This 36th volume of Perspecta 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.
Peggy Deamer—"First Year: The Fictions of Studio Design"
Evelyn Preuss—"The Wall You Will Never Know"
Roger Connah—"Pulp Architecture"
Marjetica Potrc—"Caracas Case Study: The Culture of the Informal City"
Neil Denari—"Wet vs. Dry: The Chess/Go Project"
Sandy Isenstadt—"Modern in the Middle"
Saskia Sassen—"The City: Localizations of the Global"
“2nd Place: Design Competitions”
Leslie Lu—"The Asian Arcades Project: Progressive Porosity"
Alexander Garvin—"Ground Zero: The Rebuilding of a City"
“The Question Concerning Technology: The Rise of Fall of CTEK”
Joy Garnett—"Ex Trails"
Marc C. Taylor—"Correspondence"
Zvi Hecker, Rafi Segal and Eyal Weizman—"Correspondence"
Michael Wesely and Lina Kim—"Brasilia"
James Polshek and Richard Olcott—"Sign, Symbol and the Presidential Library"