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Acknowledgments
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Acknowledgments When I entered Cornell University’s undergraduate architecture program in the 1980s, an older student handed my classmates and me a copy of Christian Norberg-Schulz’s Genius Loci and told us to read it if we wanted to get through school. I naively followed her advice and continued to read about architectural phenomenology for years. Later, I decided to write this book in order to critically assess architectural phenomenology’s contribution to the wider intellectual development of postmodern thought in architecture. I was fortunate to come into contact with a number of mentors and colleagues who generously offered their insights at various stages, and to them I am indebted. While I was a doctoral student at the Massachusetts Institute of Technology, Mark Jarzombek, along with Daniel Bertrand Monk and John Rajchman, helped me lay the foundation for much of this project. I am grateful to my colleagues at Columbia University, first to Kenneth Frampton, who graciously allowed me to interview him on countless occasions, and also to all those who commented on drafts and presentations, especially Mark Wigley, Gwendolyn Wright, Barry Bergdoll, Mary McLeod, Reinhold Martin, and Felicity Scott. At other critical junctures, I benefited from the frank assessments of Stanford Anderson, Henry Millon, Vikramaditya Prakash, Hélène Lipstadt, Hilde Heynen, John Macarthur, Susan Buck-Morss, and Briankle Chang. Postdoctoral fellowships from the Canadian Centre for Architecture and the American Scandinavian Foundation afforded me the necessary time to write. In Montreal, conversations with Joseph Rykwert, Marco de Michelis, Phyllis Lambert , Kent Kleinman, and Louis Martin helped sharpen the text. I am thankful to Anna María Norberg-Schulz for granting me unimpeded access to her late husband’s papers and for her generous hospitality while in Oslo. Ulf Grønvold was very helpful in locating Norberg-Schulz’s manuscripts, drawings, and extant buildings. In the context of the Fehn Symposium in Hamar, I had illuminating discussions with Alberto Pérez-Gómez, Mari Hvattum, Thordis Arrhenius, and Grö Lauvland. A grant from the Henry Luce Foundation for the Study of American Art allowed me to travel to the archives of various universities in the United States. The research was made especially pleasant thanks to the efficient cooperation of librarians and archivists, notably Janet Parks at Columbia University’s Avery Library Archives; Nancy Sparrow at the Alexander Architectural Archive at the ix University of Texas, Austin; Paul Chénier at the Canadian Center for Architecture ; Don C. Skemer at the Department of Rare Books and Special Collections of Princeton University Library; and Eva E. Madshus and Birgitte Sauge at the Norwegian National Museum of Art, Architecture and Design. I thank my research assistants Tania Goffe-Nuñez, Joselito Corpus, Catherine Gavin, Greta Hansen, Janusz Dylla, and Lian Chang. Pieter Martin at the University of Minnesota Press was an ideal editor; he believed in the project and shepherded it intelligently. The publication of this book would not have been possible without generous awards from the Graham Foundation for Advanced Studies in the Fine Arts and the New York State Council on the Arts: Architecture Planning and Design Program. x ACKNOWLEDGMENTS ...