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