Architectural travel, from the Eternal City to the generic city.
The Grand Tour was once the culmination of an architect's
education. As a journey to the cultural sites of Europe, the Tour's
agenda was clearly defined: to study ancient monuments in order to
reproduce them at home. Architects returned from their Grand Tours
with rolls of measured drawings and less tangible spoils:
patronage, commissions, and cultural cachet. Although no longer
carried out under the same name, the practices inscribed by the
Grand Tour have continued relevance for contemporary architects.
This edition of Perspecta-the oldest and most distinguished
student-edited architectural journal in America-uses the Grand
Tour, broadly conceived, as a model for understanding the history,
current incarnation, and future of architectural travel. Perspecta
41 asks: where do we go, how do we record what we see, what do we
bring back, and how does it change us? Contributions include
explorations of architects' travels in times of war; Peter
Eisenman's account of his career-defining 1962 trip with Colin Rowe
around Europe in a Volkswagen; Robert Venturi and Denise Scott
Brown's discussion of their traveling and its effect on their
collecting, teaching, and design work; drawings documenting the
monolithic churches of Lalibela, Ethiopia; an account of how James
Gamble Rogers designed Yale's Sterling Library and residential
colleges using his collection of postcards; and a proposed
itinerary for a contemporary Grand Tour-in America. Contributors
Esra Akcan, Aaron Betsky, Ljiljana Blagojevic,, Edward Burtynsky,
Matthew Coolidge and CLUI, Gillian Darley, Brook Denison, Helen
Dorey, Keller Easterling, Peter Eisenman, Dan Graham and Mark
Wasiuta, Jeffery Inaba and C-Lab, Sam Jacob, Michael Meredith,
Colin Montgomery, Dietrich Neumann, Enrique Ramirez, Mary-Ann Ray
and Robert Mangurian, Kazys Varnelis, Robert Venturi and Denise
Scott Brown, Enrique Walker
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