, especially in Libreville, where they World War I about the fleets being under eries were found in the projected relationship the approvals from the DOE. The garden has discovered oil after getting independence Communist control; where scientist Dmitri between the city and its surroundings, and been complete for three years; we added from France. So there are all these buildings Mendeleev discovered the periodic table around food production. The Garden City had a building that combines a greenhouse, that represent the super-optimistic ideas of of elements, and where the first submarine green zones, and Le Corbusier had urban kitchen classroom, a small office for the what a country in Africa can be. testing grounds exist. With preservationist farming components in Radiant City, where organization, and the building systems. The NR The cone-shaped organization of Jorge Otero-Pailos as a consultant, we have every hundred people would have a resident roofs are joined together and collect rainwa- the building has a very strong formal quality been working to recapture some of this lost farmer. Second, we happened to buy a ter. The building systems are expressed as that seems to be both symbolic, in terms of intangible history. copy of Michael Pollan’s book Omnivore’s a series of sculptural elements at the rear, a gathering place, and functional, in terms of NR How are you doing that, through Dilemma and became very interested in clad in sprayed blue rubber, and contain all the sloped roof to move the rainwater down. exhibitions and installations or in more food. When we were invited in 2008 to do an the things that make the building work: a big How did you integrate the productive aspects ephemeral ways? installation for the Young Architects Program cistern, a bathroom, the HVAC, and a tool of the building within the project? DW There is a pool, a ramp, and an at MoMA PS1, we realized that we could shed. You can see how one roof goes to the DW There is a main auditorium at the outdoor exhibition space, which takes incorporate this research and these interests, next and to the cistern volume and under- heart of the project, and there are three the form of the old submarine testing putting food and cities together. We called stand the water systems. It is really a micro gardens around it, each representing a grounds, and the use of a balloon like the the project PF 1 (Public Farm 1). experiment of all the things we have been different local ecology. One of them is aspira- one Mendeleev used for testing. Jorge is NR Producing food in the city was a new thinking about. tional as an edible garden because there is developing an eighteenth-century smell framework so to speak; had you ever planted NR It sounds like a good prototype for no significant agricultural effort in Gabon, environment, but since smell is so connected a vegetable garden yourselves? other schools. although there are nuts that grow in the to memory we are trying to create new DW I grew up in the countryside and my DW It is a prototype, and Christine forest that can be rediscovered. Then there memories, both physical and ephemeral. parents were hippies, so we had a garden Quinn, as City Council chairman, allocated is the Inselberg, which is a very special type NR In this case when you are not and pigs and that was an influence, but I funds on the condition that we do one in of mountain ecosystem, and a rainforest working directly on landscape or a produc- wasn’t really directly engaged in it. Amale is every borough. We are just starting the next garden. Because the building is on a hill, as tive landscape, do you still try to incorporate much more of an urban person, so she hadn’t one in Harlem, where we installed plant- you approach it from the city you can see the landscape in different ways? any experience at all. ers last month while we wait to put in the three gardens. It rains every day in Libreville, DW It is a less important part of New NR Do you see productive landscapes greenhouse. They have already started the so at the center of the auditorium rainwater Holland Island, but the big building we are and gardens as a design tool, perhaps a way kitchen classes. Edible Schoolyard NYC has can be collected, forming a water feature on proposing is a landscape on one side with to insert landscape into the city for sustain- an approved curriculum, so it’s completely the roof where the rain runs down the terraces a civic presence on the other. So it has this ability, or rather to integrate farming and integrated with what the kids are studying— and becomes a waterfall in the rain-forest dual nature, and there is a lot of discussion healthy food into urban lifestyles? whether its history, math, science, whatever. garden, and then flows into the cisterns to be about trees because they have very long DW There is excitement in the food They see every kid in the school three times a reused as a grey water system. winters and are less used to them. We are world about urban farming, but for us it was month for the seven years they are in elemen- NR The New Holland Island project, also proposing winter gardens inside the a broader examination of the intersection tary school. in Saint Petersburg, Russia—which you buildings. between urban, rural, and the wild—and the NR You have expanded your commis- were also commissioned through an invited NR And when you are on an urban site give and take from one to the other—as a kind sions internationally through competitions competition—is another type of cultural fully built how do you provoke landscape? of second nature. Many problems in the world such as the one for the Assembly Hall for the project housed within a former industrial DW We just did a big interiors job for the have to do with the relationship between the 2015 African Union Summit in Gabon. How complex, dubbed a “city inside the city.” How New York-based advertising agency Wieden man-made and the natural, and we hope that are you combining ideas of sustainability did you arrive at the idea to subtract from and Kennedy. We ripped out windows, we we can trigger a different way of thinking by and materiality while integrating local needs the historic building while adding something cut a big hole in the floor, and put a park utilizing nature and natural systems and then with new and appropriate construction identifiable? In general how do you combine inside the building. making those systems visible. technology? the historic aspects with the desire to create 5 SPRING 2014 Craig Buckley &

Marta Caldeira had the rise of offset lithography, by which architects can shape the page more directly through the cutting and pasting of a wide range of materials, from photography and found images to screen tone and transfer lettering, among other things. MC The term assembly seems to assume a critical value in experimental visual rhetoric. It made me think of the term fragmentation and the way it has been explored critically in the analysis of the experi- mental work of the historical avant-garde. How does the notion of assembly become 2 a larger critical concept for qualifying the way the visual techniques were being used in the 1960s? CB One of the Classical readings of montage is fragmentation, or constructions that questioned the idea of the artwork as an organic whole, linking the artist, the work, and the larger culture. Montage would thus be a form of fragmentation that is at the same time a form of assembly. To break something apart—by literally cutting things out of magazines, calendars, and trashy news flyers—was part and parcel of the process of reassembly. In an analogous manner, the assembly of an entirely prefab- 1 3 ricated building—very much an obsession of the 1960s—implies that the idea of “building” is already discontinuous and Craig Buckley is the newly appointed 1. Theo Crosby and Edward Wright, 3. Hans Hollein, page layout from “Alles fragmented, conceptualized as a universe assistant professor in the Department Pavilion for Union Internationale des ist Architektur,” Bau 1– 2, 1968. of industrial parts. Some of the research is of the History of Art at Yale and is inter- Architectes Congress, London, 1961. to examine where these visual idioms and viewed by Marta Caldeira a lecturer in 2. Hubert Tonka and René Louau, ideas of construction affect each other. the School of Architecture and doctoral page layout from “La Répression,” MC It brings to mind the distinction candidate at Columbia’s GSAPP. Utopie no. 1, 1967. that Robin Middleton made between positive and negative fragmentation and that Manfredo Tafuri made between the different Marta Caldeira Before joining the MC You are now at Yale as an assistant position. Such montages often appeared avant-gardes—that is, between those that doctoral program at Princeton, your academ- professor teaching Modern architecture in together with extensive writing, and I have fragmented to produce ruptures and those ic, critical, and curatorial work explored the history of art department. Your focus in sought to retrace the threads that link these that aimed to reconstitute a new whole. But various practices in the visual arts. Could you media studies on the centrality of the visual condensed images to larger theoretical it seems that, with assembly, the attempt to talk about this earlier phase of your work, object and its particular forms of rhetoric debates. The group Utopie, for example, form a new whole is implied, rather than the and how, eventually, it may have led you to includes the analysis of objects such as Hans deliberately set itself up as a magazine at the act of breaking a unity as a conscious and focus your PhD on architectural history? Hollein’s sequential montage for Alles Ist crossroads of architecture, sociology, and intentional breaking with a sense of order. Craig Buckley Actually, I had studied art Architektur, the layout of French magazine politics—an intellectual frontier, or “thresh- CB I think that is a nice way to frame it, history and also took part in the Whitney’s Utopie, and even the typographic work of old”, to use the term they liked to use and but I would hesitate, from the outset, to draw independent study program. I was interested Edward Wright. This examination carefully that allowed them to appropriate texts and a firm line between positive and negative particularly in the relationships among art, connects the details of visual construction and images from a range of sources and incor- fragmentation. Assembly is not necessarily architecture, and the city with respect to the their broader social and political significance porate them into a new continuum. Even related to the ambition to create a new whole. work of artists and architects earlier in the in a specific historical moment. How does if much of this material was coming out of The younger architects and groups I study twentieth century as well as of contemporary your focus converge with, or depart from, the culture industry, the use of montage is cannot identify with the rhetoric of “integra- artists. I had curated a number of exhibitions others in twentieth-century media studies? not determined in any simple way by these tion” or “synthesis,” terms that Gropius and on contemporary artists and architects in CB My work is informed by the larger systems but, rather, intersects with the Le Corbusier sought to promote, respectively New York City and Europe before embarking important place assigned to various media emergence of architectural concepts during after World War II. Montage brings things on my PhD. I chose the Princeton School at Princeton. If what makes architecture the 1950s and ’60s, from notions of clip-on together, even if there is no longer a strong of Architecture because I was drawn to the modern, as Beatriz Colomina argues, is its architecture to theories of dematerialization belief in integration. In this sense, it is highly scholarship being done by architectural effort to redefine itself in a world increas- to the interest in demountable building ambivalent, trying to hold things together at historians and because, at Princeton, there ingly dominated by media of all types—from techniques. I see these composite images a moment when the faith in unity and whole- was a strong exchange between the school illustrated magazines to radio, film, TV, and as closely related to efforts by architects to ness is itself falling apart. of architecture and the department of art now the Internet—this forces architects rethink problems of assembly. MC How do you see the study of these and archaeology. and historians to think differently about the MC Your research focuses on the 1960s visual techniques reflected in your teach- MC For the past three years, you have traditional priority the field has assigned to and ’70s and a wide range of practitioners, ing at Yale, not only in the more specialized taught and directed the department of print buildings. It does not mean downgrading the from radical activists to professionals in art seminars but in even approaching a survey? publications at Columbia University’s Gradu- importance of buildings, as is sometimes and architecture who consciously challenged CB That’s a question I am wrestling ate School of Architecture, Planning, and assumed, but rather rethinking the relation- disciplinary categories. How do you see the with. On the one hand, you can’t get away Preservation. Could you tell us about the ships among buildings, exhibitions, work connecting, contradicting, or reaffirming from your own obsessions; on the other, you projects and classes you have led there? magazines, films, photographs, and so on. accepted periodizations that either separate can’t neglect the key narratives that have CB My seminars there included one on Meanwhile, there has been another trend in or link these two historical moments? been developed in the field. When I teach the relationships between architecture and recent years that is less about media images CB We think of montage as being my modern architecture survey—covering printed matter in the postwar period, working than media systems, an effort to think about invented by the historical avant-garde, but roughly the 1880s to the 1980s—I try to with materials from the Avery Architectural the larger corporate structures through I am trying to step back from the familiar find places where these obsessions can be & Fine Arts Library to think about the ways in which media “determine our situation,” avant-garde/neo-avant-garde framework in a brushed against though larger narratives which architects have engaged print media to use Friedrich Kittler’s phrase. My work couple of ways. The combination of multiple about the Modern movement. Throughout as a part of their practice, and to reflect on examines the incredible growth of montage photographic images into a new composite the twentieth century, the architectural histo- the changing culture of communication in techniques in architectural culture in the can be traced back to the nineteenth century. rian has often played the role of monteur, the discipline today. I also taught a seminar 1950s and ’60s, within which I am interested The historical avant-garde does not so much constructing narratives through the collisions about architects’ manifestos, looking at in specific media images but also a material invent montage as endow the process with between images. For the spring semester, architecture’s relationship to media but also history of the types of media apparatus a name and a new meaning, one closely I am teaching a survey on the architecture to a particular mode of writing. With Mark through which they were made—the books, linked to the consequences of industrializa- of the kinetic image, going back to the early Wasiuta, I also taught a multi-semester newspapers, magazines, and posters from tion and the aftermath of World War I. If you ambivalence in capturing moving images as course that linked research and studio teach- which images were torn as well as the paste think of the longer etymology of the term a means of analyzing motion versus enter- ing to examine the rise of private collections ups and offset presses used to make them montage, it shifts from the eighteenth century, tainment media. I am also offering a seminar of contemporary art around the globe over into reproducible media. when it refers largely to elevation, to the late that will take advantage of the incredible the past thirty to forty years. The students MC But we could also say that your nineteenth, when it came to describe the archives assembled by Kevin Repp at the researched institutions, collections, collec- approach to media goes beyond its material construction of buildings. Then, in the early Beinecke Library. The Beinecke’s effort to tors, finances, and the urban contexts to history because you were looking not only twentieth century, it took on the sense of collect material related to postwar avant- develop ways of visualizing and analyzing at techniques but how they were being an industrial assembly line. The flourishing gardes has yielded an unparalleled collection the institutions’ geographic and cultural constructed and articulated in relationship of avant-garde montage techniques in the of material related to the Situationist network territories and ask what role architecture to design concepts. Your analysis explores a 1920s can be thought of as a transformation and its various extensions across Europe. has played and might yet play within them. broader field that is like a bridge between a in assembly concepts cutting across film, I think there is a great opportunity for new It brought me into the design studio for the material and an intellectual history. photography, and architecture at a particular scholarship to make us think differently about first time as a co-teacher with Mark, which CB That’s true. The montages are not moment. My approach is to read montage as this movement upon which so much has was both a pleasure and a challenge. The just assemblies of images; they are assem- part of this longer transformation, stressing been written, not only about its discourse, first phase of the work was exhibited in blies of ideas coming from various fields. its relationships to architectural debates, new but also about its often troubled relationships Athens and Istanbul last year, and it is being What we take to be a visual “image” media, buildings, exhibitions, and advertis- with art, architecture, and film. published this spring as a small book. was often shorthand for a larger intellectual ing in the 1960s. At the same moment, you 6 CONSTRUCTS YALE ARCHITECTURE Exhibiting Architecture:

“Exhibiting Architecture: A Paradox?” porous S-curve installations; however, he was the fifth J. Irwin Miller symposium admitted the commodification inherent in held at Yale from October 3 – 5, 2013. the on-demand scalability and portability of these designs. Others seemed more focused on the need for critical intervention via the What does it mean to exhibit architecture? gallery. “Curating has agency,” critic and How does the method—apparently so curator Nina Rappaport said, describing her ill-suited to the subject matter—affect our efforts to achieve a “targeted activation of understanding of what architecture actually space” in the varying venues of her traveling is and what it means to practice it in the “real Vertical Urban Factory exhibition. Designer world”? With these and other questions, and Yale faculty member Ariane Lourie Harri- Yale professor Eeva-Liisa Pelkonen (MED son spoke of breaking through the protective ’94) set the stage for a weekend of substan- shell of spectatorship to evoke a visceral tive and lively debate at “Exhibiting Archi- response from the public, whether unaccus- tecture: A Paradox?” Organized with David tomed intimacy with awkwardly situated Andrew Tasman (’12) and Berlin-based inflatables or feelings of “tenderness” toward curator Carson Chan, the conference, uncanny lambs-to-the-slaughter bagpipe which was initiated in a seminar at Yale, installations, as in her performance piece brought together architects, scholars, and Veal. As an object of exhibition, “architec- curators from no less than eleven countries. ture” could refer only to “spatial practices” Together with a highly engaged audience, embedded in specific social, economic, they pursued these questions into a fertile political, and cultural contexts, according yet perilous no-man’s land of confusion to critic and curator Carson Chan, who has and controversy, where the safe distance sought to break down barriers and engage of historical perspective unwittingly gave new publics in communities as diverse 1 way at times to the immediacy of infighting as Berlin, site of his PROGRAM gallery; over the politics of contemporary curatorial Marrakech; and Denver, where he curated practice. Like some of the more adventur- biennials in 2012 and 2013 respectively. ous exhibitions explored in the panels, the Once again, audience response was skepti- conference verged on becoming a kind of cal. Is exhibition space really an effective “total immersive environment.” A memorable “feedback loop,” drawing the public into a and truly kaleidoscopic panorama emerged, cycle that ends with the production of actual one that will likely continue to provoke new buildings? mused Columbia University archi- research and bold experimentation for a long tectural historian Barry Bergdoll, reflecting, time to come. perhaps, on his own tenure as chief curator Questions about the relationship of architecture and design at MoMA. Or is it between architectural exhibition and not rather a “parallel circuit” designed and practice—and between both of these and populated by professionals, forever closed the “real world”—surfaced in clarion style off from the “real world”? from the start. Swiss architect Philippe Yet it was precisely within the archi- Rahm jumped in with both feet, splashing tectural profession that Pelkonen situated wonder and controversy through the crowd the crucial importance of exhibitions, assembled in Hastings Hall with his opening formally introducing the conference at lecture, “Atmospherical Cube.” The gallery Hastings Hall after lunch. From Hitchcock is a space in which art can enact its power to and Johnson’s International Style show (and challenge the language of architecture, Rahm book) at MoMA in 1932 to Theo Crosby’s observed, and the exhibition is a “laboratory” How to Play the Environment Game, the for testing new ideas about architectural form particularities of the exhibition as a medium and function. From “Hormonorium” at the have shaped our understanding of what 8th Venice Biennale of Architecture to the architecture itself actually is: what it means “Interior Weather” installation for Canadian to practice it, to belong to the profession, Centre of Architecture (CCA ) in 2002, and and to engage (or not) with broader social 2 experiments with “climate first” architecture issues. The histories of architecture and grounded in naturally occurring flows of exhibitions are intertwined. From that point thermal convection, Rahm traced a dialogue on, the conference’s focus shifted away described seemed almost tiny by compari- distortions created through mirrors, lights, of interactions between exhibition and build- from the politics of contemporary exhibition son to the medium put into play here, as and projections onto a supple 3-D grid ing design that shaped his own career. Thus, praxis to a more disinterested consideration the architecture of an entire city became a animated with motors—at the Trigon exhibi- the “Digestible Gulf Stream” of the 2008 of the past, as the first of several panels canvas for the “curators.” On another level, tion of 1967. This project, and others, such as Venice Biennale found its conceptual twin in exploring historical perspectives got under Ugo Mulas’s small but spectacular photo Superstudio’s “Continuous Monument” and “Interior Gulf Stream,” an artist’s home built way. Here, the concrete role of media stood book, virtually the only concrete vestige of Hans Hollein’s “Architecture Pill” at the next around the ebbs and flows of convection, its front and center. Mari Lending, of the Oslo Campo Urbano, effectively reconstructedthe Trigon in 1969, channeled the radical subjec- spaces, their placement and functions, all School of Architecture and Design, sketched entire event on paper, by creating the narra- tivism of a young generation into an all-out defined by optimal thermal requirements, as the remarkable history of an entire industry tive through a series of “flashbacks” to other attack on not only the Euclidian rationality of laid down in Swiss national standards. The devoted to the production and distribution of radical street actions, from May 1968 in Modernist city planners, Burleigh argued, but mirthful aspects of his work were entirely full-scale plaster casts shipped around the Paris, to Situationist plans for an exhibition- also on the very notion of architecture itself. unintentional, a side effect of earnest “scien- world to fill odd menageries of architectural cum-dérive at the Stedelijk and all the way Youthful discontent with the profes- tific” experiment, Rahm assured, though not simulacra, which enjoyed a brief heyday back to a popular riot in Rome’s Campo de’ sion also fueled the impulse of démontage, without suppressing a mischievous grin at before the market collapsed, at the end of Fiori in 1888. Conspicuously absent from or “disassembly,” in Utopie, a group of the thought of such happy “surprises.” the nineteenth century, under the weight of Mulas’s photo book was any reference to the disgruntled architecture students that formed The following morning a panel of new calls for “authenticity” and “originals.” Fascist era, however; nor was Giuseppe around Henri Lefebvre and his young assis- curators and architects convened in the Around that time, plaster featured promi- Terragni’s Casa del Fascio (rechristened tant, Jean Baudrillard, at about the same time Architecture Gallery to explore the “dialogue” nently—alongside glass—in the resurgence Casa del Popolo after the war) anywhere in in Paris. Exploring the bewildering (and rather between architectural exhibition and practice, of architectural models as a favored medium the curators’ field of vision. Why not? Perhaps, hilarious) jungle of inflatable furniture, boats, surrounded, appropriately, by the exhibition in the German exhibition circuit, a develop- Golan suggested, because it was not until a tents, and toys—all manner of consumer and Everything Loose Will Land, curated by ment University of Kentucky’s Wallis Miller few months later, after the Milan bombings of professional goods—that Utopie constructed Sylvia Lavin, of UCLA. Like Rahm the previ- ascribed to the shifting position of archi- December 1969 put an end to the country’s for the Structures Gonflables exhibition, ous evening, New York City−based architect tecture vis-à-vis sculpture at the Prussian flirtatious dalliance with left-wing extremism, in March 1968, Craig Buckley, of Yale’s art and Yale professor Joel Sanders linked the Academy. Without it, the models of Gropius that the icons of Fascism became “relevant” history department, noted certain affinities impulse behind his first exhibition designs in and Mies van der Rohe could never have once again in postwar Italian political culture. with the student rebellion that was beginning his case, a focus on the impact of sensory played their starring roles at the landmark The specter of 1960s and 1970s to heat up in Nanterre. Yet for all the critique environments and framing inspired by rising Bauhaus exhibition (1923) in Weimar, Miller radicalism, having crept into the conversa- of rigid Modernist totalities in their anarchic critiques of the “white cube” in the art world— persuasively argued, though with a twist tion almost surreptitiously, now stalked the displays, the exhibition hardly suppressed the to projects such as the House on Mt. Merino via the Expressionists’ creative use of the proceedings in Hastings Hall for the rest of importance of structure, Buckley stressed, (2008), which offers consciously framed views medium to bring forth new architectural the weekend. Bewildering labyrinths, wild underscoring the high visibility of scaffolds of the landscape made famous by painters of forms from the modeling process. From this disruptive pastiches, and multimedia sensory and metal supports that sustained this the Hudson River School. Here, the question perspective, the Bauhaus style can be seen maelstroms plunged conference-goers into carefully choreographed dérive. And despite of “real world” applications ran headlong into as a radical rereading of an old-fashioned rough waters in the next panel, “Immersive the anti-capitalist mood of the day, there was another issue, raised by subsequent speak- medium (Gropius’ white models, for Environments,” which not only revived previ- obviously a consumerist impulse lurking in the ers on the morning roundtable and sustained example), while Mies’s use of glass takes on ous questions—exhibition versus practice, very flexibility and ephemerality of Utopie’s with growing urgency throughout the rest of deeper significance. exhibition versus the “real world,” the politics throwaway inflatable architecture. If social the conference: the role of criticism versus Looking ahead to postwar Europe, art of curating, and the meaning of it all for the criticism and the profit motive could live side advocacy in architectural exhibition and historian Romy Golan, of the CUNY Graduate architectural profession—but stirred them all by side, even in Paris in spring 1968, the two practice. Embracing the gallery as a tool to Center and Lehman College, weighed the together in a single, volatile brew that bubbled would soon come to blows Columbia Univer- bring uniquely “focused attention” to archi- role of media at the Campo Urbano—not so furiously around the contested legacy of sity’s Mark Wasiuta described, for example, tectural structure, Yale’s Brennan Buck noted much an exhibition as a series of citywide 1968. Paula Burleigh, a doctoral candidate the pavilion that the experimental group of the potential for heightening public critical street actions and happenings staged in at the City University of New York, got things engineers out of Bell Laboratories with artists, awareness through the wily use of devices, Como, in September of 1969, at two different started with a tour of Gianni Colombo’s E.A.T. (“Experiments in Art and Technology”) such as perspective, in his undulating, scales. The monumental simulacra Lending Spazio Elastico—a wavering pool of spatial persuaded Pepsi to build for the Osaka 1970 7 SPRING 2014 A Paradox

4

1. Theo Crosby, The Environment Game, 3. E.A.T. Pepsi Pavilion at Osaka World’s Theo Crosby Archive, University of Fair, 1970. Photo: Shunk-Kender © Brighton Design Archives. Roy Lichtenstein Foundation.

2. Harrison Atelier, Veal, performance 4. 9 Ways of Being Political, the Museum David Watson and Loren Dempster of Modern Art, exhibition curated by and installation, 2013. Photograph Pedro Gahano, 2013. Photograph by Elijah Porter (’11). courtesy of the Museum of Modern Art. 3

World’s Fair. Purposely designed to thwart futures had been the mission in 1794, just Triennale, Princeton doctoral candidate above a “foam-rubber sea,” and Björn crowd control and short-circuit E.A.T.’s as it was in the manifestos and exhibits of Federica Vannucchi explained that the Springfelt’s complex maze of outbuildings, diabolical “antipavilion” assaulted visitors Russian Constructivists, as they migrated angry mobs of protesters who swarmed it ARARAT, culminating in a workshop in which with a reflective interior, fog machines, light from the streets into galleries in the wake of could not find a place inside, despite De visitors could roll up their sleeves and start beams, floating mobile sculptures, blaring the Bolshevik Revolution. Bergdoll dwelled Carlo’s bold invitation, because the curator building the future on their own—broke sound tracks, and an electromagnetically on these moments when politics and profes- had long since abandoned his initial goal of the mold of exhibitions as “curatorial acts” charged atmosphere, all programmed sion seemed inextricably entwined, from “action toward totality”—that is, integrating performed on an inert mass of specta- to respond to “acoustic wands” delivered the English campaigns for public viewing of individuals as active participants in mass tors, seeking instead to encourage active into the hands of the unsuspecting visitors. proposals for the Houses of Parliament, in society. Instead, Il Grande Numero became participation. In fact, Mattsson pointed out, A few months in, Pepsi fired E.A.T., turned the 1830s, and to the Arbeitsrat für Kunst a static “container” in which every element their designers often referred to them as off the fog machines, the blinding lights, (Workers Council for Art) and its goal of of society, even wild scenes of rebellion out “curated demonstrations,” a word obviously and the electromagnets and—last but not establishing venues for “unknown” and in the street, was to be classified, described, borrowed from turbulent political events least—replaced the grating sound track unsanctioned architects to exhibit during the and put on passive display. Andres Kurg, of happening outside the museum but one that with a continuous loop of “It’s a Small World revolutionary upheavals in Germany after the the Estonian Academy of Arts, ended the also referred to a “rhetorical strategy” and After All.” First World War. Modern architecture would morning’s first panel on a more optimistic “spatial practices” built around “architectural Conference participants then engaged never be the same. After all, the Bauhaus note with a genuinely fascinating presenta- configurations on a scale of 1:1.” in vigorous debate over this radical moment took up the very same demand in its first tion on Paper Architecture, an exhibition The line between street action and in postwar culture and what it had meant for manifesto, of 1919, and Mies would become by dissident Soviet architects, that was exhibition was also hazy in Venice, although architecture. But first came a bit of comic its first beneficiary. “Mies van der Rohe had first shown in Moscow in 1984. While the not for long, as shown by Léa-Catherine relief, as the panel’s moderator, Yale film emerged from obscurity through the mecha- exhibition could easily be dismissed as Szacka, of the Oslo School of Architecture studies professor J. D. Connor, projected on nism of the exhibition,” Bergdoll declared, escapism, the little-known “paper projects” and Design. Forced to adopt a more inclusive a gigantic screen scenes from Paramount’s referring to the landmark Bauhaus show of movement it represented delivered a wither- approach after protests disrupted the 1968 colorful 1955 farce You’re Never Too Young 1923. The lecture concluded with a list of ing critique of Communist technotopias in biennale with angry charges of “Fascist” to illuminate the paradox involved in trying other “unknowns”—Le Corbusier, Teige, and the last years before perestroika, Kurg easily elitism and commercialization, organizers to “exhibit immersion.” Trapped in his other upstarts of High Modernism—who demonstrated. Using irony with a brilliance abandoned the hermetic model of the tradi- virtual “aquarium of women,” Jerry Lewis played the new rules of the exhibition game that would have put Superstudio to shame, tional art exhibition to explore “the relation- scampered back and forth obliquely behind with equal personal skill, to the benefit of the the movement created new networks for an ship between art and the anthropogeographic the backs of the panelists, who did their entire profession. “alternative discourse” outside official Soviet environment” with, among other things, archi- level best to address the issue. Discussion The conference reconvened Saturday culture that made for genuine opposition, tectural installations constructed amid the swiftly zeroed in on the legacy of 1968, and morning for two panels devoted to postwar and its impact on architectural theory and hustle and bustle of the Venetian streets. The passions flared. “It was a disaster,” Dean Europe, with all the attendant perils and practice in the region can still be felt today. bombs of 1977 and the abduction of former Stern insisted, responding to Pelkonen’s pitfalls of the previous afternoon’s debate The porousness of boundaries prime minister Aldo Moro, his lifeless body suggestion that the Trigon had challenged still fresh in mind. Failure, escapism, and the surrounding exhibitions, already evident in dumped in the streets of Rome the following architecture to redefine, rather than attack, “rightward drift” of post-1968 political culture cases such as this, came into sharp relief spring, put an end to a decade of giddy exper- itself. Everyone left the exhibitions “totally cast a dim light over the proceedings, which in the next panel, “Curatorial Acts,” which iments, however, and by the time the first bemused,” he countered. “It was the death were pierced occasionally by hints of fugitive explored shows aimed at breaking down Architecture Biennale of Venice opened, in of architecture.” The radical moment was longing for a “vanished golden age of cultural barriers between “inside” and “outside” 1980, the show had once again retreated into “a failure,” according to Romy Golan, who activism,” as Joel Sanders aptly remarked —and in so doing sometimes blurred the safer confines: with its inward-facing façades, excoriated the obsession with immersion in summing up the first panel. Alternating line between critique and complicity—in the the postmodern Strada Novissima resembled (both past and contemporary) for rather between gloom and exaltation, this polarized experimental era of the 1960s and ’70s. nothing so much as a shopping mall. Repro- different reasons. Retreat into aestheticized atmosphere persisted into the afternoon, Few pushed harder against these boundaries duced as simulacra, the “political and social interiors led only to “pseudo-politicization.” leaving behind a chiaroscuro portrait of the than Hans Hollein, curator of Alles ist Archi- space of the street” had been reduced to “a Why, after all these years, had architecture legacy of 1968 that might serve as one of the tektur, whose “everything-izing” impulse space of consumption,” Szacka concluded, still not been able to find its way out of a leitmotifs of the conference. Starting on a Liane Lefaivre, of the University of Applied “thus evoking the exhibitionism of one’s misguided quest for “illusory participation”? brighter note, Simon Sadler, of the University Arts in Vienna, traced back to his encounters private life.” Tracing a similar development at Questions of politics and profession of California at Davis, stressed continuities with John Cage, Allen Kaprow, and the birth the Architectural Association of London under continued to loom large in Barry Bergdoll’s in the career of Theo Crosby, detecting an of the Happenings scene in New York City, the direction of Alvin Boyarsky, design histo- keynote talk surveying the history of architec- “artisanal” idealism behind both the radical Were Hollein’s all-encompassing exhibitions rian Irene Sunwoo, of Bard College, showed tural exhibitions, condensed from his Mellon designs of his early landmark exhibitions, really exhibitions, or happenings? The same how the democratizing impulse of 1960s Lectures series, which were delivered at the This Is Tomorrow and Living City, and the is true of pioneering shows at the Moderna activism led to a brisk and, in some cases, National Gallery of Art last spring. Bergdoll staid “tackboard” displays of How to Play the Museet under the consummate directorship almost militant expansion of the AA’s exhibi- considered the very possibility of putting Environment Game. At first “metaphorical,” of Pontus Hultén, described in a delightful tion program (here, too, displays ultimately buildings on display—taking them “out of Crosby’s model of the “workshop” could paper by Helena Mattsson, of the Royal spilled out onto the streets). Yet Boyarsky’s site” and placing them “in plain view”—and be traced to the collectivist zeal of Bauhaus Institute of Technology in Stockholm. All of marketplace, or “bazaar,” model in which the fundamental role they have played in and its “Cathedral of Socialism”; but, by these shows—from Niki de Saint Phalle’s leaders of the school’s newly established the rise of architecture as a modern profes- the 1980s, this gave way to more literal She, A Cathedral, in which visitors were free “units” competed for attention (and students) sion. Starting with the first public displays and mundane advocacy for arts-and-crafts to watch a movie, enjoy a drink, or wander with ever more elaborate installations, of architectural drawings at the end of the traditions, most notoriously expressed in his aimlessly through the interior of a giant ultimately lapsed into a kind of fetishized and seventeenth century, he traced their gradual reconstruction of the Globe Theatre on the sculpture of a naked woman lying on her commercialized aestheticism as the radical- emergence from the shadows of the art world banks of the Thames. back (they entered through her vagina), to ism of the 1970s gave way to the careerism to dominance in exhibitions of revolutionary Turning to a truly spectacular the vast, noisy playground of Palle Nielsen’s of the 1980s. “Those who wanted to use Paris at the end of the eighteenth. Projec- instance of failure, Giancarlo De Carlo’s The Marcuse-inspired Model for a Qualitative architecture like an axe left the stage for those tion of possible, and sometimes utopian, Great Number exhibition at the 1968 Milan Society, with its diving platform perched who wanted to play it like a violin,” Sunwoo 8 CONSTRUCTS YALE ARCHITECTURE

5. From the Victoria and Albert stave church on the Norwegian 6. Denver Biennale, curated by Museum Cast Courts, London west coast, cast in Bergen David Chan, 2013. showing on the left, the plaster in 1907. Photograph by Mari cast portal of the 1070 Urnes Lending. Everything Loose Will Land…

Everything Loose Will Land in Los Angeles was exhibited at the Yale Architecture Gallery from August 28 to November 9, 2013.

Architecture history returned to the scene of the crime when Everything Loose Will Land in Los Angeles opened in Paul Rudolph’s A&A Building Art Gallery last August. When Charles Moore took over as dean of Yale’s Architecture School in 1965, the ambitious architect from UC Berkeley poked destructive fun at the heroic Modern- ism of his predecessor by inserting a Mylar 5 aedicula—reflective, flimsy, impermanent, importantly unimportant, and a bit cheesy— in the second-story jury gallery of Rudolph’s monumental concrete edifice. Moore was ridiculing the high seriousness of the Modernist program with an elaborate piece of walk-in trivia. Could Mylar take down the whole bush-hammered edifice of space, light, and form? The A&A Building and its architect were the fall guys in what turned out to be a massive Oedipal reaction during the 1960s and ’70s as architecture’s self-appointed agent provocateurs turned on their Modern- ist father figures and dismantled the theol- ogy. Sylvia Lavin, director of critical studies 1 in the Architecture and Urban Design Depart- ment at UCLA, has curated an exhibition about this breakdown of orthodox Modern- ism, documenting blows that arrested the Modernist juggernaut that had steamed out of the second World War and conquered 6 the next decade. Tellingly, the show exhibits a still from the documentary The Great Big Mirror Dome Project (1969), by Eric Saarinen, son of Eero, about an immersive multimedia environment for PepsiCo at the 1970 Osaka agreed, quoting a retrospective review by The unenviable task of bringing Expo, a Mylar pavilion that hardly followed in in the accompanying catalog with essays as Robin Evans from AA Files (winter,1981–82). closure fell to CCA director Mirko Zardini, the footsteps of Ingalls Rink or the Stiles and carefully curated as the objects in the show. Returning to the present, the final who admitted to having “only questions, and Morse Colleges. There is no single fatal bullet Together, the displays and essays made a roundtable brought together four curators of no answers,” after two-plus days of rich, in the exhibition, but, eventually, the sum powerful argument that proved an incontest- architectural exhibitions for a debate about varied, and at times raucous proceedings. total of the Lilliputian arrows succeeded in able challenge and an irreversible movement: the contemporary situation. While Henry Despite this modest disclaimer, Zardini’s taking down Gulliver. self-released, the architects could not go Urbach argued for a blend of advocacy well-pitched remarks sailed at just the right Lavin focuses on the breakdown back on themselves. and critical perspectives in his work at the height, skirting above the din of detail, noise, during the transitional period from the early Lavin takes her title from Frank Glass House, Eva Franch, of New York City’s and controversy to ask questions that 1960s through the ’70s. Architecture then Lloyd Wright’s theory: “Tip the world on Storefront for Art and Architecture, took a focused attention on the heart of the matter. was in-between. At this interstitial pivot in its side and everything loose will land in more strident position, insisting that “exhibi- Why had the politics of exhibiting architec- cultural time, architecture as a field resem- Los Angeles.” Though she identifies a core tions don’t matter, they really don’t.” For her, ture taken center stage at the conference, bled a patient in psychotherapy, undoing a group of prophetic Angelenos pushing for curating is really a matter of architectural and why were so many of the panels devoted troubled personality in order to construct reformation, like modern Martin Luthers practice, integrating the social, political, to the radical 1960s and 1970s? Why now? another: With about one hundred fifty careful- tacking up their theses, she also establishes economic, and formal issues at stake in Zardini suspected it was because the rigid ly curated exhibits by seventy architects and that, as a provocative environment within society in spaces designed to promote and depoliticized curatorial regime (or artists, we see restive signs of a collective an open culture, the city lured many others “events” and “conversation.” Andrea Phillips, “prison”) that had emerged to dominate a architectural unconscious restructuring itself, from out of state and country, especially who directs the doctoral research programs world of newly instituted architecture exhibi- with many directions proposed and explored England, to California for a test-drive of its in fine art and curating at Goldsmiths, Univer- tions in the 1980s and 1990s was beginning but none yet clear. There are moments of contemporaneity. The car, the house, the sity of London, cited the need for spaces to fall apart. It was time to start looking minimalism, with Carl André; of maximal- freeway, the private pool, the palms, and the conducive to provoking dialogue and the for something to replace it, and while there ism, with Morphosis; of phenomenology, state of mind established an anti-European unscripted movement of bodies seeking to was much to be learned from episodes such with Robert Irwin; of materialism, with urbanism in the context of a post-traditional learn and explore. While Phillips’s work aims as De Carlo’s “successful failure” in Milan, Frank Gehry; of megastructures, with Craig lifestyle fed by media flows without identifi- at dismantling the “power” of “programmer” one also needed to remain on guard against Hodgetts (’67) and Paolo Soleri; of semiol- able contours and boundaries. The flimsy over “programmed,” Pedro Gadanho, of the “dark side,” not only of the 1960s, but ogy, with Robert Venturi and Denise Scott stud-and-stucco environment, dingbats and MoMA, advocated a more forceful curatorial also of our current age. We can’t go on Brown; and of kitsch, with Charles Moore, tract houses everywhere, seemed to dissolve presence. The curator has to confront the addressing burning social and political issues who returned to California after Yale to head in the sun into the antimatter of the new Mylar public immediately with his or her ideas and with “an architecture of good intentions,” the architecture department at UCLA. condition. In her introductory catalog essay, positions, he declared. 9 + 1 Ways of Being Zardini warned. Nor should one dwell too The show—sponsored by the Getty Lavin labels Los Angeles at this time as “an Political was a direct response to the Occupy much on the power of exhibitions, which are for last summer’s “Pacific Standard Time emergent cultural epistemology.” It was Wall Street movement and architects asking just one tool among many. What the new Presents” program and first exhibited at the seriously different, and the difference had to how they could help, Gadanho explained, regime would look like was still anyone’s Schindler House in Los Angeles (run by the be addressed and absorbed seriously. adding, “Curating is the new criticism.” But guess, but “institutional curatorship” may MAK Center)—is the rare architectural exhibi- Nor was there a reigning theory to can exhibitions really break down these walls likely outweigh the acts of individuals, he tion of national scope that dares to position resist experimentation. The hilarious video and engage the public in a critical confronta- suspected, and less familiar models from California front and center in the conversa- East Coast, West Coast (of 1969) features tion with social problems in the “real world”? beyond Europe and North America would tions of the time, bringing to light projects, Nancy Holt as a theory-saturated, politically Shading imperceptibly into present- also play a role. “What we can offer is confu- figures, and messages that seldom, as archi- correct intellectual versus Robert Smithson, day controversies over the politics of curat- sion guided by a high sense of purpose,” he tecture historian Esther McCoy once said, the rebellious, anti-intellectual artist, in a long ing, the shadows of 1968 loomed larger noted. Confusion, after all, is the beginning make it back past the Rockies. East Coast farcical debate between the real-life couple, than ever as subsequent discussion zeroed of wisdom. One can only hope that scholars critics and historians are famously New York representing the old and new brains from in on a question posed so often over the and architects will not shy away from the city−centric, chauvinistic, and even provin- the East and West coasts, respectively. The course of the conference: Who are we to hard work of resolving the difficult paradoxes cial, and Lavin produces important material comedic dialogue shows that, as a matter of direct the public on how to engage? Phillips and puzzles that have been raised here— evidence of what happened west of the East principle, there was no one person or theory challenged this, recollecting her ill-fated and that the conversation will go on. Coast during a gestational period that was guiding the reformation in California and the attempt at dialogue with angry mobs at the foundational to the newly emergent cultural West Coast. “You’ve got to be aware of the Istanbul Biennale of 2013. Besides, such —Kevin Repp postmodernism (not coextensive with archi- system. ... You have to define yourself,” she exhibitions are “structurally incapable” of Repp is the chief librarian of the twentieth tecture’s “historical Post-Modernism”). lectures condescendingly, teeth clenched. doing so. As wonderful as they were, “we century at Yale’s Beinecke Rare Book and Without institutional support, Los The bad boy responds laconically: “I make don’t need to repeat” futile gestures like Manuscripts Library. Angeles architects in small practices, art. I don’t write anything. I get about four hits the “foam-rubber sea” in Stockholm, which along with artists and polemicists, made a day ... and I spin out on acid. I don’t care succeeded in only reducing the public to critiques in an inchoate but thoughtful and about the system. ... I’m just an artist.” child’s play. Gadanho disagreed: Times have provocative period that was Dewey-like The real Angelenos and the honorary, changed, and maybe the “failures” of the in its process of thinking by making. Lavin spiritual Angelenos who made the cultural 1960s and ’70s should be re-enacted now, collects and displays the evidence convinc- hajj to Los Angeles were forging a new but “with a new sensibility.” ingly in Rudolph’s hall, supporting her case reality and sensibility by making things in 9 SPRING 2014 Everything Loose Will Land…

1.– 2. Everything Loose Will Land in Los Angeles, exhibited at Yale Architecture Gallery from August 28 to November 9, 2013. 2

the landscape, in their yards and garages, perhaps the most finely tuned cultural the drafting table, even as artists adopted Having taken everything apart, some of in studios cobbled together by hand. As antenna in Los Angeles, proposed a “Univer- the T-square to properly draw their own the architects eventually started putting it all an artist depicting the city, David Hockney City” of concatenated living capsules, or ideas. Artists begin to draw like architects back together in different ways: they rearchi- captured what was salient in the landscape mobile dorm buggies, serving day-tripping and architects like artists. “Both did both,” tecturalize after dearchitecturalizing. Although by freezing on canvas the splash after students in multimedia teaching environ- as Lavin writes. They were “working outside essays in the well-edited catalog discuss the someone dived into a backyard pool, with ments with live broadcasting. Several years professional protocols.” The plan was no architecture that emerged from these two a Neutra-esque house simmering behind in later, Peter de Bretteville, a Yale graduate longer the generator from which the building swampy decades, the exhibition holds back a photon-bombarded blissed-out vacuum. living at the time in Los Angeles, designed an was extruded. from showing how the survivors evolved into Robert Irwin deduced that what was left after orange stacked-cube, pop-up pod for Ajax Artist-architect Peter Alexander and the next phase, the critical 1980s. Gehry’s all was said and painted was light. The Los Car Rental that was perfect for parking lots. artist Clytie Alexander built the epitome of Santa Monica house of 1979—a collage of Angeles firm Morphosis clad a beach house It is hard to tell whether Pop was indigenous, anti-architecture in Tuna Canyon, where chain-link, wired glass, corrugated metal, raw in Venice, an epicenter of anti-architectural imported, or both. they improvised an ecologically sensi- studs, and plywood—is basically an art instal- shacks, in a highly reflective corrugated The center no longer held. No author- tive house out of recycled materials, with lation with a mortgage; within the context of metal that was all shine and no substance. ity was left standing; no éminences grises Visqueen substituting for window glass. the exhibition, it’s the amphibious project In 1969, Smithson concocted his “Dearchi- were saying no. Nor was there was an Measured by the Charles Eames standard that finally makes the transition from water to tectured Project,” in which he proposed institutional Vatican, such as MoMA was to of enclosing the maximum volume within land, where it holds. However, Lavin leaves constructing and then demolishing a build- New York City, with doctrinal clout. Different the minimum of materials, the tall cubic it out because it would make a survival-of- ing, distributing the body parts as architec- camps worked in parallel with no intersecting shed’s economy of means certainly rivaled the-fittest argument for a show that remains tural fragments. logic or intuition, and some clearly disagreed. the Eames house, but without steel and provocatively fuzzy, an open question that Lavin’s main catalog essay is called Venturi, John Rauch, and Scott Brown glass, the essence of Eames’s off-the-shelf does not point to a clear answer. Like Gehry, “Studs, Snapshots, and Gizmos: Los proposed a group of low, modular buildings Modernism. The new materials were imper- Thom Mayne will follow (other) avenues of Angeles Dearchitectured.” In the spirit of the as the Thousand Oaks Civic Center, coyly manent and looked improvised. Post-Modernism and post-structuralism in disruptive, highly politicized times, these landscaped with the words “THOUSAND Gehry precociously summarized some his monumental deconstructions, absorbing radicals were “dearchitecturalizing” the OAKS” inscribed on a hillside berm and an of the ideas in his installation design for the and building on the critique that Lavin posits. reigning Modernist epistemology in order to abstract neon tree standing beneath a flag, 1968 LACMA show on artist Billy Al Bengs- But, appropriately, she does not include his destructure, open, and invade it. Operating both symbols that signaled a “civic place” to ton, a “casual” layout built with everyday later work. on architecture opened up the anatomy of passersby doing 70 on the freeway. During materials that recalled an artist’s studio— Everything Loose Will Land was not the larger system: architecture was a patient a lecture by Venturi at the Guggenheim exposed studs, plywood, metal siding—all an obvious show, but it was a necessary that stood in for the culture. Museum, Gehry whispered mischievously of which made the environment feel more one. Lavin had the insight to identify a period Perhaps Los Angeles invited and into Claes Oldenburg’s ear to ask Venturi just raw and alive. At the risk of professional in a place that has long been off-screen, permitted conjecture and acts of creative what was the difference between a sign and alienation from his AIA colleagues, Gehry under the radar, and underacknowledged, destruction because its relaxed, open spaces a symbol. Venturi didn’t really know or say. gave up the slick, chromed Modernism even though it was critical in laying the and unstructured, sketchy urbanism were Gehry was not a believer. Meanwhile gadfly, characteristic of Wilshire Boulevard practices non-foundational groundwork that reinvigo- indeterminate. There was no urban resis- Charles Moore moved back to California to and approached the city’s urbanism through rated and redefined the field. The fact that tance when English architect Ron Herron, head UCLA’s architecture department, where the back door of Venice’s alleys. Materials the work was deliberately informal and anti- of Archigram, parachuted in and planned he could continue to bother the profession were no longer noble but cheap, some found iconic makes it difficult to exhibit. Ideas, not “Instant City,” a collage of striped domes from the inside. or taken straight from the lumberyard, best beauty, are the subject. Nonetheless, Lavin mushrooming beneath the overpasses of Among the many voices, there were collaged in pieces rather than ordinated into has assembled convincing evidence that the San Diego and Santa Monica freeways. some that connected in a loose, interdisci- hierarchical wholes. It looked messy. adds up to a cohesive portrait of a seminal Death Valley proved an irresistible tabula plinary network. While Clement Greenberg Some of the efforts and ideologies era in an original show put together with rasa for another “Instant City” of derricks advocated the separation of disciplines, his represented in the show have led to dead insight, discipline, and a telling command and prefabricated domes and inflatables. orthodoxy didn’t really reach Los Angeles, ends. Historical Post-Modernism, all the rage of period and place. She has worked with Herron’s cartoonish Pop proposals for Los where instead an informal group of artists on the East Coast, and perhaps best exempli- understatement to create a compact, power- Angeles echoed Andy Warhol and Roy and architects, some associated with the fied here in Moore’s work, never really took ful, and unexpected statement that brings to Lichtenstein, both ensconced in the halls of Ferus Gallery, fraternized and collaborated, hold in Los Angeles, and it eventually expired light a missing link in contemporary architec- art power in New York City. But importing influencing one another. on the East Coast, finally becoming toxic ture history. Pop to Los Angeles was a case of bring- There was no one to tell Frank Gehry to reputations and largely abandoned. As ing coals to Newcastle. Quonset huts still that he couldn’t look at Ed Moses’s stabs at Hodgetts pointed out, the approach was not — Joseph Giovannini existed, and John Lautner had already built architecture, the artist proposing corrugated based in living contemporary culture, so it was Giovannini is a New York-based architectural the “Chemosphere” flying-saucer house. metal siding for a house, excavating walls not nourished from the ground up. However, critic and architect. Besides the existing Los Angeles to reveal wood studs, sandwiching studs Gehry is a Rauschenberg among architects— vernacular, which arguably fed into the Pop between planes of glass, chainsawing roofs in touch with the alleys, the living city, and movement in a feedback loop, there were to expose the sky. To capture this sense of its detritus—who builds upon contemporary local proposals equivalent to Herron’s. immediacy in a building, Gehry drew loose forces, and his vision has proved to be sustain- In 1969, Craig Hodgetts, equipped with sketches that rejected the orthodoxies of able, even as it has morphed. 10 CONSTRUCTS YALE ARCHITECTURE

1. Ming Cho Lee 4. Ming Cho Lee, Electra, discusses his work New York Shakespeare in the gallery, Festival Delacorte November 20, 2013. Theatre, New York City, 1964. Stage Designs by 2. Stage Designs by Ming Cho Lee, 5. Ming Cho Lee, Myth exhibited at Architec­ of a Voyage, Martha ture Gallery from Graham, New York November 20, 2013 to City, 1973. February 1, 2014.

Ming Cho Lee 3. Ming Cho Lee, Boris Godunov, Metropolitan Opera, New York City, 1974

The exhibition, Stage Designs by Ming Cho Lee, was on display at the Architecture Gallery from November 20, 2013 to February 1, 2014.

Stages of Beauty

This winter, Rudolph Hall was the setting for a fascinating display of stage designs by the legendary Ming Cho Lee, professor since 1 2 3 1969 at Yale’s School of Drama and one of the most important figures in contemporary American theater. The exhibit was organized by the New York Library for the Performing Arts, with Lee serving as co-curator together with Barbara Cohen-Stratyner, the Judy R. and Alfred A. Rosenberg Curator of Exhibi- tions at the Shelby Cullom Davis Museum, and Michael Yeargan, co-chair of design and resident set designer for the Yale Rep. Presented in conjunction with the School of Drama and Yale College, the exhibition was installed by Brian Butterfield and his team at the School of Architecture. The show comprised sixty-five scale models selected from nearly three hundred productions Lee designed in the course of a career spanning over fifty years. Accompa­ nying the models were enlarged photographs of a few of the productions and a selection of 4 5 twenty-four watercolors. The overall impres- sion was of a prodigious body of work that richly deserves the many accolades Lee has received, including the National Medal of the in 1954 as the Shakespeare Workshop by design evoked both massive rock walls and largely in the selection of models, a task Arts, two Tony awards, three Drama Desk Joseph Papp, which has presented free modern, abstract sculpture. The collage that was no doubt achingly difficult in light awards, an Outer Critics Circle award, and a performances of the bard in New York City’s technique, by contrast, was important to of Lee’s tremendous body of work. But the Helen Hayes award, all for scenic design. parks for sixty years. Lee acted as resident Lee’s designs for two of the most acclaimed models needed to be placed within clearer Born in 1930 in Shanghai, Lee came designer for the festival from 1962 to 1972, productions in festival history: Hair, The contexts, with more informative wall texts, to the United States in 1949 to study at an intense period of social change and American Tribal Love-Rock Musical, in 1967, to make Lee’s milieu accessible to gallery Occidental College, in Los Angeles. Against artistic experimentation. As British historian and a 1971 version of The Two Gentlemen visitors from outside the theater world. The the wishes of his father, he embarked upon Arthur Marwick observed in his encyclopedic of Verona, which playwright John Guare and pre-Second World War small-town Ameri- an artistic career, building upon his early study The Sixties, “experimental theater of composer Galt MacDermot set to music, can setting, in 1972, for Much Ado About training in Chinese landscape painting. As the sixties was in large measure an inven- referring to their exuberant multi-ethnic Nothing, for example, was director A. J. his stage designs and watercolors make tion of the Americans,” and no figure was creation as “Two Gents.” In both produc- Antoon’s concept, and the performance clear, Lee was also very knowledgeable in more important than Papp and his burgeon- tions, Lee used backdrops that collaged was notable not only for Lee’s set but for Western art history, and his work evinces ing ensemble. Lee was in the right place contemporary images, such as New York Theoni V. Aldredge’s costumes, Martin a sophisticated awareness of major trends at the right time, and his work for Papp is City tenements, photographs of Pop-culture Aronstein’s lighting, and Sam Waterston’s in contemporary art. In the late 1950s, he well represented here, consisting of nine celebrities, street signs, and the ubiquitous breakout performance as Benedick. The began working as a stage designer in New models from Shakespeare productions, arrows of 1960s supergraphics, to create production was eventually filmed for CBS York City, where he developed the technique one for Sophocles’s Electra and a photo- vivid, upbeat settings that appealed to the television, a milestone in the festival’s fusion of studying proposed stage designs through graph of the original stage design for Hair, youth culture the festival courted. of Off-Broadway and commercial theater. precisely fabricated models. the decade-defining rock musical of 1967. His experience at one of the epicen- Papp’s hybrid strategy of accessibility would The terrific models were the center- Intermingling high and low—the classics ters of 1960s counterculture must have reach its climax with the popular production piece of the exhibition. Despite their different and mass culture—was Papp’s imperative, reinforced Lee’s conviction that art must of A Chorus Line, in 1975. Placing such a sizes, rendered at various scales, they were and this is apparent in many of the stages be politically and socially engaged, an production in a fuller context would have all installed at eye level or just below, and Lee designed for the festival. Lee’s model aspect Aronson emphasizes in his catalog helped to clarify Lee’s particular contribution enclosed in Plexiglas vitrines, each fitted for a 1966 production of Shakespeare’s essay. This strain continues in a design as well as flesh out an important era in with a pair of reading lights on adjustable Measure for Measure, for example, was from the later phase of Lee’s career: a 2005 American theater history. And while most stainless-steel arms to act as mini-spotlights, an abstract version of a generic New York production of Stuff Happens, David Hare’s of us can reach back into our memories of allowing observers to study the thought and white-brick building fronted by pipework documentary-like drama about the genesis Shakespeare in order to comprehend Lee’s craftsmanship that went into each design. scaffolding that suggests a characteristic of the war in Iraq. Here, the photographic design decisions for the settings of the Quietly powerful, the models require, and fire escape. According to Arnold Aronson, a collage technique Lee used for Hair is bard’s plays, this is not the case for all of reward, close attention. As Yeargan observes professor at Columbia’s School of the Arts deployed in a wall-to-wall photograph of the models on view. A particularly evoca- in one of the two videos that accompanied who contributed an essay to the exhibi- President George W. Bush and his cabinet tive setting for playwright Marsha Norman’s the show, these exquisite models are intrinsi- tion catalog, NYSF director Michael Kahn staring confrontationally, and somewhat Traveler in the Dark, of 1985, for example, cally compelling for the pure craftsmanship wanted to set the play in contemporary New oddly—like a record cover for a neo-con remains opaque because we are given that Lee—and often his wife, Betsey— York rather than Renaissance Verona. “He version of an indie rock band—at the no synopsis or information on the play’s lavished on them. They offer lessons not wanted Ninth Avenue, so I gave him Ninth audience. While it was appropriate to Hare’s theme. The model for it is one of the most only in technique but also in the essentials of Avenue,” Lee recalled of the origins of the provocative play, the design seemed a rather haunting in the exhibition: a wood-frame composition: relationships between solid and rather menacing design. By contrast, Lee’s unsubtle one-liner. farmhouse stands at the extreme right, and void, dark and light, ambiguity and clarity, design for a 1972 production of Much Ado Lee’s ruminative designs are more the foreground holds the rune-like remains of foreground and background. In this regard, About Nothing, set in the American Midwest powerful. For example, his 1974 model for a collapsed stone wall or well, all against the their display in the School of Architecture rather than sixteenth-century Messina, was a Milcha Sanchez-Scott’s Dog Lady, produced backdrop of flattened semi-abstract trees. seemed eminently justified for the object lighthearted, bravura exercise in Americana, by New York City’s INTAR Theater, one of the The design is both brilliantly asymmetrical lessons they afforded students of design. with a folding screen plastered with early- most prominent Latino artistic institutions composition and compelling evocation of Indeed, numerous Yale architecture students twentieth-century advertisements standing in the country, and described affectionately Gothic “gloomth”—to use Horace Walpole’s have taken Lee’s seminars over the decades, behind a multilevel platform that was a witty by Lee as an “ode to the L.A. barrios,” the term. Having the chance to see such accom- looking to explore design in terms of the condensation of small-town bandstands, design is a slice of Angeleno life, with rows plished work is one of the many pleasures distinctive limitations imposed by the stage. gazebos, and Carpenter Gothic balconies. of working-class housing on either side of a offered by Stage Designs by Ming Cho Lee. These students were very fortunate, for Lee These designs also exemplify what gently curving road bracketed by an encir- Indeed, this master’s designs exemplify what is a master of spatial composition, and the Aronson considers to be three of the formal cling overhead freeway. Here, Lee’s social Oscar Wilde once described as theater’s scale models reveal his ability to refine a innovations Lee introduced into American concern is apparent in the careful attention unique ability to “combine in one exquisite design’s constituent elements to maximum stage design: verticality, collage, and an he brings to the everyday details of barrio presentation the illusion of actual life with the artistic effect with minimum means. emblematic use of sculptural shapes. The life using a method that evokes the social wonder of the unreal world.” Visitors to the exhibition—presented sculptural approach is most prominent in realism of early American Modernists such in various versions in New York City, Taipei, Lee’s design for a 1964 production of Electra as Ben Shahn. —Richard W. Hayes and Shanghai—followed a generally chrono- directed by Gerald Freedman, one of Papp’s My only criticism of this commend- Hayes (’86) is a New York–based architect logical path through Lee’s career, beginning closest associates and, later, artistic director able exhibition was the lack of a strong and writer. with his work for the New York Shakespeare of the festival. A series of sculptural panels curatorial presence. The role of Lee and his Festival (NYSF), the theater troupe founded suspended on vertical pipe scaffolding, the fellow curators seems to have consisted 11 SPRING 2014 High Performance Wood

Yale faculty member Alan Organschi (’88) Current research efforts in contem- has been teaching and researching new porary forest science, wood biology, and high performance wood and describes timber technology have begun to converge the work below. with rapid developments in the industrial manufacture of high-performance structural timber products. Innovations in computer Is wood the new high-performance material? numerically controlled sawing, milling, and Recent innovations in structural timber just finger-jointing have dramatically increased might hold a solution to a threatening environ- usable material yields from harvested trees. mental crisis. Through a graduate material Cellular modification technologies, such as research seminar on new timber technologies torrefaction and acetylation, have fortified and applications I have led at the School of wood’s resistance to aerobic decay and Architecture, as well as in a series of interdis- weathering without the associated toxicity of ciplinary symposia sponsored with the School past preservative treatments or over-reliance of Forestry and Environmental Studies and on selective logging of tropical hardwood the Global Institute for Sustainable Forestry, species. New refinements in the chemistry under Professor Chad Oliver and executive of adhesives have increased the strength director Mary Tyrrell, Yale faculty and students and durability of glued joints while reducing 1 have begun to examine the potential symbio- slash (waste material left behind in the forest sis of sustainable forest management and during logging operations). Material efficien- new scales of building in wood. cies in the manufacture of harvested wood As levels of atmospheric carbon products is falling; the little timber waste left surpass critical thresholds and anthropogenic from milling is shredded into densely packed carbon emissions continue to rise at a danger- cellulose insulation or pelletized into biofuel. ous rate, students in the “Timber Seminar” These advances in wood technol- have turned to wood as a low-impact alter- ogy accompany a new, more sophisticated native to steel and concrete. In linking the understanding of forests as generally resil- carbon cycle of forests to the carbon econom- ient, open systems. Sustainable harvesting ics of timber building, designers and environ- techniques coupled with careful manage- mental scientists are finding common cause ment protocols and protective measures in architectural solutions that incorporate new can preserve forest ecologies and the timber manufacturing techniques and innova- environmental services they provide—such tive structural wood assemblies. Research as carbon uptake and oxygen production projects such as a design for a cross-laminat- through photosynthesis, rainwater filtration, ed-timber parking garage, by Owen Detlor and soil stabilization—while generating a (’13), that would sequester as much carbon in broad range of wood building products. its structure as the cars that park in it would Environmental policy makers, particularly in emit in a given year have provided students Europe, where forest surpluses are the new avenues for exploring new applications for norm, are offering a variety of financial incen- this traditional material while measuring its tives to deploy this traditional material in 2 potential benefit to the environment. radical structural applications. As a highly renewable, readily avail- Of particular focus are the new able, easily harvested and worked material, “mass” timber systems that have evolved wood has been critical to the formation of in central and northern Europe from time- 1. Maicasagi Bridge, Nordic Engineered cities and buildings. However, due to lingering tested manufacturing methods of wood-glue Wood, Chibougamau, concerns about its durability, combustibility, lamination. Cross-laminated timber (CLT), Quebec, Canada, and strength, its historical applications have newly designated as Type 4 Construction in 2012. been limited to the production of smaller- the International Building Code, maximizes 2. Stadthaus, 26 Murray scale building types, architectural surfaces the structural capacity of lower-quality fiber Grove, London, 2013, and finishes, and the deployment of provi- from trees of increasingly small diameter Waugh Thistleton sional construction systems such as scaffold- while taking advantage of the fire resistance Architects. ing, masonry false work, and concrete of heavy timber. Research in glass- and 3. Project by Owen Detlor formwork. In the United States, despite the carbon-fiber timber composites promises (’13) for timber seminar best efforts by governmental institutions such significantly greater spanning capacity in at Yale, fall 2013. as the Forest Products Research Laboratory wood beams. Hybrid structural assemblies and industry organizations such as the Ameri- exploit the lightweight quality, structural can Wood Council, long-standing cultural elasticity, and tensile strength of wood associations have either marginalized the use members in combination with the compres- 3 of timber to artisanal and craft-based applica- sive capacity of concrete slabs. tions or relegated it to the commercially profit- Recent developments in the design able but relatively modest structural demands and engineering of timber buildings have of light-framed, low-rise residential construc- piqued the interest of architects, policy construction assemblies using innovative Waugh and Michael Green; mass wood- tion. On a continent as timber-rich as North makers, and environmental scientists who wood technologies. product manufacturer Jean-Marc Dubois, America, it is both a conceptual irony and a hope to maximize the structural potential In New Haven, ground was broken in of Nordic Engineered Wood; and timber significant environmental risk that the primary of wood fiber while marshaling its capac- October for a new arts-and-sciences build- fabricator-engineer Christopher Carbone, of use of this renewable, low-impact material is ity to sequester carbon as an offset to the ing at Common Ground High School, an Bensonwood—have all contributed to a lively in the construction of low-density land- and environmental impacts of building operation. Environmental Protection Agency “Green exchange about the architectural potential energy-intensive suburban residential sprawl. In just the past three years, several dramatic Ribbon School” serving students from and environmental efficacy of these promis- Unlike steel and concrete, which buildings have captured the attention of the the inner city and surrounding towns. The ing material applications and techniques. consume significantly more energy and emit design community. A nine-story CLT apart- new high-performance school building— Student research projects have explored a more carbon during extraction and produc- ment building, by Waugh Thistleton Archi- designed by Gray Organschi Architecture range of topics relating to timber building tion, trees absorb atmospheric carbon as tects, has risen in London—a city historically in close collaboration with environmental design: environmental philosophy, forest they grow and store it in the cellular structure (and justifiably) wary of urban fire—blazing engineering firm Atelier Ten, Canadian CLT ecology and silvicultural practice, the political of wood until the material either decays regulatory pathways for future timber high- manufacturer Nordic Engineered Wood, and economics of global timber and the gover- aerobically, or is burned. While the uptake rise construction. In Austria, the Lifecycle engineers and fabricators from Bensonwood nance of our forest resources, plant-based and sequestration of carbon by global Tower, an eight-story residential-office build- Homes—combines cross-laminated timber material technologies, and, in a pair of critical forests and their underlying soils has long ing by R&D consortium CREE, has favorably panels and dense-pack cellulose insulation analyses by Matt Hettler and Jordan Pierce been a subject of environmental philosophy, compared the economy of mass timber to in new wood-intensive structural assemblies. (both ’13), the regulatory and commercial science, and policy making, the possibil- concrete construction while demonstrat- The first of its kind in the U.S., the building’s barriers to the adoption of structural timber in ity that dense urban building might serve ing the dramatic reductions in a building’s envelope and structure sequester carbon in high-rise construction in the U. S. Today, with as a man-made carbon sink is a relatively carbon footprint that intensive timber use tonnage equivalent to the carbon emitted by new research connections across several new consideration for the building industry provides. Michael Green and J. Eric Karsh’s its heating, cooling, and lighting systems in disciplines and students’ working knowledge and design professions. As part of ongoing 2012 “Tall Wood” report and a recent the first eleven years of operation. of the life cycle of mass timber construction student-faculty work groups on forest carbon concrete-timber hybrid skyscraper proposal In his provocative claim in 2008, that expanding rapidly, Yale’s schools of archi- and timber construction, first initiated by by Skidmore, Owings & Merrill have also “timber is the new concrete,” British architect tecture and forestry lend their respective Arch-FES joint-degree candidates Elise garnered widespread interest. New timber Alex de Rijke raised the architectural oppor- traditions of experimental building design Iturbe and Sheena Zhang, Chad Oliver and I arenas and stadiums throughout Europe and tunities and challenges for transformative and forest stewardship, respectively, to the have begun to consider the likelihood that the Canada and timber bridges in the Nether- technologies in wood. Through the forum of exploration of the complex but promising use of wood in high-density, mid-rise urban lands and Germany have demonstrated the the Timber Seminar and joint explorations ecological interdependence of the forests building types may offer entirely new means efficacy of wood as primary structure in the with the School of Forestry and Environmen- and built environment. of managing atmospheric carbon. As timber demanding applications of long-span public tal Studies, research and experimentation seminar student Paul Soper (’13) projected in assembly space and vehicular infrastructure. in high-performance structural timber is —Alan Organschi (’88) his quantitative analysis of timber-production Recent design competitions in New York under way, with an array of guest speakers Organschi is a critic in architecture at Yale potential in Pacific Northwest forests, where City, sponsored by Parsons the New School addressing the potential environmental and and principal of New Haven–based Gray small logging companies and mills currently with the Association of Collegiate Schools architectural ramifications of the intensive Organschi Architecture. struggle in the global timber trade, these of Architecture, and in Boston, hosted by repurposing of wood fiber. This past year, new urban applications for timber from well- the Boston Society of Architects, challenged lectures by researchers and practitioners— managed forests could prove to be economi- students and recent architecture gradu- such as professor Mark Ashton, Director of cally as well as environmentally sustainable. ates to develop new building types and Yale Forests; timber-tower designers Andrew 12 CONSTRUCTS YALE ARCHITECTURE

On October 27, Reinhold Martin, and Antiquities of Selborne (1789), Price associate professor in the GSAPP at Colum- went beyond designing for the interactions Architectural Forum bia University and director of the Temple of birds and their environs: a slender alumi- Hoyne Buell Center for the Study of American num structure supporting the thin mesh Architecture, spoke on “The Architecture of enclosure constituted the framework for the University: Frontier as Symbolic Form.” nurturing a network of relationships that, once Clearly stated at the outset, his objectives established, would allow the armature to be were to sketch a fragmentary history of the removed. As such, the architecture trained its American research university as a media users only to the extent necessary for mainte- system and to consider its longstanding nance. Steiner’s presentation prompted corporate character. Beginning with Vannevar questions regarding sustainability in architec- Bush’s 1945 report “Science: The Endless ture and highlighted the human condition as Frontier,” Martin began a wide-reaching unique in modifying its own habitat. historiography of the frontier as a lens Brenda Danilowitz, chief curator through which to understand the formation of the Josef and Anni Albers Foundation, of the military-industrial-academic complex. shared insightful readings in Anni Albers: In excavating the history of the University The Pliable Plane, Textiles, and Architecture. of California at Berkeley, Martin worked As if whispering a secret to the room full of backward from the 1960s, when university students, faculty, and guests, Danilowitz president Clark Kerr coined the terms multi- opened with an account of an unsanctioned versity and ideopolis to explain the collusion class that Albers held for students at the of academic institutions and political bodies. Yale School of Art and Architecture in the Thus, the laboratory usurped the library as pre-dawn hours in 1956. The following year, the liminal site at which academic disciplines Albers published the core of her illicit project and corporate interests mix. Using this as a in Perspecta 4, championing the implementa- point of departure, Martin provided a histori- tion of textiles as architectural elements. The cal genealogy, beginning with Frederick Law subject of Albers’s work resumed on Novem- 1 2 Olmsted’s 1865 plan for the campus and ber 18, when Danilowitz chronicled the followed by Phoebe Hearst’s 1898 design events that fueled her project. From 1929 to In its second year, the Yale Architectural the stairs that once celebrated the entrance competition, won by Émile Bernard. Finally, 1962, Albers collaborated with a spectacular Forum resumed its mission to increase the to the Duomo di Milano were desecrated as Martin traced the corporate character of the cast of architects. Her contributions ranged circulation of ideas between graduate mere seats for viewing; and the goods sold academic laboratory through John Galen from sacred ark-panel doors at William students and faculty in the School of Archi- across the piazza in Galleria Vittorio Emanuele Howard’s Hearst Memorial Mining Building, Wurster’s Temple Emanu-El, in Dallas, and tecture and the Department of the History II were devalued in relation to the commodi- completed in 1907 for the Materials Science Samuel Glazer’s Congregation B’Nai Israel, of Art. As in previous installments, the Smith ties being advertised. Casetti focused on how and Engineering Department. Following in Woonsocket, Rhode Island, to the acous- Conference Room in Rudolph Hall was filled contemporary screen environments—includ- his presentation, the discussion engaged tic wall coverings at the Hannes Meyer’s to the brim as Francesco Casetti, Reinhold ing handheld devices, laptops, home theaters, Martin’s purposefully controversial use of Allgemeiner Deutscher Gewerkschaftsbund Martin, Hadas Steiner, and Brenda Danilowitz and public displays—have broken off from Panofsky’s “symbolic form” and examined (ADGB) Trade Union School auditorium, presented a range of research topics over the traditional social space of the cinema with the genesis of architecture schools within the in Bernau bei Berlin, Germany, and Walter the course of the fall 2013 semester. spatial implications that alter the relationship university system. Gropius and Marcel Breuer’s Frank House, in Francesco Casetti, professor of film between screen and viewer. Seen in terms of Hadas Steiner, associate professor Pittsburgh, Pennsylvania. Her textiles figured studies and humanities at Yale, began the access, the transformation of public space in the school of architecture and planning at prominently in Philip Johnson’s Rockefeller series on September 16 with “Hypertopia, into a media surface inverts agency: while the the University of Buffalo, led the forum on Guest House in Manhattan, and Louis Kahn or How Screens Change Our Sense of viewer formerly approached images, images November 11 with her working manuscript requested her work for his First Unitarian Space.” Conceived as a chapter from his now approach the viewer. This “hyperto- “From Habitation to Habitat.” Her research Church in Rochester, New York, though she forthcoming book, the presentation began pia,” as Casetti has termed it, has become concerns the expanding ecological dimen- would decline the opportunity. Consistent with an account of the spatial transforma- inescapable. Near the end of his presentation, sions of postwar architecture, and, here, she among these diverse commissions was her tion of Milan’s Piazza del Duomo. Europe’s Casetti’s voice invoked an intimacy among outlined the evolution of the term habitat innovation in using materials such as cello- largest media screen in 2007, measuring the one hundred attendees as he posed a and its import in Modernism. Beginning with phane, copper foil, plastic thread, and cotton 54 x 90 feet, spanned the scaffolding of the theoretical question: “Is this space one of ornithological accounts of the behavior of chenille. Somewhat paradoxically, none of Palazzo dell’Arengario (now the Museo del freedom or repression, possibility or exhaus- birds, Steiner proceeded through the scienc- these experimental textiles were to be found Novecento) during its four-year renovation. tion?” The ensuing discussion addressed es and their various conceptions of habitat. in Albers’s own home, in Orange, Connecti- Thus, media swallowed up a space that has building-integrated displays and the temporal Touching on figures including Carl Linnaeus, cut. Danilowitz described Albers as having a frequently seen political demonstrations; dimension of media screens in public space. Charles Darwin, Henry Eliot Howard, François tectonic rather than decorative understand- Jacob, Gilbert White, and Charles Elton, she ing of textiles: if clothing represents a second used scientific discourse to frame the skin in its application of textiles, walls exist ethological versus morphological housing as a third skin, simply another layer. The 1. Rockefeller House, 2. John Galen Howard, 3. Members of the 155th 4. Einstein Tower, Erich debate in terms of its ecological counterpart, discussion invoked Gottfried Semper’s and New York, Philip Hearst Memorial Brigade Combat Team, Mendelsohn, 1921, habitat. In 1932, the Zoological Society of Bernard Rudofsky’s principles of cladding Johnson, 1950. Mining Building, in front of a reconstruc- Potsdam, Germany. University of California, tion of the Ishtar Gate, Photograph courtesy London hired Berthold Lubetkin’s office, and introduced Stanley Spencer as imbuing Berkeley, 1907. Mining in Iraq. of the Astrophysi- Tecton, to design a space for two Congol the redemptive power of cloth in painting. laboratory, c. 1908. kalisches Institut gorillas. In what Steiner claims was the first Adding to the discourse of new Potsdam, Germany. Modern building in the U. K., the spacious spaces for viewing, corporate academic new habitat admitted ample light and air, laboratories, ecological habitats, and textiles following the prescriptions of recent psycho- as architectural elements, Mark Jarzombek, logical research. A subsequent commission, associate dean of the school of architecture in 1934, led Tecton to design a penguin and planning at MIT, resumed the conversa- pool with spiraling reinforced-concrete tion on January 27, 2014. walks. Maintaining the ornithological theme, Steiner offered an account of Cedric Price’s —Brent Sturlaugson, (MED ’15) 1961 commission to design an aviary for the London Zoo. Evidently inspired by Gilbert White’s book The Natural History

3 4 Eeva-Liisa Pelkonen followed Clarke with noted the role played by Theo van Doesburg, a brief discussion of Alvar Aalto and Kevin Erich Mendelsohn, and others in bringing the Roche, both of whom often foregrounded architectural understanding of space into Architecture Dialogues the importance of sound. closer alignment with that of modern science. On November 4, Kyle Dugdale (PhD Altenhof’s lecture was introduced by profes- ’15) presented a paper “TheY are All faK: sor Kurt Forster, director of doctoral studies, Constructing the Invisible: presentation—often the seeds of a disser- Souvenirs from Babylon, ca. 1899–2011.” whose brief account of Altenhof’s previous tation chapter, occasionally an idea or Joined by professors Eckart Frahm (Yale work on Proust and memory positioned the PhD “Dialogues” set of ideas just beginning to cohere into Department of Assyriology) and professor lecture in relation to the student’s broader something substantial—followed by a Keller Easterling, Dugdale discussed the research interests. Altenhof went on to discuss Three or four nights every semester, as the concise critical response from an invited persistence of the Tower of Babel—one of the gradual redefinition of form’s so-called lights go down and the studios empty at the guest, usually a member of the univer- “architecture’s foundational archetypes ” and “fourth dimension” in the modern era, from a dinner hour, the Yale School of Architec- sity faculty, and then questions from the a key focus of his own doctoral research— geometrically determined spatial construct ture’s third-floor Smith Conference Room audience of students and faculty. within modern narratives of both architecture to a concept more or less equivalent, in the springs to life. There, the school’s small Joseph Clarke (PhD ’15) kicked off and philosophy, noting its survival, despite minds of many scientists, to what we now cohort of PhD students gather to host what the fall semester discussion on October 7, lacking physical form, through representa- consider time. Subsequent discussion was has become a series of popular evening with the talk “ ‘A Sound Which People Will tions in both text and image. Recent military quite spirited, highlighting the persistently seminars, the PhD “Dialogues.” Now in its Interpret as Being in Their Own Heads’: campaigns in Iraq, Dugdale pointed out, have slippery quality of these issues in contempo- third year, the series provides our advanced Media and Office Design in the 1970s.” refigured ongoing debates on the preserva- rary architectural discourse. Echoing debates doctoral students a rare opportunity to share Clarke’s research generally considers the tion of antiquities in ancient Babylon and now over a half-century old, the conversation their research with the wider school commu- cultural history and spatial effects of sound elsewhere, positioning the Tower of Babel focused on perceived differences—formal, nity, to solicit feedback from faculty and in architecture. Here, he discussed the and its legend within shifting structures of ethical, metaphysical, and polemical— friends on work in progress, and engage in evolution and development of Modern “open geopolitical power and conflict. between dueling notions of space and place, scholarly discussion with their colleagues plan” office design, emphasizing the impact On November 14, Tim Altenhof closed and the relative propriety of privileging on the relationship between abstract archi- of innovations in management theory, the semester’s “Dialogues” with his talk, “The one term over the other in pursuit of architec- tectural thinking and the concrete realities of workplace gender roles, and information Simultaneity of Clocks, or Space-Time in Art tural meaning. design practice. technology on the design of corporate office and Architecture.” Tracing Modern archi- Typically, each seminar begins with environments, which he framed as being tecture’s fluid relationship to the problem of —Surry Schlabs (PhD ’17) a short twenty- to thirty-minute student a form of communication media. Professor time in the early twentieth century, Altenhof 13 SPRING 2014

alluring aesthetics of ruination that sometimes In his newest work, Vergara’s allusion mask these impacts. to the “unmaking” of Harlem as a ghetto Ghost Town: Vergara’s work is part of a long refers to recent rounds of investment— tradition in Western visual culture that has spurred, in part, by high-profile moves such Representations embraced the ruin as an aesthetic subject. as Bill Clinton’s, who established his offices As part of its educational mission, the Yale there in 2000—that have made it a more University Art Gallery, each semester, invites diverse and less isolated place in the past and Reality faculty to propose temporary exhibitions twenty years. Vergara’s photographs beg for the Levin Study Gallery. I organized an the question of what is gained by this type exhibit—aided by an outstanding curatorial of unmaking, and what is lost. Though it team—titled Ghost Town: Myth, Memory, is important not to romanticize residential and the City, drawing from the gallery’s segregation and discriminatory housing collection of prints and photographs. Selec- practices, it is also true that isolation can tions included a Piranesi engraving of the be nurturing. As a ghetto in the 1920s, for ruined Roman Forum; a Canaletto view of example, Harlem fostered a flowering in Venice; Jerome Liebling’s photograph of African-American art, music, and litera- abandoned tenements in the South Bronx; ture. Today, the neighborhood’s emergent and a series of photographs of abandoned cosmopolitanism is a fragile one, easily put desert houses by contemporary artist Mark off balance as it becomes more desirable Ruwedel, among others. Each student in the and less affordable. As Harlem grows more seminar was assigned an image and asked racially diverse, how much longer will it toler- to write a short interpretive essay linking it to ate economic diversity? The same question the seminar’s themes. faces other cities in which development Many theorists have speculated on pressure has introduced the social tensions 1 2 the visual appeal of ruined structures, includ- of gentrification. ing Georg Simmel, who, in 1911, wrote: “It is Vergara has written, “In urban America the fascination of the ruin that here the work I found the challenge of my life. I became so of man appears to us entirely as a product of attached to derelict buildings that sadness nature.” This is a gradual process, and the came not from seeing them overgrown and recognition of time’s passage is crucial to the deteriorating—this often rendered them ruin’s appeal: “[T]he past with its destinies more picturesque—but from their sudden and transformations has been gathered into and violent destruction, which often left a 1. Camilo José Vergara, View along East this instant of an aesthetically perceptible big gap in the urban fabric.” In light of the Palmer Avenue towards Chene Street, present.” Art historian Alois Riegl anticipated Harlem pictures, which, in some cases, show Detroit, 1995. this point in his 1903 essay “The Modern a revitalized storefront as the latest chapter in Cult of Monuments,” in which he identified what had been a visual narrative of decline, I 2. Camilo José Vergara in 2010. “age value” as a fundamental aesthetic asked him, when he revisits a building, if he 3. Camilo José Vergara, View along East principle. He postulated that “[m]odern man prefers to find an empty, disintegrated store- Palmer Avenue towards Chene Street, at the beginning of the twentieth century front or an active one? Or does he harbor the Detroit, 2003. particularly enjoys the perception of the sanguine expectation that a new proprietor 3 purely natural cycle of growth and decay.” will have fixed it up? Is it possible, in fact, to Judging from the recent surplus of go about these photographic rounds with Over the past forty years, Camilo José many other places, Vergara accumulated a glossy photography books that feature derelic- complete neutrality, wanting nothing more Vergara has established himself as America’s vast catalog of images that he has called “The tion in Detroit and other places, our enthusi- than to observe? foremost chronicler of urban decline, New American Ghetto Archive.” asm for the perception of ruination and decay He paused and smiled, saying, “I’m abandonment, and ruination. He was making Vergara’s work is distinguished by his remains undimmed. These images, however, not going to dodge your question. I do like photographs of Detroit’s majestic ruins long commitment to return to the same places, are sometimes derided as “ruin pornogra- things falling apart. I’m wired that way. But I before the more recent publishing boom over the course of many years, to document phy.” Perversely appealing and basically do not hedge things to show that, as you can on the area, and his work anticipated the how they have changed. By placing these exploitative, this body of work specializes in see from the Harlem images. Because, often- contemporary interest in “shrinking cities.” images—taken from the same vantage picturesque representations without attention times, they show improvement, particularly On November 13, 2013, Vergara point—next to one another, Vergara charts to the causal forces of ruination and its human here.” Vergara is unapologetically drawn to visited the Yale School of Architecture as a the life cycles of buildings and streets. The consequences. How, then, should we frame ruination and not rehabilitation. This predilec- Poynter Fellow in Journalism. After spend- images, along with his own rich descriptions, the difficult issue of the “beauty of ruins,” tion raises a final point: ostensibly positive ing the afternoon with my urbanism seminar, observations, and notes from his interac- especially in the contemporary city? It might urban change, by way of new investment, “Ghost Town: City Building, Abandonment, tions, have been published in a series of be convenient to characterize urban decay can be difficult for those who want to remem- and Memory,” he delivered a public lecture in books, including The Next American Ghetto as a natural force, but the situation is usually ber a grittier type of city, one in which neglect Hastings Hall that focused on his work in the (Rutgers University Press, 1995) and Ameri- more complicated than that. fostered a diverse and affordable community. recently published Harlem: The Unmaking of can Ruins (The Monacelli Press, 2003). The Simmel wrote that the “ruin strikes us Many of us are captivated by this romantic a Ghetto (University of Chicago Press, 2013). Library of Congress has recently acquired so often as tragic—but not as sad—because image, and it marks another kind of ghost Soon after arriving in the United States his unparalleled visual inventory of declining destruction here is not something sense- town: the mythic city of our first encounter, from Chile in 1965, Vergara began his obses- neighborhoods. lessly coming from the outside but rather before it was discovered and remade by sive perambulations—always with camera in Vergara’s talk was the perfect comple- the realization of a tendency inherent in the others. We project our desires for authentic- hand—through the industrial and working- ment to the “Ghost Town” seminar, which deepest layer of existence of the destroyed.” ity and belonging upon this fascinating ruin, class districts of American cities, then in the focuses on the political, economic, and cultur- The factors that have led to the depopulation preserved and enhanced as a memory. midst of the painful process of disinvestment al factors behind the forms of weathering and and abandonment of large swaths of Ameri- and depopulation. Driven, as he himself has disuse the photographer has so persuasively can cities include suburbanization (“white —Elihu Rubin (Yale College ’00) suggested, by his own sense of displacement, documented. Though usually associated with flight”), corporate disinvestment, economic Rubin is assistant professor of urbanism Vergara sought companionship in the empty abandoned mining camps in the American restructuring, joblessness, and, more at Yale and author of Insuring the City: The and dilapidated buildings he encountered. He West, the principles of a ghost town can be recently, a foreclosure crisis. Are these inher- Prudential Center and the Postwar Urban took it upon himself to assemble a monumen- applied more broadly across space and time: ent attributes of capitalist urbanization? If Landscape. tal study of American urban poverty. In New boom-and-bust cycles that comprise capital- so, it would be tragic but also potentially York City, Chicago, Philadelphia, Los Angeles, ist urban development; the social and physi- aesthetic, at least to those who are able to Newark, Detroit, and Gary, Indiana, among cal impacts of economic decline; and the observe it from a safe remove.

program tentatively named “Office Hours,” discuss specific issues within and outside the Yale Women in Architecture in which female alumnae will offer tours to school, watch films, and share news articles students and colleagues of their offices and on current issues. There will be moderated projects. The YWA is a work in progress. discussions, starting with in-house faculty, Alumnae experience, creating the seed for a new on topics related to gender in academia and Yale is one of the first American universities formalized YWA Mentoring Program. — Celia Imrey and Louise Braverman curriculum, practice, and perceptions of to establish an alumnae-based organiza- YWA and the School of Architecture Imrey is principal of Imrey Studio, gender roles by clients. There will also be tion devoted to supporting women in the see a need to deepen the school’s connec- Braverman is principal of Louise Braverman more informal gathering with other women’s field of architecture. Toward that end Yale tion to practicing women designers. The goal Architect both in New York City. groups. The group will host an evening on Women in Architecture has been busy setting is to expand the visibility of alumnae and to March 28 with the YWA alumni group, which up a series of programs in response to the bring their experiences and knowledge into Students has volunteered to meet with SAGE mambers success and interest generated by the first the educational process. To this end, Peggy The Yale Women/Gender/Family group is and other enthusiastic women for mentoring. YWA symposium, in New Haven, a little over Deamer has been instrumental in gather- now officially called Students of Architecture Everyone involved is excited about a year ago, organized by Claire Weisz (’89). ing student support and volunteers, and for for Gender Equality (SAGE). The group, the reincarnation of the group formed eight To begin with, the group created a Facebook developing a women’s lecture series. which goes beyond women’s issues but years ago. SAGE counts many of its former page filled with posts, photos, and informa- Dean Stern met with Louise Braverman considers women as a lightning rod for members as active participants in the alumni tion that will here to connect multiple genera- (’77), Celia Imrey, Doreen Adengo (’05), and issues that matter to all of us, met during the group. We are delighted that this year’s tions of Yale women architects. It will also Nina Rappaport in December to discuss how fall 2013 semester to determine its priori- class has the highest percentage of women serve as an informal forum for ideas, discus- events and meetings at Yale can help connect ties, name, and organizational approaches. ever—fifty percent. But the charge is on for sions, and conversations about the news of the school’s community of women and men At that time Frances Rosenbluth, deputy change in a field that graduates fifty percent women in the field. to the diverse professional alumni context. provost for diversity, gave $5,000 to support women but retains only eighteen percent at Last October, YWA sponsored a Some thoughts for implementation included the group, and the group is most grateful. the professional level; the profession remains successful informal happy-hour gathering increasing the number and having a wider On YSoA’s side, thanks in particular, to inhospitable to family life because of the for women alums at the Rubin Museum of range of female jurors and critics; portfolio Elisa Iturbe (’14) and Danielle Davis (’14) for difficult hours and insufficient pay and it still Art in New York City. Museum co-designer reviews at Yale by invited alumni; and increas- pulling together an enthusiastic team and an reveres a mythical male auteur. Progress has Celia Imrey (’89) gave a tour, and then fifty ing the number of lectures by female alumnae. ambitious agenda. been made and is advancing. alumnae and friends exchanged ideas at the Opportunities for bolstering the new YWA This semester, the group plans both K2 Lounge. Potential mentors and mentees Mentoring Program were discussed. Also casual and more structured events, includ- — Peggy Deamer signed on to share their knowledge and in the works, with Stern’s support, is a new ing regular meetings to share observations, Deamer is a professor at Yale.

Ming Cho Lee New York Delacorte Theatre Electra Shakespeare Festival New York City, 1964 16 CONSTRUCTS YALE ARCHITECTURE Spring Events

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Archaeology of the Digital Digital Post-Modernities:

The exhibition Archaeology of the Digital, From Calculus to curated by Davenport Visiting Professor Computation Greg Lynn and organized by the Canadian Centre for Architecture (CCA), in Montreal, A symposium, “Digital Post-Modernities: will be on display at the Yale Architecture From Calculus to Computation,” will take 2 Gallery from February 20 to May 3, 2014. place on Thursday, February 20 to Saturday, Drawn primarily from the CCA archives, the February 22, at the School of Architecture in show investigates the foundations of digital conjunction with the exhibition Archaeology architecture in the late 1980s and early ’90s of the Digital, curated by Greg Lynn. by analyzing four pivotal projects for which The aim of “Digital Post-Modernities” architects used digital tools in different is to suggest that the digital turn has already ground-breaking ways. In each example, gone through stages and phases in the last either specific hardware and software was twenty years. Although some of its founda- sought out or tools were invented to realize tional ideas, as formulated in the 1990s, a vision. The projects included are Frank seem to have been largely vindicated by Gehry’s Lewis Residence, in Lyndhurst, Ohio present cultural and technical develop- (1989–95); Peter Eisenman’s Biozentrum ments, other digital theories and principles, Biology Center for the J. W. Goethe Univer- many derived from postmodern philosophy sity, in Frankfurt am Main, Germany (1987); and science, still actively inform new ways Chuck Hoberman’s Expanding Sphere to make sense of today’s technology and (1988–92) and Iris Dome (1990–94); and may be once again drastically reshaping our Shoei Yoh’s roof structures for the Odawara design agendas. Municipal Sports Complex (1990-91) and This digital turn in architecture the Galaxy Toyama Gymnasiums (1990–92), followed, in part, from the development in the in Japan. early 1990s of new tools—spline modelers The exhibition highlights the dialogue in particular—for design and manufacturing between computer science, architecture, and from a new theoretical and ideological and engineering at the core of these early context that prompted and accompanied experiments. During the design of the Lewis the adoption of these new technologies by Residence, for instance, Gehry’s office devel- the architectural avant-garde of the time. oped the innovative use of digital tools and Early digital design theories were famously 3 harnessed the power of computer modeling inspired by Gilles Deleuze’s writings on the to fabricate the sculptural elements. These mathematics of continuity and calculus. The technical innovations later became the core philosopher’s arguments were, in turn, 1. Chuck Hoberman, Hoberman 2. Shoei Yoh + Architects. Odawara 3. Peter Eisenman, Eisenman/ competence of the independent software and mediated and nurtured by the crucible of Associates. Expanding Geodesic Municipal Sports Complex, Robertson Architects, Biozen- dome, 1991. Gelatin silver Odawara, Kanagawa, Japan: trum, Biology Center for the J.W. services company Gehry Technologies, which architectural Deconstructivism, in which the prints collaged on paper board Computer-generated images of Goethe University, Frankfurt am developed Digital Project, a 3-D modeling tool design implications of electronic variability with graphite inscriptions, deformation of roof, Electrostatic Main, Germany: Study model, for architectural design based on the appli- were first introduced into, and questioned by, 22.7 × 59 cm. Chuck Hoberman print on plastic, 25.7 × 36.4 cm. 1987. Cardboard, 35.88 × 151.77 cation CATIA, used in the aircraft industry. architectural discourse. fonds, Canadian Centre for Shoei Yoh fonds, Canadian × 103.19 cm. Peter Eisenman Architecture, Montréal © Hober- Centre for Architecture, Montréal. fonds, Canadian Centre for Archi- Eisenman’s Biozentrum tested the computer’s Digital technologies also unfolded and man Associates. © Shoei Yoh + Architects. tecture, Montréal ability to generate its own formal language. developed within the more general cultural A vanguard attempt to digitally script the ambit of postmodernity. Just like postmodern design process, the structure’s geometries thinking, the technologies of the digital age emerge from abstract representations of favor differentiation, variability, and fragmen- theories of “nonlinearity,” of emergent or self- revolution, further vindicate aspects of the DNA structures, manipulated through digital tation. By the way they function, digital organizing systems, these theories brought so-called postmodern science of complex- processes intended to simulate genome technologies blatantly contradict all cultural a robust component of spiritual and vitalistic ity and increasingly bring the theory and replication. Another section of the exhibition and technical tenets of industrial modernity thinking into the digital field, sometimes practice of indeterminism within the ambit explores how the scaffold-style roof struc- as well as most of its social and ideologi- accompanied by religious or irrationalist of contemporary digital culture. Aspects of tures of Yoh’s Odawara Municipal Sports cal paradigms. In this sense, in a typical overtones. In many ways, this current repre- this second “indeterminist turn” are already Complex and the Galaxy Toyama gymnasium techno-cultural feedback loop, the culture of sents an unlikely and often unrecognized but evident in today’s digital design theory, and were analyzed and tested for structural integ- postmodernity can be seen as the “favorable fertile conflation of architectural phenomenol- some of the most promising and controver- rity through a process of intensive software environment” in which digital technologies ogy and digital design theory. sial of today’s design experiments deal with coding. Engineer Hoberman’s design for the were bound to evolve in the way they did. This spiritual, vitalistic approach to aspects of computational indeterminacy—its Expanding Sphere and Iris Dome—lattice- The early theoreticians of the digital digitality still actively informs aspects of technology, visuality, and overall ideological work structures that smoothly expand and turn in architecture often referred to architec- contemporary digital design theory and and aesthetic implications. The conference contract using scissorlike movements, led to tural Post-Modernism as one of their sources, continues to inspire digital designers, albeit will document new research in this area, that further explorations in mechanically respon- acknowledging the influence of Po-Mo often unconsciously, tacitly, or covertly. It is currently being carried out by a younger sive and adaptive architecture. theories and thinkers. But while many visual underpins today’s digital merger of nonstan- generation of digitally intelligent designers. The exhibition is part of CCA’s larger and figural aspects of architectural Post- dard machinic making and manual craft; it project to develop an archive of digital archi- Modernism, such as iconicity, historicism, is at the basis of the digital reassessment — Mario Carpo tectural materials, including the question of and symbolism, were lost in the folds of the of the “nonlinear” behavioral properties Carpo was the Vincent Scully Visiting Profes- how to display these materials and make digital turn, many of its ideals were revived by of some building materials and of the sor in the history of architecture between them accessible to the public and research- the technical logic of digital design and fabri- resurgence, through digital means, of tradi- 2011 and 2013. ers. Two more exhibitions on digital archi- cation. Just as in traditional handmaking, tional materials and building-construction tecture are planned, the next opening at the but unlike mechanical technologies, digital technologies. While digital design theory The conference will include: CCA in May. tools can produce nonstandard variations, has long been in sympathy with many Alisa Andrasek, Paola Antonelli, This exhibition has been made using a new postmodern technology of perceived alternatives to modern rationalism Benjamin Aranda, Phillip Bernstein (’83), possible through the generous support of customizable mass production that no one in and industrial modernity—from twentieth- Brennan Buck, Mario Carpo, Lise Anne the Ministère de la Culture et des Commu- the 1960s or 1970s could have anticipated. century Expressionism and Organicism to Couture (’86), Peggy Deamer, Peter Eisen- nications, the Canada Council for the Arts, In this sense, too, the digital turn can be seen historical periods such as the Baroque and man, Kurt Forster, Michael Hansmeyer, and the Conseil des arts de Montréal. The as a vindication and a continuation of Post- the Gothic—this undercurrent of digital Mark Foster Gage (’01), Charles Jencks, presentation at Yale is sponsored in part by Modernism with new technical means. phenomenology equally inspires today’s Matthias Kohler, Sanford Kwinter, Brian Elise Jaffe + Jeffrey Brown. Jonathan Hares, Central to the continuity of ideas digital reappropriation of various pre-indus- Massumi, Frédéric Migayrou, Philippe who is based in London and Lausanne, between architectural Post-Modernism and trial “ways of making,” sometimes with Morel, Emmanuel Petit, Dagmar Richter, created the graphic design. An expanded the digital turn in architecture is the digital direct reference to the Classical tradition, Jenny Sabin, Bernard Tschumi, and catalog has been copublished by the CCA reenactment of some philosophical and sometimes to the medieval tradition and its Alejandro Zaera-Polo. and Sternberg Press and supported by the epistemological topics derived from cyber- Victorian, neo-Gothic revivals. Graham Foundation for Advanced Studies netics, complexity theory, and systems theory This conference also suggests that in the Fine Arts. Elise Jaffe + Jeffrey Brown that acquired unprecedented nuances in the today’s new computational developments, supported the oral history project. digital environment of the 1990s. Known as often referred to as belong to the “big data” 17 SPRING 2014 2013 Building Project

In their first-year spring studio, M.Arch I the students to adapt the house design to students participate in the Jim Vlock Building the new conditions. During installation of the Project. A tradition since 1967, it challenges new foundation, construction was continued the students to design and construct a dwell- at an off-site location, so that, three weeks ing in New Haven that addresses practical later, all the walls of the house, which were building constraints as well as conceptual prefabricated on Yale’s West Campus, were research. Students collaborate on design, ready for delivery to the site. Ultimately, the work with a client, and build with traditional on-schedule completion of the house was a platform frame construction, integrating testament to the effectiveness of the housing mechanical systems. prototype and the perseverance of the build- For the 2013 Building Project, the Yale ing project team. School of Architecture teamed up with the The simplicity of the parti distinguish­ local non-profit developer Neighborhood es this year’s house design. The total width Housing Services and the New Haven Livable of the building, from exterior wall to exterior City Initiative. Students were charged with wall, is seventeen feet. The open ground-floor designing a housing prototype that could be plan allows the dining room, kitchen, and adapted to virtually any of the more than one living room to unfold along the length of the hundred narrow nonconforming lots across hearth-wall. The centrally located kitchen is the city. a light-filled, double-height space. Residents 1 2 During the first half of the semester ascend to the second floor along the back- each student developed a single prototype side of the hearth wall, which doubles as a concept. Instead of focusing on holistic shelving and cabinetry unit. The space above designs, the designs were approached as the kitchen cantilevers above the side yard, flexible dwelling systems. In the second half allowing ample space for a children’s play of the semester eight prototypes were select- area or an office. Through the use of large ed for development by the student teams, pocket doors, the bedrooms on the second followed by a professional-style design floor are adaptable as either three singular or competition in which one of the proposals one free-flowing space. was selected for construction. The 2013 Jim Vlock Building Project The winning scheme reinvents the also marks the last year of former director traditional architectural hearth. Rather than Paul Brouard’s (’61) active participation since a centralized fireplace, a hearth-wall spans it began in 1967. He has inspired and taught the length of the house and delivers essen- generations of Yale School of Architecture tial services. Embedded in the hearth-wall students how to build responsibility and work are the plumbing, electrical, and ventilation together cooperatively. systems, cabinetry, a bathroom, and kitchen appliances. — Michael Robinson Cohen (’15) In early May, ground was broken on the site, and the prefabricated foundation walls were installed. Unfortunately, when construction started, the site was deemed There will be an event in Paul Brouard’s 3 unsafe due to an unfortunate incident, and honor Sunday, February 23, 2014 the site had to be changed. However, through BAR, 254 Crown Street, New Haven a joint effort of the city of New Haven, 1. Jim Vlock Building Project, 2. Interior with stair of Jim 3. Interior Jim Vlock Building Neighborhood Housing Services, and Yale For further information please email: New Haven. Photograph Vlock Building Project, New Project, New Haven. courtesy of ©2013 Neil Haven. Photograph courte- Photograph courtesy of University, a new lot was quickly acquired, [email protected] Alexander/neilphoto.com. sy of ©2013 Neil Alexander/ ©2013 Neil Alexander/ and the flexibility of the prototype enabled neilphoto.com. neilphoto.com.

the contemporary world, error—the theme whose intrinsic unpredictability might satisfy spatial hedging in their urban-development of Perspecta 46—is unrelenting and often modernity’s seemingly boundless desire strategies merely displaces error onto those appears in direct proportion to our efforts to for newness. with less agency. Assessing visual and archi- ensure precision. Armed drones, justified by The journal itself is most generative tectural interpretations of Dante’s Divine their ability to surgically remove targets, are in its assembly of an informal history of error Comedy, Aarati Kanekar highlights the launched on the basis of a video feed too in architecture. Daniel Sherer’s contributions perspectival nature of the boundary between pixelated for their human operators to distin- bring to light the surprising reception of variation and error. Stanley Tigerman (’61) guish a weapon from a shovel in the target’s Michelangelo’s architecture by his immedi- draws on pre-Enlightenment theological hand. Data collected by two Harvard econo- ate successors as “the very embodiment epistemology to caution architects to control mists produced one of the most cited sources of error,” defined in sixteenth-century Italy the inevitable error that will arise in their in support of international austerity policies by the deviation from Vitruvian precepts. In quest for formal innovation. since 2008, was based, on a faulty Excel doing so, Sherer illuminates the historical The editors also set out to confound spreadsheet, as noted by Paul Krugman. contingency of error’s definition as well as the our expectations for predictability and desire Florida voting machines and their indeter- Janus-faced relationship between error and for control. Unfortunately, John Harwood’s minate “hanging chads” forever tainted the innovation, a motif that recurs throughout identification of architecture’s erroneous results of the 2000 U.S. presidential election. Perspecta 46. understanding of the corporation feels insuf- Often originating from a source far simpler Sean Keller offers the journal’s most ficiently integrated into the journal’s theme. than the complex mechanisms developed to broad-scale speculation on the nature of By denying the expectation for analysis of prevent it, error not only renders knowledge architectural error and interrogates the possi- the stakes of this error, the article proves intrinsically probabilistic but also sadistically bilities for error under the reign of Modern- inadvertently frustrating. The interspersing mocks modernity’s fetish for control, all the ism. Given Modernism’s self-conception as between the essays of film stills and conver- while making us crave it even more. a transgression of historical tradition, Keller sation snippets from MOS Architects also Since the emergence of the architect asks how architects can incubate error when confounds—until one arrives at the end of and the conventions of architectural drawing erring has become the norm, and offers the journal and realizes with delight that the Perspecta 46: Error in the Renaissance, architecture has been examples of indeterminacy in postwar visual piece runs backward through the volume. defined by the expectation that things will arts and music as provocations. Asli Serbrest To some extent, one might accuse the Edited by Joseph Clarke and go according to plan. For designers, plans and Mona Mahall’s examination of Polish journal of succumbing to error. It promises Emma Bloomfield are drawn as literal blueprints of the future. philosopher Stanislaw Lem’s Philosophy of that architecture’s investigation of error MIT Press, 400 pp. For historians, plans serve as portals to the Chance (1968) in the context of the simulta- will be fruitful; yet, by virtue of the indeter- past. Architecture still welcomes Laplace’s neous developments in cybernetics contrib- minacy of error, written speculation leaves In 1814, Pierre-Simon Laplace, the French Demon home, yet architecture’s faith in plans utes another example of efforts to circumvent the reader longing to see more. Thankfully, mathematician who founded the field of appears to be waning. Some architects now authorial intention, as does Susan Wagner’s Clement Valla’s compelling “Postcards from probability, imagined what came to be bypass them altogether through digital fabri- essay on Dadaist attempts to disrupt Google Earth,” a collection of found digital known as Laplace’s Demon: an intellect that cation technologies, while their career plans conventional experiences of urban space in images that show the distortions produced could have knowledge of the position of all are increasingly deviating from the profes- early twentieth-century Paris. by Google’s desire to make a seamless, matter at all times and matter’s animating sion’s traditional trajectory, complicated by Bryan Boyer and Justin Cook’s article comprehensive flat image of a round planet, forces. Laplace reasoned that, with sufficient uncontrollable economic conditions and on the Finnish organization Sitra and its demonstrates the visual results of error in analytical ability, the intellect could know the unforeseen opportunities to use their knowl- design competition for sustainable building architecture. The distortions both transform entirety of existence without limit, such that edge elsewhere. strategies suggests a new possibility for mundane rectilinear buildings into provoca- “nothing would be uncertain and the future, Perspecta 46: Error presumes that error under Modernism. Rather than framing tive, warped forms and articulate architec- just like the past, would be present before its error is inevitable. Thus, editors Joseph error as a generative tool for making yet ture’s unique ability, as an artifact inescap- eyes,” noted in his 1902 Philosophical Essay Clarke (PhD ’14) and Emma Bloomfield (’11) another conventionally architectural plan, ably produced by human reason, to register on Probabilities. Although he conceded that ask what would happen if architecture were the authors encourage architects to occupy reason’s inevitable error. Thus, collectively, the intellect was necessarily superhuman, to relinquish its penchant for certainty and new territories of practice that err away the articles and projects of Perspecta 46: the measure of human progress was, for embraced its fate to err. In this light, the from the traditional responsibilities that have Error form an engaging study of this tradition- Laplace, its continual advancement toward journal participates in the larger, ongoing defined the architect professionally since ally repressed topic in architecture. the intelligence of this demon, toward perfect project to purge architecture of the orthodox the Renaissance. certainty and, hence, the elimination of error. Enlightenment thought that underwrote Many other essays elaborate produc- —Stephanie Tuerk (’02) In the past two centuries, humankind’s much of twentieth-century architectural tively on the theoretical quandaries raised in Stephanie Tuerk is a PhD candidate in MIT’s continued acquisition of knowledge has, Modernism. However, Clarke and Bloomfield Keller’s opening article. Elihu Rubin examines history, theory, and criticism of architecture ironically, undermined the Newtonian founda- resolutely frame error not just as a critical how life-insurance companies’ attempts and art program. tions of Laplace’s Demon. As we know from apparatus but also as a generative tool to insulate themselves from error through 18 CONSTRUCTS YALE ARCHITECTURE Book Reviews

This provocative book is as ingenious as and a critical problem: why does architecture Because if we follow Day’s logic to its conclu- it is insistent in its effort to declare archi- engage programs that seem to have radically sion, we face a more disturbing, blatantly tecture’s guilt in aiding and abetting some different, yet radically similar, purposes? Is simple proposition with impossibly complex really wicked problems. Joe Day, Louis I. this paradox simply evidence of the limita- implications: today architecture is art and Kahn Visiting Assistant Professor at Yale tions of the architectural repertoire? Or is it crime. This is precisely the inverse of Loos’s in 2012, has gathered extensive evidence evidence of architecture’s deep complicity in famous polemic, but it may be the most and deployed an arsenal of devices to the actualization of specific historical condi- concise synopsis of Day’s thesis. demonstrate the surprising ways in which tions? Certainly Day believes it is the latter, Uncharacteristically for a book that recent prison and museum architecture and not only that: in attempting to explain the takes pleasure in taking its speculations enables numerous affinities between the conspiracy, he compiles some staggeringly too far (with fascinating results), Day’s one penal system and the art world. As the sly statistics implying that architecture is not mention of Loos misses the opportunity to book proceeds through four “sequential quite what we think it is. match his penchant for the outrageous. If but overlapping temporalities”—Minimal The proliferation of museums and Loos insisted that true architecture must avoid (1970s), post-Minimal (1980s), Millennial prisons, since 1975, illustrates how archi- emulating art or consorting with crime and (1990s), post-Millennial (2000s)—that align tecture operates as an index and a metric as is confined to the tomb and the monument, roughly with the past four decades the well as a tool of sinister, absurd, pervasive, Day criticizes a contemporary “civilization” author pursues a kind of paranoic critical and obvious realities. Day’s correlation of with radically different understandings and forensic analysis in which the two orbits myriad facts, ideas, and stories is an object practices of art and crime, to which architec- become intertwined in a series of coinci- lesson in an architectural criticism that ture’s purest appearances are now devoted. dences and complicities. Looking at prisons insists equally on disciplinary analysis and Day’s most successful and trenchant efforts and museums “as manifestations of preva- curiosity about architecture’s actual effects at conveying that condition appear not in lent, unacknowledged philosophies, and as and purposes, however uncomfortable they the text but in his comparative drawings (such repositories of our most overwrought desires may be. These ambitions are most vivid and as “Kimball Art Museum + New Newgate and least examined fears,” Day conflates entertaining in the section of the book that Prison, Plans at Common Scale”), graphs them deliberately through the application compares the exploits of Thomas Krens (such as “Prison Population vs. Museum of conceptual categories and structural as director of the Guggenheim Museum Visitors”), and diagrams (such as “Popular/ diagrams. Ultimately, he aims to challenge with those of Don Novey as president of Nominal Institutions”). Although Day is a Corrections and our understanding of how architecture the California Correctional Officers’ Union, talented and stylish writer, his visual explana- operates as an instrument of policy, politics, which reads like a cross between Charles tions are simply brilliant. His project is much Collections: Architectures power, development, culture, subjectivity, Dickens and Philip K. Dick and unfolds a more effective and disturbing when the for Art and Crime and identity. science-fiction plot of allied mirror worlds argument goes graphic, becoming explicitly, The logic and content of Corrections that have been the lifeblood of recent archi- and excitingly, architectural. By Joe Day and Collections is both disturbing and tecture even as they have been sucking life Routledge, 2013, 320 pp. challenging and not only at the level of cultur- as we know it out of our cities and society. — Mark Linder (MED ’88) al and political critique. Day’s thesis invites The only unfortunate hedge in this Linder is an associate professor and serious examination of the motivations book may be its subtitle, “Architectures for Chancellor’s Fellow in the Humanities at and operations underlying the architectural Art and Crime,” which seems to aim more at Syracuse University School of Architecture. discipline. The book presents a conundrum Hal Foster than its truer target, Adolf Loos.

In recent architectural discussions interdis- the terms mapping, resource management, its ideology of accuracy. Another example ciplinary engagement has come to the fore. and design research have been used inter- is the aesthetic abstraction portrayed via These investigations have expanded the changeably in both academia and practice. the contested territories in the project limits of architectural knowledge in relation Be it for a contaminated waterfront, an Monochrome Landscapes, which comprises to the changing demands of the globalizing obsolete landfill, or a new urban develop- four satellite images, each characterized by a world and its accompanying social and ment located in an extreme climate, “data color depicting a five-by-five-mile surface of environmental challenges. Ideas regarding visualization” is sometimes a tool for justifying the Earth: green (trees), blue (water), yellow geographic scale, infrastructure, landscape, projects through problem solving. Within the (sand), and white (snow). Here the contradic- and territory have provided a framework pervasive topic of sustainability, this limited tion lies between the aesthetic purity of the for analysis: for instance, explorations of interpretation of data presents the risk of four monochrome images and the discord landscape-ecological urbanism; a renewed pure pragmatism and neo-environmentalist characterizing the geopolitical realities those interest in the politics of territory, infrastruc- do-goodism. In that context, Kurgan’s caveat monochrome images represent, distort, and ture, and transnational systems; and the regarding the redundancy of the term data occlude: Arctic National Wildlife Refuge, pervasive “design as research” or mapping visualization is vital. Not a mere polemic, this in Alaska (white); the “zero-zero” point of phenomenon. warning lies at the base of all her projects. latitude and longitude in the Atlantic Ocean It is within this framework that Laura Kurgans writes: “The word data in this book (blue); the illegally logged Cameroonian Kurgan’s book Close Up at a Distance: means nothing more or less than representa- forest (green); the Iraqi desert (yellow); where Mapping, Technology, and Politics is essential. tions, delegates or emissaries of reality, to two U.S. helicopters flew during the second A professor at Columbia University’s Graduate be sure, but only that: not presentations of week of Operation Iraqi Freedom of 2003. School of Architecture, Planning and Preser- the things themselves, but representations, If the 1972 image of the Earth trans- vation, the author has depicted nine specula- figures, mediations—subject, then, to all the mitted by the NASA orbiter, and its visualiza- tive mapping projects she has produced conventions and aesthetics and rhetorics that tion of the world at this grand scale, can be since the early 1990s. The book contains a we have come to expect of our images and taken as a driving force of environmentalism Close Up at a Distance: section titled “Lexicon,” which presents and narratives. All data, then, are not empirical, in the U.S., it also marks the beginnings of contextualizes the imaging technologies she not irreducible facts about the world, but exist a positivist and technocratic understanding Mapping, Technology, and has employed—such as global positioning as not quite or almost alongside the world, of the environment. Kurgan’s book fastidi- Politics systems (GPS), remote sensing satellites, and they are para-empirical. To put it another way, ously contradicts these typical tendencies geographic information systems (GIS)—as there is no such thing as raw data.” in relation to global imaging technologies by By Laura Kurgan well as the political implications of her work. As shown in Kurgan’s book, since shedding light on the intricate politics behind Zone Books, 2013, 228 pp. In addition, the introductory chapter includes global imaging technologies were originally them and the questions they evoke regard- two short essays describing the theoretical designed for governmental and military use, ing certainty versus ambiguity, surveillance implications of her work. the data they contain present various contra- versus transparency, the political versus the The introduction and “Lexicon” dictions when they become available for aesthetic, and the virtual versus the physical. provide a context for the general premise of public use. Kurgan’s first project, the installa- Situated between art, architecture, Kurgan’s larger project, and their content is tion You Are Here: Information Drift, skillfully and geography, Kurgan illustrates that actual crucial in terms of the book’s contribution to depicts the dilemma of military versus civilian research through practice can be as radically the above mentioned geographic tenden- use of GPS mapping technology, a network critical as it is projective. cies. Indeed one of Kurgan’s most important of location satellites developed for the U.S. contributions to the field is the problematiza- military that became fully operational at the —Neyran Turan (MED ’03) tion of the idea of data in relation to recent beginning of the first Gulf War. Designed Turan is an assistant professor at Rice Univer- mapping practices. While the ability to access for display in 1994 at the Storefront for Art sity School of Architecture. and visualize data (such as environmental and Architecture, in New York City, You Are and global flows, infrastructures, and related Here portrays attributes of the disorienta- systems) has inspired fascination within tion and confusion inherent in the location contemporary architectural discussions, data produced by this technology despite 19 SPRING 2014

In this new book David Smiley argues innovations across a spectrum of scales from what Smiley gives us is a new and detailed persuasively that throughout the middle of the 1920s through the ’50s. perspective on the importance of the archi- the twentieth century, American stores and Smiley’s smooth, readable prose tectural discourse around these projects as shopping malls were a nexus of experimen- presents the story in a neutral way. The they developed over time into a new typology, tation with Modernist architectural ideas, illustrations—culled from periodicals such as and the more idealistic civic, educational, and playing an important role in the distribution Architectural Record and Architectural Forum, artistic aspirations architects such as Victor and popularization of Modernist precepts including plans, renderings, diagrams, and Gruen, Morris Ketchum, and Morris Lapidus across the continent. Rational planning and advertisements—are a highlight of the book. believed this architecture was capable of. unitized management were perfect bedfel- Copious endnotes accompany the text, as Smiley concludes with the reintroduc- lows for the science of merchandising, well as an extensive bibliography. tion of rational pedestrian-mall logic to the and suburban shopping centers became The book’s six chapters are arranged city through projects like Gruen’s Fort Worth a testing ground for new kinds of urban historically with each focusing on an episode master plan. Pedestrian Modern may not fully forms that later found their way into the city. in the development of shopping architecture legitimize shopping malls as architecture, with Shopping-center architects, in turn, played and moving gradually outward from the city a capital A, but it goes a long way in refram- a critical role in the process of developing core. Some of the most engaging material ing them as a critical part of the process of these new models. is in the early chapters of the book, detail- modernizing the American landscape, both As the title suggests, a primary ing innovations to storefronts in the 1920s suburban and urban. concern of Pedestrian Modern is the recon- and ’30s. Applications of modern materials figuration of the pedestrian (and by implica- like sheer glass and metal curtain walls, —Andrei Harwell (’06) tion, public) realm by architects and planners and formal techniques such as continuous Harwell is critic in architecture and assistant to support ever greater levels of consump- architectural elements that penetrate the director of the Yale Urban Design Workshop. tion. According to Smiley, in the hands of shopfront, dissolved the boundary of the shopping-center architects the pedestrian shop and opened up the space of shopping realm became an instrument for organizing to the public realm of the street. Exterior the space of shopping, as well as a symbol vestibules and arcades further blurred the of efficiency, rationality, and order. Free boundary between street and shop by multi- from the traffic and noise of the city, it was plying the shopfront and producing an exten- Pedestrian Modern: a model of Modernity that could be applied sion of the pedestrian realm into the deep back on the city itself. façade of the store. Shopping and American But pedestrian also references Later chapters move quickly beyond Architecture, 1925 –1956 the persistent, prosaic, secondary status the material techniques of architecture to shopping-center architecture has held histor- detail the evolving role of modern architects By David Smiley ically within the architectural field, tainted as from designer to logistical expert, orchestra- University of Minnesota Press, 2013, it is by association with selling and the finan- tor of flows of traffic, pedestrians, and goods, 357 pp. cial bottom line. This is a status that Smiley’s and creator of pedestrian realms in total text forces the reader to reconsider, by environments. The general historical frame- presenting various architectural and planning work will feel familiar to many readers, but

“Another damned fat book, eh Mr. Gibbon? literature. It collects Garden-based projects as desired, an enormously expanded and Scribble, scribble, scribble, eh Mr. Gibbon?” from countries one would expect, such as multinational version of the groundbreak- England’s King George III addressed that Canada and Australia, but also nets far-afield ing “The Anglo-American Suburb” (1981, rude geniality to Edward Gibbon on receiving examples of the species in Russia, Egypt, an AD Profile) which Stern edited with John yet another volume, of an eventual six, of the Zambia, and Japan. The longest chapter is Montague Massengale, and which featured magisterial History of the Decline and Fall “The Garden Suburb in Europe, 1900–1940,” text and images almost always on the same of the Roman Empire. The size of a healthy a dauntingly long freight-train run beginning spreads. On the other hand, it wants to unabridged dictionary, Paradise Planned: in Germany, then loading on information from present a continuous, internally coherent, The Garden Suburb and the Modern City disparate archival and secondary sources chronological narrative history of garden results from the intensely productive and heading for France, Belgium, the Nether- settlements within each of the countries research and scribbling of David Fishman, lands (with a strange, beautiful Flying Dutch- and periods covered. The issue—not a Jacob Tilove, and Robert A.M. Stern. It has man mandala, the World Capital Foundation trivial one, since it affects how, whether, and Gibbon’s monumental heft and could just as of Internationalism, by K.P.C. de Bazel), how well readers come to understand the well be titled The History of the Ascent and Scandinavia, Switzerland, Italy, and Eastern garden city—is still small in comparison with (Short-Lived) Triumph of the Garden Suburb Europe. The chapter is heroic, both in terms Paradise Planned’s overall achievement in Empire. Stern and his co-authors narrate an of writing and reading. both detail and grandeur. In fairness, too, the anatomy of the worldwide attempt, over the Returning to the first chapter, Paradise problem is ubiquitous today; instant QR wiki century and a half before 1940, to design Planned points immediately at George III grab or six-volume Gibbon? What’s offered edenic living places separate, but arising and Gibbon’s era and place as the garden here is the luxury, complexity, and challenge from, industrializing cities before both garden suburb’s origin, “when horse-drawn stages of a conceptual and physical hybrid. suburbs and their cities were transformed, for the newly prosperous merchant class, But again, why the heft? Certainly, paved, and parked for the automobile. aided by an extensive paved road system, part of it is to counter, through sheer quantity, Beyond the authors’ roll call and fostered the development and growth of worthiness, and ubiquity of examples, those Paradise Planned: The marshaling of legions of facts and places in small, once-remote villages.” The systematic who dismiss as lightweight this kind of a complicated international history, form and trek then sets off through transit-connected, planning—the transit- and pedestrian-based Garden Suburb and the content connect to send a contemporary locally walkable English garden villages and garden suburb that became the good green Modern City message. “Another damned fat book, eh Mr. estate developments of the late eighteenth partner of the metropolis, not its antithesis. Stern?” There are several reasons why. and nineteenth centuries. The chapter The book is a lengthy rebuttal to the idea that By Robert A.M. Stern, David Fishman, The authors begin with the chapter sets the local pattern, within the overall urban form or content needs “no connec- and Jacob Tilove “Origins” and follow it with eight more and organization, which is repeated through the tive tissue” an idea that was proclaimed, for The Monacelli Press, 2013, 1072 pp. an epilogue. They parse out hundreds of book. The text names a project and place, example, by Rem Koolhaas in his S, M, L, XL projects of all sizes, mostly built but with conscientiously gives the relevant names, (1995). It is right that Paradise Planned has some conceptual ones, sorted by type dates, and data, some concise analysis the scale of Stern’s five earlier collabora- (garden green spaces of different definitions and well-chosen detail, and moves steadily tive volumes, which cover New York City and variously paired with cities, villages, and on. There is always a group of plans and from 1880 to 2000 as a prototype world city, suburbs; then, garden villages with industry), photographs for each project. This should since it complements those just as a garden by location (the United Kingdom, America, make for a stately juggernaut of a reading suburb does its metropolis. Paradise Planned Europe), and by period (various durations experience, but, because few of the illustra- is the unacknowledged last volume of the between 1750 and 1940). The aim for all the tions are on the same two-page spread as set, filling it out to the Gibbon standard of an permutations and combinations is systematic the relevant text, a lot of back-and-forth page epic, damn fat six. and panoptic, offering both a ready reference flipping is necessary to see what is being and a comparative narrative. The chapter on written about. In other words, the book has —Patrick Pinnell “The Globalization of the Garden City and two big ambitions that do not always square Pinnell (’74) is a Connecticut-based architect the Garden Suburb, 1900–1940” is probably with each other. On the one hand, it would and planner and author of Yale University, a the most original contribution to planning like to be a compendium to be dipped into Campus Guide. 20 CONSTRUCTS YALE ARCHITECTURE Fall 2013 Lectures

The following are excerpts from the fall became part of the standard repertoire of Barry Bergdoll 2013 lecture series. architectural equipment, just as today, you “Out of Site: In Plain View: The Symbiosis would not be able to do your site documen- between Exhibiting and Projecting the tation without an iPhone. When you think Modern”

about these systems of mobilization, you George Morris Woodruff, Class of 1857 John Spence John Spence can understand the relationship between Lecture Edward P. Bass Visiting Fellow art and architecture and the different kinds October 4, 2013 “5-Star Hippie” of perspectives: views from above, thinking In the past few years, the spectacle of archi- September 9, 2013 about the ground plan in a different way, tecture has been everywhere, even if the I am a university dropout, the least educated really transforming the discipline from within. press is filled with discussion of the eclipse person in the room. I am not a developer, and Materials were being activated and trans- of starchitects. Indeed, with Koolhaas’s I am not really a hotelier. I am an entertainer— formed. … There is probably no more appointment as the director of the 2014 I always wanted to be an entertainer—and famous material in Los Angeles than the Venice Biennale of Architecture, one might a salesman, and we view our job as enter- stud. We think of Los Angeles as the city wonder about our current period of “Starcu- taining clients. We don’t view ourselves as of studs: architects go crazy for studs. rators”, in which curators are often as famous being in the lodging business. We think when They build houses with too many studs. as contemporary artists and architects and people come to stay in a resort, they need They fantasize about buildings without the word curate has been applied to every- to be entertained from the time they arrive to any clothes on, with the studs open and thing from meals to clothes. But what does it the time they leave. exposed. Lots of architects and artists still mean to exhibit architecture? Isn’t architec- Our company, Karma Resorts, is the fight among themselves over who was the ture already on display once it is built? leading independent resort developer in first one to expose the stud. The architectural exhibition is—with the Asia-Pacific region. We have now The 1970s was also the moment in few exceptions, as perhaps in the case of developed twenty-nine resorts and six are in which the do-it-yourself movement became the plaques of the New York City Landmarks planning—although that is a variable number significant, both in terms of activating new Commission—a radical deracination of because we keep adding more—and we publics for architecture and for rethinking architecture. The architectural display starts, have resorts and sales in four continents. We how architects designed, moving them away then, from some might even say a lack, in the will soon be coming to North America. We from a fascination with the final object and case of fragments, of an act of destruction or Sylvia Lavin have 55,000 members—a lot of our business toward processes, developing production violence and from something that is a poor is about creating a member base—which manuals, taking beams out of manuals to reflection of the monumental grandeur and equals about 150,000 people, and we have educate clients about what it was they were place-making of the art of architecture. five million people in our database, that is, in purchasing. But what, I asked myself, would it our sales operations. I think the 1970s was exactly that mean to craft a history not of the poor substi- What do we do? We pretty much moment of potential when many things are tute that is an exhibition condemned to work have three stages of business. First, we are a up for grabs and, therefore, full of possibil- with placebos but of the potentialities of the developer and a property sales company. We ity for the present. So, they seem very near, architectural exhibition? I wanted to ask why acquire land or resorts in prime locations— and they are very far, and in that distance is the habit of exhibiting architecture in the usually good land to be ahead of the game a kind of a gift that is well received by young gallery first became common practice during because you cannot compete with the architects today. the Enlightenment, in London in the 1760s, megacompanies—and we lock it away to soon after in Paris, and then, by the end of masterplan or renovate and improve it. But Philippe Rahm the eighteenth century, in Berlin, St. Peters- whatever we do, we throw our magic fairy “Atmospherical Cube” burg, and nearly every other European city in dust on it and make it into a product that is Paul Rudolph Lecture which there was an academy—with isolated better than the one we acquired. We then sell October 3, 2013 and quite specific cases half a century the units to individual clients. So, our goal is Why do I have a link with art? It is not with earlier, notably in Papal Rome. And I wanted find a good land or resort, make it sexier, and plastic art but more to find a place where to ask to what extent did the phenomenon then sell it. it can challenge the language of architec- of displaying architecture change the very Stage two is working as a hotel and/ ture. As an architect, you use a language, nature and possibilities of architecture? With or resort operator. We lease the proper- sometimes one that already exists and “Out of Site: In Plain View,” I propose that ties back in some form, manage the resort sometimes one you have invented, to ask part of the very essence of a self-consciously like any hotelier, and build relevant on-site new questions and maybe to find some new Modern architecture is wrapped up in the Philippe Rahm amenities, such as restaurants, bars, and solutions—and I think the art gallery is a ability to put it on display—to take it out of its spas. In stage three, we are an ancillary and place where you can challenge this language. original site and return it to plain view—and brand-related service provider. We finance Maybe my interest in architecture—and why that, in fact, the exhibition has been a vital and facilitate sales through our own finance I want to challenge its language—stems from instrument to some of the greatest features company, operate third-party beach clubs my dissatisfaction with the idea that every- of Modern architecture since the Enlighten- and spas, and own concierge services and thing was linked to the solid, the visible, and ment: the emergence of a critical discourse holiday clubs. We are vertically integrated the façade, and I thought that, instead, archi- on the public character and responsibilities and laterally diversified. tecture is really related to the void, the empti- of architecture; the invention of a history of What we are doing now is picking ness, the space. This is the most important architecture with its consequences for the up assets in Europe, renovating them, and difference between sculpture and architec- exploration of architectural meaning and its marketing them back to the Asians, who saw ture: sculpture is a solid object that you are capacities to build national, regional, and the Sound of Music and spent their youth in front of; space is an object you go inside local identities; and the capacity of architec- dreaming about going to the Alps and the of. If we want to define the space itself, we ture to project entirely new programs and Scottish Highlands. know that it is not only air; there is a chemical environments that we associate with the very quality to this air, there is an electro-magnetic condition of the avant-garde. At nearly every Sylvia Lavin quality to this air, there is some biological step of architecture’s modern history and of “Architecture that Is Near and value to this air. The body is not neutral inside the history of architecture as Modern, exhibi- Architecture that Is Far” this space: you receive something, perhaps tions have been an integral part of the life of Brendan Gill Lecture some light, and you have some reaction. architecture, an enabler as much as a reflec- September 12, 2013 Focusing on the main target of architecture, tion. Today, I see new potentials for the archi- The 1970s were really at the cusp, the break- the space itself, the exhibition was the place tectural exhibition since, inevitably, I speak ing point, between the past and the present, where we started to analyze some new tools to you in a hybrid voice, as both historian and Barry Bergdoll a moment in which we thought we knew. to establish a new element of architecture. curator. It is a period that many of the people in this In France, we tried to take the reality room lived through and know in a certain of the interior as a kind of climatic pocket Timur Galen, Nader Tehrani, way, but it is also passing into a historical space in which you are protected from the Scott Cohen frame, which means we have to understand rain, cold, and wind. We designed the indoor Myriam Bellazoug Memorial Lecture it in a different way. atmosphere so that, during the winter, the “Client Building” There was a lot of traffic between Yale house is twenty degrees Celsius, which is to October 10, 2013 and Los Angeles back then, lots of charac- jump, in one second, into a tropical climate, Timur Galen: Being the Goldman Sachs guy, I ters going back and forth. We have to under- like going to Spain or Morocco, when it is am going to sketch the business case…. I am stand that it was not just people like Peter cold outside. The idea is to start to design going to start in the mid-1990s. In anticipation Cook and Craig Hodgetts that were moving a climate and then find a program from the of becoming a public company, Goldman back and forth across the country, but function, so architecture is a background—a Sachs went about a very purposeful struc- architecture itself was being mobilized and geographical or atmospherical background— tured program to invest in a corporate infra- uprooted from a relationship to place through and everybody is free to have their own structure it thought necessary to compete the development of publications. In fact, the interpretation of the space. Like when you are in the securities business. … What did we thing that is interesting about Los Angeles is in a natural landscape and a tree protects you bring to the engagement of 200 West Street? that it became the new Italy, the place where from the rain, so you are free to choose the A 75,000-square-foot site, with about 1.8 architects had to go to finish or begin their atmosphere, and this is what I tried to do. million square feet of FAR, a very complicated postgraduate education. planning history, a very rigorous business All of this moving around not only plan, over two billion dollars to invest, a mobilized architects and architecture but management team with a growing sophistica- also significantly transformed what you might tion in its understanding of the business and Timur Galen, Nader Tehrani, Scott Cohen think of as the devices of design. It was no its ability to execute in the marketplace, but, longer pencils and models. . .but automo- most importantly, an abiding conviction that biles, helicopters, and cameras. Those tools design, both physical and operational, was 21 SPRING 2014

the essential ingredient in taking what might not just purely problems of volume, but those Studio Mumbai is set up with a few otherwise have been a corporate commodity of volume inflected by internal conditions architects and a lot of builders; they are and turning it into a strategic asset for the of the building, and the instrumentalities of professional artisans, some of them with firm and its people. such, in terms of building codes. a lineage of ten, fifteen, twenty generations. Nader Tehrani: In being asked to do a (Some of them exaggerate and say fifty project for Goldman Sachs on that particular Toni Griffith generations.) More than fifty percent of Indians site, we were very conscious of the unique- “Detroit Future City” know how to build in some way, and we ness of New York City, a place where things Eero Saarinen Lecture should find a way to tap into that resource. are big, monumental, and colossal. We were October 31, 2013 This idea of ebb and flow is in the locked in on the eleventh floor in what would Eero Saarinen’s father, Eliel, who practiced nature of how things are carried out in the be a corporate interior but could have the urban planning in Europe, wrote the book country, where there is a large exodus to the memory of some fine public rooms, such as City: Its Growth, Its Decay, Its Future. I was villages before the monsoon season. These Grand Central Terminal. At the same time this elated to see a connection to Michigan and people are, primarily, the builders of these was occurring at a moment when we were all Detroit in his prediction of a future: in light constructions. You can pay them as much very conscious of the particular nature of the of the current increase in civic decay, it is money as you like, but they will return, and so site, on the oblique corner directly overlook- apparent that if things are not conducted in a this idea of movement, which is based on a Marcelo Spina ing the tragedies of 9/11. The character and manner that will lead to proper decentraliza- lunar tide, results in a system of an intuitive, urgency of that moment was with us, even tion, the future will surely bring sad conse- sort of tacit know-how. though I do not remember Timur ever having quences. Unless surgery of decentralization In this ten-story building all of the brought it up. is undertaken in time and conducted in an materials are hand-cut recycled—the bricks, Scott Cohen: At first, Henry Cobb organic way, coming generations will witness the steel, the concrete, everything—and asked me to apply for one of several interior constantly growing slum areas. Saarinen they actually make a cut like this on the projects for 200 West, but, given that I am predicted this in 1943. three sides. Then, these guys will stand on naturally attracted to peculiar and tightly Saarinen’s design studios were the slabs, and, at the point where there is a constrained sites, I liked this site between suggesting something called “organic weakness and it is going down, they will all the building and a neighboring hotel. In this decentralization,” in which even within the jump off. It makes an incredible space. And geometrical narrative, I was not particularly city limits, you would be much more prescrip- my interest is to build with this technique, interested in Cobb’s original plan for a flat, tive about how you would save and harness this idea of making cuts and openings—in a sloped, rectangular canopy constrained assets and try to order the city in a much sense, sculpting a building. Louis Kahn said, within the straight part of the passageway. more efficient way. “A brick wants to be an arch.” I am saying, I wanted the canopy to be a separate What we needed was an operational “What if a brick is not allowed to be an geometric entity lodged between Goldman and functional yet aspirational strategy for arch?” That is what it can do. and the hotel. how to transform Detroit into something There is a tension between two kinds different, something that could be more Arnold Aronson of sponsorship: patronage and clientship, productive now for the 700,000 people who “Ming Cho Lee and the Transformation of a distinction brilliantly articulated by Robert remain there. So, Detroit Future City was a American Stage Design” Gutman, wherein the first confers virtue three-year planning process with a compre- November 21, 2013 involving benevolence, such as the produc- hensive team of consultants from the United Ultimately, what allowed Lee to develop a Toni Griffith tion of civic and community space, and States and abroad in the fields of urban unique style was his ability to absorb a wide the latter sees the building as a commodity design, planning, architecture, economics, variety of disparate influences, many from measured by its exchange value. real estate, and finance. outside the American scenic vocabulary, and Our plan looked at five framework synthesize them into a coherent approach. Marcelo Spina elements: the equitable city (economic Of all Lee’s contributions to American Louis I. Kahn Visiting Assistant Professor growth), the image of the city (land use), scenography, perhaps the most important “Current Dichotomies and the Predica- the sustainable city (city systems), the city is sculptural. Measure for Measure pushed ment of the Whole” of distinct neighborhoods, and a strategic Lee in a new direction. Director Michael Kahn October 14, 2013 approach to land assets. One of the things wanted to set it in the meat-packing district We live in a field prone to dualisms, opposi- that was also very important to this work of Manhattan—at the time a gritty neighbor- tions, and strong categorizations. So was recognizing that the transformation of hood, not the chic enclave it is today. The while I think not everything is completely Detroit was not going to happen overnight, result was fascinating. Lee used the same compatible and some things should come to so we would have to build a framework vocabulary—an upper stage at the rear, that violence, there are many important opposi- strategy that imagined different horizons of was reached by stairs on either side—but tions to be debunked. The tectonic approach implementation. the scaffolding and pipes were industrial and involves engaging some of these dualities, And we only have to remember Rome, functional, stripped of any decorative sensi- accepting inconsistencies, and working one of our most famous shrinking cities, bility…The metal structure above, supported through productive incongruities. Our inter- which was nearly double its size, area, and by vertical pipes, provided the vertical thrust est in constructive dichotomy stems from population many hundreds of years ago. necessary to emphasize the volume of the the possibility of challenging fixed notions It is now a thriving city—and we hope that stage. It was a jarring, almost threatening of part-to-whole relationships, producing someday Detroit will be in same space. juxtaposition to the romanticism of the park. I new authenticity as well as new audiences think many people do not realize the central- Bijoy Jain for architecture, that can question the role Bijoy Jain ity of Lee’s responsibility for introducing an and the status of the icon and, more impor- Norman Foster Visiting Professor industrial sensibility to the American theater. tantly, its architectural image. Our projects “Praxis” Nine Songs is based on a poem cycle tend unequivocally toward a unified whole November 7, 2013 by Qu Yuan, from the third century BCE. Lee in which internal dichotomies create formal, After studying in the United States and then created a series of panels that flew up and scalar, material, or grammatical labels; for returning to India, I was looking for some down and moved from side to side. Together, instance, monolithic forms always undergo way to find a space…where more than fifty they formed a painting of a lotus blossom, by moments of continuity, transition, and percent of the landscape is actually built noted Taiwanese painter Lin Yu-san, that got estrangement, either by accepting or by outside the scope of formal architecture, deconstructed as the panel sections moved. being disturbed by other objects or forms. outside of what we do. … I remember the The orchestra pit was turned into a water Figures and voids and the idea of inter- first project I did was a series of formal tank upon which lotus blossoms floated. stitial space are quite important, especially drawings… and not a single drawing was Once plucked from their roots, lotuses will in relation to mass, as is the condition of how used. It was all done through gestures, wilt within two hours, even in water, and the these buildings and certain congruities as a communications, storytelling, and drawings dance was timed to the wilting of the leaves. robustness on the outside but also imply an on a wall because most of the people who At the end of the dance, Lin added an interiority that is maybe different, as well as build in India do not actually know how to homage to Chinese martyrs from ancient the figurality of that difference as it reveals the read drawings. So, you can see here the times to Tiananmen Square: The dancers fell possibilities of tension. density of the formal and the informal, and one by one until the stage was covered with The form of the object is not just the how they overlap. bodies and then began to rise slowly and object itself—or the building—but also the In the last twenty years, there has move off, returning over and over with lighted field around it, including the cultural and been rapid economic growth, and a kind candles until the stage was filled with four historical habits, behaviors, and customs that of juggernaut has taken over. My interest hundred candles in an undulating pattern. Arnold Aronson configure and impinge upon the object. The has been in the idea of a potential overlap, The back scrim then rose to reveal a curved most important thing about this dichotomy is not of whether it is traditional or contempo- ramp covered with another four hundred the single character, so the idea of practice rary culture, but that the two poles are not lit candles that seemed to merge into an on one side—the personality of the architect actually opposing each other; instead, they infinite sky of stars. “The dance doesn’t really trying to think within the world and all of the are meeting and moving away, meeting end,” Lee says. “After the applause, it just things that relate to the building and disci- and moving away. continues. There were people who sat in the pline—and the mutual relationship between If you have been to India, you know audience for ten minutes or more just watch- the things, the idea of actually working, but that everything lies between a yes and a no. ing the candles.” also to have a certain autonomy and be able So if you are asking a question, and there’s to challenge it. a nod—is he saying yes? And he says no. Is —The lecture excerpts were compiled by The issue of mass is at the center he really saying no? And, again, it’s the nod Nicholas Kemper (’15). of what we are interested in and one of the of the head, this gesture that works between things that defies easy categorization. The the yes and the no. What is interesting is not sort of finitude of the building, its shape in the one or the other, but the resonance of those context, and the pressures on its exterior are two points. 22 CONSTRUCTS YALE ARCHITECTURE Advanced Studios Fall 2013

Thom Mayne enthusiastically grabbed a mega-scale for a polycentric city while a black marker and drew over the embracing the advantages of the waterfront student’s work pinned up on the fourth site as a linear city and filtering the urban floor of the Rudolph building during fabric into the former runways. the Marcelo Spina and Georgina Initially, the students worked on Huljich’s studio to make his point. The individual master-plan concepts, and on the scene was emblematic of the lively studio trip to Athens they investigated the reviews at Yale last semester. site and organized a design review with local architects. On their return they developed a piece of their project to an eighth-inch Marcelo Spina and Georgina Huljich scale, including detailed apartment layouts, Spina and Huljich, Louis I. Kahn Visiting finding potential for variety in large-slab Assistant Professors, and Nathan Hume (’06) aggregated common spaces among vast confronted their students with the dilemma of housing estates. The concepts ranged from the contemporary icon in the design of an animal reserve for re-wilding the land a new building for the Academy Museum to housing incorporating a series of court- of Motion Pictures at the Los Angeles yards, or a residential spine organizing the 1 2 County Museum of Art (LACMA) campus. convention center and commercial functions. They based their program on Renzo Piano’s Other students repurposed the runway as a proposed museum addition to the exist- Formula One racetrack that could be used ing May Company Building, on Fairfax and for other large-scale events and integrated Wilshire, which includes a 1,000-seat theater, housing with the tarmac. Students grappled over 10,000 square feet dedicated to cinema with the desire to preserve the site’s scale history, a public piazza, the museum lobby, while creating a new urban form between the a café, a gift store, and a two-story space for sea and the mountains. visitors to experience film-making. During The students presented their projects travel week, the students visited Los Angeles to a jury composed of Ioanna Angelidou (PhD to see the site and absorb the regional archi- ’16), Phillipe Coignet, Cynthia Davidson, tecture and art. Peggy Deamer, Monia De Marchi, Keller Working individually, the students Easterling, Peter Eisenman, Maria Giudici, were asked to address aspects of muteness Chris Marcinkoski (’04), Emmanuel Petit, and monolithicity, including weight, instabil- Marcelo Spina, and Georgeen Theodore. ity, discreteness, objecthood, abstraction, and autonomy. This approach entailed a John Spence, Andy Bow, and certain rawness, ignoring context and ground Patrick Bellew 3 and favoring indifference and indepen- John Spence, the Edward P. Bass Visiting dence. In the place of ornamentation and Fellow; Andy Bow and Patrick Bellew, the articulation, the projects employed a high Eero Saarinen Visiting Professors; and level of texture, coarseness, and grain using Timothy Newton (’07) gave what has come representational methods of orthographic or to be called the “developer” studio, working axonometric drawings. Thus, the students on a site for a winery in Rioja, Spain, with avoided perspectival articulation and wishful a hotel and restaurant integrated into the sculpturalism. Most of the projects treated complex. The winery was to use a biody- the auditoriums as part of the larger internal namic process that would produce 500,000 volumes, but rather indistinctively from the bottles annually and have its processing rest of the program. That made the a priori facilities visible to visitors. Key to the project volumes of the auditoriums completely was the desire for sustainable product non-discrete within a larger mass of slabs. development, and the Spanish climate The resolution of openings, windows, and provided the students numerous opportuni- apertures was another source of polemic ties to explore solar gain, recycled-water because, in order to preserve the weight of systems, and earthbound storage. Addition- mass, students had the challenge of incorpo- ally, the students were asked to make the rating a realistic number of openings without complex a tourist attraction to help boost altering the monolithic nature of the surfaces. the fragile Spanish economy. The students presented their On their studio trip to Spain the concepts in models and black-and-white students visited the site in Rioja, near the drawings—brutal and sophisticated, perva- town of Haro and the Bodegas Dinastía 4 sive in their formalism, and withdrawn in Vivanco, along the Ebro River. They gained sensibility—to a jury comprising of Anya inspiration and research from visiting Bokov (PhD ’16), Winka Dubbeldam, Hernan other wineries in the region and attending 1. Project of Constance 2. Project of Bryan 3. Project of Katie 4. Project of Ann Morrow Diaz Alonso, Mark Gage (’01), Timothy Hyde, the annual harvest festival of San Mateo. Vale, Marcelo Spina and Maddock, Elia Stranix, John Spence, Johnson, Demetri Ferda Kolatan, Keith Krumwiede, Thom Working individually, the students began Georgina Huljich fall Zenghelis fall 2013 Andy Bow, and Porphyrios fall 2013 Mayne, John McMorrough, Ed Mitchell, John the semester with the design of their dream 2013 advanced studio. advanced studio. Patrick Bellew fall 2013 advanced studio. Patkau, David Ruy, Michael Speaks, and hotel guest room, which, in turn, influenced advanced studio. Michael Young. the formal language of the hotel designs they incorporated into their projects. Some Elia Zenghelis students designed projects that followed the States, thereby needing an embassy in a The project challenged the students In the studio of Davenport Visiting Profes- topography, while others built more iconic, neutral territory such as Switzerland. The to manifest an architectural expression sor Elia Zenghelis and Andrew Benner (’03), multistory hotel units. One student integrated studio was asked to locate the embassy that could embody Europe but also be an the students responded to the challenge of the landscape as rammed earthen walls so in Zurich and design a building that would embassy for today. Many students made a creating a mixed-use development for the that the winery and hotel acted as a natural embody a European identity and have building compound, with pedestrian access massive 1,309-acre site of the former Athens continuation of the landscape. Some focused various uses—offices, private meeting areas, along the lakefront or dug into the adjacent airport, in Ellinikon on the Saronic Gulf, ten more on the production process of biody- public event space, cafés, and exhibition hillside. They incorporated security technolo- kilometers from the Acropolis, in order to namic wine, in terms of integrating storage spaces—distributed as an ensemble that gies and concerns with the more publicly reclaim the uninhabited site and add a public within the project design and the site’s support and represent the values of the entity accessible landscapes and promenades. green area to improve the city’s environmen- orientation to lunar and solar events. Others on a waterfront site on Lake Zurich. Some sited the embassy within the public tal quality. Numerous studies and competi- focused more on adding attractions, such as Students began by looking at non- promenade, incorporating a theater, library, tions for the realization of a twenty-first- a cooking school or a sculpture park, in an European examples of transcultural occupa- and café as new destination features. Others century urban park of exceptional scale have effort to engage with the community. tion of space, such as Japanese palaces and made a hill town in a play of section, includ- never come to fruition; the site lies dormant The students presented their projects Indian funerary and political buildings, as ing below-grade services and parking. Some because of the current Greek financial crisis. to a jury of Michelle Addington, Deborah precedents. The essence of the project was provided more open access to the embassy In addressing the idea of a municipal Berke, Anthony Fieldman, Dana Getman to find the venustas (Latin for “beauty”) of the to make it a visually prominent feature of park that would become another node in the (’11), Georgina Huljich, Mark Loeffler, Joeb diverse cultures and grasp the understand- the city. Students presented their projects city connecting to housing, public ameni- Moore, Alan Organschi (’88), John Patkau, ing of spatial organization for the program to a jury of Tom Beeby (’65), Kent Bloomer, ties including civic buildings, a convention Demetri Porphyrios, Mark Simon (’72), Amir in sequences from public to semipublic to Judy DiMaio, Kyle Dugdale (PhD ’15), Bryan center, and a hotel complex on 247 acres of Shahrokhi, and Hugo Urquiza (of Rioja). private spaces. Fuermann, Bijoy Jain, Marieanne Khoury- the site, the students took into account the During travel week, they visited the Vogt, Barbara Littenberg, Alec Purves (’65), restoration of 1930s Modernist villas and the Demetri Porphyrios site in Zurich and used the compressed and Jaque Robertson (’61). 1960 air terminal designed by Eero Saarinen, Demetri Porphyrios, Louis I. Kahn Visiting geography of Switzerland as a way to explore integrating existing or planned infrastructure. Professor, and George Knight (’95) organized the Italian, German, and French cultures as Bijoy Jain Confronted with a bland and sprawling city a studio around the idea that, eventually, the expressed aesthetically in architecture. The Bijoy Jain, the Norman Foster Visiting fabric of five-story residential buildings, European Union will dissolve and be recon- students also visited Ledoux’s Saltworks, in Professor, with Tom Zook (’95) focused the students sought to densify housing at figured as the Confederation of European Arc-et-Senans, France, for inspiration. their studio on the relationship between 23 SPRING 2014

perception as a point of reference presenting Central Square’s banal architecture and its a series of models, drawings, objects, and few exceptional buildings. Perhaps most installations to a jury including Sunil Bald, importantly, it questions the notion of public Nancy Clark, Alan Plattus, Surry Schlabs space (or lack thereof) in Central Square (PhD ’17), Stanley Tigerman (B.A.’60, M.Arch today. As evidenced by the social media ’61), Billie Tsien, and Tod Williams—who marketing technologies coming out of 5 engaged in a discussion of materiality and Cambridge, the city is being reconstructed the visceral. not so much by the classic “citizen” but by a complex targeting of consumer groups in Alan Plattus which developers, architects, and marketing Alan Plattus and Andrei Harwell (’06) led the agencies all play a hand in crafting the city fourteenth China Studio, in its third year of and its public. collaboration with Beijing’s Tsinghua Univer- Students began the project by sity School of Architecture, investigating visiting and analyzing the cities of Boston and urban development on three sites along the Cambridge, focusing on the design of public historic north-south axis of the city. The goal space and urban structure. Working in teams, was both to emphasize models of sustain- the students transitioned ideas about the able mixed-use and neighborhood develop- contemporary city into their own architectural ment and to think critically about the urban and urban proposals. One of the challenges significance of the unit of development. The they faced was deciding whether something 6 first studio focused on a site adjacent to the should be done at all. The results were as Forbidden City, while the second focused on interesting as they were varied. One team a northern section adjacent to the third ring played up the intricate and “messy” urbanism and Olympic Park. of the area in order to eradicate any hierar- This year’s site was the southern chy of public space in future development; extension of the axis, just south of the another proposed rerouting Mass Avenue to reconstructed Yongding Gate, outside of the create a new common that would structure historic Ming Dynasty city. It includes a mix future development; a third team proposed of institutional, commercial, and residential a megastructure project in which the incre- development on 146 hectares and is charac- ment of development was driven by a set of terized by its association with the low-end relationships between existing and new struc- garment trade and new transit systems that tures, light and air, public and private space, are meant to encourage development. and horizontal and vertical circulation. As in previous studios, Yale students The students presented their traveled to Beijing to tour the site and other projects to a jury of Brian Healy (’81), Susie related places, met with local planning Kim, Fred Koetter, Michael Kubo, John officials, and collaborated with their counter- McMorrough, Alex Twining, Kishore Varanasi, 7 parts—graduate students at Tsinghua and Sarah Whiting. University—to develop preliminary site analy- ses and design concepts. Working in pairs, Peter Eisenman the Yale students were asked to consider the Peter Eisenman, Charles Gwathmey Profes- changing meanings of Beijing’s historic axis, sor in Practice, and Amy DeDonato (’12) the relationship of the site to the axis, and the challenged the students to redefine the term potential for sustainable urban development aggregation as a critique of algorithm-driven at the levels of the district, neighborhood, design, which has become synonymous with and project. homogeneous, continuous space. Students Yale student projects included diverse aimed to formulate a theory of aggregation as approaches: a convention and exhibition a means to question part-to-whole relation- center dispersed and extended into a district; ships originally put forward by Alberti in the and a film-and-media center connected to fifteenth century and arguably still prevalent the South Station through a new commercial in digital work today. and business district; a creation of a new Working within Piazza dei Cinquecen- social urban district to support a high influx to, adjacent to Stazione Termini and the of urban migrants and entrepreneurs. Some Baths of Diocletian, in Rome, the students focused on strategies for bridging the axis began the studio with an analysis of the itself; in one case, a method for new develop- historical layers of the site and its relation- 8 ment with a string of linked public space, ship to Pope Sixtus V’s plan for the city. and in another, bridging the axis with lateral Large-scale urban diagrams were translated public spaces connected to new mixed-use into the design of a 20,000-square-meter and density. library complex, transforming the unstruc- 5. Project of Daniel 6. Project of Tyler 7. Project of Karolina 8. Project of Brandon Jacobs, Bijoy Jain fall Collins and Ian Farr, Czeczek and Kate Lisi, Hall and Evan Wiskup, Tsinghua students and faculty partici- tured state of the existing piazza. Students 2013 advanced studio. Alan Plattus fall 2013 Edward Mitchell and Peter Eisenman fall pated in final reviews at Yale, presenting were asked to mediate between the additive, advanced studio. Aniket Shahane fall 2013 advanced studio. their projects alongside those from the Yale modular logic of the ancient bath complex 2013 post-professional students to a jury comprising Patrick Bellew, and the linear logic of the modern train studio. Joseph Clarke (PhD ’14), Dai Songzhuo station to produce a third site condition. (Tongji University), Alexander Felson, Piper Some student pairs structured the space by water and architecture in terms of geogra- of drawing and photography techniques as Gaubatz, David Kooris, Liu Jian, Gary reframing the piazza and designing build- phy and personal perception, asking well as three dimensional materials including McDonough, Dennis Pieprz, Joel Sanders, ings that articulated varying types of edge. each student to reveal, though their own sand, wax, wood, plaster, and metals—to Karen van Lengen, and Zhu Wenyi (Tsinghua Other teams challenged the idea of ground, process, the site and program through a give form to experience. The students University). designing mat systems that aimed to create series of guided explorations. were asked to create a spatial architectural difference through self-similar repetition. The studio traveled to four cities in landscape where ten people could live and Post-Professional Studio Pier Vittorio Aureli, the Davenport India to explore the myriad of spatial condi- work, generated by a common activity or Edward Mitchell and Aniket Shahane Visiting Professor, guided the studio trip to tions generated by water and its spiritual and aspiration connected to water. For the past several years, the Post- Rome. Students walked the Pope Sixtus cultural relationship to built form. They visited Site-derived projects varied from Professional studio, led by Edward Mitchell, V route and visited canonical works from the Banganga Water Tank and Temple, in New England waterfronts where a student Fred Koetter, and Aniket Shahane (’05), has the sixteenth and seventeenth centuries Mumbai; the rural water tanks in Alibagh; questioned the cultural definition of “the been engaged in exploring several urban by architects such as Bramante, Rainaldi, step wells and astronomical observatories, natural” and another created infrastruc- initiatives currently under consideration in Borromini, and Michelangelo. Day trips were in Delhi; and the sacred sites along the tures for seaweed harvesting. One project and around Boston. This year the studio taken to Viterbo, Caprarola, and Palestrina. Ganges River, in Varanasi, The travel ignited proposed a 2,000-foot-long swimming engaged representatives of developer Students presented their work the students imaginations via total immersion facility relative to the existing structures and Twining Properties and CBT Architects to to Lucia Allais, Andy Bow, Mario Carpo, in this unique density of spatial relationships history of the East River in New York. Ocean speculate on the future of the Central Square Harry Cobb, Preston Scott-Cohen, Cynthia between water and the human habitation. front projects engaged programs of social area, in Cambridge. Davidson, Peggy Deamer, Emmanuel Petit, The students chose sites based on a history and music production, while another Development pressures in Central Ingeborg Rocker, Stanley Tigerman, Anthony critical relationship with water, or its absence, became a surf club derived from memory. A Square are growing due to a number of Vidler, Sarah Whiting, Mark Wigley, Elia and their own personal history and fascina- project sited in the Florida Keys measured factors, including the need for lab and Zenghelis, and Guido Zuliani. The review tion. Working individually, each student the passage of time via an abandoned research facilities at MIT, Harvard’s expan- raised questions regarding contemporary was asked to invent a device with which to developers cut into the earth. One student sion plans, and increased demand for new definitions of aggregation and differences carefully observe and measure their own accepted the lack of water in West Texas, housing. Addressing these issues involves between aggregation and prior methods perceptions. With precise documentation, producing a massive earthwork for a natural negotiating between developers and the of heterogeneous space-making, such as in both an iterative and intuitive process, oasis at a seasonally dry creek. local community; between the lower and composition and Postmodern collage. students represented the dialog between the The studio reinforced the ability to higher densities that could be instituted by site and personal perception using a variety create architecture starting from individual a proposed rezoning plan; and between 24 CONSTRUCTS YALE ARCHITECTURE Faculty News

1 2 Michelle Addington, Hines Professor York, with athletic, drama, music, and other of Sustainable Architectural Design, was facilities. It is also working on a new building invited to participate in a Moscow workshop for the Burgundy Farm Country Day School, to develop a strategy for education-industry in Alexandria, Virginia, to house the school’s partnerships in Russia’s high-tech sectors. arts programs and define a new outdoor In the fall, she was invited to the Ecuadorian space at the heart of the campus. Amazon to help the government determine priorities and pedagogy for a new univer- Karla Britton, lecturer, was speaker and sity devoted to sustainable development. session chair at the fall 2013 London confer- Addington was on an advisory commit- ence “Sacred Spaces in Modern Britain,” tee overseeing faculty hiring for the ETH sponsored by the Twentieth Century Society, Zurich and was recently appointed to Yale’s Docomomo UK, and the U.K. Society of advisory board for the Center for Engineer- Architectural Historians. In October 2013 ing Innovation and Design. She was also she spoke at the Baltimore Architecture invited to join the advisory board for a new Foundation in association with the School of school in Costa Rica devoted to sustain- Architecture and Planning at Morgan State ability and social justice. Addington delivered University. She also gave talks at the Yale the keynote address at the ACADIA 2013 Club of New Haven and at the Yale Divinity 5 6 conference, in Waterloo, Ontario, and an School’s Reformed Studies Group lecture opening lecture to the inaugural class of Yale/ series. This fall, Britton reviewed books for NUS students. With cochair Brad Gentry, she Visual Resources’ Encyclopedia, “Camera presented this past October the vision and Constructs” on the topic of architecture and objectives for the new Sustainability Council photography; reviewed Le Corbusier’s sacred for publication by Bloomsbury Press. Deamer Technical University, in Ankara, Turkey. In at the university president’s kickoff for Yale’s architecture as part of Sacred Concrete for presented a paper at the CalArts conference September 2013, Harrison Atelier’s perfor- sustainability plan. Marginalia (published in association with the “The Politics of Parametricism” in November mance installation VEAL was exhibited at the LA Review of Books); and wrote an essay and was a panelist at the fall Municipal Royal Welsh College of Music and Drama, in Sunil Bald, assistant professor adjunct, for Faith & Form based on the exhibitions Arts Society’s Jane Jacobs Forum “Women Cardiff, and has been selected for display at participated on the panel discussion “Small James Turrell, at the Guggenheim, and Le as City Builders.” She has also organized ACSA 102, in Miami, in April 2014. The firm is Firms/Global Reach,” at the New York Corbusier: An Atlas of Modern Landscapes, the Architecture Lobby, a group to advocate currently developing its fourth performance Center for Architecture, which discussed the at MoMA, which also addressed class visits for the value of architecture as both a disci- installation, Species Niches. benefits and challenges of operating inter- to the exhibition by her Yale students. pline and a set of labor practices. nationally as a small practice. In November Dolores Hayden, professor, received a the Rhode Island School of Design opened Luke Bulman, lecturer, presented a selec- Mark Foster Gage (’01), associate profes- national award for teaching and mentoring the show Studio SUMO: Japan Projects, a tion of work from his Yale seminar “Books sor, recently started his new firm Mark Foster younger scholars from the Society for Ameri- survey of his firm’s work in that country over and Architecture” in the exhibition 16,392 Gage + Associates (MFG+A) after ten years can City and Regional Planning History. She the last decade. During the fall, Bald and his Images That Matter to Architecture, at the as a founding partner of Gage / Clemenceau served as a consultant to the new National SUMO partner, Yolande Daniels, lectured 2013 New York Art Book Fair, at MoMA PS1. Architects. His new office is collaborating Museum of African American History and at RISD, City College of New York, and the The show was supported by Elise Jaffe + with British theater consultancy Charcoal Culture, due to open in 2015. Hayden took University of Cincinnati. Newly commis- Jeffrey Brown, with additional assistance Blue on an interdisciplinary performance part in panels on suburbs and photography, sioned projects include a renovation of the provided by the School of Architecture. building for Bard College, adjacent to Frank at Yale’s Whitney Humanities Center, and Wakefield Branch Library, in the Bronx, and Gehry’s Fisher Center. Other projects include on teaching the built environment, in Toronto. new offices for the Queens district attorney, Alexander Felson, assistant professor, an observation tower for High Ground Park, Her writings are forthcoming in several creative both awarded through the New York Depart- published five peer-reviewed articles in 2013, in Knoxville, Tennessee; a house in Staats- journals, including Raritan Quarterly Review. ment of Design and Construction’s Design including the cover feature on design experi- burg, New York; and continued work for the Excellence Program. ments for the November issue of Bioscience. apparel company Diesel. Joyce Hsiang (B.A. ’00, M.Arch ’03), critic He also had a feature in Landscape Architec- in architecture, and Bimal Mendis (BA ’99, Phil Bernstein (B.A .’79, M.Arch ’83), ture Magazine, a correspondence article in Stephen Harby (B.A. ’76, M.Arch ’80), M.Arch ’02), assistant professor adjunct, lecturer, gave presentations at the Bartlett the journal Nature, and articles in Frontiers in lecturer, was featured in an article by Max assistant dean, and director of undergradu- School of Architecture’s “BIM and Ecology, and the Journal of Applied Ecology, Gillies, “When Architecture and Art Converge,” ate studies, were selected for the 2013 Hong Pedagogy” symposium, at the University of in addition to penning a BBC Futures feature. in Fine Art Connoisseur, which focused on Kong-Shenzhen Bi-City Biennale of Urban- Campinas, in Brazil; the Design Technology Felson completed work on the Coastal his architectural watercolors. During the ism/Architecture. Their installation Urban symposium “Intent to Artifact,” at the Califor- Resilience Plan for Guilford, Connecticut, summer, he served as the European adviser Sphere, which modeled the present and nia Institute of the Arts; and the Los Angeles has received funding through YCEI for to the Western European Architectural future population density of the world as a symposium “Politics of Parametricism: coastal adaptation, and has been written up Foundation, providing guidance to the recipi- large-scale immersive topography, was the Parameter Value.” Bernstein also lectured on in both Urban Omnibus and the Connecticut ent of this year’s Gabriel Prize, in France. centerpiece of the exhibition, which runs “The Human Side of BIM” at BIMForum, in Mirror. Felson organized symposia for the Harby conceived and led scholarly architec- through February 28, 2014, at Hong Kong’s Denver; “Heuristical and Procedural Technol- American Society of Landscape Architecture, tural study tours to Burma, Vietnam, Laos, Kwung Tong Ferry Terminal. The exhibition ogy,” at the Lean Construction Institute the Ecological Society of America, and the Cambodia, and Rome, and, during the past team comprised Mirka Brooks (’12), Henry Design Forum, in Colorado Springs; and both Society of Restoration Ecology, and he spoke year, he lectured on cruises in the Middle Ng (’13), Tal Liu (’13), and Nicky Chang “Where to Go Once Your Firm Has Arrived” at MIT’s Department of Urban Studies and East, the Baltics, and the South China Sea. (’12). Hsiang and Mendis were also invited and “Leading by Design,” both at the AIA Planning. He is working with the Ecologi- to participate as special guests of the U.S. National Convention in Denver. Bernstein cal Society of America, the American River Steven Harris, professor adjunct, and the Embassy in Copenhagen at the “Urban gave lectures at the symposia “The Entrepre- Parkway Foundation, and the Sacramento work of his firm, Steven Harris Architects, Futures Forum,” a high-level roundtable on neurial Design Firm: Exploring New Value in County Parks Department to develop an have been featured in Architectural Digest, new options for sustainable urban living, in Architectural Practice,” with Brian Kenet, at integrated ecological research-and-planning Financial Times, WWD, Elle Décor, Luxe, October 2013. They both chaired sessions at the EFCG Symposium, in New York City; and project for 2014. Interior Design, and New York magazine the forum, organized by the Danish Ministry “Parameter Values: Computational Process over the past few months. The firm recently of the Environment in collaboration with and Business Outcomes,” at Autodesk Martin Finio, critic in architecture, togeth- completed the renovation of several floors Futureperfect Association and the Bjarke University’s Design Computation Sympo- er with his partner, Taryn Christoff, has been of Barneys New York, on Madison Avenue Ingels Group. sium, in Las Vegas. He also delivered talks at named to Architectural Digest’s biannual and in Beverly Hills, and is in the process the Singapore Building Construction Author- AD 100 List, which recognizes the “trail of redesigning Fred’s Restaurant, in New Jennifer W. Leung, critic, presented the ity’s “International BIM Standards” confer- blazers and standard-bearers whose work is York City. It is also restoring the Edward paper “Subtropical Capital,” which continues ence and at Target Corporation’s “Target imaginative, intelligent, and inspiring.” Their Durell Stone Conger Goodyear House, on current research on architecture, urbanism, Design Month” talk on digital technology exhibition design for Leger: Modern Art and Long Island, and renovating a Greenwich and unstable environments, at the 2013 futures. Bernstein has also written chapters the Metropolis is on view at the Philadelphia Village townhouse redesigned by Paul ACSA fall conference “Design Interventions for the fifteenth edition of the AIA Handbook Museum of Art through March 2014. Their Rudolph in the 1980s. Two multi-unit condo- for Changing Climates.” She published the of Professional Practice, including “Project renovation of the Brooklyn Historical Society minium buildings in New York City are under essays “Notes Toward a Botanical Urban- Delivery Methods,” “Emerging Issues in opened in the fall. Currently on the boards is construction, on West 24th Street, near the ism,” in the Dutch journal MONU, and Project Delivery,” and “Rethinking Architec- a new preschool building for Williamsburg, High Line, and on Harrison Street, in TriBeCa. “Gasket Architecture,” in the inaugural issue tural Education.” Brooklyn; a house on Shelter Island, New Work is also proceeding on projects in Pune, of Third Rail. The architectural work of LCD York; and a master plan for Bennington India, and Taipei, Taiwan. Studio, Leung’s design partnership, was Turner Brooks (B.A. ’65, M.Arch ’70), College. Their work was recently published featured in Metropolis, in May 2013, and professor adjunct, and his firm, Turner in the book Haus & Auto, by Andreas Vetter, Ariane Lourie Harrison, critic, and Harri- was exhibited in “Design by New York: 2013 Brooks Architects, recently completed a and in the September 2013 issue of Interior son Atelier cofounder Seth Harrison recently Subway Show,” organized by the Center for small house located in the Catskills near the Design magazine. completed the essay “Why Cosmopolitics Is Architecture (October 2013). Her studio’s Delaware River for two geologists. The basic Performed” for a book edited by Alejandro design for an AIDS memorial park in the L-shaped plan provides privacy from the road Professor Peggy Deamer’s book Archi- Zaera-Polo and Albena Yaneva on Princeton public space outside of St. Vincent’s Hospital and opens the house up to the valley below, tecture and Capitalism: 1845 to the Present University’s symposium “What Is Cosmopo- was also included in an exhibition at the while a tower filled with two stories of bunks (Routledge, 2013) led to a panel discussion litical Design?” Harrison Atelier’s competition Center for Architecture (March 2013). LCD provides a tiny “getaway” room, with a desk at the Storefront for Art and Architecture project for a water-condensation plantation Studio completed residential commissions and spectacular views. The firm also started in November. Her book The Architect as and Water Mogul’s mansion, which won the in the West Village and the Upper West Side, construction on a 4,000-square-foot commu- Worker: Immaterial Labor, the Creative Class, 2013 competition by ECAL, was selected for in New York City. Working with the strategy nity building for the Cold Spring School, New and the Politics of Design has been accepted exhibition at UV2013, at the Middle Eastern and innovation company Prophet, the firm 25 SPRING 2014

1. Harrison Atelier, VEAL 3. Joel Sanders 5. Sunil Bald, Studio 7. Aniket Shahane, Installation, 2013 Architects, rendering SUMO: Japan Brooklyn Row House, of Kunshan Phoenix Projects, exhibition, 2013. 2. Knight Architects, Cultural Mall, 2013. Rhode Island School Prints and Drawings of Design, 2013. 8. Alvin Eisenman, page and Rare Books 4. Luke Bulman, Books layouts for Eero and Manuscripts and Architecture, 6. Turner Brooks Saarnen On His Work, Departments of Louis at the New York Art Architects, House for Yale University Press, Kahn’s Yale Center Book Fair, 2013. Geologists, 2013. 1982. Photography by for British Art, 2013. John T. Hill.

3 4 Watermill, New York, that looks to maximize Alvin Eisenman, views and square-footage in the smallest volumetric footprint. A Brooklyn row house Architecture & currently under construction investigates Graphic Design the two-family housing type and its ability to absorb the shifting requirements of the owner The physical environment in which Alvin and tenant units over time. The firm’s TriBeCa Eisenman (1921–2013) formed the first Loft was one of ten New York City projects university–based graphic-design program, in featured at the fall AIANY Interiors event. 1950, was remarkable in many ways, not the least of which was the support that Yale’s Joel Sanders, professor adjunct, and his sixteenth president, A. Whitney Griswold firm, JSA, together with critic in architec- gave in terms of innovative architecture. ture Brennan Buck’s firm, Freeland Buck, When I arrived in fall 1962, the graphic-design received first prize in an invited interna- program had been in Louis Kahn’s Yale Art tional competition for the design of Kunshan Gallery’s basement since 1953. In September Phoenix Cultural Mall, an 80,000-square- 1963, Paul Rudolph’s Art & Architecture Build- meter corporate headquarters and cultural ing was completed. In each case, graphic 7 8 complex, in Kunshan, China. JSA designed designers and architects were working within the exhibit A Queer History of Fashion: From the same building. It was within this presence the Closet to the Catwalk, at the Museum of extraordinary architecture and the proxim- at the Fashion Institute of Technology (MFIT); ity of architectural and graphic design articles about the show were published in students that Alvin Eisenman created the completed design studies for Cathay Pacific Philosophy at the University of Belgrade. Vogue, W Magazine, OUT, New York Times, enduring, and possibly everlasting, connec- and AbbVie. Leung is currently working Petit published “Architecture in the Age of and 429. Sanders gave a lecture at a sympo- tion represented by graphic-design gradu- with the Storefront for Art and Architecture Disentangled Authorship: Textile Impulses sium concerning topics in the exhibition. ate students and the architecture students to organize a week-long series of pop-up since the Sixties,” in the exhibition catalog In September his project “The Commons producing together, the journal Perspecta. events, in Taipei. Art & Textiles: Fabric as Material and Concept Senior Retirement Community” was From the start, as both a teacher and in Modern Art from Klimt to the Present, included in The International Exhibition of director of studies in graphic-design, Edward Mitchell, associate professor published by the Kunstmuseum Wolfsburg. 100 Architects of the Year, at Korean Cultural Eisenman’s work was centered within his adjunct, edited the book A Train of Cities, He also published “Involution, Ambiance, Services, in Shanghai. JSA’s 25 Columbus extensive knowledge of typesetting and on the history of the south-coast cities of and Architecture,” in Log 29, and “Five Circle project was published in the winter printing equipment. He showed prescience, Massachusetts, with work and research from Theses for the City of Spheres,” in CLOG 2014 issue of New York Design Hunting for example, in his early acquisition of the the Post-Professional Design Studios, this Sci-Fi, as well as two reviews in Architectural and received a 2013 International Property first “vanilla” Macs and in his choice of rising, past spring as a Yale Studio book (see page Review, “The Rotunda of Wonder: James Award as well as a Society of American as well as established, stars in the field of 27). He also edited the two-book set New Turrell at the Guggenheim” (September) and Architects Design Award. JSA’s Bedford graphic design to commit to teaching at Yale Ecologies/New Constellations, document- “The Gate of Creation: Tadao Ando’s Design Residence was featured in Residential Archi- each week, among them Paul Rand, Bradbury ing the ACSA national conference, which School in Mexico” (November). tect, as House of the Month, and in Archi- Thompson, Herbert Matter, Walker Evans, he cochaired last spring. His work and an tectural Record and won a 2013 Chicago Alexey Brodovitch, and the intrepid book essay are featured in Formerly Urban: Rust Alexander Purves (’61), professor emeri- Athenaeum American Architecture Award. binder Polly Lada Macasrski. Each in their Belt Futures (Syracuse University, 2013). tus, had a solo show of watercolors at the Sanders lectured at the Clemson Center for own way contributed to shaping the study of Mitchell lectured at the California College of Blue Mountain Gallery, in New York City, in Architecture in October 2013. design, printing, and publishing during the the Arts, in San Francisco. Last fall’s Post- October 2013. The exhibition focused on his graphic-design program’s first forty years. Professional Design Studio on development observations of nature and the ephemeral Daniel Sherer (B.A. ’85), lecturer, Alvin Eisenman’s pedagogy was in Cambridge’s Central Square will be exhib- quality of light. published the articles “Error or Invention? marked by a striking characteristic: His most ited, in Boston, in the spring. Critical Receptions of Michelangelo’s Archi- fascinating information was conveyed in Nina Rappaport, publications director, tecture from Pirro Ligorio to Teofilo Gallac- passing—in an exceptionally understated Eeva-Liisa Pelkonen (MED ’94), associate has been selected for the committee of cini,” in Perspecta 46 (2013); “Heidi on the and casual way as he looked up and stared professor, organized the Yale symposium Cuaderno de Notasa, a journal of the School Loos: Ornament and Crime in Mike Kelley into space while speaking. Most often the “Exhibiting Architecture: A Paradox?” togeth- of Architecture at the Polytechnic University and Paul McCarthy’s Heidi,” in the book subject was typography, paper, printing er with David Tasman (’13) and Berlin-based of Madrid. She lectured on industrial urban- Adolf Loos: Our Contemporary; “Entropic presses, or publishing, all of which still curator Carson Chan (see page 6). Pelkonen ism at the Northeastern School of Architec- Engines and Retooled Appliances: Michel de comprise the heart of graphic-design study is an adviser for an Alvar Aalto retrospec- ture, in Boston; the Deutsches Architektur Broin and the Technological Unconscious, at Yale. As the head of the department, tive at the Vitra Museum, in Weil am Rhein, Museum, in Frankfurt; the Lausanne School 1993–2013,” in the catalog for the show at Eisenman seemed to be in the background, Germany, to open in September 2014. In fall of Architecture’s PhD program; and the urban the Musée d’Art Contemporain de Montreal; while other faculty members were far from 2013, she published the essays “What about design program of ETH Zurich. She also gave and “Edgar Allan Poe’s Philosophy of Furni- unobtrusive. Possibly the most amazing SPACE,” in (Non-)Essential Knowledge for a talk on photographer Ezra Stoller at the ture (1840),” in PIN-UP 15. Sherer was one aspect of Eisenman’s presence was the (New) Architecture: 306090; “Josef Albers: University of Hartford. In October, Rappaport of five recipients of the Young Kiesler Award, graciousness and apparent ease with which The Great Art and Architecture Swindle,” in presented at the Yale conference “Exhibi- given by the Friedrich Kiesler Foundation he welcomed me when I was appointed AAFiles; and “Back to Nature?” in the Swiss tion Architecture” and coordinated the panel and awarded by the city of Vienna, for his director of the graphic-design program that magazine Archithese. discussion “Greening the Glass Box,” for contribution to the fourth-year design studio he had founded and nurtured, filling it with Docomomo New York/Tri-State.” A related at Cooper Union. the faculty he admired. The students in the Ben Pell, critic in architecture, with his essay will appear this spring in the organiza- program from 1956 to 1990 may well repre- office, PellOverton, received an AIA Design tion’s new journal, MOD. Rappaport was Robert A. M. Stern (’65), dean, with his sent his life’s work, with each of us in our own Award of Merit from the AIANYS chapter for also quoted in New York magazine, about professional practice, Robert A. M. Stern way acknowledging the role his Yale program the Blue School, in New York City. The firm manufacturing in NYC on January 6, 2014. Associates, saw the groundbreaking in played in our professional lives. recently completed a residential project on She is on the advisory committee for the fall 2013 of a number of projects, includ- For four decades, Eisenman’s life’s the Upper East Side of Manhattan and is upcoming exhibition Making It Here, opening ing the new Immanuel Chapel, at Virginia work was the context he produced for his currently designing the new, 25,000-square- at the Brooklyn Navy Yard in May. Theological Seminary, in Alexandria; the students. He brought to Yale the finest foot space for the Kennedy Child Study Gatton College of Business, at the Univer- teacher-practitioners in the graphic arts and Center, in Harlem. PellOverton was recently Elihu Rubin (B.A. ’00), assistant professor, sity of Kentucky, in Lexington; a hotel and concurrently developed design, printing, commissioned by Blue School to study a was awarded the Kenneth T. Jackson Prize residential tower at 30 Park Place, in Lower and publishing opportunities for his students 7,000-square-foot expansion project. Pell’s from the Urban History Association, for best Manhattan; and the Barkli Residence, a throughout Yale’s colleges and organiza- essay “Pump It Up” was included in a recent book on an American topic, as well as the development of two apartment towers in tions. Undoubtedly the most sustaining and publication on the state of architectural Lewis Mumford Award from the Society of Moscow, where Dean Stern participated in mutually rewarding working relationships education, Fresh Punches: Experimental American City & Regional Planning History, a public panel discussion with architectural have been those between the students in Architectures, organized by the Web site for best book, for Insuring the City: The historian Vladimir Paperny and Moscow’s the schools of art and architecture, in which Suckerpunchdaily. Prudential Center and the Postwar Urban chief architect, Sergei Kuznetsov. Stern the interdisciplinary pedagogy of publish- Landscape. He has given lectures at the presented the lecture “Yale Reconstructs,” ing continues. Students in architecture and Emmanuel Petit, associate professor, had schools of architecture at the University of at the Bedford Historical Society, in Bedford, graphic design choose to work together the book Irony, or the Self-Critical Opacity Texas, Austin, and the University of Califor- New York, and was honored by Common earlier in the conceptualization, editing, and of Architecture (Yale University Press, 2013) nia, Berkeley. Rubin’s essay “Hedging Your Ground, the New York City-based nonprofit design process. In addition to Perspecta, nominated for the Gustave O. Arlt Award in Bets: Actuarial Science, Architecture, and supportive-housing provider, at its annual they also work together on Retrospecta. the Humanities by the Princeton Graduate Urban Development” was published in gala. Last autumn also saw the publication One of the most vivid markers of the value School. In summer and fall 2013, he gave Perspecta 46: Error. In fall 2013, he curated of Paradise Planned: The Garden Suburb of our experience here at Yale is the unbro- the lectures “Spheres and Labyrinths,” at a selection of photographs and prints at the and the Modern City, written by Stern and ken continuity of graphic-design graduate Sci-Arc, in Los Angeles, and “Double Play Yale University Art Gallery in conjunction co-authors David Fishman and Jacob Tilove students and graduates working with their with Modernism: Philip Johnson’s Pennzoil with his seminar “Ghost Town: City Building, (see page 19). In the spring, Stern will present colleagues in architecture on publications Place,” at the ETH Zurich. Petit participated Abandonment, and Memory.” lectures based on the book for the Institute of around the world. in the conference “In Pursuit of Architec- Classical Architecture and Art, the New-York ture,” at MoMA, in New York City. He also Aniket Shahane (’05), critic in archi- Historical Society, and the Congress for the —Sheila Levrant de Bretteville participated in the symposium “Issues,” tecture, with his Brooklyn-based practice, New Urbanism. DeBretteville is the Caroline M. Street organized by the Faculty of Architecture Office of Architecture, begins construc- Professor and director of the graphic-design and the Center for Ethics, Law, and Applied tion this summer on a beach house in program at Yale. 26 CONSTRUCTS YALE ARCHITECTURE Alumni News

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Alumni News reports on recent projects by architecture critic Inga Saffron. The building graduates of the school. If you are an opened with an official dedication ceremony alumnus, please send your current news to: in October. Robert L. Bostwick (’85), president Constructs, Yale School of Architecture and director of design at Bostwick Design 180 York Street, New Haven, CT 06511 Partnership, has been awarded by the Ohio By email: [email protected] Chapter of the American Institute of Archi- tects, the Gold Medal Firm Award for 2013 the highest honor it can bestow on an archi- tectural firm. 1960s Virginia Chapman (’85) will serve as Allan Greenberg (’65) has completed a new the next director of sustainability at Yale. monograph of his firm’s work, Allan Green- In her current role as director of facilities berg: Classical Architect. He was featured for sustainable initiatives, she has provided 5 6 in The New York Times in the article “Closet leadership on a number of key strategies, Modernist” (December 18, 2013), and his firm including sustainable building design and was selected for the “AD 100.” construction, the development of the Ghiora Aharoni (’01), founder of competition at the Minneapolis Convention “Sustainability Supplement to the Framework Ghiora Aharoni Design Studio, organized the Center. The team received $50,000 to design, 1970s for Campus Planning” and the “Sustainable exhibition Missives last fall at the Dr. Bhau create, and install the project in the conven- Marc Appleton (’72) and his firm, Appleton & Stormwater Management Plan,” as well Daji Lad Museum, in Mumbai, India. The tion center’s plaza throughout the summer. Associates Architects, have been selected as more-sustainable land-use practices. show featured work inspired by a collection Susan Surface (’13) was featured as for the “AD100.” The firm has also been Chapman has been at Yale since 1995. of found love letters that belonged to his part of a group exhibition of photography at chosen to transform the aging San Vincente Raymund Ryan (’85) published mother, including drawings, photographs, the gallery Capricious 88, on New York City’s Inn, in West Hollywood, California, into a “Modifying Earth and Sky: The Architecture collage, and embroidery that evoked a visual Lower East Side. The show will be on display luxury resort. of Soo Chan” in the monograph SCDA Archi- vernacular both personal and communal. until February 2, 2014. Buzz Yudell (B.A. ’69, M.Arch ’73) tects II, documenting the work of Soo Chan Alec Hathaway (’01) was recently and his partner, Tina Beebe, were featured (’87) and his essay on Ada Karmi-Melamede’s named associate curator of architecture in The New York Times, in January, with a work appears in the book Marking Ground. and design at the Eli and Edythe Broad Art Class of 2013 graduate placements story on their near-net-zero home in Santa Ryan also received an honorary member- Museum at Michigan State University, in East M.Arch I: Daisy Nippert Ames is at Matthew Monica. Yudell’s firm, Moore Ruble Yudell, ship in the Royal Institute of the Architects of Lansing. In addition to opening an exhibition Baird Architects; Teoman Necdet Ayas, Peter received an honorable mention in Architect Ireland (RIAI) this past November. on Lebbeus Woods, organized by the San Logan, and Daria Zolotareva are at Zaha Magazine’s “2013 Annual Design Review” Marc Turkel (’86, M.Arch ’92), Morgan Francisco Museum of Modern Art last fall, Hadid Architects; Alexander James Chabla is for its 2802 Pico Housing project. The firm’s Hare (’92), and Shawn Watts (’97), and their Hathaway is preparing the show 2030 East at Joeb Moore + Partners Architects; Owen Fire Services Training School, in Hong Kong, firm, Leroy Street Studio, were selected for Lansing Collegeville Re-envisioned, to open Detlor is at Enclos; Antonia Molyneux Devine is currently under construction, and both the Architectural Digest’s “AD100.” The firm’s in fall 2014. is at KPF, in New York City; Aaron Dresbin St. Edward’s University John Brooks Williams project for the Charlie Bird Restaurant was Roy Kozlovsky (MED ’01) has and Ryan Salvatore are at Robert A. M. Stern Natural Sciences Center and the UMKC featured in the magazine’s “Daily AD” blog published the book The Architectures of Associates; Brittany Browne Hayes is at Henry W. Bloch Executive Hall for Entrepre- last summer. Childhood: Children, Modern Architecture, XTEN Architecture; Christine Lara Hoff and neurship and Innovation opened this past fall. Richard W. Hayes (‘86) was named and Reconstruction in Postwar England Benjamin Samuel Sachs are at SHoP Archi- Sara Caples (’74) and Everado Jeffer- Visiting Fellow of Clare Hall, University of (Ashgate Publishing, 2013), based on his PhD tects; Amy Elizabeth Kessler and Nicholas son (’73) and their firm, Caples Jefferson Cambridge. While in the United Kingdom, dissertation at Princeton University’s School John Balderrama Morley are working with Architects, had their Weeksville Heritage he gave lectures at Oxford, the University of of Architecture. Thomas Juul-Hansen; Isaiah Bernard Miller Center published on the cover of Architects Reading, and Strawberry Hill, in Twickenham. Can Tiryaki (’01) and Juliana Chittick’s is at OMA NY; Noah Ash Morganstern is magazine in October. The project also Hayes published a chapter on E. W. Godwin (’01) firm, Tiryaki Design, was the focus of working with Hart Howerton; William Forbes received its first post-construction prize, an in the book Aesthetic Lives (Rivendale an article in the Quincey, Massachusetts Mudge is at Gund Partnership; Altair Lyra Honor Award for Design Excellence, from the Press, 2013). He also received a fellowship Patriot Ledger. Their design and renovation Peterson is working with Beyer Blinder National Association of Minority Architects. to Yaddo, the artists’ colony in Saratoga of a 1960s Cape-style cottage on the shore Belle Architects and Planners as an urban Toni Harp (MED ’78) was elected, Springs, New York, where he is in residence in Cohasset, Massachusetts, was featured in and architectural designer; Jordan Michael in November, as New Haven’s first female this spring. Coastal Living magazine this past November. Pierce is at Skidmore, Owings, & Merrill, mayor in the city’s 375-year history. Gil P. Schafer III (’88) with his firm, H. Koon Wee (’03), founding principle in New York City; Otilia Pupezeanu is at Gil P. Schafer Architect, was selected for of the Shanghai– and Hong Kong–based, Bjarke Ingels Group, in New York City; Daria 1980s the “AD100.” In addition, Schafer won two SKEW Collaborative, was awarded at the Anne Solomon is at Davies Tang & Toews; Alexander Gorlin (’80) released a new book, Stanford White awards from the Institute for 2013 Emirates Glass LEAF Awards the Best Katharine Jane Morley Storr is at Apicella Kabbalah in Art and Architecture (Thames Classical Architecture & Art for his excellence Sustainable Development prize for the firm’s Bunton Architects; Susan Hideko Surface is and Hudson, 2013), which was reviewed in classical and traditional design for 2013. Chinese Academy of Sciences IOT Center. a research assistant studying urban planning in Architizer, The New York Times, and In its tenth year, the awards honor architects and community land use at GSAPP’s C-Lab; Architectural Digest. Gorlin Architects was 1990s designing buildings and solutions that are Raymond James Tripodi is at Do Union Archi- also selected as part of Architectural Digest Drew Lang (’97), with his New York-based setting the benchmark for the international tecture, in Beijing. magazine’s “AD100.” The firm was chosen firm Lang Architecture completed the architectural community. Another of SKEW’s by Somerset Development as architects for design for Hudson Woods, twenty-six eco- projects, the Wulumuqi Road Apartment, was M.Arch II: Ashley Meredith Bigham is a the redevelopment of the former Bell Labora- homes on 131 acres, in the Catskills near short-listed for three other awards. Fulbright student scholar, in Lviv, Ukraine; tories complex, in Holmdel, New Jersey, Hudson, New York. The project was featured Anthony Goldsby (’04), had the essay Robert Wendel Bundy is working as an originally designed by Eero Saarinen and in the Wall Street Journal as well as in “Catholic Charities and the Redevelopment architect and project manager at Bade Kevin Roche. The New York Times, Home section, on of Public Housing” published in Sacred Stageberg Cox; Nicholas Carr Hunt is at Tod Thomas A Klingerman (’82) and his January 16, 2014. Architecture (no. 24). In it, he explores the Williams and Billie Tsien Architects; John firm, Ike Klingerman Barkley Architects, were Alisa Dworsky (’92) exhibited a new relationship between Catholic charities and Lacy is at Patkau Architects; Lauren Page featured in Revista Living, for a beach house installation and drawings in the group exhibi- the history of public housing on Chicago’s is at Works Partnership Architecture; Jeffrey in Cabo San Lucas, and in Architectural tion Flat/Not Flat, at Artspace, in New Haven, South Side, specifically the development and Michael Pollack is at Knight Architecture; Digest, for a swimming pool designed last last fall. Dworsky builds installations with recent redevelopment of Dearborn Homes. Paul Cochrane Soper is at GBD Architects; year. The firm was also selected for Architec- rope, ribbon, paper, and wire; for this exhibi- Goldsby is currently a planner with Tetlow Lang Wang is at Olson Kundig Architects; tural Digest’s “AD100.” tion, she constructed a site-specific piece King, in Hampshire, United Kingdom. Dinah Zhang is at BVN Donovan Hill, in Michael Marshall (’84), together with with an open-weave technique. Jason Van Nest (’05) was elected, Sydney, Australia. his partner, Paula Moya, and their Granger Moorhead (B.A.’91, M.Arch this past summer, to the McDowell Colony’s Washington-based firm, Marshall Moya, ’95) and his brother Robert Moorhead, of board of directors, where he will represent was featured in Architect Magazine’s annual Moorhead & Moorhead, saw their project the McDowell Colony Fellows Executive 2013 AIA Connecticut design awards design review and as part of a feature in the “WaterWorks!” constructed in collaboration Committee, of which he is the president. to Yale affiliates magazine’s “AIA Voices.” The article discuss- with the nonprofit PlayHarvest, in the school- Fred Scharmen (’06) recently Hotchkiss Biomass Heating Facility, Lake- es the firm’s organic growth as a business yard of Brooklyn New School. The modular, accepted a tenure-track assistant-professor ville, Centerbrook Architects with Jeff Riley with a diverse staff of fifteen from six different water-based element is designed to benefit position at Morgan State University’s School (’72), Industrial Architecture category. countries. Diversity is also apparent in the students as a learning tool through play. of Architecture and Planning in the graduate Lancaster History Museum, Lancaster, firm’s varied focus on architecture, product, Additionally their “INSIDE-OUTSIDE: Dekton program. Previously, he taught part-time Pennsylvania, Centerbrook Architects with and graphic design. Marshall Moya recently Pavilion,” commissioned by Cosentino S.A., at Morgan State, the Catholic University, the Mark Simon (’72) Torre Iberdrola, Bilbao, Spain, completed a renovation of the historic was on display at the Center for Architecture, Maryland Institute College of Art, and the Pelli Clarke Pelli Architects, merit award. Howard Theater, in Washington, D.C., as well in New York City last fall. University of Maryland College Park. Hartford Library, Dwight Branch, as two schools. Hartford, Tai Soo Kim Partners, merit award. Marion Weiss (‘84) and her firm, 2000s 2010s Sullivan Office Building, New York, Weiss/Manfredi, had the Krishna P. Singh Ben Bischoff (’00), of the firm MADE, was Artem Melikyan (’11), along with members honorable mention, Hemlock Hill Residence, Center for Nanotechnology, at the University honored in October by New York’s Decora- of INVIVIA + urbainDRC, had the proposal New Canaan, honor award; Stonington of Pennsylvania, published on the cover tion & Design Building as one of its 2013 “MIMMI: The Minneapolis Interactive Macro Residence, merit award all Joeb Moore & of Architectural Record (November 2013) “Stars on the Rise” in the field of architecture Mood Installation” chosen as winner of the Partners, Joeb Moore, critic in architecture. and reviewed in the Philadelphia Inquirer by and design. “Art in the Plaza: Creative City Challenge” 27 SPRING 2014

1. Alisa Dworsky, Drawn a collaboration of 4. SKEW Collaborative, 7. Susan Surface, Out, 10’ × 13’ × 7’, INVIVIA and Urbain Nine Kings Headquar- Untitled from First ribbon, lead, carabin- DRC, 2013. ters, Shanghai. 2013 Frontier Series ers, steel hardware, 20” × 30” Photographs. 2013. 3. Moorhead & 5. Marshall and Moya, the 2013 Moorhead, WATER- Howard Theater. 2013 2. The Minneapolis Inter- WORKS! KIT-OF- 8. New Perspectives: active Macro Mood PARTS, desigNYC/ 6. Caples Jefferson Marineterrein, Yale, Installation, or MIMMI, PlayHarvest, Brooklyn, Architects, Weeksville and the Oosterdok, at at the Minneapolis New York. 2013. Heritage Center. 2013 ARCAM, 2014. Convention Center,

3 4 Lord Norman Foster’s reimagines the typical learning environment by offering unique classrooms and meeting First Yale Building spaces according to teaching mode, such as a theater in the round, case-study discus- To celebrate the opening of the new Edward sion spaces, group work facilities, breakout P. Evans Hall on January 9, the Yale School rooms, and lounges that encourage student of Management (SOM) invited alumni, and faculty interaction between classes. friends, and other prominent leaders to a The new classrooms are housed in eight blue three-day conference, “Business + Society: drums standing five stories tall and wrapped Leadership in an Increasingly Complex in a glass façade that echoes Foster’s World,” to explore the school’s new facilities. early studies of steel-frame and glass build- Designed by notable alumnus and Pritzker ings during his time at Yale. Architecture Prize Laureate Lord Norman Reflecting on the influence of his studies Foster (’62), Evans Hall commemorates the at Yale on the design for the new hall, Lord late Edward P. (Ned) Evans (YC ’64),whose Foster has remarked, “Learning is not only generous gift has transformed the typical about the classroom—it is about the social 7 8 learning environment at the Yale SOM. The spaces, grounds, cafés, and relationships hall’s steel-and-glass design incorporates a that are formed.” Evans Hall incorporates a large courtyard reminiscent of the residential variety of such spaces to encourage interac- Unbuilt project: Studio Work Displayed colleges of Yale. Remarking on this lineage tion between students and faculty; a café Office Building of the Future, Seattle, at the hall’s opening ceremony, Dean Robert and gym, for example, expand the learning WA, Pickard Chilton, Jon Pickard (’79), in Amsterdam A. M. Stern (’65) noted in his speech that “the environment to promote a sense of commu- honor award. pattern was definitively confirmed by archi- nity. The building was designed in pursuit of Ben Ohau Lodge, New Zealand, The Yale Studio work of spring 2013 Edward tect James Gamble Rogers in the twentieth LEED gold certification and incorporates a Lindsay Suter Architects, merit award. P. Bass Distinguished Visiting Professor Isaac century, not only in the residential colleges he series of environmentally innovative features, Kalisvaart, with Alexander Garvin (B.A.’62, designed, but also with his Sterling Memorial including a paper white environmental roof, B.Arch ’67) and Kevin Gray, focusing on Library, and even more so in his building for a 25,000-gallon rainwater collection tank, the decommissioned Naval Installation in the law school. Like these buildings, Evans chilled beams, a radiant floor system, and a Amsterdam, was the basis of the exhibition Hall wraps around a courtyard but replaces solar-responsive envelope reducing energy New Perspectives: Marineterrein, Yale, and open-air arcades with generous glassed-in consumption alongside its displacement the Oosterdok, at ARCAM (Architecture corridors and lounges.” ventilation and solar shading. Center Amsterdam), from November 13, The 242,000-square-foot Evans Hall 2013, through January 18, 2014. wraps around the exterior courtyard and —Tyler Collins (’14)

Yale School of Architecture Books

The fifth title in the Louis I. Kahn Visiting assistant professor (adjunct) Edward Mitchell Mark Foster Gage, and critic Brennan Buck. Assistant Professorship book series, Renew- and professor (adjunct) Fred Koetter was Student David Bench and engineer John ing Architectural Typologies: House, Mosque, published last summer. The book analyzes Lacy speculate on the visual effects of the Library, was recently published. The book and recommends ways to revitalize the pavilion and digital production in general. features the three advanced studios led Massachusetts south-coast communities Assa Abloy supported the project and its by Makram El Kadi and Ziad Jamaleddine along the commuter-rail routes by networking publication. (L.E.FT Architects); Hernan Diaz Alonso; and their physical and economic patterns. With Published this winter is a third book British firm AOC (Tom Coward, Daisy Froud, the demise of lucrative industries, the power in the Studio Series, Knowing How in Vincent Lacovara, and Geoff Shearcroft). of cities and towns declined throughout the Downtown Las Vegas, on the work of profes- Edited by Nina Rappaport and Leticia Almino twentieth century, and the construction of the sor Keller Easterling’s Spring 2013 epony- de Souza (’12), it includes interviews with interstate system damaged the infrastructure mous advanced studio. Her studio focused the architects about the work of their profes- and identity of many of these communities. on understanding and configuring new sional offices and essays on the themes of In the 1990s, the Southeastern Regional programs and potentials for downtown Las their studios. The book is designed by MGMT Planning and Economic Development District Vegas sites. The students took on the task of Design and distributed by Actar. began plans to open up former commercial remediating environmental and developmen- In the spring Rethinking Chongqing: rail lines as commuter routes from Boston tal issues—problems related to infrastruc- Mixed-Use and Super-Dense—edited by to the south coast. The book analyzes the ture, water, garbage, suburban expansion, Andrei Harwell (’06), Emmett Zeifman (’11), historic structure of these areas, with student or energy. These issues were addressed and Nina Rappaport—will be published. The work done in Taunton, Fall River, and New with health conscious high-rise buildings book documents the work of the school’s Bedford projecting the potential for educa- resembling giant TVs, a new construction seventh Edward P. Bass Distinguished Visit- tion, new industry, housing, and agriculture technology for weaving an infrastructural/ ing Architecture Fellow, Vincent Lo, of Hong as sources of economic growth and develop- architectural skin, a pneumatic building Kong-based Shui On Land, and Saarinen ment that could lead to future potential for for experimental foods and scented Visiting Professors Paul Katz, Jamie von these older industrial cities. atmospheres, a swimming pool long enough Klemperer, and Forth Bagley (B.A. ’99, The book Assembly documents the to serve as urban transit, and a system of M.Arch ’01), of the firm KPF, assisted by 2012 design-build project at the Yale School water tanks dramatically exposing the city’s Andrei Harwell. The advanced studio devel- of Architecture: a pavilion on the New Haven infrastructural underbelly. In addition to oped ideas for a dense, mixed-used site Green for the International Festival of Arts the tangible built structures, students were at the central rail station of Chongqing, in and Ideas. The project was initiated by also tasked with creating an amplifying and western China. The book features interviews students in the post-professional program multiplying “active form” that would operate with Jamie von Klemperer and Vincent Lo and was constructed in the school’s fabrica- in less obvious ways. The studio strove to about working in China and an essay about tion labs. The book includes a description of be a precedent for the improvisation studio the growth of development in the region. the design and building process as well as that values not only knowing that but also The book is designed by MGMT Design and a series of essays and interviews on integral knowing how. distributed by Actar. themes, including the teaching of digital fabrication in architecture by Mario Carpo The Studio Series of “On Demand” books “On Demand” Studio Series the Vincent Scully Visiting Professor, critic may be ordered through the school’s A Train of Cities, presenting the work of Michael Young, engineer Matthew Clark, Web site, www.architecture.yale.edu. the three post-professional studios led by Dean Robert A. M. Stern, assistant dean

Constructs Yale School of Architecture Constructs is published We would like to acknowl- Dean Editor Student editorial Cover To form by putting together P. O. Box 208242 twice a year by the edge the support of the Robert A.M. Stern Nina Rappaport assistants Peter Eisenman, Eisenman/ parts; build; frame; devise. New Haven, CT 06520 Dean’s Office of the Yale Rutherford Trowbridge Thomas Medek (’14) Robertson Architects, A complex image or idea School of Architecture. Memorial Publication Fund; Associate Dean Graphic Design Biozentrum, Biology resulting from synthesis by Telephone the Paul Rudolph Publica- John Jacobson Kloepfer-Ramsey-Kwon School photographers Center for the J.W. Goethe the mind. (203) 432–2296 Back issues available at: tion Fund, established Ivan Farr (’14) University, Frankfurt am www.architecture.yale.edu/ by Claire and Maurits Assistant Deans Copy editors Scott Michael Parks (’14) Main, Germany: Schematic Volume 16, Number 2 Email constructs Edersheim; the Robert A.M. Peggy Deamer Cathryn Drake representation of a DNA ISBN: 978-0-9898592-5-7 [email protected] Stern Fund, established Bimal Mendis David Delp sequence, 1987. Electro- Spring 2014 by Judy and Walter Hunt; Mark Gage static print on paper with Cost $5.00 Web site and the Nitkin Family pen notations, 28 × 21.5 www.architecture.yale.edu/ Dean’s Discretionary Fund cm. Peter Eisenman fonds, © Copyright 2014 constructs in Architecture. Canadian Centre for Yale School of Architecture, Architecture, Montréal. Yale University Constructs Yale University PO Box 208242 Non Profit Org. Yale School Lectures Symposium Discretionary Fund in Architec- US Postage ture, the Pickard Chilton Dean’s School of Architecture New Haven, CT 06520 – 8242 PAID of Architecture All lectures begin at 6:30 p.m. in “Digital Post-Modernities: Resource Fund, the Paul New Haven, CT Hastings Hall (basement floor) From Calculus to Rudolph Publication Fund, the Permit No. 526 of Paul Rudolph Hall, 180 York Computation” Robert A.M. Stern Fund, Street. Doors open to the general Thursday, February 20 to and the Rutherford Trowbridge public at 6:15 p.m. Saturday, February 22 Memorial Publication Fund. Alisa Andrasek, Paoloa Antonelli, January 9 Benjamin Aranda, Phillip Archaeology of the Digital David Adjaye Bernstein, Brennan Buck, Mario February 20 to May 3, 2014 Norman R. Foster Visiting Carpo, Lise Anne Couture, Peggy The exhibition Archaeology of Professor Deamer, Peter Eisenman, Kurt the Digital delves into the genesis Constructs Spring2014 “Work” Forster, Michael Hansmeyer, and establishment of digital tools Mark Foster Gage, Charles for design conceptualization, January 16 Jencks, Mathias Kohler, Sanford visualization, and production Dan Wood Kwinter, Brian Massumi, Frédéric at the end of the 1980s and the Louis I. Kahn Visiting Assistant Migayrou, Philippe Morel, beginning of the 1990s. Origi- Professor Emmanuel Petit, Dagmar Richter, nally conceived by the Canadian “Behind the Scenes” Jenny Sabin, Bernard Tschumi, Centre for Architecture and and Alejandro Zaera-Polo curated by architect Greg Lynn, January 23 This symposium will bring it is an object-based investiga- Sean Keller together protagonists from tion of four pivotal projects that Myriam Bellazoug Memorial different realms of digitally intel- established distinct directions Lecture ligent architect and invite them in architecture’s use of digital “Automatism” to assess their digital work over tools: the Lewis Residence, by time and will highlight some Frank Gehry (1989–95); Peter January 30 of the oppositions that animate Eisenman’s Biozentrum Biology Film Screening today’s discourse among Center for J. W. Goethe Universi- The Making of an Avant-Garde: design professions. ty (1987); Shoei Yoh’s roof struc- The Institute for Architecture and tures for the Odawara Municipal Urban Studies, 1967–1984 Sports Complex (1990–91) and Written, produced, and directed Exhibitions the Galaxy Toyama Gymnasium by Diana Agrest (1990–92); and Chuck Hober- The Architecture Gallery is man’s Expanding Sphere (1988– February 13 located on the second 92) and Iris Dome (1990–94). Spring 2014 Trevor Paglen floor of Paul Rudolph Hall, Archaeology of the Digital Roth Symonds Lecture 180 York Street. was organized by the Canadian Events Calendar “Seeing Machines: Geographies Exhibition hours: Centre for Architecture, Montreal, of Photography, Control, and the Mon. – Fri., 9:00 a.m. – 5:00 p.m. Canada. New Algorithmic Overlords” Sat., 10:00 a.m. – 5:00 p.m. The CCA gratefully acknowl- edges the generous support of February 20 Stage Designs by the Ministère de la Culture et des GREG LYNN Ming Cho Lee Communications, the Canada William B. and Charlotte Through February 1, 2014 Council for the Arts, the Conseil Shepherd Davenport Visiting This exhibition is a retrospective des arts de Montréal, and the Professor highlighting the numerous award- Graham Foundation for Advanced www.architecture.yale.edu/constructs “Old School Digital” winning productions of Ming Cho Studies in the Fine Arts. Lee, a forty-year faculty member The presentation at Yale is March 31 of the Yale School of Drama and sponsored in part by Elise Jaffe + Jim Eyre one of the most influential figures Jeffrey Brown. The Yale School of Gordon H. Smith Lecture in American stage design. Architecture’s exhibition program “Exploring Boundaries” Organized by the New York is supported in part by the James Public Library for the Perform- Wilder Green Dean’s Resource April 3 ing Arts, the exhibition at Yale Fund, the Kibel Foundation Fund, Deborah Berke is jointly sponsored by the Yale the Nitkin Family Dean’s Discre- Open House for Admitted School of Architecture, the tionary Fund in Architecture, the Students Yale School of Drama, and Yale Pickard Chilton Dean’s Resource “Out of the Ordinary” College and is supported in part Fund, the Paul Rudolph Publica- by the Tobin Foundation for tion Fund, the Robert A.M. Stern April 10 Theatre Arts, with additional in- Fund, and the Rutherford Trow- Anette Freytag kind support from Long Wharf bridge Memorial Publication Fund. Timothy Egan Lenahan Memorial Theater and the New York Public Lecture Library for the Performing Arts. “Back to the Roots: The Yale School of Architec- Year-End Exhibition Topology and Phenomenology ture’s exhibition program is May 18 to July 26, 2014 in Landscape” supported in part by the James Wilder Green Dean’s Resource Fund, the Kibel Foundation Fund, the Nitkin Family Dean’s