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Publications

Perspecta 49

Cover of Perspecta 49

ISBN
9780262529426
Published
2016 MIT Press
Editor
AJ Artemel
Russell LeStourgeon
Violette de la Selle
Designer
Martha Kang McGill
Min Hee Lee

Purchase $ Perspecta 49 at MIT Press

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.

Contents

Eeva-Liisa Pelkonen—When modern architecture went viral

Amanda Reeser Lawrence—Spin-offs: the V.C. Morris Shop and self-relflexivity in the work of Frank Lloyd Wright

Ana Miljački—Project_Rorschach: on architectural memes and self-analysis

Sylvia Lavin—Double or nothing: architecture not in evidence

Sergio Muñoz Sarmiento—Primary structure: law, power, architecture

Richard Rogers—Interview

Mari Lending—Reciting the tomb of Tutankhamen

Adam Lowe—The Theban Necropolis Preservation Initiative

Formlessfinder—Precedent pile

Steven Lauritano—A remnant vivarium

WikiHouse New Haven—Project portfolio

Ines Weizman—The exception to the norm: buildings and skeletons in the archive of Ernst Neufert

Demetri Porphyrios—Art and architecture as palimpsest

Panayotis Tournikiotis—Quoting the Parthenon: history and the building of ideas

Jacques Herzog—Interview

George Hersey—Replication replicated or, notes on American bastardy

Xiahong Hua—Quotation and the construction of Chinese architectural identity

Erin Besler and Ian Besler—Like so

Xenia Vytuleva—From copy to trope: secrecy, quotation, and urbanism in Soviet ZATOs

Fake Industries Architectural Agonism, MAIO, Córdova Canillas—On Rooms: No Vacancy

Elia Zenghelis—Perpetually quoting the architectural project: abstraction, essence, and metaphor

Thomas Weaver—Loose Sally


Connected to this issue

Myriam Bellazoug Memorial Lecture
December 1, 2016 6:30 PM

Sergio Muñoz Sarmiento
Law ends

Sergio Muñoz Sarmiento