TRAVEL* by Paper Matters Press

T R A V E L*

avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* avel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel* travel*

S a r a h Ka r p i n s k i Pa t h 2 . 5

13 F. A L A R . 810 0 D e s i g n Re s e a r ch M e t h o d s & St r a t e g i e s A d v i s o r | Pe t e r W a l d m a n

as a fundamental of architectural study and spatial experience

Learn By Doing_ Travel has Ability to Reveal: Context Space Light Scale Modular Use of Our Body

Sharing the Travel Experience

Memory

Personally

Drawing

Photographs

Memory Theater

From A Distance Blogs

Videos

Time

Post Cards

Souvenirs Facebook Cabinets of Curiosities

Stop. Watch. Reflect Duration of Travel

Culture

Affects All Senses

PROCESS OF TRAVEL Physical

MODE

VIEW

MODE

Air Plane

Fast

Small, Vert.

Automobile

Med

Wide, Ahead

Train Bus

Foot

Route

SPEED

Virtual

Start Point Space Between End Point

Med/Fast Med/Slow Slow

Books & Other Written Text Aerial Photograph Satellite Imagery Google Earth

Wide, Horz.

Wide, Horz. ALL

Travel Recorded Framing

Ment Stat Stat Quic

PHOTOGRAPH

DRAWING Frame Size WRITING Sketch pad Standard Film Standard Photo Facebook Instagram New Imagined Views Filling in the Voids Control of the Story

Aeroplane Architecture Changed b/c Of It The Birdâ&#x20AC;&#x2122;s Eye View Architecture Created For It

7 Campanile of V & 1st Map

MAPS & MAPPING Wayfinding Getting Lost

Beyond Google Earth Powers of 10

A HOMOGENOUS GLOBAL ARCHITECTURE

UNIQUE SPACES OF TRAVEL Place Specific

Typology

Honeymoon Suite

Enlightenment Literary Works Grand Tour

Elite English Noblemen Architects Le Corbusier Kahn Venturi

Original Adopted

AUTHENTICITY OF EXPERIENCE Preconceived Notions

MOVEMENT OF INFORMATION

Stereotypes

Affects on Research

Theatrics

TRAVEL

TOURISM

Consumption

Archi-Tourism

Bilbao Effect Architectural Pilgrimage

Mass-Tourism

TOURIST

ACADEMIA

VIEW

tal tic tic + Realtime ck yet Edited

Venice

Disney Land

Empire Building

Self-Initiated Research Grand Tour

Curriculum

Traveling Studio Study Abroad Academies Abroad

FAMILIAR VS.UNFAMILIAR The Search For

The Spaces Which Cater to Global Chains Starbucks KFC McDonalds

THE SEARCH FOR SOMETHING BETTER Cases of Relocation *As a Fundamental of Architectural Study & Spatial Experience

Through travel, knowledge and information move. Whether presently or historically, a desire exists to know about and experience what is foreign, often in hopes of reframing and offering insight to what is familiar. Considering the complexity of space and all that shapes it, travel is both a necessity and a fundamental within the course of architectural study. What travel can reveal about space, place, cultures, and time cannot begin to be reproduced through static measures. This thesis defines the traveler, comments upon the tourist and tourism, and investigates the manner in which virtual tools effectively contribute to the travel (as study) experience. Additionally, it argues for â&#x20AC;&#x153;lostâ&#x20AC;? as a way to liberate oneâ&#x20AC;&#x2122;s self from tourist tendencies in order to see the world as a traveler.

T R A V E L* C O N T E N T S a brief HISTORY of TRAVEL*

The Tourist + The Traveler

The Process of Travel

Familiar Unfamiliar Authentic

111

Lost

12 5

Future Design Experiments

13 5

BONUS MATERIAL : a photographic journey

t r av e l*

p l ay e r s i n t h e discussion

D e n i s e S c o t t B r ow n

Ro b e r t Ve n t u r i

Mark Jarzombek

Marc Auge

Re b e c c a S o l n i t

Joan Oc kman

Mitc hell Sc hwarzer

Dean MacCannell

Charles Moore

10 J i l l y Tr a g a n o u

t r av e l*

“When one travels and works with visual things-architecture, painting or sculptureone uses one’s eyes and draws, as to fix deep down in one’s experience what is seen. Once the impression has be recorded by the pencil, it stays for good, entered, registered, inscribed. The camera is a tool for idlers, who use a machine to do their seeing for them. To draw oneself, to trace the lines, handle the volumes, organize the surface...all means to look, and then to observe and finally perhaps to discover... and it is then that inspiration may come” -Le Corbusier, Journey to the East

“It was when I stood inside the Pantheon in Rome that I first became aware of the real meaning of architectural space. What I experienced was not space in the conceptual sense-it was real-before my very eyes...The ‘force’ of excitement I felt at that time is what I would like to call architecture” -Tadao Ando, Place-Geometry-Nature “Experiencing Rome was largely “seeing” it through my feet. In this manner, I began to sense the city, the wear of the street, and the weight of Rome. The topography was measured intellectually and physically by eyes and feet” -Tod Williams

“I found that I was an expatriate who was seeing America more effectively by having lived in Italy, and that’s why I came back and really learned from Las Vegas, learning from the everyday, the main street” -Robert Venturi

“It’s the choreography, the sequence of spaces when you are moving from one to the next, from the landscape or the city, how you move through different spaces to get finally to the inner sanctum of a program” -Thomas Phifer

“Here [Rome] the most ordinary person becomes somebody, for his mind is enormously enlarged even if his character remains unchanged” -Michael Graves, Necessity for Seeing

“I myself like to sacrifice many things, to see only that which attracts me immediately, to pass by chance: without a map and with an absurd sensation of the discoverer” - Alvaro Siza “No object is ever completely separate from what surrounds it and it cannot, therefore, be represented in a convincing way as something unto itself: even our individuality can make it seem different from what it looks like to others... We have to learn to see things by ourselves, so as to develop a self-expressive language. In so far as we are concerned, our ability to see derives form the continuous analysis of our reaction to the things we see and to their meaning. The more we look the more we “see”. -Louis Kahn

a brief

HISTORY of TRAVEL *

Part 1

”Travel” Origin 20 ”Travel” Definition 21 Part 2

Empire Building 22 The Grand Tour 24 Academies Abroad 26 Design Studio 30

Travel “The fascination with travel that we encounter in architecture is deeply rooted in an intellectual tradition that links traveling epistemologically to the production of knowledge” (Traganou 5). With architecture deeply rooted and concerned with place, it only makes sense why there is a strong pull towards travel as a way of understanding. In order to understand the benefits of travel as a method of architectural learning, it is necessary to step back momentarily and examine ways in which knowledge is and has been transferred throughout time. Historically, even during times of restricted mobility and technology, architects and architectural knowledge traveled. This was a way of dominate cultures expanding their architectural and social order from center to peripheries, in other words, Empire Expansion and Building (Traganou 6). Throughout this process there was also a physical exchange of architects and master builders in order to complete the work. Beyond Empire Building, a key moment for travel within architectural scholarship is found within the Grand Tour. The Grand Tour was an event, and often an expected part of, European noblemen’s education. Initially reserved for the elite, the Grand Tour is a journey, ranging from 2 month to 2 years, of time spent away from home traveling throughout foreign lands (yet often in Europe). It was a quest for Enlightenment. Travel has often been cited as the highlight of architect’s careers, for travel is a means of acquiring deep and critical knowledge through first hand experiences (Traganou 11). The idea of the Grand Tour has been embraced by modern and contemporary architects

alike as a means of architectural self-educating. A list of well known architects of their tours include: Le Corbusier/Travels to the East, Tadao Ando/Travels to the West, Michael Graves/Grand Tour + Rome, and Louis Kahn/Travels to the Mediterranean + Rome, among many others. Travel as a means of architectural study exists beyond the self-initiated Grand Tour, for it is also seen within academic institutions abroad, such as the prestigious American Academy in Rome. Founded in 1894 and envisioned as a “community for artists and scholars” (Milovanovic-Bertram 6), the American Academy is an institution where scholars study for an extended period of time, often either 1 or 2 years. With no teaching faculty in residence or predetermined set of courses and studies, scholars are free to pursue their own interests and paths of study and research (Milovanovic-Bertram). There is also a strong history of interdisciplinary study with other resident fellows. The above examples focus on self-constructed travel agendas; however, there are other methods employed in architecture schools today. A popular aspect of contemporary design programs is the traveling studio. Initiated by educators such as Charles Moore and Venturi + Denise Scott Brown in the 1960’s, the traveling studio has become an integral and often expected element of design school. Seen as within the tradition of the Grand Tour, Venturi and Denise Scott Brown initiated a travel studio with the agenda of studying Las Vegas. This later led to more studios situated within the beliefs of “learning by doing” and “formal analysis as design research” (Ockman 179). Ultimately, these programs place the student, as an individual, at the center of exploration where they can begin to physically gauge the complex nature of architecture and space.

h i s t o ry o f t r av e l

word origins tres

palus

Latin: three

Latin: stake

trepalium Medieval Latin: instrument of torture

Old French Shift

travail Middle English: painful or laborious effort

travailler French: to work / to study

= 20

travel English: to make a journey

h i s t o ry o f t r av e l

T R AV E L

The physical and mental process of moving oneâ&#x20AC;&#x2122;s self away from a point of familiarity in the search of the unfamiliar, often with the desire to learn something new, confirm suspicions or to get lost in the process.

h i s t o ry o f t r av e l

empire building

Excerpt from Travel, Space, Architecture

Even in eras when mobility was restricted for wider populations, architects-or more broadly speaking, architectural knowledge-always traveled. This occurred as dominant cultures sought to expand their architectural and social order from centers to peripheries; for instance, from the ancient Greek metropoles to their colonies, or from the centers of the Roman or Byzantine empires to their provinces. In addition, such cultures also promoted the exchange of architects, master builders and other constituents of spatial production, which produced a mutual historical indebtedness between cultures of different faiths, as in the Christian and Islamic worlds during the Renaissance, or the Islamic, Hindi and Buddhist populations in their transcontinental architectural practices...Such exchanges are reminders of the fact that notions such as the ‘West’ or the ‘East’ are in fact amalgamations of multiple traditions and cultural lineages that are usually obscured by these labels.

Jilly Traganou 6

h i s t o ry o f t r av e l

h ey ar c h i t e c t . . . t h a t â&#x20AC;&#x2122;s a g o r g e o u s e m pi r e yo u bu i l t , c o m e bu i l d o u r s !

h i s t o ry o f t r av e l

the grand tour

A custom of European Noblemen between the 17th-19th centuries of traveling to experience the riches of art and culture of different cities and countries. Initially reserved for the elite, the Grand Tour was a journey which lasted from 2 months to 2 years in quest of knowledge and Enlightenment. Later, through the advent of the steamship and railroad, the notion of a Grand Tour extended to the middle class. Eventually, architects embraced the idea in search of their own architectural enlightenment. It became so popular amongst architects that it was often regarded as a necessary component of their training. line | Map of the 1911 journey of Le Corbusier also shows trips to Italy 1907, Paris 1908, and Germany 1910 line | Map Italian leg of the 1960 Grand Tour of Peter Eisenman and Colin Rowe.

h i s t o ry o f t r av e l

Englishmen on Tour

sketches of Le Corbusierâ&#x20AC;&#x2122;s travels

1991 Robert J. Williams FAAR 1994 Joel Shifflet AFAAR 1990 Julie Bargmann FAAR 1994 Zygmunt Szweykows 1990 Barbara Barletta FAAR 1991 Charles Wuorinen RAAR 1990 Patricia Fortini Brown FAAR 1991 Yehudi Wyner RAAR AFAAR 1990 Elena Calandra AFAAR 1991 Christian Zapatka FAAR 1994 Denyse Thomasos A 1990 Andrew Feldherr FAAR 1992 William Adair FAAR 1994 Anne G. Tyng AFAAR 1990 Erich S. Gruen RAAR 1992 Mel Bochner RAAR 1994 Wesley Wei AFAAR 1990 David R. Hammons 1992 1994 Katherine E. Welch F h iFAAR s t o ry o f tMargaret r av eA.lBrucia FAAR 1990 Francis Haskell RAAR 1992 Mary Caponegro FAAR 1994 Adam S. Ziolkowski 1990 Miller Horns FAAR 1992 Henry N. Cobb RAAR 1995 Drew Beattie FAAR 1990 Daniel Javitch FAAR 1992 Thomas V. Cohen FAAR 1995 Gregory S. Bucher A 1990 Susan Klaiber FAAR 1992 Mark Cottle AFAAR 1995 Edmund J. Campion 1990 Deeana C. Klepper FAAR 1992 Teddy E. Cruz FAAR 1995 John R. Clarke RAAR 1990 Grace R. Kobayashi FAAR 1992 Anthony Cutler RAAR 1995 Anthony P. Corbeill F 1990 Evonne Levy FAAR 1992 Giuseppe Dardanello AFAAR 1995 Edward W. Dabrowa 1990 Ann McCoy FAAR 1992 Donald J. Erb RAAR 1995 Daniel Davidson FAA 1990 Sheila McTighe FAAR 1992 J. Clayton Fant FAAR 1995 Brendan Dooley FAA 1990 James C. Mobberley FAAR 1992 Eric R. Fulford FAAR 1995 Gary R. Hilderbrand 1990 Anna Marie Moore FAAR 1992 Hsin-ming Fung FAAR 1995 Peter J. Holliday FAA 1990 Laurie D. Olin RAAR 1992 Matthew B. Geller FAAR 1995 Sanda D. Iliescu FAA 1990 Robert G. Shacochis FAAR 1992 Stephen Hartke FAAR 1995 Daniel Javitch RAAR 1990 Noel M. Swerdlow RAAR 1992 R. R. Holloway RAAR 1995 Jiri Kropachek AFAA 1990 William N. Turpin FAAR 1992 Bun-Ching Lam FAAR 1995 James Lattis FAAR 1990 William K. Vinyard FAAR 1992 Anne E. MacNeil FAAR 1995 Barbara J. Lichocka 1990 Geoffrey C. Warner AFAAR 1992 Rita McBride FAAR 1995 Susann S. Lusnia FA 1990 Walter K. Winslow FAAR 1992 Cameron C. McNall FAAR 1995 Diana Minsky FAAR 1990 David Winter FAAR 1992 Sarah C. McPhee FAAR 1995 Jenifer Neils RAAR 1990 Stephan S. Wolohojian FAAR 1992 Annapaola Mosca AFAAR 1995 Cliffton S. Peacock F 1990 Christopher Wool FAAR 1992 Thomas R. Oslund FAAR 1995 Thomas C. Roby FAA 1990 Ellen T. Zwilich RAAR 1992 Linda Pellecchia FAAR 1995 Leslie A. Ryan FAAR 1991 Rebecca M. Ammerman 1992 Rebecca Quaytman FAAR 1995 Judith Shea FAAR FAAR 1992 C. Brian Rose FAAR 1995 Michelle Stuart RAAR 1991 P. Renée Baernsteinresearch FAAR 1992 Martha Schwartz RAAR 1995 Francis B. Thorne RA 11991self-driven Janis C. Bell FAAR 1992 Stuart Sherman FAAR 1995 Kevin Walz FAAR 1991 Suzanne Bocanegra FAAR 1992 Janet Simon AFAAR 1995 Jack Youngerman RA 1991random-cross Steven Brooke FAAR 1992 Susan L. TePaske-King FAAR 1995 Lester Yuen AFAAR disciplinary encounters 1992 Mary Vaccaro FAAR 1996 Fred C. Albertson FA 21991 John D. Casey RAAR resident and artists 1991with Diane A. Conlin FAAR scholars 1992 Peter Walker RAAR 1996 Gregory S. Bucher F 1991 Catherine Cooper FAAR 1992 Edward Webb AFAAR 1996 Chuck Close RAAR 1991 Robert S. Davis FAAR 1992 Bonna D. Wescoat FAAR 1996 Coleman Coker FAA theDavid Academy: 31991tours Diane M. organized De Grazia RAAR by 1992 H. Wright RAAR 1996 Henri Cole FAAR 1991 Geraldine Erman FAAR 1992 Janet Zweig FAAR 1996 Robert J. Cro FAAR -Walk-and-Talk tours 1991 Harry B. Evans RAAR 1993 Phillip R. Baldwin FAAR 1996 Nathan Currier FAAR -Grand Tour of the Mediterranean 1991 Lee Hyla FAAR 1993 Carol A. Bentel FAAR 1996 Eric Fischl RAAR 1991 Sheree A. Jaros FAAR 1993 Jill E. Caskey FAAR 1996 Hanna E. Flieger AFA 1991 Michael Kessler FAAR 1993 James Primosch AFAAR 1996 Marc Fumaroli RAAR 1991 Johannes M. Knoops AFAAR 1993 Katherine E. Welch AFAAR 1996 Michael I. Gruber FA 1991 Margaret A. Kuntz FAAR 1994 Carmen Bambach FAAR 1996 Douglas E. Hall FAA 1991 David Lang FAAR 1994 Karen Bausman FAAR 1996 Christopher H. Halle 1991 Gregory Leftwich FAAR 1994 Jan Bazant AFAAR 1996 George E. Hartman R 1991Rome Daniel was R. Lesnick FAAR “seeing” 1994 Thomas Boltmy FAAR Allan B. Jacobs RAA “Experiencing largely it through feet. In this1996 manner, 1991 Bert L. Long FAAR 1994 Donald E. Camp AFAAR 1996 Lester K. Little RAAR I began to sense the Losito city, AFAAR the wear of the1994 street, and the weight of Rome. TheF. Maheux FAA 1991 Maria Christopher S. Celenza FAAR 1996 Anne Murrayintellectually RAAR 1994 J. Champlin Aaron McDonald AFA topography1991 was Elizabeth measured andEdward physically by RAAR eyes and1996 feet” 1991 John G. Pedley RAAR 1994 Brian A. Curran FAAR 1996 Zbigniew Mikolejko A -Tod Williams 1983 Fellow Sojourn 28Munly FAAR 1991 Laurie Perriello-Sharon 1994|Sebastian K. Currier|Rome FAAR 1996 Anne AFAAR 1994 Margaret H. Ellis FAAR 1996 William L. North FAA 1991 John F. Petruccione FAAR 1994 Elaine Fantham RAAR 1996 Peter J. O'Shea FAA 1991 Elisabetta Poddighe AFAAR 1994 Garrett S. Finney FAAR 1996 Manuel J. Ocampo F 1991 Jason H. Ramos FAAR 1994 Andrew Ginzel FAAR 1996 Pablo Ojeda-O'Neill 1991 Dorothea Rockburne RAAR 1994 Guy M. Hedreen FAAR 1996 Rosa Otranto AFAAR 1991 Glen Sacks FAAR 1994 Katherine L. Jansen FAAR 1996 Holt N. Parker FAAR 1991 Peter L. Schaudt FAAR 1994 Leah Johnson FAAR 1996 Thomas M. Phifer FA 1991 Thomas L. Schumacher 1994 Kristin Jones FAAR 1996 Pietro Pucci RAAR RAAR 1994 Karl Kirchwey FAAR 1996 David C. Rakowski F 1991 Barbette S. Spaeth AFAAR 1994 Richard Lim FAAR 1996 David E. Rutherford

a c a d e m i e s a b r oa d

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Brien K. Garnand FAAR Richard Haag RAAR Mary Margaret Jones FAAR Janos Kalmar AFAAR Linda Kroff AFAAR Tania J. Le贸n RAAR John Marciari FAAR Tod Marder FAAR Myles McDonnell FAAR Fae M. Ng FAAR Catherine Seavitt Nordenson Zsuzsa Ordasi AFAAR P.Q. Phan FAAR Giorgio Postrioti AFAAR Martin Puryear RAAR Samina Quraeshi RAAR Andrew P. Rindfleisch FAAR Steven J. Ross AFAAR John R. Russo AFAAR Mark Schimmenti FAAR Vincent J. Scully RAAR Frederick R. Steiner FAAR David M. Stone FAAR Jennifer Trimble FAAR Charles Witke RAAR Laura Wittman FAAR Lila Yawn FAAR Fikret K. Yeg眉l RAAR William Barcham FAAR Phyllis P. Bober RAAR Susan Boynton FAAR Geoffrey A. Brock AFAAR Katharine Brophy Dubois Michael Shane Butler FAAR Michael B. Cadwell FAAR Heather Carson FAAR Maria Ann Conelli RAAR Andrea Czere AFAAR Paul I. Elwood AFAAR Teresita Fernandez AFAAR Michael Fried RAAR Claudio Giunta AFAAR Eli A. Gottlieb FAAR Tamara Griggs FAAR Louis S. Guida AFAAR Kim J. Hartswick RAAR Anthony Hernandez FAAR Carl Ipsen FAAR Betsy Jolas RAAR Michael Koortbojian FAAR Margaret L. Laird FAAR Tom Leader FAAR Stephanie C. Leone FAAR Paul Lewis FAAR Maya Lin RAAR Catherine C. McCurrach Susan Molesky AFAAR Timothy J. Moore FAAR Pat Oleszko FAAR Todd Olson FAAR Nadine M. Orenstein AFAAR Lauren H. Petersen FAAR

work of Tod Williams

FAAR AFAAR

Richard J. Tuttle FAAR Marcia E. Vetrocq AFAAR Richard W. Westall AFAAR Gail E. Wittwer FAAR Evans Woollen RAAR Kimberly A. Ackert FAAR Lilian Armstrong RAAR Miroslava M. Benes FAAR Ross Bleckner RAAR Paul M. Bray FAAR Cammy Brothers FAAR Jeffrey C. Burden AFAAR Robert Campbell RAAR Luigi Centola AFAAR Jenny S. Clay RAAR Jeffrey L. Collins FAAR Mark Cottle AFAAR Jane W. Crawford RAAR Ladislav Daniel AFAAR Mario Davidovsky RAAR Robert C. Davis FAAR Dawn DeDeaux AFAAR Andrea Del Ben AFAAR Gary D. Farney FAAR Peter J. Fergusson RAAR Bernard D. Frischer RAAR Eric Gordon FAAR Robert Gurval FAAR Walter J. Hood FAAR Sharon Horvath FAAR David Ireland RAAR Roberto Juarez FAAR Andras Karpati AFAAR Samantha Kelly FAAR Randall Kenan FAAR Dale Kinney RAAR Francesca S. L'hoir FAAR Arthur Levering FAAR Marcia Lyons FAAR Misty N. March AFAAR Elizabeth J. Milleker AFAAR Robert Miller AFAAR Anthony Molino AFAAR Jakub S. Pigon AFAAR Mark Robbins FAAR Rocio Rodriguez AFAAR H. Alan Shapiro RAAR Marshall Strabala AFAAR James L. Wescoat FAAR George Wheeler FAAR Nichole Wiedemann FAAR Ronald G. Witt FAAR Douglas Argue FAAR Roberto Behar AFAAR Elise Brewster FAAR Malcolm Campbell RAAR Daniel T. Castor FAAR Keith R. Christiansen AFAAR Isotta Cortesi AFAAR Paul B. Davis FAAR David G. De Long RAAR Agnes Denes FAAR Sheila Dillon FAAR Jim Dine RAAR Marian Fabis AFAAR

ork of Robert Venturi

AFAAR R

1996 1996 1996 1996 1996 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1997 1998 1998 1998 1998 1998 1998 1998 1998 1998 1998 1998 1998 1998

MERICAN ACADEMY IN ROM

ski

1999 Joel Shapiro RAAR 1999 Malgorzata Sugiera AFAAR 1999 Christopher Theofanidis FAAR 1999 Jonathan L. Thornton FAAR 1999 Craig Verzone FAAR 1999 Eva Vigh AFAAR 1999 Wendy J. Wasserstein RAAR 1999 Jordan W. Williams AFAAR 1999 Mark Wingate FAAR 2000 Tom Andrews FAAR 2000 Darius A. Arya FAAR 2000 Elmo Baca FAAR 2000 Martin Bresnick RAAR 2000 Istvan Bugar AFAAR 2000 Aleksander Bursche AFAAR 2000 Douglas H. Carver FAAR 2000 Shih-Hui Chen FAAR 2000 Thomas J. Dandelet FAAR 2000 Nicholas De Monchaux AFAAR 2000 Francesca Dell'Acqua AFAAR 2000 David Fludd FAAR 2000 Paul A. Garfinkel FAAR 2000 Stephen Harby FAAR 2000 Carol Helstosky FAAR 2000 Katarzyna E. Jerzak FAAR 2000 Wendy Kaplan FAAR 2000 David I. Kertzer RAAR 2000 Timur Kibirov AFAAR 2000 Johannes M. Knoops FAAR 2000 Joyce Kozloff FAAR 2000 Jeannette Louie FAAR 2000 John K. Lydecker AFAAR 2000 Areli Marina FAAR 2000 Frances McCormack AFAAR 2000 Laurel McSherry FAAR 2000 Margaret M. Miles RAAR 2000 Vernon H. Minor FAAR 2000 Simonetta Moro AFAAR 2000 Tina Najbjerg FAAR 2000 Alice B. Paterakis FAAR 2000 Sandra S. Phillips RAAR 2000 Michael Rock FAAR 2000 Ingrid Rowland RAAR 2000 David Salle RAAR 2000 Jerrold Seigel RAAR 2000 Susan T. Stevens FAAR 2000 William C. Stull FAAR 2000 Billie Tsien RAAR 2000 Peter Waldman FAAR 2000 Andrzej Wypustek AFAAR 2000 Carolyn Yarnell FAAR 2000 Ann M. Yasin FAAR 2001 Jennifer R. Bethke FAAR 2001 Craig Brandt AFAAR 2001 Patricia Fortini Brown RAAR 2001 John A. Davis RAAR 2001 Leslie D. Dossey FAAR 2001 James D. Draper AFAAR 2001 Joanna H. Drell FAAR 2001 Michael R. Ebner FAAR 2001 John C. Franklin FAAR 2001 Dara G. Friedman FAAR

Joanna H. Drell FAAR Michael R. Ebner FAAR John C. Franklin FAAR Dara G. Friedman FAAR Michael L. Goorevich FAAR Celina Gray AFAAR Lyle A. Harris FAAR Wendy B. Heller FAAR Karen E. Hersch FAAR Michael N. Hersch FAAR Gary R. Hill FAAR John D. Hunt RAAR Pierre D. Jalbert FAAR Mark A. Klopfer FAAR Anna Krzyszowska-Wypustek R Donald Lipski FAAR David B. Meyer FAAR Monika Milewska AFAAR Carlos F. Noreña FAAR Sigrid Nunez FAAR Coriolan Oprean AFAAR Michael J. Palladino FAAR Christine G. Perkell RAAR Charles M. Rosenberg FAAR H. D. Rutkin FAAR Matteo Scagnol AFAAR Gianluigi Simonetti AFAAR Vladimir Strochkov AFAAR Richard Taransky FAAR Carlos Villa AFAAR Stefanie Walker FAAR Elizabeth Walmsley FAAR Rosanna Warren RAAR Deirdre M. Windsor FAAR Paul A. Zissos FAAR Karl Appuhn FAAR Scott M. Attie FAAR Pamela L. Ballinger FAAR Derek Bermel FAAR Jennifer R. Bethke FAAR Martin Brody RAAR Andrew T. Cao FAAR Michael Cole FAAR Helen C. Evans AFAAR Kevin J. Everson FAAR Heather P. Ewing AFAAR William H. Fain FAAR Carmela V. Franklin RAAR Kirk Freudenburg FAAR Vanalyne Green FAAR Mark Halliday FAAR Gerald K. Jones FAAR Vincent I. Katz FAAR Thomas F. Kelly RAAR Akram F. Khater AFAAR Alexander Kitchin FAAR Lynne C. Lancaster FAAR Antonella Mari AFAAR Frank McCourt RAAR Robert Moskowitz RAAR Wlodzimierz Olszaniec R Josiah W. Osgood FAAR Peter Osler FAAR

2002 Adam Rabinowitz FAAR 2002 Elizabeth H. Riorden FAAR 2002 Betsey A. Robinson AFAAR 2002 Barbara H. Rosenwein RAAR 2002 Amanda Sachs AFAAR 2002 Adele N. Santos RAAR 2002 Kristina M. Sessa FAAR 2002 Jon Seydl AFAAR 2002 Paul Shaw FAAR 2002 Ellen P. Soroka FAAR 2002 Randolph Starn RAAR 2002 Nikola P. Theodossiev AFAAR 2002 Evelyn Tickle FAAR 2002 Carol Whang FAAR 2002 Warren Woodfin AFAAR 2002 Joanna Zajac AFAAR 2003 Donald J. Albrecht FAAR 2003 Rachel M. Allen FAAR 2003 Anna Baranska AFAAR 2003 Perry S. Bell FAAR 2003 Rebecca R. Benefiel FAAR 2003 Linda M. Besemer FAAR 2003 Matthew P. Canepa AFAAR 2003 Vija Celmins RAAR 2003 Marian Ciuca AFAAR 2003 Jennifer S. Clarvoe FAAR 2003 Wietse De Boer AFAAR 2003 Jill J. Deupi FAAR 2003 Semyon N. Faibisovich AFAAR 2003 John C. Franklin AFAAR 2003 Gabriele Gelatti AFAAR 2003 Mary S. Gibson FAAR 2003 Caroline J. Goodson FAAR 2003 Eleanor E. Gorski FAAR 2003 Kenneth V. Gouwens FAAR 2003 Margaret Helfand FAAR 2003 Sean Hemingway AFAAR 2003 Joel B. Katz FAAR 2003 Mark F. Kilstofte FAAR 2003 Randolph Langenbach FAAR 2003 Maria M. Melfi AFAAR 2003 Keith P. Mitnick AFAAR 2003 Jose C. Moya AFAAR 2003 Marian M. Mulchahey FAAR 2003 Peter O'Neill FAAR 2003 Pat Oleszko RAAR 2003 Peter M. Orner FAAR 2003 Jed A. Perl AFAAR 2003 Shilpa Prasad FAAR 2003 David Quint RAAR 2003 Ned Rorem RAAR 2003 David W. Sanford FAAR 2003 John A. Schlesinger FAAR 2003 A. P. Seck FAAR 2003 Maureen Selwood FAAR 2003 Arthur Simms FAAR 2003 William J. Smith RAAR 2003 Frank M. Snowden RAAR 2003 David Soren RAAR 2003 Hiroshi Takayama RAAR 2003 Molly R. Tambor FAAR 2003 Edward Weinberger FAAR 2003 Piotr M. Wilk AFAAR 2003 Christopher S. Wood FAAR

2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005

Cheryl L. Barton FAAR Mason Bates FAAR Charles A. Birnbaum FAAR William Bolcom RAAR Pepka A. Boyadjieva AFAAR Michael Chen AFAAR David M. Childs RAAR Catherine Chin FAAR Diana Cooper FAAR J. Y. Daniels FAAR Jill J. Deupi FAAR Mary H. Doyno FAAR Olga Florenskaya AFAAR Roger Freitas FAAR Jefferson Friedman FAAR David H. Friedman RAAR Maria E. Gonzalez FAAR Anthony Grafton RAAR Vivien M. Greene FAAR Jenny Holzer RAAR Christopher M. Johns RAAR Thomas D. Kaufmann FAAR Reed Kroloff FAAR Matvey Levenstein FAAR Pamela O. Long FAAR Adrian Lyttelton RAAR Alexander S. MacLean FAAR Elizabeth M. Marlowe FAAR Miranda C. Marvin RAAR T.K. McClintock FAAR Kristina L. Milnor FAAR Victoria M. Morse FAAR Richard T. Neer FAAR John Newman FAAR Richard M. Olcott FAAR Michael Palma AFAAR Doralynn Pines AFAAR Linda Pollak FAAR Nancy G. Power RAAR Ireneusz R. Ptaszek AFAAR Joseph J. Ragsdale FAAR Jonah S. Siegel AFAAR Marcia E. Vetrocq AFAAR Andrea I. Volpe AFAAR Justin S. Walsh FAAR Joshua Weiner FAAR Susan A. Yelavich FAAR Nikita Alexeev AFAAR Sean S. Anderson AFAAR Albert R. Ascoli FAAR Carmen Bambach AFAAR Paul Barolsky RAAR Krzysztof Bielawski AFAAR Tzotcho H. Boiadjiev AFAAR Steven M. Burke FAAR Mario Carpo RAAR Michael S. Cuthbert FAAR Eve D'Ambra RAAR James L. DeBellevue FAAR Anthony E. Doerr FAAR Steven A. Epstein RAAR David N. Foote FAAR Charles Gwathmey RAAR Marcus Hall AFAAR Alice K. Harris FAAR

2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 2005 FAAR 2005 2005 2005 2005 2005 2005 2005 2005 FAAR 2005 2005 2005 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 FAAR 2006 2006 2006 2006 2006 2006 FAAR 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006 2006

Jennifer Led Lewis Lockw Peter M. Lyn Jessica Mai Harold Y. M Rebecca M Franco Mon Reinhold C. Azar Nafisi Jon Piaseck Jacqueline

Celia E. Sch Emma J. Sc J. William S Anthony B. Liliana V. Sim Laurie Simm Ann Snodgr Noa Steima

George O. S Allan P. Wex Lisa B. Willi Laurie Ande Anna Angui Craig A. Arn Richard D. B Patrick V. Ba Christopher Anita d. Ber John P. Bod Susan Botti Kimberly D. Constantin B Marco Cava Jana E. Con Augustine B

“Travel as an experienc insights, create new id potential, rather it is the reflection, and of the inter travel experience that cau

Paula M. De Hendrik W. Pierre d. du John Elderfi Patricia L. G Carlos R. G

Patrick J. G Paul J. Gold Aaron Hamb Pamela R. H Eric Hutchin Janna B. Isr Yun-Fei Ji F Margaret L. Jacob A. La Philip Lee A Sandra K. L F. Thomas L Charles N. M Peter A. Ma David E. Pe John A. Pint Francine Pr Matej Ruttka Robert E. Sa

dig FAAR wood RAAR nch FAAR ier FAAR Meltzer FAAR M. Molholt FAAR ndini-Ruiz FAAR . Mueller RAAR RAAR ki FAAR M. Saccoccio

hultz FAAR cioli FAAR Shank FAAR Sigel FAAR meonova AFAAR mons RAAR rass AFAAR atsky-Barlera

Stoll FAAR xler FAAR iams FAAR erson RAAR issola AFAAR nold FAAR Barnes FAAR arron FAAR r G. Bennett FAAR rrizbeitia FAAR del RAAR FAAR . Bowes FAAR Boym RAAR arzere AFAAR ndie-Pugh FAAR B. Cummings

2006 Jan O. Stejskal AFAAR 2006 Steven Stucky RAAR 2006 Andras Szanto AFAAR 2006 Ivo Topalilov AFAAR 2006 Carrie M. Weems FAAR 2006 Emily R. Wilson FAAR 2006 Jeannie M. Yoon FAAR 2007 Tiffany E. Abernathy AFAAR 2007 Silviu Anghel AFAAR 2007 William Aylward AFAAR 2007 Stilyana A. Batalova AFAAR 2007 Manfredi Beninati AFAAR 2007 Tom Bissell FAAR 2007 Francesca Cappella AFAAR 2007 Patricia Cronin FAAR 2007 Adriana E. Cuéllar FAAR 2007 Sible de Blaauw RAAR 2007 Victoria De Grazia RAAR 2007 Hendrik W. Dey FAAR 2007 Martin L. Friedman RAAR 2007 Mildred Friedman RAAR 2007 Massimo Gezzi AFAAR 2007 Flora Ghezzo FAAR 2007 Pamela B. Hatchfield FAAR 2007 Meisha L. Hunter FAAR 2007 Dennis Y. Ichiyama FAAR 2007 Michael J. Johnson FAAR 2007 John Kelly FAAR 2007 Dave King FAAR 2007 Christine Kondoleon RAAR 2007 Jane Kramer AFAAR 2007 Maria Lidova AFAAR 2007 Sandra K. Lucore FAAR 2007 Christopher H. MacEvitt FAAR 2007 Margaret H. Meserve FAAR 2007 Lisa M. Mignone FAAR 2007 Joshua Mosley FAAR 2007 Willett Moss FAAR 2007 Andrew J. Norman FAAR 2007 Daniela Olivieri AFAAR 2007 Jose D. Parral FAAR 2007 Gerard P. Passannante FAAR 2007 Stephanie Z. Pilat FAAR 2007 Olga S. Plaszczewska AFAAR 2007 Martha Pollak RAAR 2007 James S. Polshek RAAR 2007 Hilary R. Poriss FAAR 2007 Bernard Rands RAAR 2007 Richard Rezac FAAR 2007 Jay C. Rubenstein AFAAR 2007 Marina Rustow FAAR 2007 Arman R. Schwartz FAAR 2007 Brian C. Stock RAAR 2007 Patrick J. Tighe FAAR 2007 Thomas K. Tsang FAAR 2007 Dmitry B. Tsvetkov AFAAR 2007 Ken Ueno FAAR 2007 Kevin R. Uhalde FAAR 2007 Kevin van Braak AFAAR 2007 Ursula von Rydingsvard RAAR 2007 Charles Waldheim FAAR 2007 Gregory S. Waldrop FAAR 2007 Anna M. Wasyl AFAAR

2008 Alan M. Berger FAAR 2009 Eric Bianchi FAAR 2008 Adria P. Bernardi AFAAR 2009 Hisham M. Bizri FAAR 2008 Daniel A. Bozhkov FAAR 2009 Carola Bonfili AFAAR 2008 Caroline W. Bynum RAAR 2009 Kendall Buster AFAAR 2008 John M. Cary FAAR 2009 Amanda J. Coles AFAA 2008 Robert R. Chenault FAAR 2009 Christopher L. Counts F 2008 Ingrid Ciulisova AFAAR 2009 Scott E. Craver FAAR 2008 Elizabeth A. Clark RAAR 2009 Susan A. Curry FAAR 2008 Michael Conforti RAAR 2009 Judith Di Maio RAAR 2008 John Corigliano RAAR 2009 Daniela Dumbrava AFA 2008 Jana L. Dambrogio FAAR 2009 Carroll Dunham RAAR 2008 Mark Danner AFAAR 2009 Consuelo W. Dutschke 2008 Tim Davis FAAR AFAAR 2008 Junot Diaz FAAR 2009 Ursula S. Emery McClu 2008 Wendy N. Dorsey AFAAR FAAR 2008 Jacqueline M. Elliott FAAR 2009 David C. Erdman FAAR 2008 Avril M. Fenley FAAR 2009 Margaret Fisher FAAR 2008 Christina Ferando FAAR 2009 Réka E. Forrai AFAAR 2008 Frederick B. Fisher FAAR 2009 Ilona L. Fried AFAAR 2008 Erin E. Gee FAAR 2009 Jane Ginsburg AFAAR 2008 Aaron Gilbert AFAAR 2009 Fabio Guidetti AFAAR 2008 Kate H. Gilmore FAAR 2009 Erik D. Gustafson FAAR 2008 Florence E. Glaze FAAR 2009 Abdulamir M. Hamdani 2008 Jorie Graham RAAR AFAAR 2008 Michael Grimaldi AFAAR 2009 George Hargreaves RA 2008 Erik D. Gustafson FAAR 2009 Michael R. Harris AFAA 2008 Yotam M. Haber FAAR 2009 Hope H. Hasbrouck FA 2008 Annie Han FAAR 2009 Cathy Lang Ho FAAR 2008 John N. Hopkins FAAR 2009 John N. Hopkins FAAR 2008 Hilary Irons AFAAR 2009 David A. Humphrey FAA 2008 Arta Jansone AFAAR 2009 Matthew P. Hural FAAR 2008 Marianne Lamonaca AFAAR 2009 Daniel P. Jordan RAAR 2008 Chang-rae Lee RAAR 2009 Brad Kessler FAAR 2008 Jean-François Lejeune 2009 Andrew J. Kranis FAAR AFAAR 2009 Annie M. Labatt FAAR 2008 Christopher Lightfoot AFAAR 2009 Patricia L. Larash FAAR 2008 Georgy Litichevsky AFAAR 2009 Benjamin Lindquist AFA 2008 Sarah Manguso FAAR 2009 Marie S. Lorenz FAAR 2008 Paolo Marini AFAAR 2009 Rosa Lowinger FAAR 2008 Thomas F. Mayer FAAR 2009 Keeril Makan FAAR 2008 Guido Mazzoni AFAAR 2009 Elizabeth M. McCahill F 2008 Daniel R. McReynolds FAAR 2009 Michael A. McClure FAA 2008 Daniel J. Mihalyo FAAR 2009 Matthew F. Monteith FA -Smilja 14 AFAAR 2008 Wendy Nicholas AFAAR Milovanovic-Bertram 2009 John K. Moore 2008 Kim Nigro AFAAR 2009 Helen "Ili" Nagy RAAR 2008 John A. Ochsendorf FAAR 2009 Guy J. Nordenson RAA 2008 Laurie D. Olin RAAR 2009 Matthew F. Notarian FA 2008 Louise Rice RAAR 2009 Tod Papageorge RAAR 2008 Eleanor M. Rust FAAR 2009 John L. Parker FAAR 2008 Dylan P. Sailor FAAR 2009 Filippo Perocco AFAAR 2008 Michele R. Salzman RAAR 2009 Olga S. Plaszczewska 2008 Gian Maria Sforza Fogliani AFAAR AFAAR 2009 Helaine Posner AFAAR 2008 Lisa T. Switkin FAAR 2009 Kurt Rohde FAAR 2008 Rachel E. Van Dusen FAAR 2009 Vladimir Shinkarev AFAA 2008 Nico Vascellari AFAAR 2009 Leslie Smith AFAAR 2008 Helen Vendler AFAAR 2009 Dana S. Spiotta FAAR 2008 Gauri Viswanathan AFAAR 2009 Alexander Stille AFAAR 2008 Gregory S. Waldrop FAAR 2009 Gregory Tentler FAAR 2008 Olly W. Wilson RAAR 2009 Jeanne M. Teutonico RA 2008 Marjorie C. Woods FAAR 2009 Herica Valladares FAAR 2008 Robert C. Zahedi FAAR 2009 Rachel E. Van Dusen A 2008 Vadim Zakharov AFAAR 2009 Luca Vitone AFAAR 2008 Peter Zumthor RAAR 2009 Anna M. Wasyl AFAAR 2009 Daphne Arthur AFAAR 2009 Brenda Way RAAR

ce alone does not foster deas, or reveal hidden e act of internalization, of rnal mental mapping of a uses new inspiration”

e Cristofaro FAAR Dey FAAR u Prey RAAR field AFAAR Gaborik FAAR Galvão-Sobrinho

Geary RAAR dberger AFAAR burger FAAR Hovland FAAR nson AFAAR rael FAAR FAAR . Laird AFAAR atham FAAR AFAAR Lucore FAAR Luongo FAAR Mason FAAR azur FAAR etrain FAAR to RAAR rose RAAR ay AFAAR aarnio FAAR

h i s t o ry o f t r av e l

the design studio

â&#x20AC;&#x153;...these studies are brilliant...the kind of art history and theory that is rarely produced.â&#x20AC;? The New York Times, Ada Louis Huxtable [on Learning from Las Vegas]

Initiated by early leaders of the traveling research studio pedagogy, Denise Scott Brown and Robert Venturi uncovered something enormously influential in their Las Vegas Studio. The effects of their research methods and resulting publication can still be felt today.

t h e L as Ve g as t r a ve l s t u di o 30

interview

Excerpts From an Interview Between Perspecta 41 and Robert Venturi & Denise Scott Brown 40 years after Learning from Las Vegas

Perspecta 41

DSB & RV

It sounds as though your youth preconditioned you to be sensitive to “foreign” experiences. Many people travel for no other reason than to experience something different-but, in your case, does travel have as much to do with coming home as with leaving?

DSB | Perhaps travel helps you learn what is inherently important to you. In a strange way, it sends you back to your own culture. When I got to planning school in America, I immediately began trying to interpret South Africa. I spent hours in the library on a term paper comparing public housing policy in South Africa, the U.K., and America. That’s common with foreign students. They get a great interest in understanding their own culture and comparing it to other places. And I’ve wanted to do this ever since. RV | That also applied to me. That’s why I could come back to the U.S. and look at Main Street. I could love the Roman piazza, but after I’d seen it I could see the ordinary in America in new ways. I think it’s significant that at that time, looking at history and looking at the everyday was something you really didn’t do. Sure, you traveled a bit, but if you did, you looked at the modern stuff. DSB | I went from Africa to Europe, let’s say Rome-we’ve used Rome as a metaphor for Europe. Then from Rome to Las Vegas and from Las Vegas back again to Rome. We learned from Las Vegas to reinterpret Rome as symbolic architecture, not just as abstract space and volume.

Would it be correct to say that travel gave you a set of intellectual tools with which you could come back and look at your home turn, rather than giving you fodder for you design work, as was the case with the historical Grand Tour?

RV | I think it allowed me to open my mind and find relevance in a broad spectrum of things, opportunities, places. DSB | It did give us fodder for our work. We certainly learned from all we saw. BUt it also gave us swivel-tilted heads-we’re always lookingand a particular way of looking. So when we visit some set piece of architecture, we tend to find its surroundings equally fascinating, for the context they give the monument but also for themselves. And we look intensely during our daily travels too. Our morning trip to work down Shurs Lane to Main Street contains the landscapes and buildings of

an early industrial town overlaid by a twentiethcentury infrastructure of rail, road, and power lines. The whole is a cityscape beautiful in a way no individual designer could have conceived, and constantly refreshing to us. We want to ask you about travel as it relates to pedagogy. The trip you took with students to Las Vegas has now been institutionalized at schools like Yale. Yale’s advanced studios have recently traveled to Iceland, Japan, India, Venice, and Abu Dhabi. Some people think it’s ridiculous that studio travel for only one week, that this kind of travel can’t result in academic research.

DSB | I think that, as a professional, you should have a philosophy of how to look and a purpose in looking that dictates your subjects of study. We used techniques to analyze and visualize, most of which came from cartography, economics, and urban planning. We lifted other techniques from transportation planning, urban sociology, cultural anthropology, iconography, art and architectural history, and Pop Art. Out students set off for Las Vegas with a booklet this thick, asking, “How could you have written so many work programs for us?” But once they got there, they found our guidelines thin indeed! At planning school, I was taught to see an urban problem as a complex of many variables, and to consider carefully which variable were appropriate to analyze. What are the salient variables, how do you find and depict them, how do you analyze them? Britton Harris used to describe the whale theory of collecting data. The whale opens its mouth and swims, swallowing whatever is in its path. BUt this doesn’t work well where major data may lie off one’s path. So how do you develop a sense of the issues of the study at the outset and establish its broad directions before you start collecting data? And what do you do with the information once you have it, to make it usable for design? These are questions to ask while traveling to research.

Is the research studio still valuable? Should there be a place in design schools for this kind of analytical design research?

DSB | The research studio is very valuable. But it is easy to do badly, in which case it’s worse than useless. And to do it well takes knowledge, coordination, and many hours of preparation. It’s like the interdisciplinary studios that were tried in the 1960s. They go a bad reputation, not because they were a bad idea, but because architecture faculty didn’t have the background to handle them and couldn’t spend the preparation time needed to make them succeed. In gauging the value of research studios, you should consider which aspect of them you’re discussing.

interview Question from Previous page: Is the research studio still valuable? Should there be a place in design schools for this kind of analytical design research?

continued from previous page.

They’re multifaceted and they don’t resemble traditional architecture studios. They require collaborative work, with coordination between groups and organized sharing of information. Students typically work in pairs, research is formally organized and supervised, and separate tasks are assigned to individuals and groups. And the studio programs must be prepared beforehand and revised throughout the semester. For these reasons, research studio faculty must be collaborators as well as instigators, and searchers as passionate as the students. As in the traditional studio, they should teach design as the coordination of the elements of architecture, but they can also help students understand professional action as a terrain that includes more than form-making, and see research as a lifelong activity that architects do in the responsible performance of their work. And they can nurture professional commitment through the passion for the problem and the camaraderie that a good research studio induces. So yes, I feel that most architects during their training should have one research studio, but few require more than one-not because “this isn’t architecture,” but because there is no time for more given the brevity of professional programs. A core purpose of in architecture should be to five students experience in coordinating the elements of architecture, and this skill, like riding a bicycle, is best learned by repeated practice over time. BUt the group research studio can be critical in helping students prepare for individual thesis-level work, as well as for the collaborations of professional practice; and its structured workbook can support its students’ future efforts as beginning architecture teachers. Far from dropping the research studio, I feel architects should embrace it-carefully. We should institutionalize it but also limit its role in our pedagogy. And we should offer it to the wider university, because academic education could do with both an action-oriented model for its activists students and alternative pedagogy for its visual learners.

The Tourist + The Traveler

Part 1

Tourism 40 Mass-Tourism 52 Archi-Tourism 56 Part 2

The Tourist 62 Part 3

The Traveler 64

Tourism “The world is a scene or a show for those who have the means to travel through it. For those who do not, there is television” (Auge 88). Today, travel is a relatively easy process, and though logistics and finances can certainly affect the extent and complexity of a trip, travel remains feasible for many. Though people travel for many reasons including business, leisure, religious pilgrimage and study, tourism remains at the top of the list. As the opening quote suggests, “the world is a scene” and it is precisely the world in its entirety which is the back drop for tourism today. This of course is a result of globalization and decades of technological and infrastructral advancements worldwide. At earlier points in history, travel was most often permitted to places which were situated along very precise religious or cultural routes (Auge 89). This shift has had great consequences and can be seen not only in the effects on landscapes but also within the mentality of the tourist/traveler. Tourism is among the world’s largest industries, and the past 2 centuries has marked a severe commodification of tourist sites (Greenwood 1). The “tourist experience” is now something which can be packaged and handed back to the tourist itself. This is arguably most obvious in current trends of mass-tourism and archi-tourism alike. The dangers of mass-tourism and archi-tourism are many, but a few are worth pointing out. Most notably, is the physical affects upon cities and sights. Some cities can handle and absorb the physical stresses of tourism, for they have the capacity and space to build either up or out. But what about those places which cannot grow? Also, on a building level,

many historic monuments were built without any thought of mass tourism. As they become objects of entertainment for the leisure class they are in great danger of destruction. In addition to the effects upon landscapes, mass-tourism removes the traveler from their travels and creates a tourist out of them. Group tours and overly organized agendas of masstourism not only rush the travel experience and hinder spontaneity, but as a result it strips a person’s ability to see and understand a place on their own. Lastly, architecture is now being packaged for mass consumption and is initiating mass-tourism to a new type of destination. The often iconoclastic form of this new architectural focal point has the ability to change the identity of a city. This is most obviously seen in Bilbao and this new phenomena has been coined the “Bilbao Effect”.

â&#x20AC;&#x153;Typically organized around the ca undisturbed and seamless forms o of digestible, prepackaged informa places and cultures, tourism emph activities centered on consumption sew together various attractions.â&#x20AC;?

apture of familiar, famous sights, of mobility, and the dissemination ation and reified discourses about hasizes a series of â&#x20AC;&#x153;appropriateâ&#x20AC;? n, and regularized itineraries that â&#x20AC;?

Edensor 98

tourism

w h e r e t o t r av e l

When much of the world is accessible to those who wish to travel, how do people decide where to venture to? Though reasons and destinations vary based on culture, trends, seasons, etc, Yi-Fu Tuan suggests, â&#x20AC;&#x153;any place at a remove from home where chores...are not routine...It must be emphasized that the place cannot be simply next door, or in cyberspace and available at the tap of computer key; it must be some distance away such that an effort is needed to reach it, for this effort (travail or travel)can in itself produce the feeling that one is after a real, non trivial experience, the place one goes to for renewal has the power to affect one (Tuan 120).â&#x20AC;?

try

gio

borhoo

igh

tourism

porous boundaries remove hurdles of travel

tourism

tourist/sight/marker

In his book The Tourist | A New Theory of the Leisure Class, Dean MacCannell defines a tourist attraction as an â&#x20AC;&#x153;empirical relationship between a tourist, a sight, and a marker (a piece of information about a sight) (MacCannell 41). â&#x20AC;? We shall use keep these relationships in mind throughout the next few pages in order to better understand tourism today.

[tourist/sight/marker] attraction 44

tourism

first contact a sightseer has with a sight a marker

can be:

Pantheon

name of sight

picture of sight

a marker

plan or map of sight

can be found in:

travel books museum guides stories told by those who have visited before history texts and lectures

happens because of : easy portability of information

not to be confused with a souvenir souvenirs: collected by individuals sights: collected by entire societies

AME THE SIGHT NAME THE SIGHT NAM

ME THE SIGHT NAME THE SIGHT NAME T

tourism

sight recognition

It can be argued that within tourism today, recognition of a sight outweighs any potential knowledge of such place. This is largely because images of sights are abundant. Whether in books, postcards, internet, magazines, television, etc, technology multiplies such images allowing them to reach all corners of the globe.

Paris Train

St. Peters

Guggenheim Bilbao

Parthenon

Roman Forum

Sacre Coeur

Coliseum

Versailles

_tourism

_mass-

_archi-t

The Little Mermaid

Paris Train

Taj Mahal

Grand Canal

Pompei

Basilica Nova

Notre Dame

St. Peters

tourism

sight recognition

The field of tourism is changing drastically.

tourism

4 PRI NC I PLE S H I FTS I N TH E PE RC E PTION OF M A J O R TO U R I S T S I G H T S AC C O R D I N G TO M A R C AUG E

the network has replaced the itinerary

the present has replaced history

the singularity has replaced the symbol

consumption has replaced experience 51

A u g e 91

m a s s -t o u r i s m

comfort views

“These

[tourist]

“attractions”

offer

elaborately contrived indirect experience, an artificial product to be consumed in the

very places where the real thing is as free as air. They are ways for the traveler to remain out of contact with foreign peoples in the very act of “sight-seeing” them. They keep the native in quarantine while the tourist in air-conditioned comfort views them through a picture window. They are the cultural mirages now found at tourist oases everywhere.” Boorstin via MacCannell 103

be c o m e s t h e a t t r ac t i o n

“The tour, like mass media, picks steady stream of voice-overs, and of built environments that are de or too complicated. In an age of f on the screen only fractions of a s proceed slowly and randomly? To to the best spot at an optimum m time. Mission accomplished. Time

“By removing many of travel’s unp are mass tourists becoming floatin the hands of company puppeteers

choice viewing angles, provides a is relentless in its efficient editing eemed unpleasant, unrewarding, fast cutting, in which images stay second, can we expect the tour to ourists rightly demand to be taken moment for a succinct amount of e to speed to the next attraction.â&#x20AC;? Schwarzer 31

predictable and unpleasant aspects, ng bodies and eyes manipulated by Schwarzer 31 s?â&#x20AC;?

a r c h i -t o u r i s m

the bilbao effect

Excerpt from ARCHITOURISM

Of late, a new word, architourism unveils the possibility for a single work of contemporary (or modern) architecture by a name architect to attract hordes of tourists to a previously marginal place. In 1997, the opening of Frank Gehry’s Guggenheim Museum in norther Spain inaugurated what has been called the “Bilbao effect”. Tour groups and individuals who wouldn’ t have given a second’s thought to visiting the gritty industrial city of Bilbao descend in droves. The acclaimed building brought economic vitality to the region, generating hundred of millions of dollars in its first 3 years. In Milwaukee, Wisconsin, another new museum has sparked life into yet another grimy industrial city. The Milwaukee Art Museum by Santiago Calatrava, completed in 2001, successfully transplanted the Bilbao effect to the shores of Lake Michigan. Schwarzer 25

a r c h i -t o u r i s m

the bilbao effect

â&#x20AC;&#x153;Architecture as constructed place is something newâ&#x20AC;? Tuan 120

a r c h i -t o u r i s m

â&#x20AC;&#x153; O n c e , e ac h c i t y ( B i l bao & M i l wau ke e ) r e l i e d o n a specific confluence o f r a w m at e r i a l s , t r an s p o r t a t i o n r o u t e s , an d l abo r t o g e n e r a t e i n du s t r i al r eve n u e ; n ow, e a c h r e l i e s o n a di f f e r e n t c o n f l u e n c e o f ar c h i t e c t u r a l f an t a s y, s l i g h t l y di f f e r e n t t r an s p o r t a t i o n r o u t e s , an d t o u r i s t s t o g e n e r at e e n t e r t ai n m e n t r eve n u e â&#x20AC;? Schwarzer 25

The Tourist Within the context of this book it is critical to understand the difference between tourist and traveler. Dean MacCannell in The Tourist, A New Theory of The Leisure Class defines a tourist as , “an actual person...a sightseer, mainly middle class, who is deployed throughout the world in search of experience (MacCannell 1).” Though we can take that as a simple version, the tourist as a person is slightly more complex. The tourist is often in search of the “unfamiliar” and “authentic”, though their frame of mind and actions prevent them for achieving either. The tourist is one who gains interest in the “real life” of others while true interest in their own is diminishing. The tourist is not held personally accountable for their actions while “touring”. Lastly, the tourist is all too often “satisfied with superficial experiences of other peoples and other places” (MacCannell 10). In some ways, the tourist is tricky to define, especially within the world of academia. Confronting the definition forces a realization within ourselves that we are often tourists, regardless if our intentions are otherwise. This leads us to the traveler

The Traveler The traveler is greatly different than the tourist and is the true focus of the thesis. The biggest contributing difference here is the state of mind of one who travels versus one who tours. Sure, the traveler may seek the unfamiliar and hope to stumble upon the authentic, but they position themselves to be able to do so. They move in an active manner with an open mind, they are not afraid to be lost, they go slow and do not succumb to prefabricated and constructed experiences and views. The traveler is after something personal and takes the time to look and study. These distinctions begin here yet certainly do not end with this, for they are revisited through many other instances presented throughout this book.

â&#x20AC;&#x153;The traveler, then, was working at something; the tourist was a pleasure-seeker. The traveler was active; he went strenuously in search of people, of adventure, of experience. The tourist is passive; he expects interesting things to happen to him. He goes â&#x20AC;&#x153;sight-seeingâ&#x20AC;?...he expects everything to be done to him and for him MacCannell 104

the tourist

Images from Alan Powdrill’s “Shooting Tourist” Collection

t h e t r av e l e r

t h e t r av e l i n g s e l f

“There is a place which is created between the desired destination and the point of origin; that is, the mental space constructed from personal history and the physicality that surrounds one. The act of displacement is a challenge to identity, so that identity of the traveling self must be reconstituted each time it sets out to a new environment” Minh-ha 4

“both the self that moves physically from one place to another, following a mapped movement (and) an undetermined journeying practice, having to constantly to negotiate between a here, a there, and an elsewhere” Minh-ha 13

t h e t r av e l e r

Familiar Unfamiliar Authentic

111

Part 1

Familiar & Unfamiliar 116 Part 2

Authenticity 122

the familiar and unfamiliar Places foreign to our everyday lives have a way of being both familiar and unfamiliar simultaneously. Additionally, in a time when cyber travel and information gathering is incredibly easy, the distinction between the familiar and unfamiliar is often blurred. People rarely travel somewhere without having heard of or seen anything about their destination. Whether it is due to travel brochures and posters, text books, the internet or word of mouth, there exists a sense of familiarity throughout the travel experience. Sometimes this is overwhelming to the point of feeling as though you have already been in that new place. Through constructed and reproduced views, one often has. Another aspect within this discussion is the search for and the spaces which cater to the familiar and unfamiliar. â&#x20AC;&#x153;Exposed to unfamiliar histories and surrounded by exhausting spaces, tourists crave the familiarâ&#x20AC;? (Architourism). This has visibly altered the traveling landscape with countless numbers of souvenir stalls and global chains, all too often at the entrances of or within great worldly sites. Beyond the Starbucks and McDonalds of the travel landscape, other places exist which cater to the delicate balance of familiar and unfamiliar. These are places of spatial dislocation. They are places specifically designed and built for travelers and tourists yet remain dislocated from being completely familiar. Later examples of the honeymoon suite typology, Disney Land, and Sugar Beach Resort will put this into context.

the authentic Greatly sought after in the journey of the tourist and traveler alike is that of the authentic. Whether the search is for authentic food, music, culture or overall experience, the authentic can be quite elusive. According to Medina Lasansky, the authentic is “a cultural construct that is in a constant state of flux and redefinition” (Lasansky 51). She states further that “the authentic has less to do with historical reality than with contemporary tastes, trends, and political and economical rhetoric. In the end, the need to continually monitor and contemporize the “authentic” (through refinement and redefinition) that ultimately generates and sustains tourism” (Lasansky 51). Though a challenge to identify, the traveler inherently has a better chance at an authentic experience. Their state of mind and willingness to let go and be lost is a first step towards finding the authentic. Another challenge within the quest for an authentic cultural experience is that of staged authenticity. This often affects the tourist, especially within group tours, but is not limited to them. A tour is an interesting component of travel and many of us have partaken in one throughout our own travels, even travels for study. Tours are generally geared at revealing the inner workings of a place or present a place not accessible or visited by others. Though they hold these intentions, “there is a staged quality to the proceedings that lends to them an aura of superficiality” (MacCannel 98). This is not to say that a great deal cannot be learned from these experiences, it suggests the need to be aware and patient while coming to conclusions.

´ j a` Vu De

fa m i l i a r & u n fa m i l i a r

c a p t u r i n g t h e fa m i l i a r while seeking the u n fa m i l i a r

“A dose of familiarization is required if the unfamiliar is to hold its appeal”. S ch wa r z e r 2 8

Seeking the unfamiliar is an exhilarating part of travel and often the reason for partaking in a foreign journey. Unfortunately, global chains all too often establish themselves within reach of significant tourist sights as a way to offer comforts of home while away. Also common are chains adapting a “local building style” as an attempt to blend in. Both building location and style may seem harmless; however, these moves are greatly affecting the appearance of the travel landscape and reinforce the commodification of travel.

116

117

case study

Places of Spatial Dislocation The Honeymoon Suite

Excerpts from Doing it Right: Postwar Honeymoon Resorts in the Pocono Mountains Barbara Penner

“...Honeymooning wasand continues to be-a lucrative and very visible part of America’s domestic tourist industry. On this basis alone, a study of Pocono honeymoon resorts certainly seems warranted....Pocono entrepreneurs believed that the honeymoon

suites’ f an t as t i c s t a g e - s e t dé c o r wo u l d a c t u al l y h e l p n ew l y we d s to ex pr e s s t h e m s e l ve s to eac h o t h e r,

emotionally and sexually. Through their designs and their advertising, the suites were continually positioned as being ideal settings for newlywed sex and selfrevaluation and held out to young couples the promise of starting marriage off “right”...Not all Pocono honeymoon suites were the same, but their

de s i g n s tended to be c h ar ac t e r i z e d by 3 main elements: d e c o r a t i v e e x c e s s , var i a t i o n in r o o m l eve l s an d p r o m i n e n t be d s an d b at h s ...Pocono

honeymoon suites were a riot of color...Soft surfaces abounded-wallto-wall or wraparound carpeting, velvet curtains, and satin bedspreads-with every material appearing inches thick...Shapes were curvy, beds were round,

t u bs we r e h e ar t s h ap e d .”

tub + bed at center of room

change in levels + double height spaces heart-shaped tub

case study

Providing the Familiar Resort Culture | The Sugar Beach Hotel

Excerpts from Theater of the Exotic: Tourist Space as Stage and Performance Tim Edensor

“...Nowhere is the commodification and quest for the exotic more apparent than in tourism...In tourism, the exotic inheres in “timeless” traditions, sensual modes of living, lavishly garbed bodies, lush topicality, customs and fold displays, material opulence, and architectural e x t r a v a g a n z a s . . . Exemplifying the touristic staging and performing of the exotic is the Sugar Beach Resort in Mauritius, an upmarket beach resort hotel that accommodates more than 500 guests. Here, a

hy br i di z e d ve r s i o n of the ex o t i c is architecturally materialized an d dr a m at i c a l l y performed. The peculiarly

descendants of the Madagascan and East African slaves who were imported to work the plantations now form about 30% of the island’s variegated ethnic mix. Yet despite the brutal and degrading history inherent in a slave economy, Sugar Beach has adopted a theme that startlingly exoticizes this colonial past. Like most hotels in Mauritius, Sugar Beach is clearly separated form the local environment by its long driveway, high walls, manicured gardens, and policed boundaries...The resort

has

been

designed

as a s p ac e f o r t h e p e r f o r m an c e of the ex o t i c i s m, a s t ag i n g t h at requires visitors to be c o mp l i c i t i n t h i s p e r f o r m an c e ...”

E d e n s o r 10 0

di s t i n c t r e m oval f r o m c i t y

end of

l o n g dr i ve

m an i c u r e d g ar de n s

“The enclave provides Western visitors with a recognizable and familiar home away from home within an exotic context, conveyed through gestures inside the resort, but controlled by sheltering tourists from the disorienting effects that may result from too-close contact with “local” space and culture.” E de n s o r 10 0

t h e au t h e n t i c

s ta g e d au t h e n t i c i t y

“the authentic is a cultural construct that is in a constant state of flux and redefinition.” Lasansky 51

The Front vs. Back Condition | The tourist, and often traveler alike, is desperate to find the authenticity of a place. The front vs. back analogy is used by Dean MacCannell in The Tourist as a way to explain where the authentic and inauthentic lie and the desire of the tourist/traveler to find such. These ideas pertain to individual touring and organized ‘guided tours’ similarly. It is commonly believed that guided tours offer special access to the ‘back’ condition, though this is often a staged and false reality which can be difficult to perceive.

122

t h e au t h e n t i c

front space

back space

meeting space for guests and hosts

ex i s t i n g c o n di t i o n

where members of home team retire between performances to relax and prepare.

plaza

tourist access

local access

front space

de s i r e d c o n di t i o n

back space

plaza

tourist craves access to authentic

front space

staged c o n di t i o n

where the au t h e n t i c & r e al i t y lie

back space

plaza

tourist

staged

123

local access

staged c o n di t i o n c r e at e d f o r â&#x20AC;&#x153; au t h e n t i c touristâ&#x20AC;? ex p e r i e n c e

Lost

125

Part 1

In The Woods 128 Blue 130

lost Lost is an all too familiar idea and feeling, though its definition is surprisingly complex. A traditional Websterâ&#x20AC;&#x2122;s dictionary reveals a 9 part definition to the word with subsequent categories to each. Its complexities lie in that lost can be physical and/or psychological, and can refer to the self or extend to outside objects and relationships. Rebecca Solnit beautifully negotiates these varying aspects of lost when she writes, â&#x20AC;&#x153;losing things is about the familiar falling away, getting lost is about the unfamiliar appearingâ&#x20AC;? (Solnit 22). Within the realm of travel, lost plays a very important role, for it is within this domain that the traveler-self is unveiled through the rejection of the touristself. The physicality of lost is fairly easy to understand, and one may find them-self there for many reasons. Some may realize they are lost as a result of not paying attention to where they are going or where they have been. Perhaps they have taken a wrong turn or ill advice from a guidebook or peer. This moment is often paired with the inability to admit to being lost and/or little knowledge of what to do when they find themself within such position. Though these are merely examples of how one may become lost, physically lost boils down to being illiterate to the language of the earth itself (Solnit 10). While traveling, whether locally or in a foreign land, observing the earth is critical. Knowing how to read the weather, sun, moon, and natural and man made landmarks can make all the difference in being or not being lost. The other side of lost is found through a chosen and conscious surrender to what is present. The beauty of this is that one can be lost within their home or within a place which is being experienced

for the first time. Being lost is allowing the self to be immersed within their surroundings and feeling comfortable, at least to an extent, of the unfamiliar and unknown. It is within this window that the traveler emerges and separates themself from the tourist. Lost in this sense implies the embrace and understanding of the language of the earth and suggests a heightened awareness within the self. The slow and alert pace which accompanies this mind-set frees the individual to truly see. They have the advantage of observing and experiencing what someone on a fast moving group tour would never see. This same inner level of awareness is often lacking in students who travel abroad today. This demographic, who is aided by GPS and smartphones, is seemingly incapable of being alone and lost. It must not be ignored that lost is a solitary experience which occurs within our own mental space, for being lost can reframe our own perspective of the world around us.

lost

in the woods

Excerpt from Walden via A Field Guide to Getting Lost

â&#x20AC;&#x153;It is a surprising and memorable, as well as valuable, experience to be lost in the woods any time...Not till we are completely lost, or turned round,-for a man needs only to be turned round once with his eyes shut in this world to be lost, -do we appreciate the vastness and strangeness of nature. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relationsâ&#x20AC;? Thoreau

128

lost

129

lost

b l u e | c o l o r o f d i s ta n c e

Excerpt from A Field Guide to Getting Lost

â&#x20AC;&#x153;The world is blue at its edges and in its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colorless, shallow water appear to be the color of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance. This light that does not touch us, does not travel the whole distance, the light that gets lost, gives us the beauty of the world, so much of which his in the color blue.â&#x20AC;? Solnit 27

130

lost

131

Lost. T h e r e i s l i t t l e di r e c t i o n w i t h l o s t . T h e s t ar s , m o o n , a n d s u n br i n g u s ba c k w h e n n e c e s s a r y. L o s t i s o p e n e n de d. C o m f o r t w i t h i t f r e e s t h e t r a ve l e r m e n t a l l y an d p hys i c al l y to ex pl o r e the wo r l d beyo n d t h e m s e l ve s . . . .

Future Design Experiments

135

Part 1

Time Line 136 Part 2

Travel Experiment 138 Part 3

Design Experiments 140

september

august

general research, testing of different methodologies,both to establish detailed thesis p Barcelona

pick advisor & general topic

week 1

week 2

week 3

stu week 4

re-group for research

early-march

1/22

1/13

possible studio review

Check-In on Fellowships week 17

week 18

Fe week 19

week 20

week 21

week 23

week 22

week 24

may

Vicenza?

Summer 2014

week 33

week 34

8/26

early-october

design phase

1st day of class

AVEL*

week 37

design phase

re-frame post travel

week 46

week 36

week 35

september

august

Fall 2014

MELINE

week 8

research prompt: mapping exercises, demographic studies, case studies Spring-Break

Spring 2014

1st day of class

week 7

week 6

february

january

Vortext

week 5

mid-march

1st day of class

PHASE

10/21

9/4

8/27

Fall 2013

week 47

week 48

week 49

week 50

week 51

possible studio review week 52

week 53

136

*As a Fundamental of Architectural Study & Spatial Experience

november

studio review

12/03

11/20

11/25

lunch abstract

week 9

week 10

week 11

week 12

week 13

week 14

research for travel experiment prepare travel experiment

may

charette 5/8

final book studio review

mid-thesis review

ellowship Proposal Due week 25

week 16

april

march

late-march

week 15

week 26

5/15

udio review

mid-thesis review

charette

proposal for 2.5 seminar studio review end of research phase 1 book+poster due

10/21

10/29

Format Book

week 27

week 28

june

week 29

week 30

week 31

week 32

august

july

week 39

week 40

week 41

week 42

week 43

november

ctober

week 55

final charette

possible studio review week 56

week 45

week 57

Book_Section 2 & Detailed Prep For Experiment

Completion of Thesis mid-december

early-november

week 54

week 44

december

design phase

Book_Section 1 & Establish Thesis Prompt

Book_Section 3 & Travel Experiment

conduct travel experiment

week 38

END GOAL

prompt

december

12/14

ctober

week 58

week 59

137

week 60

final thesis review week 61

design experiments

phase 1 t r av e l e x p e r i m e n t

when:

Spring 2014-Summer 2014

where:

Spring_Campbell Hall | Summer_Travel (tbd)

what:

constructed experiment which serves as intensive preparation to the fall design. It is to be its own A

experiment, perhaps a new atlas for a city such as Rome or Paris. A set of mapping parameters would

re-map the city based on relationships of the traveler.

be generated to

This could use strategies from the Powers of 10 and methods of creating the aerial perspective. The experiment would serve as site analysis for a fall design project.

This would culminate in a BOOK SECTION + EXHIBIT

138

map examples from Solnitâ&#x20AC;&#x2122;s Infinite City

139

Rebecca

design experiments

phase 2 design experiments

when

Fall 2014

where

Campbell Hall

what

A constructed design experiment

WITH THE FOCUS OF A BUILT SOLUTION. This may

be a building, series of buildings, or public builtscape. To be determined based on final thesis prompt. Suggested ideas to follow.

DESIGNED STRUCTURE + FINAL BOOK SECTION This

would

culminate

140

information center for getting lost

This proposal argues for the process of getting lost as a key component of travel. Such abilities open the traveler to the unfamiliar and authentic, elements which the tourist does not achieve.

observatory for a traveler A building proposal focused on the traveler which functions as a machine for looking, a place for architectural drawing and study, and interaction with fellow travelers. Moving through the space would be representative of a journey through the city and or time itself.

monument succumb to pressures of tourism

This is a speculative proposal which confronts the issues of mass-tourism and their negative affects on monuments and focuses on ways in which the monument is rebuilt.

? 4

parasite travel school

A speculative proposal which highlights travel & academia. It is a room, or series, which attach to an existing institution, create the travel experience within a place, prepare students how to travel/learn, and then departs.

+ 5

cabinet of curiosities as housing typology

This proposal utilizes the cabinet of curiosities, both as a container for knowledge + travel artifacts and a visual apparatus of the journey itself, to generate a new housing typology or possibly a museum/library duo.

t r av e l*

bibliography

ABBAS, A. “Exotic with an “X””. Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 104-107. Munich: Prestel. AMBROZIAK, B. M., & GRAVES, M. (2005). Michael Graves: images of a grand tour. New York, Princeton Architectural Press. AUGE, M. “Contemporary Tourist Experience as Mise-en-Scene”. Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 88-91. Munich: Prestel. BENSON, S. “Reproduction, Fragmentation, and Collection: Rome and the Origin of Souvenirs.” Architecture and tourism: perception, performance, and place. LASANSKY, D. M., & MCLAREN, B. (2004). 15-36. Oxford, Berg. BRAINARD, G., MEHTA, R., MORAN, T. (2008) “Grand Tour”. Perspecta 41. New Haven, Conn.: Schools of Architecture & Design, Yale University. CLOCKER, R., KILADIS, L. (1996). Thresholds 13. Architecture, Massachusetts Institute of Technology.

Cambridge, MA.: Department of

CURTIS, W. J. R. (1996). Modern architecture since 1900. [London], Phaidon. DRYSDALE, S., VAN SCHAIK, J. “Rubble In The Sand.” Distributed urbanism: cities after Google earth. WILKINS, G. (2010). 87-100. Milton Park, Abingdon, Oxon, Routledge. EDENSOR, T. “Theater of the Exotic: Tourist Space as Stage and Performace.” Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 98-102. Munich: Prestel. FREUD, S., MCLINTOCK, D., & HAUGHTON, H. (2003). The uncanny. New York, Penguin Books. JAZAIRY, El Hadi. (2011). “Scales of the Earth”. Regal Printing, Harvard College.

New Geographies 4.

Hong Kong.:

LASANSKY, D. M., & MCLAREN, B. (2004). Architecture and tourism: perception, performance, and place. Oxford, Berg. LE CORBUSIER. (1935). Aircraft. London, Studio Ltd.

144

t r av e l*

LE CORBUSIER, & ŽAKNIĆ, I. (1987). Journey to the East. Cambridge, Mass, MIT Press. MACCANNELL, D. (1976). The tourist: a new theory of the leisure class. New York, Schocken Books. MAURIÈS, P. (2002). Cabinets of curiosities. New York, Thames & Hudson. MEDINA LASANSKY, D. “Blurred Boundaries Between Tourism and History: The Case of Tuscany.” Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 50-55. Munich: Prestel. MILOVANOVIC-BERTRAM, S. (2008). Rome sojourn: four architects. Austin, School of Architecture, the University of Texas at Austin. NEUHART, J., EAMES, C., EAMES, R., & NEUHART, M. (1989). Eames design: the work of the Office of Charles and Ray Eames. New York, H.N. Abrams. OCKMAN, J., & FRAUSTO, S. spectacular. Munich, Prestel.

(2005).

Architourism:

authentic,

escapist,

exotic,

PENNER, B. “Doing it Right: Postwar Honeymoon Resorts in the Pocono Mountains.” Architecture and tourism: perception, performance, and place. LASANSKY, D. M., & MCLAREN, B. (2004). 207-226. Oxford, Berg. PIOTROWSKI, A., & ROBINSON, J. W. (2001). The discipline of architecture. Minneapolis, University of Minnesota Press. RUBY, I., RUBY, A. “The City You Can’ t See On Google Earth.” Distributed urbanism: cities after Google earth. WILKINS, G. (2010). 7-20. Milton Park, Abingdon, Oxon, Routledge. SCHWARZER, M. “Architecture and Mass Tourism”. Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 12-33. Munich: Prestel. SOLNIT, R. (2006). A field guide to getting lost. New York, Penguin. STADLER, H., STIERLI, M., & FISCHLI, P. (2008). Las Vegas studio: images from the archives of Robert Venturi and Denise Scott Brown. Zürich, Scheidegger & Spiess. TRAGANOU, J., & MITRAŠINOVIĆ, M. (2009). Travel, space, architecture. Farnham, England, Ashgate. TUAN, Y. “Architecture, Route to Transcendence”. Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 118-121. Munich: Prestel. WARK, M. “Multitudes on Tour”. Architourism: authentic, escapist, exotic, spectacular. OCKMAN, J., & FRAUSTO, S. (2005). 92-97. Munich: Prestel. WILKINS, G. (2010). Distributed urbanism: cities after Google earth. Milton Park, Abingdon, Oxon, Routledge. YATES, F. A. (1966). The art of memory. Chicago, University of Chicago Press.

145

t r av e l*

image credits

* All photos were taken by myself unless otherwise noted. *Images listed in order by page number pg. 11

http://static.dezeen.com/uploads/2013/03/dezeen_Denise-Scott-Brownphoto-by-Frank-Hanswijk_2a.jpg h t t p : / / w w w. n e w s c h o o l . e d u / u p l o a d e d I m a g e s / Pa r s o n s / P r o f i l e s / p r o f i l e - o r i thalpern.jpg http://thevacationer.net/wp-content/uploads/2013/08/Dean-MacCannell.jpg h t t p : / / w w w. b r u t a l i s m u s . c o m / e / c o n t e n t / 8 . s p e a ke r / 9 . O c k m a n / O c k m a n , % 2 0 Joan.jpg http://en.wikipedia.org/wiki/File:Marc_Aug%C3%A9.jpg ht t p : / / s t a t i c . d e ze e n.c om / up l o ad s / 2013/ 03/ Ro b ert-Ve nt u r i - p h o t o - by- F ra n kHanswijk.jpg http://b.vimeocdn.com/ts/937/203/93720373_640.jpg http://25.media.tumblr.com/tumblr_l5tjv5X6ui1qcsahno1_500.jpg http://arts.ucla.edu/magazine/2006s/images/photos/07_01_Moore.jpg https://www.cca.edu/academics/faculty/mschwarzer

pg. 16

http://payload.cargocollective.com/1/1/63512/942422/Museo-MagazineVenturi-Scott-Brown-Learning-from-Las-Vegas-Studio-(Bob)-1968_800.jpg

pg. 22

http://historywarsweapons.com/wp-content/uploads/image/RomanEmpire1. jpg http://www.persian.asia/sites/default/files/Persian_Empire_Map.jpg h t t p : / / e u r o p e a n h i s t o r y. b o i s e s t a t e . e d u / i m a g e s / m a p s / b y z a n t i n e _ empire_1355.jpg http://upload.wikimedia.org/wikipedia/commons/thumb/3/36/British_ Indian_Empire_1909_Imperial_Gazetteer_of_India.jpg

146

t r av e l*

pg. 25

BRAINARD, G., MEHTA, R., MORAN, T. (2008) “Grand Tour”. Perspecta 41. New Haven, Conn.: Schools of Architecture & Design, Yale University. p. 17 LE CORBUSIER, & ŽAKNIĆ, I. (1987). Journey to the East. Cambridge, Mass, MIT Press. p. 151 Ibid., p. 111. Ibid., p. 86.

pg. 27

MILOVANOVIC-BERTRAM, S. (2008). Rome sojourn: four architects. Austin, School of Architecture, the University of Texas at Austin.

pg. 30

STADLER, H., STIERLI, M., & FISCHLI, P. (2008). Las Vegas studio: images from the archives of Robert Venturi and Denise Scott Brown. Zürich, Scheidegger & Spiess.

pg. 35

Ibid.

pg. 36

http://4.bp.blogspot.com/-oFiYPZfWhD8/UJwDLrFfUnI/AAAAAAAAAGQ/ U0ZsgNgyGmg/s1600/Vintage+Travel+Poster+New+York+US.jpg

pg. 45

http://classconnection.s3.amazonaws.com/133/flashcards/486133/jpg/ pantheon_plan_and_section(1)1332685767857.jpg

pg. 50

http://en.wikipedia.org/wiki/File:Marc_Aug%C3%A9.jpg

pg. 53

h t t p : / / s 1 . i b t i m e s . c o m / s i t e s / w w w. i b t i m e s . c o m / f i l e s / s ty l e s / v 2 _ a r t i c l e _ l a r g e / p u b l i c / 2 0 1 1 / 0 2 / 0 7 / 6 3 6 6 6 - a - g r o u p - o f- t o u r i s t s - o n - s e g w a y- p e r s o n a l transporters-take-a-guided-tour.jpg ht t p : / / w w w.s u p ers hut t l e.c o m/ Po rt al s / 11/ Po s t ed I m a g es / g ro up - t ravel tourists.jpg h t t p : / / w w w. e n g l i s h - o n l i n e . a t / n e w s - a r t i c l e s / t ra v e l / c r u i s e - s h i p - t ra v e l s - o n venice-canals.jpg http://i.dailymail.co.uk/i/pix/2012/02/28/article-210759311F43155000005DC-689_634x351.jpg h t t p : / / w w w. n a t i o n . c o m . p k / p r i n t _ i m a g e s / 6 7 0 / 2 0 1 2 - 0 2 - 0 8 / t i g e r s - a t t a c ktourist-bus-in-china-1328644247-7421.jpg http://lakbaypilipinas.com/wp-content/uploads/2010/03/philippines-cruiseships-500x332.jpg http://blogs.cfr.org/asia/files/2013/10/Chinesetourists_pic1-570x426.jpg h t t p : / / w w w. b l o g c d n . c o m / w w w. g a d l i n g . c o m / m e d i a / 2 0 1 2 / 0 9 / c o n c o r d i a lighthouse-500-00011-0001.jpg

pg. 53

https://www.cca.edu/academics/faculty/mschwarzer

pg. 57

LASANSKY, D. M., & MCLAREN, B. (2004). Architecture perception, performance, and place. Oxford, Berg.

147

and

tourism:

t r av e l*

pg. 58

http://www.doorsofperception.com/archives/2011/03/does_bilbao_nee.php

pg. 59

h t t p : / / c h a n g e o b s e r v e r. d e s i g n o b s e r v e r. c o m / m e d i a / i m a g e s / abandoibarra_04_525.jpg

pg. 62

http://www.alanpowdrill.com/

pg. 63

http://www.alanpowdrill.com/

pg. 66

LE CORBUSIER. (1935). Aircraft. London, Studio Ltd.

pg. 81

http://www.mascontext.com/tag/slum/

pg. 83

http://www.nasa.gov/images/content/154247main_image_feature_630_ys_ full.jpg

pg. 85

Google Earth.

pg. 87

http://highwayspace.files.wordpress.com/2009/06/attachment.jpg

pg. 88

http://4.bp.blogspot.com/__kUW891Pqbk/Sw7_4TL6ypI/AAAAAAAAAHQ/ QbBSTxlZ6EQ/s400/Ville+Contemporaine.jpg http://highwayspace.files.wordpress.com/2009/06/attachment.jpg

pg. 95

Google Earth.

pg. 97

http://shapeandcolour.files.wordpress.com/2008/07/ten.jpg seedandsprout.com

pg. 98

http://upload.wikimedia.org/wikipedia/commons/5/5a/Jacopo_deâ&#x20AC;&#x2122;_ Barbari_-_Venetie_MD_-_retouched.png

pg. 99

h t t p : / / c d n . e n j oyo u r h o l i d ay. c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 3 / L o n d o n - E ye Wide.jpg ht tp ://w w w. she d e xpe di ti on.com/ w p- conte nt/ upl oa ds/ 20 1 3 / 0 8 / L o n d o n - E yeView.jpg

pg. 107

h t t p : / / f e m d o m f u t u r e . b l o g s p o t . c o m / 2 0 1 3 / 1 0 / b e s t- o f- b e s t- i n s t a g ra m - l o g o download.html h t t p : / / f a t h o m a w a y. c o m / s l i d e s h o w / i n s t a t r i p - 1 5 - i n s t a g r a m m e r s - f o l l o w adrenaline-rush/3/ h t t p : / / f a t h o m a w a y. c o m / s l i d e s h o w / i n s t a t r i p - 1 5 - i n s t a g r a m m e r s - f o l l o w adrenaline-rush/10/ h t t p : / / f a t h o m a w a y. c o m / s l i d e s h o w / i n s t a t r i p - 1 5 - i n s t a g r a m m e r s - f o l l o w adrenaline-rush/1/

pg. 108

http://venezia.myblog.it/media/00/00/1124511430.jpg http://ianjwpollard.files.wordpress.com/2010/07/camillo1-1.jpg

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t r av e l*

pg. 109

LASANSKY, D. M., & MCLAREN, B. (2004). Architecture perception, performance, and place. Oxford, Berg.

and

tourism:

http://awaytogarden.com/files/2009/07/cabinet-of-curiosities-2.jpg http://1.bp.blogspot.com/_QjRD1qokf6E/S93dzi8fO9I/AAAAAAAABTk/ IQpW6_-ih8c/s640/entrance.jpg pg. 110

http://www.whereindisneyworld.com/wp-content/uploads/2011/08/ spaceshipearth-epcot.jpg

pg. 117

http://www.planetware.com/photos-large/E/montserrat.jpg h t t p : / / u p l o a d . w i k i m e d i a . o r g / w i k i p e d i a / c o m m o n s / t h u m b / 9 / 9 e / M c D ’s _ i n _ Tallinn,_IMG_4485.jpg/800px-McD’s_in_Tallinn,_IMG_4485.jpg h t t p : / / u n b i a s e d w r i t e r. c o m / e v e r y t h i n g - e l s e / b u s i n e s s / f a s t - f o o d - c h a i n s opening-in-tourist-spots-around-the-world/ http://media.washtimes.com/media/image/2012/12/10/italy_ web_20121210_0005_r640x400.jpg?5f283927f7404204a81e453b153d50eb7 d86d89b http://www.panoramio.com/photo/68015134 http://media.komonews.com/images/061024_starbucks_china.jpg h t t p : / / w w w . f l i c k r. c o m / p h o t o s / m a r c i m c c o m i s h / 4 5 4 9 5 5 8 1 4 0 / s i z e s / z / i n / photostream/

pg. 118

http://www.hotels.com/ho121648/cove-haven-resort-all-inclusive-lakevilleunited-states/ http://www.hotels.com/ho121648/cove-haven-resort-all-inclusive-lakevilleunited-states/ http://online.wsj.com/news/articles/SB100014240527023035912045751698 51728615996

pg. 119

http://img1.etsystatic.com/000/0/5759655/il_570xN.311671501.jpg

pg. 120

http://www.hotels.com/ho118652/sugar-beach-flic-en-flac-mauritius/ http://www.sugarbeachresort.com/IMG/jpg/presentation_manoir_pop-up.jpg

pg. 128

http://upload.wikimedia.org/wikipedia/commons/b/ba/Henry_David_ Thoreau.jpg h t t p : / / w w w. e n v i r o n m e n t a l s o c i e t y. c a / m a i n / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 8 / Walden.jpg

pg. 130

http://25.media.tumblr.com/tumblr_l5tjv5X6ui1qcsahno1_500.jpg

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t r av e l*

pg. 138

http://ww3.hdnux.com/photos/10/60/73/2297542/5/628x471.jpg http://harpers.org/wp-content/uploads/2013/08/JakobRosenzweigJacquelineBishop-UnfathomableCity1024x878.jpg http://serendip.brynmawr.edu/exchange/files/images/Mona-Caron.jpg http://www.kqed.org/assets/img/arts/blog/Solnit_Who.jpg http://media.tumblr.com/tumblr_lj5ul0OaWo1qc1ytq.jpg http://www.kqed.org/assets/img/arts/blog/Solnit_Who.jpg

pg. 138

https://lh6.googleusercontent.com h t t p : / / u p l o a d . w i k i m e d i a . o r g / w i k i p e d i a / c o m m o n s / t h u m b / f / f 8 / Ru i n s _ o f _ S t _ Mark’s_Campanile.jpg/200px-Ruins_of_St_Mark’s_Campanile.jpg http://www.architectmagazine.com/Images/tmp3E5F.tmp_tcm20-138663.jpg h t t p : / / d d r e e s a r t . f i l e s . w o r d p r e s s . c o m / 2 0 0 8 / 0 7 / w u n d e r k a m m e r- e n g rav i n g 2 . jpg

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as one journey ends, another begins.....

The Process of Travel

Part 1

Physical vs.Virtual 70 Physical vs.Virtual | Mode + Speed + View 70 Virtual Travel as a Design Tool 86 A Case For Physical Travel 100 Part 2

Recording Travel 105

the process of travel We can travel both physically and virtually. Travel within architectural scholarship is critical because it is through travel that students learn to see, interpret and analyze architecture. Being exposed to multiple places, especially of different cultures and climates, gives students a fundamental base within their own architectural knowledge. Each time we travel, our knowledge and precedent base grows. This is then something we can continue to pull from throughout our practice, both as students and professionals. The physical process of travel is unavoidable if one wishes to partake in a journey away from home. Both the tourist and traveler are subjected to the processes of travel, and often in similar ways. The travel experience is affected by airports, train stations, hotels, gift shops, and so forth. As Jilly Traganou simply states, these â&#x20AC;&#x153;bland infrastructural environments are where travel unfoldsâ&#x20AC;? (Traganou 18). In addition, our experience and understanding of the lands we move through is shaped by the mode of travel, the speed of travel, and the framed view one has while traveling. If we compare these factors with travel via plan, train, bus, automobile, and foot, we immediately see great differences in the grain of information we are able to gather throughout the process. On the far end of the spectrum, the plane covers great distances at very high speeds. Due to our removal from the landscape and the small view outward, it is hard to perceive. One could argue that it is disorienting and leaves the traveler disconnected from the world itself. On the other end of the spectrum, travel on foot offers an unlimited view and allows the traveler to be immersed within the landscape. With all of these factors to

consider, it becomes clear that the process of travel is just as important as the destination. As initially stated, we can travel virtually too. Programs such as Google Earth are changing the way in which architectural research and travel is conducted. Now, we can travel without leaving our home. Additionally, view points are created with these programs which offer new perspectives (literally) of foreign places. Through orbiting, we can gain perspectives which are beyond the abilities of typical and physical site exploration. These ideas arenâ&#x20AC;&#x2122;t entirely new, for before Google Earth and user interaction, the aerial photograph was altering architectural perspectives. In the early 20th century, the aerial view and flight greatly changed the way in which architects not only studied, but also designed spaces. Designs could work towards a larger and more complex urban scale. This can be seen through the case study of Le Corbusierâ&#x20AC;&#x2122;s Plan Obus later in the section. In addition, with the aerial view came aerial photography. Though the aerial photograph extended the palette of tools for the designer, it has some worrisome drawbacks. An intriguing phenomena of the aerial photograph is the importance of composition. As distorted views from above are flattened into a photograph, the focus often shifts to the success of the composition and not the reality of the condition within the photograph (Iika 14). This has a lot to do with the grain of what is photographed along with the size and color of the subjects. Furthermore, as explored in later discussions, the aerial photograph has led to shifts in city branding affecting the style of architecture itself.