![]() ![]() There was a whole chapter that was just so in the weeds, and it was cut in the process of peer review. So it was already readable, but I massively rewrote it for publication, especially the historical sections. And the word that I heard most frequently in grad school was that my work was “refreshing.” And I would think: It doesn’t have to be boring to be serious. ![]() I had to find a very supportive committee who were OK with my interest in narrative and storytelling. I knew that it was just embargoed, and then sure enough, it was published in the New Yorker or the New York Times a couple weeks later. Everybody in the room was buying that the release of one image was indicative of some complicated thing. She made this entire presentation on the fact that there was only one image that she could find. I remember so clearly in an architectural history seminar, this colleague gave a presentation about the Ambani residence in Mumbai, the most expensive private house ever designed. They were treating the media as though it had just emerged from nowhere and was an impenetrable monolith that had nothing to do with personal relationships. And then in the other part, I noticed that all these architectural historians were taking the media, I thought, as an inaccurate archive. So the letters were occupying one part of my brain. To qualify, I needed a project that would be interdisciplinary. So I was in the architecture department at UC Berkeley, and eventually realized that I wanted to leave the department and do my own self-directed interdisciplinary Ph.D. ![]()
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