“Vanguards” Course an Interest in New Tools Which Are Likely to Make Design More Responsive to the Complex Needs of the World Around Us.1

In a 1967 report published in Eye: Magazine of the Yale Arts Association, Charles Moore, chairman of the department of architecture at Yale University’s School of Art and Architecture (A&A), spoke to a “marked shift” then taking place.

01/11 Students and faculty have now become involved to an unprecedented extent, in real problems in all their complexity with a concern for social issues and more concern for its form and less concern for the shape of objects in it. To an increasing extent, design solutions are expected to come at least partly from interaction with the user Felicity D. Scott rather than from the imposition of an architect’s formal preconceptions. With the development of these concerns comes of “Vanguards” course an interest in new tools which are likely to make design more responsive to the complex needs of the world around us.1

Moore identified two new streams of architectural research and teaching within the school related to this shift: on the one hand, the rising fascination with the computer and techniques it facilitated and, on the other hand, a series of initiatives directed towards poverty in America, projects then focused on Appalachia, New Haven, and Harlem. This nexus of computerization and “a concern for social issues” was then informing vanguard practices within architecture, giving rise to research – along with objects, systems, and spaces – affiliated, knowingly or otherwise, with the complex and multifaceted regulatory apparatus emerging to govern the built environment and populations within it. đđđđđđđđđđWhile frequently situated as a radical or avant-garde departure from traditional formal and aesthetic concerns in architecture, the late- sixties engagement with information technologies and computerization as well as the rise of the “user” as an object of social scientific knowledge – all under the rubric of “responsiveness” – can also be read as symptomatic of the discipline’s functionalist response to a period of rapid technological transformation and of tumultuous social change, for which it was indeed seeking new tools. In what follows I want to trace some instances from

e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” the late 1960s wherein the ambivalence of such “responsive” architectural strategies – resonating between attempts to forge departures from a dominant matrix of power and inscribing architecture more firmly within it – came to the fore at the A&A: at a moment when architects are again engaging the unstable forces of technological and material change while seeking new modes of social engagement,

04.07.15 / 14:02:40 EDT Charles Moore and Felix Drury in collaboration with Kent Bloomer, Project Argus: An Experiment in Light and Sound Environment, Yale University’s School of Art and Architecture, Connecticut, 1968. Photo: Joel Katz.

Charles Moore and Felix Drury in collaboration with Kent Bloomer, Project Argus: An Experiment in Light and Sound Environment, Yale University’s School of Art and Architecture, Connecticut, 1968. Photo: Joel Katz.

04.07.15 / 14:02:40 EDT understanding the complex dynamics at work basic questions; it let us get on with our during this earlier period seems to warrant work in actualizing the program and making critical attention. Shifting fluidly and at times architectural decisions.4 indistinctly between forging participatory environments and testing social and The question of to whom the architect listened environmental control mechanisms, these and for whom they were working would remain at ambiguous experiments remind us of the the forefront of dissident actions at the school. complicated and politically charged milieu within 03/11 which architecture necessarily operates and to New Tools which it contributes. If these dynamics were Soon after, when outlining the School’s activities evident elsewhere, Yale during the remarkable for 1968–69, Dean Howard Sayre Weaver period under Moore offers a particularly cogent stressed that “relevance” was to be understood case study of the difficulties of negotiating this not only in social terms but also in technological milieu, and of the need to take responsibility for ones. In this respect too Yale sought to operate one’s position within such a shifting matrix.2 at the forefront of contemporary transformations, incorporating classes on Complex Needs “experimental architecture,” film, and video into At the time of his report, Moore and newly hired the curriculum and hosting an early World Game faculty member Kent Bloomer were, as Moore seminar run by R. Buckminster Fuller and faculty noted, launching the famous Yale Building member Herbert Matter. As Dean Weaver Project (an initiative which continues to this day) explained, with a spring 1967 studio for first-year Masters of Architecture students dedicated to designing, The term “relevance,” much maligned and and in turn constructing, the soon-to-be-much- often facilely used these days, has a celebrated Community Center in New Zion, particular significance for this School. As Kentucky. Drawing on the precedent (and often America develops into a post-industrial, the aesthetic) of recent Yale graduates David “technetronic” society, the impact of Sellers and Bill Rienecke of “Prickly Mountain” science and technology affects every fame, but redirecting those design-build aspect of the concerns and explorations of activities from for-profit speculative housing those who would aspire to assume ventures in rural Vermont to community responsibility for art and design – for buildings for low-income communities, students pondering man’s seeing and feeling and were encouraged to shift their attention from moving about, his relationship to his formal concerns to questions of social relevance environment, and his conscious ordering of and political engagement with less privileged his physical circumstances. The artist, persons and hence less familiar ways of life.3 If architect, and planner share today in widely championed as a radical pedagogical discovering and accommodating to initiative, not all Yale students were satisfied changes brought about by proliferating new that such missionary zeal translated into capacities in communications and actually engaging community concerns and computer techniques. The challenge is not participation. When in November 1968 a group of merely to adopt technology nor to inject A&A students founded an alternative student modern gadgetry into art or practice. It is publication – a countercultural broadsheet titled nothing less than to comprehend the Novum Organum – it opened with the dissident changing nature of experience itself.5 headline “Education for Alienation.” Asking “What was Yale Architecture trying to do in This commitment to investigating the impact of a Kentucky?” and for whom, it outlined a very “technetronic” society on architecture and the different picture of the venture; Novum Organum arts translated, in the first instance, into hosting stressed instead the slippage between the an important early conference on project’s avowed social concerns and its more computerization in architecture in April 1968, evident architectural (and formal) ones. “Computer Graphics and Architecture,” hence

Rhetorically asking “Didn’t you ever ask what e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” returning us to the other pole of Moore’s “marked they wanted?” the editors concluded: shift.”6 đđđđđđđđđđProduced in conjunction with this event – I don’t think so. I can’t say that we ever which included technical and professional found out what they wanted, much less considerations of computers as tools for drawing needed. And yet for some reason this didn’t – was an experimental inter-media installation: worry anyone … Our agreement to accept Project Argus: An Experiment in Light and Sound federal funds within the outline of their Environment. Designed by Moore and Felix Drury program released us from the need to ask in collaboration with Bloomer, and constructed

04.07.15 / 14:02:40 EDT by students, Project Argus was, in the first light show, by Pulsa … The pulses, both aural and instance, a two-story structure spanning visual, and flashing superimpositions inflicted a diagonally across the exhibition and jury space in dazzling bombardment.”11 the A&A building. (It took place on the occasion đđđđđđđđđđIllustrated by a bird’s-eye view of the of the tenth anniversary of a US atomic testing control panel driving this machine-enhanced operation over the South Atlantic of the same perceptual bombardment, Project Argus was the name.) In retrospect Project Argus appears to subject of a front-page article in Yale Daily News have been something like a testing ground for 04/11 that raised doubts not only about the primacy of Moore’s prescient speculations on the emergent its physical or architectural infrastructure but electronic environment, that “aspatial electronic also about its liberatory character. The authors, world” which he identified in his contribution to Thomas Hine and John Coots, noted that the Perspecta 11 of 1967, “Plug it in Ramses, and See “slightly varied electronic hums and … constantly if it Lights Up, Because We Aren’t Going to Keep It changing patterns of light reflected off the Unless it Works.”7 mirror-like mylar walls” produced an assault on đđđđđđđđđđExemplary of changes in the school, this the retina and perceptual distortion and went on remarkable issue of Perspecta, edited by Peter to cite a series of responses to the encounter de Bretteville and Arthur Golding, also included: that implied the potential of a flip-side inherent “comprehensive anticipatory design scientist” R. to the fluidity of the environment: “I feel as Buckminster Fuller, experimental composer John though I am in a sort of trance with the lights and Cage, media theorist Marshall McLuhan, people sort of suspended.” And, “I think it’s experimental filmmaker Stan Vanderbeek, critic dangerous, like the ultimate weapon. In the and then director of Fuller’s World Resources hands of some very unhip people it could do Inventory John McHale, experimental some dangerous things.”12 Under the heading collaborative Archigram, and “democratic” “Panoptics Fill Yale Gallery,” the New Haven planner Paul Davidoff. Journal-Courier reported on Pulsa’s performance đđđđđđđđđđ“No diagonal drawn in the 1960s was such a on opening night, stressing the electricity clear statement of rebellion against the past as coursing through the space and through bodies Project Argus,” announced Progressive within it. “The electronic sound that came from Architecture critic C. Ray Smith, describing it as everywhere, generated by audio oscillators, “a glittering, ambiguous room-within-a-room.” drove the lights – grasp one of the flickering As Smith reported, acknowledging that it was not tubes in your hand; feel it snapping and pinging simply a countercultural assault but a faculty your flesh in time with the pulse of sound … Even initiative, it was constructed “to provide an the plastic mylar sheets were wired for sound – ‘open-ended experimental atmosphere,’ Yale with electrostatic oscillators, one of the students officials said, presumably in contrast to said, tremoring to electricity that you could only Rudolph’s ‘closed’ exploded-pinwheel-plan hear.”13 structure.”8New York Times critic Ada Louise đđđđđđđđđđIt was not only on account of the “almost Huxtable also read the installation as a frontal painful flashing” of the strobes, the synesthetic attack on former Dean Paul Rudolph. effects, and the ambiguous feeling that something might be about to take place, that this Yale architecture students agitated until experiment headed into ominous territory. “High their notably Supermannerist dean, Charles above this scene,” Hine and Coots reported, Moore, aided in the temporary destruction “were two men sitting among the cables and of one of the major areas of Paul Rudolph’s wires, their faces illuminated by the eerie glow of Art and Architecture Building. They the oscilloscope on the control panel. And they installed a pulsing white light display of controlled it all.” The two Pulsa members – Paul fluorescent tubing and silver mylar for a Fuge and Bill Crosby (a kinopticist) – were in fact space and mind-bending esthetic experimenting both with shaping space and with experiment and design double-entendre crowd behavior, shifting the mixture of lights and that practically told Mr. Rudolph to get up sounds, selectively activating speakers and other on the shelf and stay there.9 equipment, to elicit certain effects. Noting that

e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” sound as such was not the object of their Forming part of the school’s “Research in experiment, Fuge said, “Tonight we’re concerned Programmed Environments” initiative, the with what the space is that it’s shaping.” But structure served as the infrastructure for a space as such was not their prime target. As the hybrid (analog-digital) computer-controlled, account continued, turning to questions of ever-changing light, film, and sound environment subjective control, programmed by the New Haven artists collective Pulsa.10 To cite Smith again, “Project Argus [Fuge] changed the sound to a slightly housed and reflected film clips and an all-white lower intensity. In one alcove, a group

04.07.15 / 14:02:40 EDT carried out a little playlet. future trajectory of their work, Pulsa member David Rumsey explained their departure from a traditional gallery environment: Fuge bent over the oscilloscope and upped the pitch and volume of the sound. Before, “Because of the kind of people it [the the sound had hit the solar plexus. The new university] can attract,” says Rumsey, “and high whine hit the throat. People tightened because of its connection with the

up downstairs. They stopped their 05/11 technological and business communities humming, their laughing, and their acting. and its accessibility to funds, the university “I’ve got to go,” one said, and all but a few is going to be the place where these things left. will happen. In fact, members of Pulsa The men continued to play with their lights, anticipate the day when art will be their sounds. The pulsa bent over his supported by industry as a joint artistic- control panel, “Watch what they do commercial venture, based on the premise now…”14 that artists’ experiments with new materials will suggest new forms of With oscilloscopes and other supplies derived commercial application.”15 from Army surplus warehouses, Project Argus blurs distinctions between experimenting Pulsa was not alone in pursuing applied agendas towards spatial liberation and psychedelic for art, nor was Yale the only institution experience through inter-media environments sponsoring such collaborations. Take, for and behavioral control. Even if at play within an instance, USCO’s formation of Intermedia experimental school of architecture, its Systems Corporation in association with Harvard mechanisms of transformation and modes of Business School professor Dr. George Litwin, an “participation” operated on a razor’s edge. initiative profiled in Stewart Kranz’s 1974 đđđđđđđđđđThat such artistic practices harbored the anthology, Science and Technology in the Arts. potential of “applied” research was alluded to by “We are trying to use mixed media – multimedia Joel Katz in “Pulsa=Light as Truth.” Imagining the technology – to create environments that have

Manfred Ibel, "Experimental Houses for Squirrels," in Novum Organum (December 3, 1968): np.

04.07.15 / 14:02:40 EDT particular kinds of psychological effects,” Litwin đđđđđđđđđđAs with the Yale Building Project in explained to Kranz. “We are talking about man’s Appalachia, the foam plastic houses came under environment. It’s been here all along. It’s been attack in Novum Organum. With $7,500 of foam influencing us all along. What we are saying is: donated by Union Carbide, they might well have we can begin to have some control over the irked students on the Left. But this was not, at environmental influences on our behavior, least as stated, their main point of contention. attitudes, and motivation.”16 USCO member Gerd Under the title “Experimental Houses for

Stern added: “We perform many experiments. We 06/11 Squirrels,” and accompanied by hilarious photo- don’t entirely know the reason why we are doing collages, Manfred Ibel challenged Drury’s them.”17 Stern earlier explained of the approach of simply “playing with the material to collaboration, seemingly without apology, “The see what can be done with it” and the imagined age of supporting art is over. The distinction escape from the post and beam tectonic between business and art is over. So, now we’ll paradigm. “I think this is quite a naïve get better art and better business … Yes, it’s statement,” he retorted, pointing out that this legitimate to say Intermedia represents a was hardly vanguard “in an age of electronic blurring of the lines between psychology, communication where young people are growing business, art and some other things.”18 If up in an environment of mobility, flexibility and Marshall McLuhan had imagined art to have the change, with jet planes, geodesic domes, air- potential to produce counter-environments that inflated structures, plywood, plastics, space would render lines of force more visible, capsules and rockets, automated machines, comprehensible, interruptible, here was work prefabrication, epoxy, instant shaving cream and vectored in the opposite direction.19 mobile homes.” Additionally he suggested that other cheap techniques were available, such as Applied Research “the construction methods of the USA-frame- Architecture has long treaded the waters of house-suburbia” and that “It seems that applied and commercial research, and another architects never want to concern themselves initiative at Yale in spring 1968 falls within this with the people who are going to live in their rubric: the experimental plastic houses built by artifacts.”22 Drury and his students from polyurethane foam đđđđđđđđđđThat spring also saw Barbara Staffaucher’s on the Yale Golf Course (and exhibited soon after famous supergraphics studio, celebrated by in the Museum of Modern Craft’s exhibition Progressive Architecture and the New York “Plastic as Plastic”20). As reported in the New Times.23 As Huxtable reported in the latter, York Times, although the foam houses were still in a “primitive stage,” here was “a serious look The students were to “explode” the dull box into the future.” The three houses were rapidly of the school elevator with color and constructed by inflating balloons of plastic- pattern. Their painted designs were backed burlap onto which was sprayed a few executed, two a week, until the end of the inches of a quick-drying plastic foam, creating a semester. Certainly no one in the building rigid and waterproof curved surface that could was bored. Designs ranged from a “peace be cut into to create windows and doors. As elevator” with stars and stripes inside and student Daniel Scully noted, the domes were the elevator doors sliding together to also easily transformed: “If you were living here present the image of a bomber outside, to and you had another kid, you’d just blow up pure space-expanding experiments in another balloon for his room and spray the foam fluorescent paint and flashing light.24 on it, all in an hour or so.” The experiment was sponsored by Bemis Company, Inc., which What was “upsetting older professionals” she donated burlap, and Union Carbide Corporation, concluded, pointing to the big, slick, dull work of which donated the polyurethane foam and large corporate firms, was “that the style is an reportedly watched the experiment “with a great architecture-destroyer – and what is destroyed, deal of interest.” The students were, in effect, or mocked, is their architecture.” To this she interpolated as a research and development arm added: “What is really happening is that the for the corporation, testing the viability of Union e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” upcoming generation, full of beans, talent, revolt Carbide’s product for application in an imagined and defensible disrespect for the tasteful totems market for complex house forms. According to of the huge, hack symbols of the establishment, Drury the experiments simply helped is giving them a highly creative raspberry. You participants “get away from the stick mentality – could call it productive protest.”25 thinking exclusively in terms of the post and beam – so that students after they graduate will Productive Protest feel at ease with a material like this, and with its Perhaps on account of their appeal to the curved lines.”21 rhetoric of the protest movement, the

04.07.15 / 14:02:40 EDT Barbara Stauffacher Solomon, elevator design problem given to Yale architecture students, Connecticut, 1968. Photo: James Righter.

04.07.15 / 14:02:40 EDT supergraphics experiments do not seem to have and Philip Johnson’s Laboratory of Epidemiology invoked similar ire from Novum Organum. There and Public Health, the A&A building itself, he are, furthermore, other avenues of productive explains, was constructed within the city’s protest in New Haven that bear upon this story. Dwight Renewal Area, hence forming part of a For instance, as chronicled by Henry Stone in story of collaboration between the city and the Novum Organum 1 under the title “Walkout,” Yale university to facilitate displacement of existing students initiated a militant response to the populations. In response, in 1968 ten African insufficiencies of the American Institute of 08/11 American students founded an interdisciplinary Architecture’s definition of the profession. In group called the Black Workshop as “a radical advance of the upcoming 1968 AIA convention, alternative to the traditional Yale design “an act of censorship (the walkout) was planned education.”31 Faced with ongoing injustices, to repudiate the Institute and its goals, and an Goldstein writes, students “demanded alternative conference set up that we might start pedagogical changes that would help foster to redefine the profession for ourselves.” The greater engagement with the people whom students stated their concerns and walked out architects and planner served,” calling for as well as outlining a list of resolutions including, “greater engagement with their community, among other clauses, “We will only use our skills racial diversity in their profession, influence in as tools for liberating oppressed peoples … The university planning, and increased involvement architect’s only responsibility is to the people in university governance.”32 who use the environment … We will work for equal distribution of economic power, work Guerilla Theater against such U.S. activities as the war in One last episode: in May 1969, A&A students Southeast Asia, or any imperialist or racist launched a very distinct trajectory of protests, exploitation at home and abroad.”26 The students seeking financial equity with other graduate did not consider Moore’s pedagogical initiatives schools. After the failure of an initial petition to to have gone far enough and they organized and President Kingman Brewster, on May 8 they struggled for input into the school’s turned to theatrical demonstrations, attempting transformation, fighting for an increased voice in to enter the Yale Art Gallery en masse, and the administration, choice of coursework, and staging a “live-in” within the A&A building to admissions policies of the school.27 Novum “dramatize,” as Stone put it, “the seriousness of Organum 3 (its cover replete with graffiti our situation.”33 The following day students collected from the walls of the A&A toilets) also launched acts of “guerrilla theater” on campus: reproduced a list of recommendations to the around noon they staged a “mock burial” of a dean to upgrade the faculty, whom they deemed coffin marked “the unknown A&A student.” As “of limited diversity, mediocre quality and small reported in Yale Daily News, “with a motorcycle and unvoiced activity.”28 escort, the hearse proceeded to Beinecke Plaza đđđđđđđđđđSited in close proximity to poor African followed by a train of wailing mourners. The American communities in New Haven, Yale students then unloaded the coffin and, with remained a bastion of white privilege. Under great solemnity, lowered it down gently into the Mayor Richard Lee, the city was subjected to one Beinecke sculpture court.”34 Four days later the of the most violent and racist urban renewal theater continued with the students staging a programs in America.29 As Tom Williams mock-auction of paintings in the Yale Art Gallery recounts, with sales made in “bogus Brewster bucks.”35 The following week, as announced on the front In August 1967, the city erupted in five days page of Yale Daily News, the A&A was forced to of rioting that caused millions of dollars of suspend classes, including those needed for damage and marked an early and salient graduation, only weeks away.36 The adjacent sign of an impending national crisis. This story that day was “Beinecke Lipstick,” which inaugurated an era of “street fighting recounted that a student group calling pluralism” that served as a backdrop for themselves the Colossal Keepsake Corporation much of the school’s activism and had commissioned Claes Oldenburg’s

culminated in the turmoil that e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” monumental sculpture Lipstick (Ascending) on accompanied the New Haven trial of Bobby Caterpillar Track, which was erected as an act of Seale and other Black Panthers in 1970.30 defiance against Gordon Bunschaft’s Beinecke Library.37 Brian Goldstein has detailed the ways in which đđđđđđđđđđAs Tom McDonough and Goldstein have the university was complicit with the urban recounted, faced with the failure of democratic renewal programs that proved so devastating to transformations, students in the planning poor, black, inner-city neighborhoods. Like Eero department were radicalizing at this time, not in Saarinen’s Morse and Stiles residential colleges the name of improving levels of financial support

04.07.15 / 14:02:41 EDT for the existing student body but to transform discipline’s proximity to such historical forces that student body, and hence the institution as and the sometimes ambiguous nature of its such. Seeking to address diversity issues they professional and ethical directive to respond. sought, albeit to different ends than Moore, “to Whether we take experiments with computer- make design more responsive to the complex driven technologies, social-scientific tools for needs of the world around us.” Attempts to addressing questions of poverty and discontent, increase the number of African-American or new materials thought to harbor the potential students led not to Yale addressing concerns 09/11 to respond to new or flexible forms of life, each about racial bias but to Brewster’s decision in finds complex footholds in, and utility for, a December 1970 to simply terminate the broader matrix of power then fueling, and fueled program.38 “And then in June 1969,” Robert Stern by, the so-called military-industrial-academic lamented, complex and the multinational corporations who served to benefit from such innovation. fire at the Art and Architecture Building, the đđđđđđđđđđIn recalling these stories from the late nightmare culmination of the protests of 1960s, my ambition is in no way to suggest that students against its strong forms, protests architecture either simply remains entrapped by which had been a continuous threat since its relation to such “complex needs of the world its opening in 1963. What had begun as an around us,” or that the discipline seek instead to issue of form versus functional avoid imbrication with emergent techniques of accommodation had expanded and power and the larger apparatus through which matured, frighteningly, into the deepest they operate. This troubled and at times ideological controversy of our time – to the troubling imbrication is precisely what makes question of elitism in culture.39 architecture so challenging and interesting and it can set a framework for certain potentials to open up. In contrast to simply celebrating vanguardism or instituting heroic narratives that effectively operate to silence such troubles, my aim is to underscore the importance of working to render more visible, and to critically engage with, those intangible or elusive forces informing architecture’s technological, conceptual, and economic parameters. It is to insist, as I argue elsewhere, that it is precisely on account of being so thoroughly imbricated within this expanded matrix of power that architecture harbors potentials to interrupt, intervene within, or redirect it to other ends.40 Relations of power, as Michel Foucault reminds us, are fluid, mobile, unstable, reversible. The problem, as he puts it, alluding to Jürgen Habermas, “is not to try to dissolve [power relations] in the utopia of completely transparent communication but to Art and Architecture students carry a coffin containing the unknown A acquire the rules of law, the management & A student on their way to a mock funeral at Beinecke Plaza, Yale University, Connecticut, in Yale Daily News, 1969. techniques, and also the morality, the ethos, the practice of the self, that will allow us to play these games of power with as little domination as possible.”41 Networks of Power đđđđđđđđđđ× In retrospect, we might say that what initially might have appeared as a field of vanguard architectural experimentation emerges as a more complicated response to the period’s technological transformations and to rising urban security concerns when our viewpoint is expanded even just a little from the reception of architectural works and events within mainstream publications and historical narratives. What Moore called “real problems in all their complexity” or “the complex needs of the world around us” remind us, moreover, of the

04.07.15 / 14:02:41 EDT Felicity D. Scott is an associate professor at Columbia đđđđđđ1 Art Journal 67, no. 3 (Fall 2008): University’s Graduate School of Architecture, Planning, Charles Moore, “Departmental 46–67. Reports: Department of and Preservation, where she also acts as director of Architecture,” Eye: Magazine of đđđđđđ11 the PhD program in architecture (history and theory) the Yale Arts Association, 1967, Smith, Supermannerism, and as co-director of the program in Critical, 29. 108–109. Curatorial and Conceptual Practices in Architecture đđđđđđ2 đđđđđđ12 (CCCP).đIn addition to numerous articles on When this research was initially Thomas Hine and John Coots, contemporary art and architecture, she is the author undertaken it was not with the “Light, Sound, People Make ofđArchitecture or Techno-Utopia: Politics after idea of writing on the Yale A&A ‘Argus’ Happen,” Yale Daily 10/11 as such, but in the context of News, April 26, 1968, 1. It is not Modernismđ(MIT, 2007),đLiving Archive 7: Ant understanding the school during clear whom they are citing. Farmđ(ACTAR Editorial, 2008),đandđOutlaw Territories: the moment when the Australian Environments of Insecurity/Architectures of Counter- architect Peter Corrigan was đđđđđđ13 studying there. William Betsch, “Panoptics Fill Insurgency, forthcoming on Zone Books. She was also Yale Gallery,” New Haven a founding co-editor ofđGrey Room, a quarterly journal đđđđđđ3 Journal-Courier, April 11, 1968. about architecture, art, media and politics published See Richard W. Hayes, “Activism by MIT Press since 2000. đ in Appalachia: Yale Architecture đđđđđđ14 Students in Kentucky, 1966–69,” Hine and Coots, “Light, Sound, in Agency: Working with People Make ‘Argus’ Happen,” 1. Uncertain Architectures, ed. Florian Kossak, Doina Petrescu, đđđđđđ15 Renata Tyszczuk, Tatjana Joel Katz, “Pulsa=Light as Schneideer, and Stephen Walker Truth,” Yale Alumni Magazine (New York and London: XXXI, no. 8 (May 1968): 43. Routledge, 2010), 21–31. Hayes recalls the importance of the đđđđđđ16 initiative of three students – Cited in Stewart Kranz, Science Tom Carey, Steve Edwins, and & Technology in the Arts: A Tour Robert Swenson – who had Through the Realm of Science + spent time in Appalachia and Art (New York: Van Nostrand introduced the project in New Reinhold, 1974), 261. Zion, Kentucky “as a possible extracurricular project to Moore, đđđđđđ17 who instead decided that he Cited in Kranz, 262. would make it the design project for the Spring 1967 semester of đđđđđđ18 the first-year class,” teaching it Gerd Stern, cited in Deckle along with Kent Bloomer, 26. See McLean, “The Multi-Media also “Out of the Atelier and Into Thing,” Boston Sunday Globe, Reality,” Progressive Architecture February 7 1971. XLVIII, no. 9 (September 1967): 166. đđđđđđ19 See Marshall McLuhan, “The đđđđđđ4 Emperor’s Old Clothes,” in The “Education for Alienation,” Man-Made Object, ed. Gyorgy Novum Organum 1 (November Kepes (New York: George 14, 1968): np. The editors were Braziller, 1966), 90–95. Bob Coombs, Mark Ellis, Manfred Ibel, Herb Short, and đđđđđđ20 Stuart Wrede. See Plastic as Plastic, ed. Sandra R. Zimmerman (New đđđđđđ5 York: Museum of Contemporary Brochure entitled “Yale Crafts, 1968). University School of Art and Architecture,” 1968–69, np. đđđđđđ21 William Borders, “Yale Students đđđđđđ6 Mold an Experimental House of See “Computer Graphics in Plastic Foam,” New York Times, Architecture: Proceedings of the June 16, 1968, R1. Drury later Yale Conference on Computer realized such a foam-plastic Graphics in Architecture,” ed. structure as a corporate guest Murray Milne, (Computer house for the West Point Graphics and Architecture, Yale Pepperell corporate University, 1968). headquarters in Langdale, Alabama, using a heavy nylon đđđđđđ7 fabric manufactured by the Charles W. Moore, “Plug it in corporation. See Felix Drury, Ramses, and See if it Lights Up, “Foam Home,” Progressive Because We Aren’t Going to Keep Architecture 52 (May 1971): It Unless it Works,” Perspecta 11 100–03. (Fall 1967): 32–43. đđđđđđ22 đđđđđđ8 Manfred Ibel, “Experimental C. Ray Smith, Supermannerism: Houses for Squirrels,” Novum New Attitudes in Post-Modern Organum (December 3, 1968):

e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” Architecture (New York: E. P. np. Dutton, 1977), 108–09. đđđđđđ23 đđđđđđ9 See C. Ray Smith, “The New Ada Louise Huxtable, “Kicked a Interiors: Fad or Fact?” Building Lately?” New York Progressive Architecture 49, no. Times, January 12, 1969, 25, 28. 4 (October 1968): 150-58.

đđđđđđ10 đđđđđđ24 On Pulsa see Yates McKee, “The Ada Louise Huxtable, “Kicked a Public Sensoriums of Pulsa: Building Lately?” 28. Cybernetic Abstraction and the Biopolitics of Urban Survival,” đđđđđđ25

04.07.15 / 14:02:41 EDT Ibid. marked the culmination of a long period of protest that challenged đđđđđđ26 the structure and administration Henry Stone, “Walkout,” Novum of the program.” Organum 1 (1968), np. See also Perspecta 29 and Brian đđđđđđ38 Goldstein, “Planning’s End? See Tom McDonough, “The Urban Renewal in New Haven, Surface as Stake: A Postscript to the Yale School of Art and Timothy M. Rohan’s Rendering Architecture, and the Fall of the the Surface,” Grey Room 5 (Fall New Deal Spatial Order,” Journal 2001): 102–11; Goldstein, of Urban History 37, no. 3 (2011): “Planning’s End?”; and Harry 11/11 407–08. Wexler, “The Yale Saga: From Admissions Bust to Final đđđđđđ27 Solution,” Bulletin of the Jim Swiss, “A & A School: Association of Collegiate Schools Problems of Space, Student of Architecture 9, no. 3 (Autumn Power, Grading and Relevance,” 1971): 3. Yale Daily News, January 15, 1969, 7. đđđđđđ39 Stern, “Yale, 1950–1965,” 56. đđđđđđ28 See “Notes from the Committee đđđđđđ40 of 8,” in Novum Organum 3, See Felicity D. Scott, Outlaw January 6, 1969, np. Territories: Environments of Insecurity/Architectures of đđđđđđ29 Counter-insurgency (forthcoming On Urban Renewal in New Haven from Zone Books). see Mandy Isaacs Jackson, Model City Blues: Urban Space đđđđđđ41 and Organized Resistance in New Michel Foucault, “The Ethics of Haven (Philadelphia: Temple the Concern for Self as a University Press, 2008); Anthony Practice of Freedom,” in Ethics: Ward, “Resistance or Reaction?: Subjectivity and Truth, ed. Paul The Cultural Politics of Design,” Rabinow (New York: The New Architecture and Behavior 9, no. Press, 1997): 298. 1 (1993): 48–49; and Goldstein, “Planning’s End?”

đđđđđđ30 Tom Williams, “Lipstick Ascending: Claes Oldenburg in New Haven in 1969,” Grey Room 31 (Spring 2008): 122.

đđđđđđ31 Goldstein, “Planning’s End?” 410. See also Richard Dozier, “The Black Architect at Yale,” Design Quarterly 82/83 (1971): 16.

đđđđđđ32 Goldstein, “Planning’s End?” 402.

đđđđđđ33 Tom Warren, “A & A Students Camp Out to Protest Financial Status,” Yale Daily News, May 8,1969, 1.

đđđđđđ34 Tom Warren, “A&A Protesters Hold Mock Burial,” Yale Daily News, May 9, 1969, 1. That night they “demonstrated at the opening night performance of the Yale Repertory Theater’s ‘Greatshot’ by begging and selling pencils to dramatize their financial situation.”

đđđđđđ35 Tom Warren, “Brewster to Face A & A Demands,” Yale Daily News, May 12, 1969, 1.

đđđđđđ36 e - f l u x j o r n a # 6 4 — p i 2 0 1 5 đ F c t y D . S “ V a n g u r d s ” Tom Warren, “A & A Faculty Agrees to Suspend Academics,” Yale Daily News, May 16, 1969, 1.

đđđđđđ37 Williams, “Lipstick Ascending,” 121. “The School of Art and Architecture had long been an enclave of activist sentiment in the midst of a conservative campus,” he explains, adding “the monument’s installation

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