Keller Easterling

Keller Easterling is Associate Professor, Yale University School of Architecture. She is the author of Organization Space (MIT Press, 1999).

  • Subtraction


    Keller Easterling

    Unbuilding is the other half of building. Buildings, treated as currency, rapidly inflate and deflate in volatile financial markets. Cities expand and shrink; whether through the violence of planning utopias or war, they are also targets of urbicide. Repeatable spatial products quickly make new construction obsolete; the powerful bulldoze the disenfranchised; buildings can radiate negative real estate values and cause their surroundings to topple to the ground. Demolition has even become a spectacular entertainment.

    Keller Easterling's volume in the Critical Spatial Practice series analyzes the urgency of building subtraction. Often treated as failure or loss, subtraction—when accepted as part of an exchange—can be growth. All over the world, sprawl and overdevelopment have attracted distended or failed markets and exhausted special landscapes. However, in failure, buildings can create their own alternative markets of durable spatial variables that can be managed and traded by citizens and cities rather than the global financial industry.

    These ebbs and flows—the appearance and disappearance of building—can be designed. Architects—trained to make the building machine lurch forward—may know something about how to put it into reverse.

    • Paperback $20.00
  • Enduring Innocence

    Enduring Innocence

    Global Architecture and Its Political Masquerades

    Keller Easterling

    How outlaw "spatial products"—resorts, information technology campuses, retail chains, golf courses, and ports—act as cunning pawns in global politics.

    In Enduring Innocence, Keller Easterling tells the stories of outlaw "spatial products"—resorts, information technology campuses, retail chains, golf courses, ports, and other hybrid spaces that exist outside normal constituencies and jurisdictions—in difficult political situations around the world. These spaces—familiar commercial formulas of retail, business, and trade—aspire to be worlds unto themselves, self-reflexive and innocent of politics. But as Easterling shows, in reality these enclaves can become political pawns and objects of contention. Jurisdictionally ambiguous, they are imbued with myths, desires, and symbolic capital. Their hilarious and dangerous masquerades often mix quite easily with the cunning of political platforms. Easterling argues that the study of such "real estate cocktails" provides vivid evidence of the market's weakness, resilience, or violence.

    Enduring Innocence collects six stories of spatial products and their political predicaments: cruise ship tourism in North Korea; high-tech agricultural formations in Spain (which have reignited labor wars and piracy in the Mediterranean); hyperbolic forms of sovereignty in commercial and spiritual organizations shared by gurus and golf celebrities; automated global ports; microwave urbanism in South Asian IT enclaves; and a global industry of building demolition that suggests urban warfare. These regimes of nonnational sovereignty, writes Easterling, "move around the world like weather fronts"; she focuses not on their blending—their global connectivity—but on their segregation and the cultural collisions that ensue.Enduring Innocence resists the dream of one globally legible world found in many architectural discourses on globalization. Instead, Easterling's consideration of these segregated worlds provides new tools for practitioners sensitive to the political composition of urban landscapes.

    • Hardcover $24.95
    • Paperback $24.95
  • Organization Space

    Organization Space

    Landscapes, Highways, and Houses in America

    Keller Easterling

    Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of interrelationships and linkages, and she treats the expression of organizational character as part of the architectural endeavor.

    The dominant architectures in our culture of development consist of generic protocols for building offices, airports, houses, and highways. For Keller Easterling these organizational formats are not merely the context of design efforts—they are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of interrelationships and linkages, and she treats the expression of organizational character as part of the architectural endeavor.

    Easterling also makes the case that these organizational formats are improvisational and responsive to circumstantial change, to mistakes, anomalies, and seemingly illogical market forces. By treating these irregularities opportunistically, she offers architects working within the customary development protocols new sites for making and altering space.

    By showing the reciprocal relations between systems of thinking and modes of designing, Easterling establishes unexpected congruencies between natural and built environments, virtual and physical systems, highway and communication networks, and corporate and spatial organizations. She frames her unconventional notion of site not in terms of singular entities, but in terms of relationships between multiple sites that are both individually and collectively adjustable.

    • Hardcover $55.00
    • Paperback $30.00


  • Perspecta 55

    Futures Index

    Ethan Zisson, Matthew Wagstaffe, Lani Barry, Jeffrey Liu, and Nicholas Miller

    A collection that explores how architecture ought to negotiate the future, when the future is anything but certain.

    Architecture is fundamentally a practice of predicting the future. In designing spaces that will endure for decades, architects must reconcile their visions of future living with predicted economic, political, and environmental futures. Thus, whereas utopian architects of the past each sought to impose a singular future through visionary architectural form, architects of today must reconcile between the multiple futures projected by hired specialists, live modeling software, climate change prognoses, and financial markets. Perspecta 55 aims to undertake this much-needed analysis of contrasting techniques of prediction, investigating architecture's relationship to these conflicting visions of the future.

    Perspecta gathers together contributions from the fields of finance, climate, security, and computation to unearth the particular disciplinary histories and social values that underlie future projection. They identify eight futurological modes with direct impact on architectural practice: the hypothetical speculation of scenario planning, the training drills of disaster preparation, the logic of resisting a certain future evident within resiliency, the imaginings of science fiction, the risks and profits of the financial futures market, techniques of building information modeling and simulation, the algorithmic prediction involved in data mining, and the future-reversing logic of repair.

    In investigating and testing practices of future prediction, Perspecta 55 hopes to empower architecture to address its uncertain, contested futures so that it may successfully reconcile and articulate its own future.

    Designers:Kyla Arsadjaja and Julia Schäfer are graduates of the Yale School of Art.

    Contributors:Orit Halpern, Matthew Soules, William Deringer, Gary Zhexi Zhang, Jack Hanly, Zeynep Çelik Alexander, Gökçe Günel, Davy Knittle, Adam Bobbette, Savannah Cox, Stephen Collier, Andrew Lakoff, Lindsay Thomas, Ross Exo Adams, Amelyn Ng, Justin Joque, Peter Polack, and Daniela Fabricius

    • Paperback $35.00
  • Wonderflux


    A Decade of e-flux Journal

    e-flux journal

    Illustrated essays that consider emergent consistencies and overarching issues that defined the first decade of e-flux journal.

    Wonderflux brings together a group of longtime contributors and graphic artists to collaborate on illustrated essays that develop a new pictorial language around some of the emergent consistencies and overarching issues that defined the first decade of e-flux journal. These pieces ask: what is a mirror for? How does time come to be? They introduce us to faceless people; shapeshifting, omnipresent eyes; workers and robots; and twentieth-century American food riots. They ask us to consider the relation between the mind and the speed of events. They demand we resist hope, refuse prophecy, and hasten the mortality of value.


    Liam Gillick, Reza Negarastani & Keith Tilford, Keller Easterling & Meijia Xu, Hu Fang & Mojo Wang, Franco “Bifo” Berardi, Elizabeth A. Povinelli & Clara Bessijelle Johansson, Raqs Media Collective & Freddy Carrasco, Martha Rosler & Josh Neufeld

    • Paperback $24.00
  • Cultures of Assembly

    Cultures of Assembly

    Studio Miessen

    Federica Bueti and Markus Miessen

    A comprehensive overview of Studio Miessen's spatial designs and architectural projects.

    Cultures of Assembly offers a comprehensive overview of Studio Miessen's spatial designs and architectural projects. The publication is accompanied by a series of commissioned essays by guest authors on some of the key ideas of Miessen's practice. Concepts such as “Bastardising,” “Revamping,” or “Friction” can be employed to describe projects that range from exhibition architecture, spatial design, and consulting to publications, installations, and collaborations with artists and architects as well as research projects.

    Over the years, Studio Miessen has developed spatial strategies for institutions such as Witte de With, Rotterdam, Artsonje, Seoul; the Institute of Modern Art, Brisbane; Performa, New York; and conceived architecture designs for exhibitions at Artist Space, New York; Van Abbemuseum, Eindhoven; Berlin Biennale; Haus der Kulturen der Welt, Berlin; and with Hito Steyerl or Omer Fast, amongst others. The book is a collection of speculative thoughts and material experimentations that together form cultures of assembly.

    • Paperback $24.00
  • Perspecta 54

    Perspecta 54


    Melinda Agron, Timon Covelli, Alexis Kandel, and David Langdon

    Atopia as both the site of architecture's critical confrontation with hegemonic systems and the theoretical space in which its own processes can be challenged.

    A literal no-place, atopia represents the spatial end-product of a society seemingly flattened by supra-territorial flows of information and material. It expresses both a physical artifact and condition of mass culture, and like the global systems of production and consumption from which it is conceived, atopia is both nowhere and everywhere at once. For the contributors of Perspecta 54, the ephemeral conditions of atopia are also an invitation to an equally unconstrained critical practice. Blurred boundaries—geopolitical, virtual, technical, disciplinary—offer sites for transgressive speculation and critique from beyond the limits of traditional design agency.

    What results is a form of design practice that ambiguously straddles impossibility and hyperreality. Atopia rejects both the escapist fantasy of utopia and the nihilism of dystopia, favoring instead a conceptual middle ground from which real-world conditions can be productively engaged and challenged. Architecture's traditional objectives of critical inquiry—particularly the location of modes of complicity, agency, and resistance within larger structures—are mediated and reframed through nontraditional strategies of speculative design and fiction. For a profession that is routinely asked to navigate extreme complexity with limited tools, this approach suggests an expanded operational domain and possibilities for reinvigorated creative thought. From urban crises and climate emergencies to border disputes and geopolitics, Perspecta 54 examines atopia as both the site of architecture's critical confrontation with hegemonic systems and the theoretical space in which its own processes can be challenged.

    • Paperback $29.95
  • Non-Extractive Architecture, Volume 1

    Non-Extractive Architecture, Volume 1

    On Designing Without Depletion

    Space Caviar

    How architects can move toward a more just, harmonious, and non-exploitative designed environment.

    Architecture—and architects—have immense influence in defining the way we live, work, and interact as communities. Architecture, in fact, could be described as the very process through which our collective priorities take shape in the environment. Today, buildings generate nearly forty percent of annual global greenhouse gas emissions. As awareness of the true cost of inaction grows, every human activity will be rethought—and the material economy of the building industry is one of the places where new thinking is most urgently needed. Architects have the opportunity to reclaim their relevance by becoming the advocates and masterminds of a new way of building.

    What kind of architecture will be born once its primary purpose is serving communities and not capital accumulation? How can we compel the market to factor in the true long-term costs of construction and material production? How can we reduce the sense of abstraction that separates “consumers” of architecture from the environmental damage wrought at the sites of material extraction? How can communities become fully involved in every stage of the production of architecture, not just its final consumption? This book attempts to frame the problem and begins the process of delineating alternative paths forward. The first step architects can take toward a more just, harmonious, and non-exploitative designed environment is to redesign themselves, and what the word “architect” stands for.

    • Paperback $32.00
  • Perspecta 53

    Perspecta 53


    Caroline Acheatel, Paul J. Lorenz, Paul Rasmussen, and Alexander Stagge

    Essays and projects examine the ethical questions and moral tensions that arise during the ideation, development, completion, and aftermath of the architectural design process.

    In architecture, ethics are malleable. In theory, the terms are rigid, yet the reality is elastic. While much of the built environment is ostensibly designed for an individual client's needs, architecture's effects reverberate politically, environmentally, and culturally, often in unexpected ways and far beyond the limits of any parcel or project. This volume of Perspecta—the oldest and most distinguished student-edited architectural journal in the United States—considers the ethical questions and moral tensions that arise during the ideation, development, completion, and aftermath of the design process.

    Architecture operates on a temporal scale largely disconnected from social shifts. Although often bound up in power networks and funded by those who are most powerful, architecture has implicit obligations to those most vulnerable. Architecture's language, by making abstract concepts concrete, can reinforce or disrupt political, environmental, and social structures.

    Contributors from a range of geographies and practices offer insights, provocations, and questions about the dilemmas that architects encounter at every stage of designing the built environment: Whose architectural ideas get to become reality? What ethical role does form-making play in design? What moral burden must architects shoulder in the sheer act of building, and what is the future cost of today's refusal? Through arguments, essays, and projects that examine the issue at a range of scales—from the intimacy of a single material to the reach of global typology—Perspecta 53 explores the complex dynamics of architectural onus, and how designers can navigate conflicting agendas to pose new possibilities.

    • Paperback $29.95
  • Perspecta 52

    Perspecta 52


    Charlotte Algie and Alicia Pozniak

    Considering a redefinition of global space.

    As much as it is a neoclassical compositional principle, the ensemble today is shifting into a new critical focus: it is a central figure in nascent developments in probabilistic mathematics and a critical logic in the development of artificial intelligence algorithms. Statistical ensembles are a specific adaptation of Markov processes. They produce and are produced by a highly circumscribed definition of creativity—that of a predictive state inherently based on a chain of linked, given events, thus a computational intelligence predicated on the established patterns of the database. Are these mathematical ensembles different from those of neoclassical composition? How are the new ensembles characterized and materialized relative to their conceptual tradition?

    This fifty-second issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—is a projective art history of ensemble as form and politics. It uses theories of ensemble to propose both alternative extensive stagings of design objects, as well as other resistant assemblies of the corps of architects. Ensemble is posed a lens to theorize object-parts and states of motion at once, together: an architecture of the city.

    The volume includes a new photographic essay on the contemporary city of Bengali by American and Indian artists. A collection of essays by interdisciplinary contributors interweave this new creative work, pointing toward a compositional project for an architecture that is multiple, extensive, spontaneous, collective, durational, temporary.


    Charlotte Algie, Hayden Bassett, Anya Bokov, Kim Bowes, Alex Bremner, Matteo Burioni, Swati Chattopadhyay, Jean-Louis Cohen, Mark Crinson, Arko Datto, Samia Henni, Heyward Hart, Mark Jarzombek, Vladimir Kulić, Jimenez Lai, Hannah Le Roux, John Loring, Zahra Malkani and Shahana Rajani, Emily Mann, Christina Maranci, Edward Mitchell, Brian Norwood, Itohan Oyasimwese, Cristina Osswald, Curtis Roth, Tapati Guha-Thakurta, Hans Tursack, Yasmin Vobis, Aaron Forrest

    • Paperback $29.95
  • Perspecta 51

    Perspecta 51


    Shayari de Silva, Dante Furioso, and Samantha Jaff

    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, or, a means of conveyance, and this elemental understanding of medium has nourished early conversations of networks and cybernetics, as well as recent media theory. Yet today, midcentury architectural fictions and fantasies are reality—nomadic devices connect people, rooms, buildings, and cities to vast networks of data, capital, and energy; media are palpably enmeshed in the concrete built environment surrounding us. 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. Therefore, media are part of a continuum, and architecture is inseparable from medium. 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. These include articles about about images and digital commons, heating systems and thermostats, sea level rise and flood-monitoring apps, search lights and public space, media walls and megastructures, social media capitals and suburban sprawl, surveillance and library architecture. A chapter on flexibility demonstrates its thesis by being printed (intentionally) upside down. These stories are grounded in the theories of medium design, mediascapes, and media politics. 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, Nick Axel, åyr, Aleksandr Bierig, Francesco Casetti, Beatriz Colomina, DIS, Keller Easterling, Georgios Eftaxiopoulos, Moritz Gleich, Evangelos Kotsioris, Nashin Mahtani, Reinhold Martin, Shawn Maximo, Christine Shannon Mattern, Marshall McLuhan, Scott McQuire, Ginger Nolan, Shveta Sarda, Jeffrey Schnapp, Dubravka Sekulic, Prasad Shetty, Molly Steenson, Neyran Turan, Etienne Turpin, Christina Varvia, Richard Vijgen

    • Paperback $29.95
  • Perspecta 50

    Perspecta 50

    Urban Divides

    Meghan McAllister and Mahdi Sabbagh

    Explorations of spatial, cultural, and social divides in the city.

    Globalization promised an interconnected world, yet our cities are increasingly divided. In the past decade, for example, thousands of miles of new border walls have been constructed, many in urban contexts. People embrace the idea of walls out of fear, and leaders make promises that only reinforce divisions. Boundaries, of course, are not a new phenomenon. They have historically defined communities for cultural, political, and economic purposes. As urbanization increases and economic inequality reaches record levels, however, urban divides are becoming more pervasive. 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. Yet, with intensifying gentrification and ghettoization, urban divides are often not merely walls.

    In texts, images, and studio projects, Perspecta 50 explores broad questions facing urbanism and architecture today, including the effect on urban housing of migration and the blurred boundaries between the formal and informal city. The contributors—architects, urbanists, and academics—identify and critique distinct urban typologies and architectural devices used globally to divide. 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, Jon Calame, City Reparo, Andreea Cojocaru, Dana Cuff, Kian Goh, Jenny Holzer, Jyoti Hosagrahar, Jeffrey Hou, Andrés Jaque, Meghan McAllister, Gary McDonogh, Mitch McEwen, Alishine Osman, Todd Reisz, Mahdi Sabbagh, Anooradha Iyer Siddiqi, Michael Sorkin with Terreform, Studio Gang, Tatiana Bilbao Estudio, Guy Trangoš, Urban-Think Tank, Jesse Vogler, Annabel Jane Wharton, Theresa Williamson

    • Paperback $29.95
  • Perspecta 49

    Perspecta 49


    AJ Artemel, Russell LeStourgeon, and Violette de la Selle

    An exploration of quotation, appropriation, and plagiarism, arguing that quotation and associated operations are ubiquitous, intentional, and vital in architecture.

    Every intellectual endeavor relies upon an existing body of knowledge, proven and primed for reuse. Historically, this appropriation has been regulated through quotation. Academics trade epigraphs and footnotes while designers refer to precedents and manifestos. These citations—written or spoken, drawn or built—rely on their antecedent, and carry the stamp of authority.

    In the field of architecture, appropriation is faster, easier, and more conspicuous than ever, but also less regulated. These displacements are no longer self-referential games. Instead, buildings are copied before construction is completed. Digital scripts are downloaded, altered, and re-uploaded—transposing the algorithm, not the object itself. Design bloggers “curate” texts and images—copying and pasting, copying and pasting. 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. Today, the quicksilver nature of contemporary communications obscures chains of reference. 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, appropriation, and plagiarism, proposing a constructive reevaluation of contemporary means of architectural production and reproduction. Although architecture is a discipline that prizes originality and easily ascribed authorship, it is important to recognize that quotation and associated operations are ubiquitous, intentional, and vital, not just palliatives to the anxiety of influence. These are perhaps the most potent tools of cultural production, yet also the most contested. Perspecta 49 welcomes the contest.

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  • Dispute Plan to Prevent Future Luxury Constitution

    Dispute Plan to Prevent Future Luxury Constitution

    Benjamin H. Bratton

    Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.

    Benjamin H. Bratton's kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.

    The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery.

    In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.

    e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle

    • Paperback $16.00
  • Perspecta 48

    Perspecta 48


    Aaron Dresben, Edward Hsu, Andrea Leung, and Teo Quintana

    Ruminations on the paradoxical nature of amnesia: can the gaps it creates provide spaces for invention?

    Architecture, the most durable of the arts, is inextricably linked to issues of memory, nostalgia, and history. Yet, in this impatient century, the discipline's relationship to the past has become increasingly fraught. The stream of readily accessible information has trapped us in a perpetual present, and our attention spans have been reduced to 140-character bursts. As archives overflow and data multiplies, these accumulating facts lack any theory of significance. 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. Contributions from a diverse group of scholars, artists, 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, suppressed, or manufactured to reenergize current practice? How might we construct counter-narratives, rebel histories, 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, Amale Andraos, Iwan Baan, Mario Carpo, David Chipperfield, T.J Demos, Kyle Dugdale, Ed Eigen, Marco Frascari, Maria Giudici, Karsten Harries, Sam Jacob, Andrew Kovacs, Sylvia Lavin, Gary Leggett, Richard Mosse, Hans Ulrich Obrist, Stephan Petermann and OMA/AMO, Matt Roman, Saskia Sassen, Russell Thomsen, Anthony Vidler, Stanislaus von Moos

    • Paperback $29.95
  • Perspecta 47

    Perspecta 47


    James Andrachuk, Christos C. Bolos, Avi Forman, and Marcus A. Hooks

    Investigating money's ambiguous position in architecture, with reflections on topics that range from the aesthetics of austerity to the underwriting of large-scale art projects.

    Money plays a paradoxical role in the creation of architecture. Formless itself, money is a fundamental form giver. At all scales, and across the ages, architecture is a product of the financial environment in which it is conceived, for better or worse. Yet despite its ubiquity, money is often disregarded as a factor in conceptual design and is persistently avoided by architectural academia as a serious field of inquiry. It is time to break these habits. In the contemporary world, in which economies are increasingly connected, architects must creatively harness the financial logics behind architecture in order to contribute meaningfully to the development of the built environment.

    This issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—examines the ways in which money intersects with architectural discourse, design practice, and urban form, in order to encourage a productive relationship between money and the discipline. Contributions from a diverse group of scholars, practitioners, and artists create a dialogue about money's ambiguous position in architecture, reflecting on topics that range from the aesthetics of austerity to the underwriting of large-scale art projects to the economic implications of building information modeling.

    Contributors AOC, JT Bachman, Phil Bernstein, Mario Carpo, Christo, Peggy Deamer, Keller Easterling, Peter Eisenman, Mark Foster Gage, Frank Gehry, Thomas Gluck, Kevin D. Gray, Charles Holland, Hasty Johnson & Jerry Lea, Naomi R. Lamoreaux, Mira Locher, Vivian Loftness, Gregg Pasquarelli, Cesar Pelli & Fred Clarke, Nina Rappaport, Todd Reisz, Brent Ryan & Lorena Bello, Michelangelo Sabatino, David Ross Scheer, Robert Shiller, Robert A.M. Stern, Elisabetta Terragni, Kazys Varnelis, Andrew Waugh & Michael Green, Jay Wickersham & Christopher Milford, Alejandro Zaera-Polo

    • Paperback $29.95
  • Perspecta 46

    Perspecta 46


    Joseph Clarke and Emma Bloomfield

    Essays and projects illuminate the nature of error and its creative possibilities for architecture.

    Architecture never goes entirely according to plan. Every project deviates from its designers' expectations, and wise architects learn to anticipate, mitigate, and sometimes celebrate the errors along the way. 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. Today, with increasingly complex projects underpinned by layers of computer code, small errors can proliferate rapidly, 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. 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.

    • Paperback $42.95
  • Perspecta 45

    Perspecta 45


    Kurt Evans, Iben haffner, and Ian Mills

    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 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. 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. 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, prominent architects, scholars, and artists investigate how architects can become agents for change within their own discipline and in the world at large.

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  • Perspecta 44

    Perspecta 44


    Tala Gharagozlou, David Sadighian, and Ryan Welch

    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. Yet the defining boundaries of the discipline are often contested. Architects can and often must embody a spectrum of characters in their practice: politician, artist, physicist, entrepreneur. Likewise, a building is the nexus of multifaceted economies, legislations, and information systems. Since “architecture” has become a metonym for increasingly distributed persons and practices, 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, accessed, 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. Each of these shifts poses dramatic changes to how we conceive of boundaries, physically and conceptually. 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. 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. By embracing the inherent complexities of Domain, Perspecta 44 seeks to overcome the architect's conventional repertoire—Site, Program, and Client—and propose instead Field, Protocol, and User as an expanded vocabulary for spatial practice, not without boundaries but rather abiding by the shifting logics and contours of public space.

    Contributors BêkaFilms, R. Howard Bloch, Craig Buckley, Mario Carpo, common room, Peggy Deamer, Neil Denari, Forum for Urban Design, Sophie Houdart, Sam Jacob, Office Kersten Geers David Van Severen, Bruno Latour, Lawrence Lessig, Richard Meier, Ralitza Petit, Nasser Rabbat, Casey Reas and Ben Fry et al. Michael Rock, C. Dana Tomlin, Stuart Wrede

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  • Perspecta 43

    Perspecta 43


    John C. Brough, Seher Erdogan, and Parsa Khalili

    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. As a result, we learn to find consensus in nots and to seek refuge in don'ts. 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). Taboos structure our thinking and frame our discussions. In architecture, taboos create an operative way of thinking about and making architecture through unspoken agreement. This issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—tackles architectural unutterables. In articles and projects, historians, theorists, and practitioners investigate contemporary and historical instances of taboo, aiming to uncover its function in the pedagogy and praxis of architecture. 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.”

    ContributorsPier Vittorio Aureli, Glen Cummings, Thomas de Monchaux, Arindam Dutta, Edward Eigen, Mario Gooden, Alicia Imperiale, Pamela Karimi, Keith Krumwiede, Erika Naginski, NaJa & DeOstos, Jorge Otero-Pailos, Neri Oxman, Michelangelo Sabatino, Taryn Simon, Marcel Vellinga, Loïc WacquantInterviewsSunil Bald, Thomas Beeby, Peggy Deamer, Peter Eisenman, Greg Lynn, and Robert A. M. Stern

    • Paperback $25.00
  • Perspecta 42

    Perspecta 42

    The Real

    Matthew Roman and Tal Schori

    Amid the tricks and trompe l'oeils of contemporary practices, architecture is now, more than ever, in pursuit of the real.

    It is often suggested that architecture is more “real” than the other arts, more grounded and definitive. Yet even the most fundamental and concrete elements of architecture are often designed to conceal. This issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—embraces the paradoxical nature of the real, presenting it as a lens that magnifies the strategies and tactics of architecture, past, present, and future. How does architecture create real effects, change our built environment, and respond to crises? What are the tricks and trompe l'oeils of contemporary practice? Amid fake Europes, shape-shifting materials, and underwater asylums, Perspecta 42 navigates architecture's disciplinary boundaries to locate the real in the most unlikely of places. The real has been central to our understanding of architecture for the last hundred years, even if the discussion has been couched in other terms. While architecture anxiously situates itself between building and discourse, it never fully capitulates to either side. Through historical inquiry, theoretical writing, and contemporary projects, Perspecta 42 asserts that now, more than ever, architecture is in search of the real. The issue revolves around three encounters with the real. First, the physical: texts, projects, and conversations that relate to issues of material properties and our bodily surroundings—thoughts on such topics as sensory environments, smart materials, and the floor as a landscape of logistics. Second, authenticity: explorations of representation and hybrid realities, including the digital and the surreal. And, finally, institutional failures and man-made or natural crises: considerations of war, the current economic calamity, and racial politics.

    ContributorsMichelle Addington, Lucia Allais, Alejandro Aravena, Mario Ballesteros, BIG, Andrew Blauvelt, Keller Easterling, Olafur Eliasson and Kurt Forster, Hal Foster, Lorens Holm, Jiang Jun, L.E.FT., Armin Linke, Metahaven, Spyros Papapetros, Emmanuel Petit, Antoine Picon, Bill Rankin, Damon Rich, Francois Roche, Matthew Stadler, Albena Yaneva, Yoon+Howeler, Andrew Zago, Mirko Zardini

    • Paperback $25.00
  • Perspecta 41 "Grand Tour"

    Perspecta 41 "Grand Tour"

    The Yale Architectural Journal

    Gabrielle Brainard, Rustam Mehta, and Thomas Moran

    Architectural travel, from the Eternal City to the generic city.

    The Grand Tour was once the culmination of an architect's education. As a journey to the cultural sites of Europe, the Tour's agenda was clearly defined: to study ancient monuments in order to reproduce them at home. Architects returned from their Grand Tours with rolls of measured drawings and less tangible spoils: patronage, commissions, and cultural cachet. Although no longer carried out under the same name, the practices inscribed by the Grand Tour have continued relevance for contemporary architects. This edition of Perspecta—the oldest and most distinguished student-edited architectural journal in America—uses the Grand Tour, broadly conceived, as a model for understanding the history, current incarnation, and future of architectural travel. Perspecta 41 asks: where do we go, how do we record what we see, what do we bring back, and how does it change us? Contributions include explorations of architects' travels in times of war; Peter Eisenman's account of his career-defining 1962 trip with Colin Rowe around Europe in a Volkswagen; Robert Venturi and Denise Scott Brown's discussion of their traveling and its effect on their collecting, teaching, and design work; drawings documenting the monolithic churches of Lalibela, Ethiopia; an account of how James Gamble Rogers designed Yale's Sterling Library and residential colleges using his collection of postcards; and a proposed itinerary for a contemporary Grand Tour—in America.

    ContributorsEsra Akcan, Aaron Betsky, Ljiljana Blagojevic,, Edward Burtynsky, Matthew Coolidge and CLUI, Gillian Darley, Brook Denison, Helen Dorey, Keller Easterling, Peter Eisenman, Dan Graham and Mark Wasiuta, Jeffery Inaba and C-Lab, Sam Jacob, Michael Meredith, Colin Montgomery, Dietrich Neumann, Enrique Ramirez, Mary-Ann Ray and Robert Mangurian, Kazys Varnelis, Robert Venturi and Denise Scott Brown, Enrique Walker

    • Paperback $25.00
  • Perspecta 40 "Monster"

    Perspecta 40 "Monster"

    The Yale Architectural Journal

    Marc Guberman, Jacob Reidel, and Frida Rosenberg

    A monster is in our midst, and its name is Architecture.

    Contemporary architecture is in many ways a monstrous thing. It is bigger, more broadly defined, increasingly complicated, more costly, and stylistically and formally heterogeneous—if not downright unhinged. Not only is the scale of the built environment expanding, but so is the territory of the architectural profession itself. A perfect storm of history, technology, economics, politics, and pedagogy has generated a moment in time in which anything seems possible. The results have been at times strange and even frightening.

    Long ago, the birth of an abnormal creature was interpreted as a sign of looming trouble. These monstra—from the Latin monere, “to warn” and monstrare, “to show”—were viewed with both fear and fascination. This fortieth issue of Perspecta—the oldest and most distinguished student-edited architectural journal in America—examines architecture past and present through the lens of the monster. The contributors—a diverse group of scholars, practitioners, and artists—embrace the multitude of meanings this term carries in an attempt to understand how architecture arrived at its present situation and where it may be going. Perspecta 40 represents in itself a kind of monster—a hybrid, jumbled, conflicting amalgamation of work and ideas that looks at the past in new ways and tells of things to come.

    ContributorsPhilip Bernstein, Mario Carpo, Arindam Dutta, Ed Eigen, Mark Gage, Gensler, Marcelyn Gow and Ulrika Karlsson (servo), Catherine Ingraham, Mark Jarzombek, Terry Kirk, Leon Krier, Greg Lynn, John May, John McMorrough, Colin Montgomery, Guy Nordenson, Eeva-Liisa Pelkonen, Emmanuel Petit, Kevin Roche, Yoshiharu Tsukamoto (Atelier Bow-Wow) and Ryuji Fujimura, Michael Weinstock, Claire Zimmerman

    • Paperback $25.00
  • Perspecta 39 "Re_Urbanism: Transforming Capitals"

    Perspecta 39 "Re_Urbanism: Transforming Capitals"

    The Yale Architectural Journal

    Kanu Agrawal, Melanie Domino, Edward Richardson, and Brad Walters

    An architectural perspective on the transformation of capital cities in an age of globalization, from Baghdad and Belgrade to Brussels and Washington D.C.

    This edition of Perspecta, the oldest and most distinguished student-edited architectural journal in America, investigates the transformation of capital cities in the era of globalization. This redevelopment, renewal, and recycling of the urban landscape—termed by the editors as “Re_Urbanism”—takes place as capital cities try both to cater to an influx of global capital and to reassert their roles as symbols of national sovereignty. Re_Urbanism investigates this process from an architectural perspective. The contributors explore the various ways capital cities struggle to assert their vitality and continuing relevance, examining capitals that compete internally with their own global counterparts (Abu Dhabi vs. Dubai), capitals that must be rebuilt after periods of destruction (Belgrade and Baghdad), and capital cities that are responding to hyperbolic development (Beijing, New Delhi, Kuwait City). Some cities are examined for their impact on border politics (Washington D.C.) while others reveal mythologies parallel to their modernist origins (Brasilia).

    • Paperback $20.00
  • Did Someone Say Participate?

    Did Someone Say Participate?

    An Atlas of Spatial Practice

    Markus Miessen and Shumon Basar

    A report from the front lines of cultural activism that looks at spatial practitioners who actively trespass into neighboring or alien fields of knowledge.

    Did someone say we need yet another anthology of essays? According to the editors of Did Someone Say Participate?, the answer is an emphatic—or hysterical—"YES!" In fact, they'd go further and argue that the shifts that have taken place in the practice and pedagogy of architecture have been mirrored in other fields, and that this has happened to such an extent that an emerging generation of artists, activists, economists, curators, policy makers, photographers, editors (and, of course, architects) is reshaping how we look at contemporary social and political reality. Despite their apparent disciplinary differences, these professionals are all spatial practitioners. What was once seen as the defensive preserve of architects—mapping, making, or manipulating spaces—has become a new "culture of space" situated in the global market and media arena. Did Someone Say Participate? showcases a range of forward-thinking practitioners and theorists who actively trespass into neighboring or alien fields of knowledge in activities that range from collaborative forms of interdisciplinary practice to identifying practices of ethical terror. For the first time, architecture is here presented as the architecture of knowledge. Participation—social, political or personal—is once again at the forefront of research. Together, the contributions form an atlas of spatial practices resembling the early medieval maps that attempt to show the entire known world. Did Someone Say Participate? will be essential reading not only for those involved in the future of architectural research and practice, but for anyone interested in navigating through current forms of cultural inquiry and debate.

    ContributorsÅbäke, Shumon Basar, Johanna Billing, Celine Condorelli & Beatrice Gibson, Keller Easterling, Francesca Ferguson, Justin Frewen, Stephen Graham, Joseph Grima, Mauricio Guillen, Michael Hirsch, Bernd Kniess & Meyer Voggenreiter, Armin Linke, Brendan McGetrick, John McSweeney, Markus Miessen, Matthew Murphy, Lucy Musgrave & Clare Cumberlidge, Hans Ulrich Obrist, Bas Princen, Wendy Pullan, Frank van der Salm, Luke Skrebowski, R&Sie(n) with Pierre Huyghe, Peter Weibel, Srdjan Jovanovic Weiss and Eyal Weizman.

    Not for sale in the UK and Europe.

    • Hardcover $29.00
  • Perspecta 38 "Architecture After All"

    Perspecta 38 "Architecture After All"

    The Yale Architectural Journal

    Marcus Carter, Christopher Marcinkowski, Forth Bagley, and Ceren Bingol

    The practice of architecture after the breakdown of consensus: designers, theoreticians, and scholars consider architecture's divergent ideological landscape in this issue of America's oldest and most distinguished student-edited architectural journal.

    The profession of architecture is increasingly characterized by divergent architectural ideas and divergent political, social, technological, and economic agendas. Much of current practice focuses on the process of architecture (its how) rather than its meaning, effect, or reason for being (its why). This issue of Perspecta—the oldest and most distinguished student-edited architectural journal—explores the practice of architecture after the breakdown of consensus. Designers, theoreticians, and scholars investigate an architectural landscape devoid of a dominant ideology or ethos. Their essays take specific points of departure—globalization, urbanism, pedagogy, irony, as well as form, theory, and ideology—to address broader questions about the social, economic, and political fallout from these modes of practice, considering whether the lack of an overriding ethos in architecture is liberating or limiting for the profession. And, after all, is it conceivable, or desirable, to return to an architecture derived from a single, dominant mode of operation?

    ContributorsAuthors: Roger Connah, Winka Dubbeldam, Dawn Finley + Mark Wamble, Christopher Hight + Chris Perry, Sam Jacob, Emmanuel Petit, Michael Speaks, Ashley Schafer, Noriyuki Tajima, Tom Wiscombe, Lebbeus Woods, Stanley TigermanRoundtable participants: Michael Speaks (moderator), Hernan Diaz Alonso, Winka Dubbeldam, Mark Goulthorpe, Gregg Pasquarelli, David Serero

    • Paperback $20.00
  • Perspecta 37 "Famous"

    Perspecta 37 "Famous"

    The Yale Architectural Journal

    Brendan Lee, DaeWha Kang, Justin Kwok, and Robert McClure

    This issue of Perspecta discusses whether fame empowers architecture by giving architects leverage to produce ambitious projects or undermines architecture by diluting the quality and neglecting the values it must serve.

    Does fame empower architecture or undermine it? Does the star power or cult status of an architect enhance the art or dilute it? This issue of Perspecta—the oldest and most distinguished student-edited, university-based American architecture journal—examines the inner workings of fame as it relates to architecture though media and culture. It looks at how the commodification of architecture affects the design process—whether fame emphasizes all the wrong aspects of architecture or provides the only way an architect can produce truly ambitious projects. How does architecture generate fame? And how does fame generate architecture? Celebrity permeates all levels of contemporary society; architecture, academia, the architectural press, and the mainstream media all play a role in promoting the mystique of the designer genius. The tradition of learning through apprenticeship and the struggle to have projects commissioned and built perpetuate the importance of the famous architect. Does this serve architecture or only the architectural star? The contributors to Perspecta examine both sides of the argument: Architecture moves forward through a process of innovation; fame provides the architect with the leverage needed to accomplish innovation. Or is it that fame, because of its relationship to the media and popular tastes, inevitably dilutes the quality of the architecture? Does "famous" architecture glorify only itself and neglect the people, the values, and the functions that it must serve?

    • Paperback $20.00
  • Perspecta 36 "Juxtapositions"

    Perspecta 36 "Juxtapositions"

    The Yale Architectural Journal

    Macky McCleary and Jennifer Silbert

    The juxtapositions of writings, architecture, and art show that association can be a tool of creativity and analysis.

    This 36th volume of Perspecta—America's oldest and most distinguished student-edited architecture journal—begins with the assumption that association is a tool of creativity and analysis. The axiomatic modernist oppositions of macro/micro, literal/phenomenal, nature/industry, either/or, and both/and have evolved from an argumentative tool into a narrative method.Juxtapositions create conflict. "Juxtapositions" attempts to reclaim the breadth, scope, and relevance of the early volumes of Perspecta through meaningful juxtapositions—what might be termed poignant adjacency. Thus a critique of studio education is deepened by its adjacency to discussions of technology and urbanism, to visual art, to old modernism, to balkanization and globalization, to film, to fear of war, and to the annihilation and creation of cities. The juxtapositions (graphic and ideological) in the volume, although created with editorial consideration, seek to evade and subvert that consideration in favor of unforeseen overlap. This is meant as a provocation—not intentless, but ultimately intent-proof, a landscape upon which the unexpected can occur.

    • Paperback $20.00
  • Perspecta 35 "Building Codes"

    Perspecta 35 "Building Codes"

    The Yale Architectural Journal

    Elijah Huge and Stephanie Tuerk

    The evolution of the relationship between codes, as systematic forms of regulation, and architecture; examines issues raised for the profession, the academy, and the built environment.

    Codes, as systematic forms of regulation and organization, are not the innocuous or neutral documents they are often considered to be. Operating with or without legal sanction, they are formulated to ensure specific and predictable outcomes and are laden with authorial and authoritative intent. Nevertheless, while codes have come to be an increasingly pervasive force in contemporary architecture, they are still frequently dismissed as onerous and quotidian. This volume of Perspecta—the oldest and most distinguished student-edited, university-based American architecture journal—investigates the historical and ongoing evolution of the relationship between codes and architecture, from Vitruvian systems of mathematical proportion through current strategies in building legislation.

    Although regulations created to establish restrictive power over building have existed throughout history, architecture today is more than ever bounded, shaped, and directed by codes. Codes simultaneously manage the complexity of architectural practice and establish the terms of its interaction with a widening range of internal and external forces. While codes impose the particular interests of their authors on both the architectural profession and the inhabitants of the built environment, they are seldom the focus of critical inquiry. Approaching the topic from a variety of backgrounds and positions, the authors contributing to Perspecta 35 examine the impact of codes on architecture in contexts ranging from contemporary technology to the foundational traditions of the discipline. Collectively they reveal the breadth and impact of codes affecting architecture and speculate on how the relationships between the two will continue to unfold.

    • Paperback $20.00
  • Perspecta 34 "Temporary Architecture"

    Perspecta 34 "Temporary Architecture"

    The Yale Architectural Journal

    Noah K. Biklen, Ameet N. Hiremath, and Hannah H. Purdy

    An exploration of various manifestations of the idea of "the temporary" in modern and contemporary architecture.

    Founded in 1950, Perspecta is the oldest and most distinguished of the student-edited American architectural journals. Perspecta 34 explores the temporary relationship between architecture and the larger contexts within which social crisis and cultural transformation take place. The issue examines many questions associated with modernism, including the limits of utopian urban planning, and considers alternatives to space as the dominant organizing concept for architecture. It views the contemporary as a fluid practice in which games, intuition, collective imagination, and style emerge alongside conventional architectural approaches as ways to comprehend and shape the temporary landscape. Case studies—on the Olympics, Belgrade protests, refugee housing—ask how temporary events intensify the possibilities and limitations for architectural innovation. Perspecta 34 also explores the built environment as an ecology of change consisting of dynamic economies, movements of people, and overlapping systems of authority. The issue includes a portfolio of twentieth-century temporary projects that reflect changing ideas of fabrication, the deployment of the architectural object, and architecture's relationship to social and cultural practices.

    • Paperback $20.00
  • Perspecta 33 "Mining Autonomy"

    Perspecta 33 "Mining Autonomy"

    The Yale Architectural Journal

    Michael Osman, Adam Ruedig, Matthew Seidel, and Lisa Tilney

    Essays exploring the legacy of architectural autonomy and its relationship to architecture's potential as a critical agent.

    Founded in 1950, Perspecta is the oldest and most distinguished of the student-edited American architectural journals. Perspecta 33 explores the concept of architectural autonomy and its relationship to the discipline's potential as a critical agent.The journal revisits the debate of the past thirty years over architectural autonomy—the belief that architecture is a self-contained field with its own legible, meaningful forms. It addresses the twentieth-century lineage of autonomy from its origins in the fine arts and art history to its architectural manifestation in the 1970s—a time when the functionalist, utilitarian nature of the modernist era led to a perceived dissolution of the discipline's professional boundaries. From this historical understanding, the journal investigates current practice, asking whether autonomy is still essential to the "critical project." Perspecta 33 notes a shift in critical attention from the center of the discipline to its periphery, where architecture is able to translate intelligence from other disciplines into its own conventions and language, as well as pass ideas and speculation into the world. New methods of architectural production (digital design, imaging, and fabrication), growing environmental concerns, and changing ideas about domesticity and urban space suggest alternative directions for criticality.The essays are organized in two parts: those that explicitly engage the history of architectural autonomy and those that offer alternatives or counterexamples. In addition to the articles, there is a portfolio of contemporary projects that draw their criticality from disciplines outside architecture.

    Perspecta 33 also includes a work by the artist Ann Hamilton. Articles are by Stanford Anderson, Carol Burns, Bernard Cache, Diane Ghirardo, Elizabeth Grosz, K. Michael Hays and Lauren Kogod, Neil Leach, Hashim Sarkis, Robert Somol, Michael Stanton, Anthony Vidler, Sara Whiting, and Christopher Wood.

    The editors of Perspecta 33 are graduates of The Yale School of Architecture and practicing architects.

    • Paperback $21.00
  • Perspecta 32 "Resurfacing Modernism"

    Perspecta 32 "Resurfacing Modernism"

    The Yale Architectural Journal

    Ann Marie Brennan, Nahum Goodenow, and Brendan D. Moran

    An exploration of mid-century architectural modernism in a postmodern age, and of surface as a subject with depth.

    "Resurfacing Modernism" Founded in 1950, Perspecta is the oldest and most distinguished of student-edited American architectural journals. Perspecta 32 examines contemporary "resurfacings" represented by the return of many forms and values associated with mid-twentieth-century modernism. By 1950, a plethora of architectural practices were adapting earlier modernist experimentation to the changing times. Numerous buildings of this period employed sleek surfaces of glass, metal, and stone to provide primary stylistic unity. More generally, much architectural activity involved the quotation, manipulation, and modification of past appearances (surfaces) and discourses (spaces). Exceptional architecture of the last decade—not only built work, but also historical and theoretical research—has again been informed by such imagery and actions. For this reason, Perspecta 32 explores the prospects of mid- century modernism in a postmodern age. The issue invokes three different meanings of "resurface": the reappearance of aspects of the past as well as the layering of new meanings and interpretations onto accepted conventions, and the peeling away of accrued patinas associated with modernism. While critical explorations of architectural modernism have frequently emphasized surface qualities, the recognition and analysis of surface as a subject with depth presents itself now more than ever.

    ContributorsGeorge Baird, Peggy Deamer, Deborah Fausch, Michael Hays, Sandy Isenstadt, and Reinhold Martin

    • Paperback $21.00
  • Perspecta 31 "Reading Structures"

    Perspecta 31 "Reading Structures"

    The Yale Architectural Journal

    Carolyn Ann Foug and Sharon L. Joyce

    Perspecta 31 examines the relationship between architectural design and structural engineering through the processes and products of both disciplines.

    "Reading Structures" Founded in the early 1950s, Perspecta is the oldest and most distinguished of the student-edited American architectural journals that have appeared in recent decades. Perspecta 31 examines the relationship between architectural design and structural engineering through the processes and products of both disciplines. The contributing architects, engineers, and historians explore how structures reflect both the professions and the cultures that produce them. The authors' common approach to structure, which carefully considers context, reveals the politics, economic influences, design ideas, and chance circumstances that influence its configuration. The resulting series of articles and case studies shows how one can understand structures that are embedded in architecture. The journal looks specifically at issues of collaboration between architects and engineers. It also addresses the relationship of structural form to materials, the transition from conceptual to actual structures, and the cultural history of architectural and industrial structures. Reflecting the theme of structure as process, the journal documents an ongoing conversation between the editors, contributors, and others. The twelve articles are followed by short responses, and major themes emerging from the articles are identified and explored by the editors. The journal concludes with the results of an informal survey of architects on the role of structure in the design process.

    ContributorsThomas H. Beeby, Eric DeLony, Gregory K. Dreicer, Hugh Dutton, Lucie Fontein, Antonio Juarez, Guy Nordenson, Alan Organschi, Tom F. Peters, Herman D. J. Spiegel, Carles Vallhonrat, Peter D. Waldman

    • Paperback $21.00
  • Perspecta 30 "Settlement Patterns"

    Perspecta 30 "Settlement Patterns"

    The Yale Architectural Journal

    Louise Harpman and Evan M. Supcoff

    The issue includes original documentation of notable housing projects from the 1920s and 1930s, when modernist ideas promised torevamp architecture and when, in retrospect, many of the seeds forpost-World War II suburban sprawl were planted.

    "Settlement Patterns" Founded in the early 1950s, Perspecta is the oldest and most distinguished of the student-edited American architectural journals that have appeared in recent decades. Perspecta 30 examines settlement patterns in twentieth-century America. The term "settlement," so critical to the ideology of the country's founding, is used to consider land use, development, and housing in a broad context. The essays address infrastructure, planned communities, zoning, and financing—all critical determinants of how the United States has come to be settled, with implications for the future. The contributors view housing not as an isolated architectural event but as a pervasive societal preoccupation of enormous impact.The issue includes original documentation of notable housing projects from the 1920s and 1930s, when modernist ideas promised to revamp architecture and when, in retrospect, many of the seeds for post-World War II suburban sprawl were planted. These housing schemes, now viewed as isolated social experiments, suggest alternative settlement patterns that might have developed. Perspecta 30 features articles by some of the country's leading architectural theorists, critics, educators, and practitioners.

    ContributorsEd Bacon, Denise Scott Brown, Margaret Crawford, Mike Davis, Keller Easterling, Steve Kieran, Fred Koetter, Alex Maclean, Elizabeth Plater-Zyberk, Alan Plattus, Ron Shiffman, and Neil Smith

    • Paperback $21.00
  • Perspecta 29 "Into the Fire"

    Perspecta 29 "Into the Fire"

    The Yale Architectural Journal

    William Deresiewicz, Garrett S. Finney, Sam Kirby, and Clay Miller

    The issue presents contemporary American projects that representanother generation of commitment to activist practice—continuing toapproach design as a socially engaged, oppositional mission.

    "Into the Fire" Founded in the early 1950s, Perspecta is the oldest and most distinguished of the student-edited American architectural journals that have appeared in recent decades. Perspecta 29 examines the legacy of the academic and professional confrontations of the 1960s. The issue is assembled around the transcript of the 1992 conference "Rethinking Designs of the 60s" (with Denise Scott Brown, Ed Logue, Cedric Price, Martha Rosler, Paul Rudolph, Ron Shiffman, Susanna Torre, Michael Webb, and others). It includes documents from the Architects' Resistance (1967-70), a student group whose activities coincided with the dissolution of Yale's Department of City Planning and an explosion and fire at the Yale Art and Architecture Building in 1969, as well as internal documents from the university related specifically to these events.The issue presents contemporary American projects that represent another generation of commitment to activist practice—continuing to approach design as a socially engaged, oppositional mission. Also included are an interview with Virginia Schaff and essays by Susan Piedmont-Palladino, Michael Sorkin, Thomas Fisher, Graham Finney, William McDonough, and Robert Goodman.

    • Paperback $20.00
  • Perspecta 28 "Architects, Process, and Inspiration: A Collection of Essays"

    Perspecta 28 "Architects, Process, and Inspiration: A Collection of Essays"

    The Yale Architectural Journal

    Robert Joyce, Rossana Santos, and Laura Turlington

    The focus of Perspecta 28 is the architect's persona. The essays concentrate on the role that personal vision plays in the process of perceiving, transforming, and building a world outside of oneself.

    "Architects, Process and Inspiration: A Collection of Essays" Founded in the early 1950s, Perspecta is the oldest and most distinguished of the student-edited architectural journals that have flourished in this country for decades. The focus of Perspecta 28 is the architect's persona. The essays concentrate on the role that personal vision plays in the process of perceiving, transforming, and building a world outside of oneself. The idea is that design process is a personal activity that grows out of an individuals education and experiences. "Can you recognize the personal in a mans work?" asks Louis Kahn in the previously unpublished lecture that opens the issue. The following essays, in which contributors search for clues to Kahns "personal", take the form of discrete installations. The final form of each piece grew from its particular written and visual message, revealing the "personal" in the authors work. Jean Nouvel's nihilistic lecture, Aldo Rossi's anachronistic cartoons, W. G. Clarke's quiet travelogue through the South's backwoods: each installation is an evocative interweaving of message and medium. The essays share a belief in the power of personal vision and human energy, which cannot be found by analytic means alone.

    ContributorsGunter Behnisch, Deborah Berke, Denise Scott Brown, Thomas Burton, W. G. Clark, Margaret Helfand, Louis Kahn, John Keenen, Thomas Leeser, Jean Nouvel, John Patkau, Patricia Patkau, Terence Riley, Aldo Rossi, Adele Santos, and Robert Venturi

    • Paperback $35.00