PRINT April 1999


One chestnut of modernist architecture has been the gradual transformation of the role of the window. Once simply a source of light and a framed view of the external world, in the International Style skyscraper the window has become a semi-transparent membrane and an allover surface. Whatever view is afforded from inside to out, a reciprocal perspective isn’t guaranteed. The architectural ambivalence of such spatial boundaries is a recurrent theme in the crude sculptural models of Manfred Pernice. Comparable to architect Jean Nouvel’s facades, in which walls become screens onto which constantly changing information from the urban surround is projected, the walls of Pernice’s small-scale architectural models are frequently papered with images clipped from magazines or bills taken from packing cases—gigantic billboards on which the various images seem way out of scale with respect to the

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