As archives overflow and data multiplies, these accumulating facts lack any theory of significance. The stream of readily accessible information has trapped us in a perpetual present, and our attention spans have been reduced to 140-character bursts. Is history still relevant in a media landscape where time passes at an accelerated pace?This issue of Perspecta―the oldest and most distinguished student-edited architectural journal in America―proposes that amnesia, often seen as a destructive force, might also be understood as a productive one, that the gaps it creates might also provide spaces for invention.
Perspecta 48: Amnesia #ad - Contributions from a diverse group of scholars, and practitioners explore the paradoxical nature of amnesia: How can forgetfulness be both harmful and generative? What will we borrow or abandon from yesterday to confront tomorrow? What sort of critical genealogies can be repurposed, rebel histories, or manufactured to reenergize current practice? How might we construct counter-narratives, artists, suppressed, and alternative canons that are relevant to our present moment?Perspecta 48 considers the uses and abuses of history and ignites a debate about the role of memory in architecture.
Contributors esra akcan, david Chipperfield, Iwan Baan, Mario Carpo, Amale Andraos, T. J demos, andrew kovacs, sylvia lavin, hans ulrich obrist, matt roman, russell thomsen, richard mosse, Ed Eigen, Karsten Harries, Gary Leggett, Sam Jacob, Anthony Vidler, Marco Frascari, Stephan Petermann and OMA/AMO, Maria Giudici, Saskia Sassen, Kyle Dugdale, Stanislaus von Moos.
Perspecta 50: Urban DividesThe MIT Press #ad - Boundaries, of course, are not a new phenomenon. In the past decade, thousands of miles of new border walls have been constructed, for example, many in urban contexts. This volume of perspecta―the oldest and most distinguished student-edited architectural journal in America―investigates divides as a mechanism of urbanism, both spatially and socially complex.
Spatial urban divides are often perceived as binary: separating one entity from the other with walls, fences, and infrastructure―symptoms of conflict or of a failed society. The contributors―architects, urbanists, and academics―identify and critique distinct urban typologies and architectural devices used globally to divide.
Perspecta 50: Urban Divides #ad - They have historically defined communities for cultural, political, and economic purposes. People embrace the idea of walls out of fear, and leaders make promises that only reinforce divisions. As urbanization increases and economic inequality reaches record levels, however, urban divides are becoming more pervasive.
Explorations of spatial, cultural, and social divides in the city. Globalization promised an interconnected world, yet our cities are increasingly divided. Among the contributions are dana cuff's essay on spatial politics in los angeles, Gary McDonough's investigation of “soft portals” in global Chinatowns, Jenny Holzer's reminiscence of guerilla art in the 1970s and 1980s, and Studio Gang's vision of “Polis Station.
Perspecta 50 invites readers to question the inevitability and ubiquity of urban divides.
Perspecta 49: QuoteThe MIT Press #ad - Historically, this appropriation has been regulated through quotation. These citations―written or spoken, drawn or built―rely on their antecedent, and carry the stamp of authority. In the field of architecture, easier, appropriation is faster, and more conspicuous than ever, but also less regulated. Digital scripts are downloaded, altered, and re-uploaded―transposing the algorithm, not the object itself.
In the sea of memes and gifs, tweets and retweets, quotes are both innumerable and viral, giving voice to anyone with access to these channels. Traditionally, the practice of quotation has inoculated the author against accusations of plagiarism. These are perhaps the most potent tools of cultural production, yet also the most contested.
Perspecta 49: Quote #ad - Perspecta 49 welcomes the contest. Although architecture is a discipline that prizes originality and easily ascribed authorship, and vital, intentional, it is important to recognize that quotation and associated operations are ubiquitous, not just palliatives to the anxiety of influence. An exploration of quotation, arguing that quotation and associated operations are ubiquitous, intentional, appropriation, and plagiarism, and vital in architecture.
Every intellectual endeavor relies upon an existing body of knowledge, proven and primed for reuse. Design bloggers “curate” texts and images―copying and pasting, copying and pasting. Instead, buildings are copied before construction is completed.
Perspecta 51: MediumThe MIT Press #ad - Perspecta 51 provides new histories and fresh responses to the notion of medium that might illuminate possibilities for its productive use and misuse by architects. Contributorsshamsher ali, åyr, beatriz colomina, aleksandr bierig, evangelos kotsioris, christine shannon mattern, christina varvia, keller Easterling, DIS, Georgios Eftaxiopoulos, Jeffrey Schnapp, Neyran Turan, Molly Steenson, Reinhold Martin, Dubravka Sekulic, Nashin Mahtani, Marshall McLuhan, Nick Axel, Prasad Shetty, Ginger Nolan, Shawn Maximo, Scott McQuire, Moritz Gleich, Francesco Casetti, Etienne Turpin, Shveta Sarda, Richard Vijgen .
These stories are grounded in the theories of medium design, mediascapes, and media politics. For this reason, perspecta 51 does not focus exclusively on the “new media” of today or predictions about the future; instead, it presents a conversation among varied theories on medium set against a series of architectural case studies.
A chapter on flexibility demonstrates its thesis by being printed intentionally upside down. This volume of perspecta―the oldest and most distinguished student-edited architectural journal in America―takes a broad view of medium to take stock of and unpack unexpected relationships. The study of medium is transscalar and transhistorical.
Perspecta 51: Medium #ad - Essays, interviews, and projects that consider the notion of medium and the possibilities for its productive use and misuse by architects. Since the arrival of radio and television in the twentieth century, understandings of space have become visibly intertwined with what is commonly referred to as the media.
But what is a medium? dictionaries define “medium” as something in the middle, a means of conveyance, or, and this elemental understanding of medium has nourished early conversations of networks and cybernetics, as well as recent media theory.
Perspecta 43: TabooThe MIT Press #ad - Taboos structure our thinking and frame our discussions. As a result, we learn to find consensus in nots and to seek refuge in don'ts. In architecture, taboos create an operative way of thinking about and making architecture through unspoken agreement. In articles and projects, historians, and practitioners investigate contemporary and historical instances of taboo, theorists, aiming to uncover its function in the pedagogy and praxis of architecture.
This issue of perspecta―the oldest and most distinguished student-edited architectural journal in America―tackles architectural unutterables. M. The contributors, asked simply “What is Taboo?”, respond with a range of examples. These include an examination of the relatively unknown work of the italian architect rinaldo Semino; photographs documenting the unseen, peripheral spaces of American life; a series of marginalia illustrating certain typographic don'ts in all their absurdity; a study of memorials erected to Maoist insurgents killed by police and paramilitary forces in India; and a critique, by redaction and reconstruction, of Rem Koolhaas's essay “Typical Plan.
Perspecta 43: Taboo #ad - Contributorspier vittorio aureli, taryn simon, glen cummings, alicia imperiale, greg lynn, thomas beeby, naja & deostos, jorge Otero-Pailos, Mario Gooden, Edward Eigen, Marcel Vellinga, Erika Naginski, Neri Oxman, Peter Eisenman, Keith Krumwiede, Pamela Karimi, Loïc WacquantInterviewsSunil Bald, Peggy Deamer, Arindam Dutta, Thomas de Monchaux, Michelangelo Sabatino, and Robert A.
Stern. Exploring the ill-defined realm of the architectural taboo, from the hidden spaces of American life to artistic practices in postrevolutionary Iran. We are beset by unspoken rules.
Perspecta 44: DomainThe MIT Press #ad - Since “architecture” has become a metonym for increasingly distributed persons and practices, accessed, how―and for whom―do we establish its domain?To trace the evolving meanings of the term “domain” is to trace the changing ways that space has been defined, and constructed: from domain as a territory of private ownership or legal control; to the egalitarian promise of public domain; to an Internet site situated within an infinitely dispersed global network.
By embracing the inherent complexities of domain, perspecta 44 seeks to overcome the architect's conventional repertoire―Site, Protocol, Program, and Client―and propose instead Field, and User as an expanded vocabulary for spatial practice, not without boundaries but rather abiding by the shifting logics and contours of public space.
ContributorsBêkaFilms, R. Perspecta 44's multidisciplinary scope, with contributors ranging from legal scholars to software engineers, asserts a new set of coordinates for mapping the terms of architectural production. Michael Rock, C. Likewise, legislations, a building is the nexus of multifaceted economies, and information systems.
Perspecta 44: Domain #ad - Architects can and often must embody a spectrum of characters in their practice: politician, physicist, artist, entrepreneur. Dana tomlin, stuart Wrede Used book in Good Condition. Essays, interviews, and projects explore an expanded vocabulary of spatial practice. Architecture exists in the public sphere and is the product of collective work and knowledge.
Not Interesting: On the Limits of Criticism in ArchitectureApplied Research & Design #ad - Along with interesting, these three terms make up the four chapters of the book. This book explores a set of alternatives to the interesting and imagines how architecture might be positioned more broadly in the world using other terms: boring, confusing, and comforting. Not interesting proposes another set of terms and structures to talk about architecture, without requiring that it be interesting.
Each chapter introduces its topic through an analysis of a different image, which serves to unpack the specific character of each term and its relationship to architecture. These are presented in parallel to the text and show what architecture may look like through the lens of these other terms. In addition to text, the book contains over 50 case studies using 100 drawings and images.
Not Interesting: On the Limits of Criticism in Architecture #ad - . Used book in Good Condition.
S M L XLThe Monacelli Press #ad - The book's title is also its framework: projects and essays are arranged according to scale. The inventive collaboration between koolhaas and designer Bruce Mau is a graphic overture that weaves together architectural projects, diary excerpts, and fables, photos and sketches, fairy tales, personal travelogues, as well as critical essays on contemporary architecture and society.
S, m, l, xl presents a selection of the remarkable visionary design work produced by the Dutch firm Office for Metropolitan Architecture O. M. A. And its acclaimed founder, along with a variety of insightful, in its first twenty years, Rem Koolhaas, often poetic writings. Monacelli Press. Used book in Good Condition.
S M L XL #ad - Running throughout the book is a "dictionary" of an adventurous new Koolhaasian language -- definitions, and quotes from hundreds of literary, artistic, commentaries, cultural, and architectural sources. While small and medium address issues ranging from the domestic to the public, Large focuses on what Koolhaas calls "the architecture of Bigness.
Extra-large features projects at the urban scale, along with the important essay "What Ever Happened to Urbanism?" and other studies of the contemporary city.
Project of Autonomy: Politics and Architecture Within and Against Capitalism Forum Project PublicationsPrinceton Architectural Press #ad - Monacelli Press. The book draws on significant new source material, including recent interviews by the author and untranslated documents. The project of autonomy radically readdresses the concept of autonomy in politics and architecture by tracing a concise and polemical argument about its history in Italy in the 1960s and early 1970s.
. Architect and educator pier vittorio aureli analyzes the position of the Operaism movement and its intersections with two of the most radical architectural-urban theories of the day: Aldo Rossi's redefinition of the architecture of the city and Archizoom's No-stop City. Princeton Architectural Press. Used book in Good Condition.
Perspecta 45: AgencyThe MIT Press #ad - Monacelli Press. A handbook of best practices, strategies, and speculation for architecture's future. Architecture has always been intimately intertwined with its social, political, and economic contexts; major events in world history have had correspondingly dramatic effects on the discipline. The retreat from liability, the barricade of theory, and the silos of specialization have generated a field that is risk-averse and reactive, rather than bold and active.
. The great depression, for example, the fall of the Berlin Wall, and Hurricane Katrina, were all catalysts for architectural response and resulted in a diversification of the architect's portfolio. Instead of assuming that architects can only throw up their hands in despair, the editors of this issue of Perspecta invite them to roll up their sleeves and get to work.
Perspecta 45: Agency #ad - In perspecta 45, scholars, prominent architects, and artists investigate how architects can become agents for change within their own discipline and in the world at large. Used book in Good Condition. Princeton Architectural Press. Yet far too often, architects simply react to changes in the world, rather than serving as agents of change themselves.
This issue of perspecta―the oldest and most distinguished student-edited architectural journal in America―takes a broader view, using the concept of agency to explore the future of architecture.
Log 42: Disorienting PhenomenologyAnyone Corporation #ad - Also in this issue: joseph bedford rethinks the practice of phenomenology, Kevin Berry projects a new mode of being-in-the-world, Lisa Guenther infiltrates the gated community, Rachel McCann exfoliates the flesh, Bruce Janz wonders about creativity, Winifred E. Log42 is a critical observation of those phenomenologies that reflects architecture s and society s increasing awareness of the sociocultural richness to be had in diversity.
Princeton Architectural Press. This issue of log aims to lighten the load, or at the very least redistribute it. Monacelli Press. Used book in Good Condition. As norwood concludes, Architecture doesn t need a phenomenology; it needs phenomenologies. Davis s speculations on an architectural phenomenology of blackness to Adrienne Brown s look at the role of space in producing racialization to Jos Boys s and Sun-Young Park s explorations of disability.
Log 42: Disorienting Phenomenology #ad - In addition, author of architecture s historical turn: phenomenology and the Rise of the Postmodern, Norwood a philosopher/architectural historian talks with Jorge Otero-Pailos, a key reassessment of the idea of architectural phenomenology first put forth in the mid 20th century. Newman disputes disembodied visuality, Dorothée Legrand suspends the reduction, Ginger Nolan historicizes the metahistorical, Benjamin M.
. The baggage that phenomenology carries with it in architectural discourse is weighty, writes guest editor Bryan E. Subtitled disorienting phenomenology, theorists, art and architectural historians, the thematic 204-page Winter/Spring 2018 issue presents 18 essays by philosophers, and architects that range from Mark Jarzombek s close reading of the first three sentences in Husserl s Ideas: General Introduction to Pure Phenomenology to Caroline A.