YF: In that case, what countries are you looking at? America? The U.K.? France? NN: I have Casabella from Italy, Architectural Design, and Architectural d'Aujourd'hui from France. So I have UK, France, and Italy. KK: Those are his primary sources. HF: I would also suggest Oppositions as a magazine which was widely read at the time. Researchers and curators around the world would definitely look at Oppositions. Architectural Design is also very good, too. YF: Is there a specific reason you did not include the U.S.? NN: There is a reason. I never found a magazine with 50 years of continuity. Like, a magazine that has a critical approach, but at the same time a long span. And it was really convenient to find the European magazines because you can follow the line from the 50’s to 2005. And Oppositions, for example, was only in the 70’s, I think? Maybe early 80’s. And there is this magazine, Progressive Architecture, the way they edited their magazine didn’t fit my research. They have more news segments, as well as the fact that PA stopped publishing in 1996. So I felt it’s too early. I wanted to at least have until the 2000’s. Once I selected these three magazines, I got a lot of data. I have, like, 600 articles. So I think going with more than 3 magazines is too much I think for this research. HF: Okay. So this is sort of getting away from what we were talking about before, but I want to return to talking about Peter Eisenmann and me. His early career and mine shared a lot in common. I don’t know if we were mutually cognizant of the commonalities present in each other’s work, but we shared this attitude toward so-called anti-classicism and deconstructivism where we were both trying to figure out how to fragment the whole. We grew apart after that, though. We had different ideas about how to connect fragmentation in our work. The point where we diverged was on how to create a fragmented space which would return human agency and identity. I haven’t confirmed this with Peter, but one difference is that in his work, the organization is created by the identity of each individual. There is this sense he is trying to systematize that world. I also think that he is systematically calibrating it. For me on the other hand, I am not systematically assembling the fragments for human presence, but rather connecting the fragments to continuously generate space.
364