Perspecta 49: Quote

Design bloggers “curate” texts and images―copying and pasting, copying and pasting. Must we jettison conventions of authorship or will we establish new codes of citation?This issue of Perspecta―the oldest and most distinguished student-edited architectural journal in America―explores the uneasy lines between quotation, and plagiarism, appropriation, proposing a constructive reevaluation of contemporary means of architectural production and reproduction.

. These are perhaps the most potent tools of cultural production, yet also the most contested. These citations―written or spoken, drawn or built―rely on their antecedent, and carry the stamp of authority. In the field of architecture, and more conspicuous than ever, appropriation is faster, easier, but also less regulated.

Perspecta 49 welcomes the contest. Digital scripts are downloaded, altered, and re-uploaded―transposing the algorithm, not the object itself. In the sea of memes and gifs, quotes are both innumerable and viral, tweets and retweets, giving voice to anyone with access to these channels. Traditionally, the practice of quotation has inoculated the author against accusations of plagiarism.

Instead, buildings are copied before construction is completed. Although architecture is a discipline that prizes originality and easily ascribed authorship, intentional, and vital, it is important to recognize that quotation and associated operations are ubiquitous, not just palliatives to the anxiety of influence.

Perspecta 50: Urban Divides

In the past decade, for example, thousands of miles of new border walls have been constructed, many in urban contexts. Among the contributions are dana cuff's essay on spatial politics in los angeles, Jenny Holzer's reminiscence of guerilla art in the 1970s and 1980s, Gary McDonough's investigation of “soft portals” in global Chinatowns, and Studio Gang's vision of “Polis Station.

Perspecta 50 invites readers to question the inevitability and ubiquity of urban divides. Contributorsmarisa angell brown, jesse vogler, todd reisz, dana cuff, alishine osman, studio gang, andrés jaque, annabel jane wharton, andreea cojocaru, Michael Sorkin with Terreform, Gary McDonogh, Mitch McEwen, Anooradha Iyer Siddiqi, Jenny Holzer, Guy Trangoš, Jeffrey Hou, Jon Calame, Kian Goh, Urban-Think Tank, Meghan McAllister, Mahdi Sabbagh, Jyoti Hosagrahar, City Reparo, Tatiana Bilbao Estudio, Theresa Williamson .

Yet, with intensifying gentrification and ghettoization, urban divides are often not merely walls. In texts, images, perspecta 50 explores broad questions facing urbanism and architecture today, and studio projects, including the effect on urban housing of migration and the blurred boundaries between the formal and informal city.

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.

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.

Perspecta 51: Medium

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.

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. 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.

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, ginger nolan, beatriz colomina, marshall mcluhan, christine shannon mattern, christina varvia, etienne turpin, evangelos Kotsioris, Dubravka Sekulic, Shawn Maximo, Nashin Mahtani, åyr, Nick Axel, DIS, Scott McQuire, Keller Easterling, Shveta Sarda, Reinhold Martin, Jeffrey Schnapp, Molly Steenson, Aleksandr Bierig, Prasad Shetty, Neyran Turan, Moritz Gleich, Francesco Casetti, Georgios Eftaxiopoulos, Richard Vijgen .

But what is a medium? dictionaries define “medium” as something in the middle, or, and this elemental understanding of medium has nourished early conversations of networks and cybernetics, a means of conveyance, as well as recent media theory. These stories are grounded in the theories of medium design, mediascapes, and media politics.

A chapter on flexibility demonstrates its thesis by being printed intentionally upside down.

Perspecta 48: Amnesia

Yet, in this impatient century, the discipline's relationship to the past has become increasingly fraught. 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.

Ruminations on the paradoxical nature of amnesia: can the gaps it creates provide spaces for invention?Architecture, is inextricably linked to issues of memory, nostalgia, the most durable of the arts, and history. As archives overflow and data multiplies, these accumulating facts lack any theory of significance.

Contributions from a diverse group of scholars, suppressed, or manufactured to reenergize current practice? How might we construct counter-narratives, artists, rebel histories, 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, 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, mario Carpo, Iwan Baan, David Chipperfield, Amale Andraos, T. J demos, hans ulrich obrist, anthony vidler, gary leggett, maria giudici, marco frascari, kyle dugdale, Stephan Petermann and OMA/AMO, Sylvia Lavin, Andrew Kovacs, Sam Jacob, Karsten Harries, Russell Thomsen, Ed Eigen, Saskia Sassen, Matt Roman, Richard Mosse, Stanislaus von Moos .

The stream of readily accessible information has trapped us in a perpetual present, and our attention spans have been reduced to 140-character bursts.

Perspecta 43: Taboo

The contributors, asked simply “What is Taboo?”, respond with a range of examples. As a result, we learn to find consensus in nots and to seek refuge in don'ts. 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.

Contributorspier vittorio aureli, pamela karimi, peggy deamer, keith krumwiede, peter eisenman, marcel vellinga, edward eigen, Alicia Imperiale, Thomas de Monchaux, NaJa & DeOstos, Mario Gooden, Loïc WacquantInterviewsSunil Bald, Erika Naginski, Glen Cummings, Michelangelo Sabatino, Jorge Otero-Pailos, Taryn Simon, Arindam Dutta, Thomas Beeby, Neri Oxman, Greg Lynn, and Robert A.

M. Stern. Taboos structure our thinking and frame our discussions. 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. In articles and projects, theorists, historians, and practitioners investigate contemporary and historical instances of taboo, aiming to uncover its function in the pedagogy and praxis of architecture.

A taboo is a restriction invented and agreed upon by a social group that maintains stability disciplinary order but also induces transgressions the possibility of an avant-garde.

Perspecta 44: Domain

But as we insist on staking boundaries, we are impelled to search for their limits―however remote or nebulous. This issue of perspecta―the oldest and most distinguished student-edited architectural journal in America―offers an initial expedition into the contested spaces of architecture's domains.

Each of these shifts poses dramatic changes to how we conceive of boundaries, physically and conceptually. Dana tomlin, stuart Wrede Used book in Good Condition. Yet the defining boundaries of the discipline are often contested. Michael Rock, C. 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.

Architects can and often must embody a spectrum of characters in their practice: politician, physicist, artist, entrepreneur. 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. 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, program, perspecta 44 seeks to overcome the architect's conventional repertoire―Site, and User as an expanded vocabulary for spatial practice, and Client―and propose instead Field, Protocol, not without boundaries but rather abiding by the shifting logics and contours of public space.

Perspecta 45: Agency

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. Used book in Good Condition.

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. 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.

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, the fall of the berlin Wall, and Hurricane Katrina, for example, were all catalysts for architectural response and resulted in a diversification of the architect's portfolio.

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.


Not Interesting: On the Limits of Criticism in Architecture

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. Along with interesting, these three terms make up the four chapters of the book. In addition to text, the book contains over 50 case studies using 100 drawings and images.

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. Not interesting proposes another set of terms and structures to talk about architecture, without requiring that it be interesting.

Used book in Good Condition.

Perspecta 46: Error

Today, small errors can proliferate rapidly, with increasingly complex projects underpinned by layers of computer code, and the dream of errorless architecture seems more utopian than ever. This issue of perspecta―the oldest and most distinguished student-edited architectural journal in America―considers the challenge of defining error, the difficulty of diagnosing and managing it, and the promise and peril of following its lead.

Used book in Good Condition. Perspecta 46 argues that error is part of architecture's essence: mistranslations, contradictions, happy accidents, and wicked problems pervade our systems of design and building, almost always yielding surprising aberrations. Every project deviates from its designers' expectations, and wise architects learn to anticipate, mitigate, and sometimes celebrate the errors along the way.

Essays and projects illuminate the nature of error and its creative possibilities for architecture. Architecture never goes entirely according to plan. Essays and projects illuminate error's ambiguous agency both in reality and in the architectural imagination, covering topics that range from Dante's cosmos of divine justice and Michelangelo's architectural “abuses” to Dada urbanism and the warped skyscrapers of Google Earth.


Points and Lines: Diagrams and Projects for the City

K. Used book in Good Condition. Points + lines: diagrams and projects for the City is a book of New York architect Stan Allen's writings and projects that propose new architectural strategies for the contemporary city. Each project is accompanied by explanatory text as well as numerous drawings, models, photographs, and computer renderings.

The book's title refers to this interplay of practice and theory, evoking not only the points of activity and the paths of movement found in a contemporary city but also the points of speculation and lines of argument in theoretical discourse. Projects include the cardiff bay opera house, madrid; and White Columns Gallery, Los Angeles; the Museo del Prado, Wales; the Korean-American Museum of Art, New York.

Michael hays contributes an introductory essay; R. Organized in the form of a user's manual, it juxtaposes speculative texts outlining Allen's general principles with specific projects created by his office. Somol writes the postscript. E.

The Second Digital Turn: Design Beyond Intelligence Writing Architecture

The first digital turn in architecture changed our ways of making; the second changes our ways of thinking. Almost a generation ago, the early software for computer aided design and manufacturing CAD/CAM spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture.

But today's digitally intelligent architecture no longer looks that way. In the second digital turn, mario carpo explains that this is because the design professions are now coming to terms with a new kind of digital tools they have adopted―no longer tools for making but tools for thinking. In the early 1990s the design professions were the first to intuit and interpret the new technical logic of the digital age: digital mass-customization the use of digital tools to mass-produce variations at no extra cost has already changed the way we produce and consume almost everything, and the same technology applied to commerce at large is now heralding a new society without scale―a flat marginal cost society where bigger markets will not make anything cheaper.

But today, the unprecedented power of computation also favors a new kind of science where prediction can be based on sheer information retrieval, and form finding by simulation and optimization can replace deduction from mathematical formulas. Designers have been toying with machine thinking and machine learning for some time, and the apparently unfathomable complexity of the physical shapes they are now creating already expresses a new form of artificial intelligence, outside the tradition of modern science and alien to the organic logic of our mind.

Used book in Good Condition.