Events at Storefront http://storefrontnews.org/ Events at Storefront Supercollider Situation 12 December 2014 12:53:59 EST http://www.storefrontnews.org/programming/eventss?e=677

Thursday December 18, 2014 – Thursday December 18, 2014

<!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <b>Supercollider Situation</b> </p> <p class="MsoNormal"> <b>Thursday, December 18, 7pm</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">An evening of collaborative improvisations and solo intercessions performed by a group of sound artists, programmers and musicians form the New York&nbsp;Supercollider&nbsp;Meetup. From ethereal to cacophonous, expect the gamut of textural and tonal explorations of this unique sonic structure comprised of 8 audio channels running through 10 transducers resonating into "Situation NY," Jana Winderen and Marc Fornes/THEVERYMANY's site-specific installation.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About Supercollider</b> </p> <p class="MsoNormal">The New York&nbsp;Supercollider&nbsp;Meetup is a monthly forum for learning and collaboration around music and sound art created using the&nbsp;Supercollider&nbsp;programming language. The group has been meeting for about 4 years, and is made up of sound artists, programmers, musicians and producers of various backgrounds. Anyone interested in&nbsp;Supercollider&nbsp;is welcome to join our group, from beginners to experienced practitioners.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Participants&nbsp;</b> </p> <p class="MsoNormal"> <b>Daniel Palkowski</b> has been a New York based composer and performer since 1976. He has created content for Voyager, MacMillan Digital, Disney and Harper Collins among others. Performances worldwide. He has a CD, Electria (available wherever digital downloads are sold), and a vinyl, Asterism (1985). He has been a video and audio specialist at Ernst &amp; Young since 1997, and composer/sound designer for the online Snidetv video series. His compositions regularly appear in concerts by Composers Concordance, and the International Street Cannibals.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Dave Britton</b> is a neuroscientist working on brain-computer interfacing. In the past he has been CTO of Internet companies and developed business applications software. He collaborates with visual artist Jack Ox on the Virtual Color Organ project. He plays flute in Irish traditional music sessions, and plays shakuhachi for personal meditation. His current SuperCollider programming project uses his EEG brainwaves to interactively create music in real-time performance accompanying his playing acoustic wind instruments.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>David Reeder</b> is a media arts software developer who combines software design with music composition, sound invention and inter-media installations. He is co-organizer of NYC SuperCollider and author of Dansemuse, an effective, lightweight, easily configurable software library that translates movement into Open Sound Control messages. As a musician, David has performed at the Darmstadt Internationale Ferienkurse f&uuml;r Neue Musik and in New York including the Brooklyn College International Electro-Acoustic Music Festival. His compositions have been performed in cities around the US.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Nicholas Colvin</b> is a musician, technologist and hacker, co-organizer of NYC Supercollider and Monthly Music Hackathon NYC. He is a percussionist as well as computer musician and synthesist, and performs with Gamelan Kusuma Laras at the Indonesian Consulate. In computer music, his primary focus is algorithmic composition and real-time improvisation using novel digital music interfaces. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the installation: Situation NY</b> </p> <p class="MsoNormal">Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting visitors to question the properties of matter and the built environment surrounding us. The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form. Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract, spatial, formal and acoustic variations and compositions,&nbsp;<i>Situation NY</i>&nbsp;raises questions about context, sensorial readings, estrangement and the uncanny tangentially resonating with contemporary debates around the ontology of objects.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>SITUATION NY</i> </b> </p> <p class="MsoNormal">by Jana Winderen and Marc Fornes /&nbsp;<span style="font-size: 12px;">THEVERYMANY</span> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Fabrication by</b> </p> <p class="MsoNormal">bengal.fierro</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Commissioned by&nbsp;</b> </p> <p class="MsoNormal">Storefront for Art and Architecture</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>With the support of&nbsp;</b> </p> <p class="MsoNormal">Robert Rauschenberg Foundation</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">More infomation <a href="../programming/exhibitions?c=&amp;p=&amp;e=661">here</a>.&nbsp;</p> <!--EndFragment-->
Membership Event: Private Screening of Amie Siegel's 'Provenance' at the Metropolitan Museum of Art 26 November 2014 11:18:11 EST http://www.storefrontnews.org/programming/eventss?e=676

Saturday December 13, 2014

<p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Amie Siegel:&nbsp;<i>Provenance</i> </p> <p class="MsoNormal"> <b>Saturday, December 13, 2014</b> </p> <p class="MsoNormal"> <span style="font-size: 12px;">Members only private screening at the Metropolitan&nbsp;Museum of Art</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">A film work of cinematic scale,&nbsp;Provenance&nbsp;traces in reverse the global trade in furniture from the Indian city of Chandigarh. Conceived in the 1950s by architects Le Corbusier and Pierre Jeanneret, Chandigarh&rsquo;s controversial modernist architecture includes original pieces of furniture&mdash;tables, chairs, settees, desks&mdash;created specifically for the building&rsquo;s interiors. Recently these pieces have appeared at auction houses around the world, commanding record prices. Starting with the Chandigarh furniture in the present, the film begins in New York apartments, London townhouses, Belgian villas and Paris salons of avid collectors. From there, it moves backwards to the furniture&rsquo;s sale at auction, preview exhibitions, and photography for auction catalogues, to restoration, cargo shipping containers, and Indian ports &mdash; ending finally in Chandigarh, a city in a state of entropy. &nbsp;<br /> &nbsp;<br /> Juxtaposing contemplative tracking shots, precise framing, and recurrent tableaux the film enacts a subtly discursive cinematic space, peeling back time to make visible the furniture&rsquo;s movement around the globe. This accumulative montage exposes the circuits of ownership and history that influence the furniture's fluctuating value. &nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Amie Siegel.&nbsp;</b> <span style="font-size: 11.8181819915771px; background-color: #ffffff;">&nbsp;</span> <span style="font-size: 12px; background-color: #ffffff;">Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel&rsquo;s work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, MAXXI Rome, Hayward Gallery, London, Whitney Museum of American Art, Walker Art Center, Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and</span> <span style="font-size: 11.8181819915771px; background-color: #ffffff;">&nbsp;</span> <span class="msoIns" style="font-size: 12px; background-color: #ffffff;">&nbsp;is</span> <span style="font-size: 11.8181819915771px; background-color: #ffffff;">&nbsp;</span> <span style="font-size: 12px; background-color: #ffffff;">the recipient of a Sundance Institute Film Fund award. In 2014 Storefront for Art and Architecture commissioned Amie Siegel's <i>The Architects</i>&nbsp;as part of Office<i>US</i>. For more information about this piece please <b> <a href="../programming/films?c=&amp;p=&amp;e=671">click here.</a> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; background-color: #ffffff;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b>Not a member?</b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b> <a href="../support">Join us now.</a> </b> </span> </p>
RESILIENCE BY DESIGN 18 November 2014 15:24:40 EST http://www.storefrontnews.org/programming/starter projectss?e=674

Monday December 1, 2014 – Friday December 12, 2014

<p class="MsoNormal"> <span style="font-family: Arial; mso-bidi-font-family: Arial;"> <b> <i>About this project</i> </b> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial; mso-bidi-font-family: Arial;">The exhibition and conference&nbsp;<i>Resilience by Design&nbsp;</i>at the United Nations will present work that addresses post-disaster architectural design<span style="mso-bidi-font-weight: bold;">. During the past year, </span>the Open Design Academy has crowd-sourced projects for resilient schools and emergency shelters for the rebuilding of areas affected by natural disasters and wars. It collaborated both<span style="mso-bidi-font-weight: bold;"> with global and local organizations, including Architecture for Humanity in Manila and various UN agencies</span>. <span class="textbox">Using the online community, these solutions contribute to helping governments, the private sector, international organizations and foundations to accomplish their mission in building resilient architecture for some of the most vulnerable communities in the world.</span> </span> <span class="textbox"> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span class="textbox"> <i> </i> <b> <i> <span style="font-family: Arial; mso-bidi-font-family: Arial;">Exhibition Space and Schedule</span> </i> </b> </span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o :DocumentProperties> </o><o :Template>Normal.dotm</o> <o :Revision>0</o> <o :TotalTime>0</o> <o :Pages>1</o> <o :Words>27</o> <o :Characters>158</o> <o :Company>Storefront for Art and Architecture</o> <o :Lines>1</o> <o :Paragraphs>1</o> <o :CharactersWithSpaces>194</o> <o :Version>12.0</o> <o :OfficeDocumentSettings> <o :AllowPNG /> </o> </xml> < ![endif]--> <!--[if gte mso 9]> <xml> <w :WordDocument> </w><w :Zoom>0</w> <w :TrackMoves>false</w> <w :TrackFormatting /> <w :PunctuationKerning /> <w :DrawingGridHorizontalSpacing>18 pt</w> <w :DrawingGridVerticalSpacing>18 pt</w> <w :DisplayHorizontalDrawingGridEvery>0</w> <w :DisplayVerticalDrawingGridEvery>0</w> <w :ValidateAgainstSchemas /> <w :SaveIfXMLInvalid>false</w> <w :IgnoreMixedContent>false</w> <w :AlwaysShowPlaceholderText>false</w> <w :Compatibility> <w :BreakWrappedTables /> <w :DontGrowAutofit /> <w :DontAutofitConstrainedTables /> <w :DontVertAlignInTxbx /> <w :UseFELayout /> </w> </xml> < ![endif]--> <!--[if gte mso 9]> <xml> <w :LatentStyles DefLockedState="false" LatentStyleCount="276"> </w> </xml> < ![endif]--> <!--[if gte mso 10]> <mce :style> < ! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Calibri; mso-fareast-font-family:Calibri; mso-hansi-font-family:Calibri; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </mce></p> <p class="MsoNormal"> <span class="textbox"> <span style="font-family: Arial; mso-bidi-font-family: Arial;">The OOAc exhibit <i>Resilience by Design</i>&nbsp;at the United Nation in New York will take place on the ground floor of the Secretariat building on December 1-12, 2014.</span> </span> <span style="font-family: Arial; mso-bidi-font-family: Arial;"> </span> </p> <p class="MsoNormal"> <span class="textbox"> <span style="font-family: Arial; mso-bidi-font-family: Arial;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span class="textbox"> <span style="font-family: Arial; mso-bidi-font-family: Arial;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span class="textbox"> <span style="font-family: Arial; mso-bidi-font-family: Arial;">RESILIENCE BY DESIGN is part of the Storefront Starter Initiative. You can support this project through a tax deductible contribution here:</span> </span> </p> <p class="MsoNormal"> <span class="textbox"> <span style="font-family: Arial; mso-bidi-font-family: Arial;"> <br /> </span> </span> </p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <p class="MsoNormal"> <br /> </p>
Keller Easterling: World City Trailers 10 November 2014 14:00:59 EST http://www.storefrontnews.org/programming/eventss?e=672

Tuesday November 18, 2014 – Tuesday November 18, 2014

<p class="MsoNormal"> <b>World City Trailers </b> </p> <p class="MsoNormal">a selection of films on the occasion of the launch of&nbsp;<span style="font-size: 12px;"> <i>Extrastatecraft: the Power of Infrastructure Space</i>&nbsp;</span> <span style="font-size: 12px;">by Keller Easterling</span> </p> <p class="MsoNormal"> <b>Tuesday, November 18</b> </p> <p class="MsoNormal"> <b>7-9pm</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">An emergent genre of urban porn, urban music video or urban trailer now promotes the global city building epidemic. In the typical template for these videos, a zoom from outer space drops through clouds to reveal the location of a new world city.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The stirring music of an epic adventure or western accompanies a swoop through shimmering cartoon skylines, resorts, suburbs and sun flares. A deep movie-trailer voice repeats all the mantras of free trade and incentivized urbanism to which foreign investment has become addicted to no taxes, no bureaucracy, streamlined customs, and deregulation of labor or environment law. This new free zone paradigm, often no longer the fenced in warehousing compound of just 30 or 40 years ago, nevertheless harbors grisly, stabilized forms of labor abuse, and it still fails to return optimal economic results. But egged on by global consultancies, the zone is now bathed in redemptive rhetoric and treated as the necessary signal for entry into a global marketplace.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">This selection of promotional videos, from among scores of others, demonstrates how contagious the free zone has been all around the world with examples from Tunisia, South Korea, Saudi Arabia, Georgia, Ecuador, Kenya, Taiwan, Afghanistan, UAE, Lithuania, Malaysia, India, Libya, Nigeria, Holland, Laos, Azerbaijan, Gabon, Tanzania and Kuwait. Comically drunk on heroic urban aspirations the videos distract from their inherent violence as they mix things like fantasy environments, Hegel quotes and buildings shaped like diamonds or dolphins.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The audience heard Keller Easterling's reflections on the book and the "World City Trailers" compilation.&nbsp;The videos, presented on the occasion of the launch of&nbsp;<i> <b>Extrastatecraft: the Power of Infrastructure Space</b> </i>&nbsp;(Verso 2014)&nbsp;were played continuously over wine and conversation.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <span style="font-size: 11.8181819915771px; text-decoration: underline;">FREE AND OPEN TO THE PUBLIC.</span>&nbsp;</b> <span style="font-size: 11.8181819915771px;">Please support our programs and&nbsp;</span> <a href="http://www.storefrontnews.org/get_involved/membership">become a member</a> <span style="font-size: 11.8181819915771px;">.</span> </p> <p class="MsoNormal"> <span style="font-size: 11.8181819915771px;"> <br /> </span> </p> <p class="MsoNormal"> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="400" height="321" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"> <param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=112627589" /> <embed type="application/x-shockwave-flash" width="400" height="321" src="http://vimeo.com/moogaloop.swf?clip_id=112627589"> </embed> </object> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>View World City Trailers-2014</b> </p> <p class="MsoNormal"> <b> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="400" height="321" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"> <param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=112833164" /> <embed type="application/x-shockwave-flash" width="400" height="321" src="http://vimeo.com/moogaloop.swf?clip_id=112833164"> </embed> </object> <br /> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About<i> Extrastatecraft: the Power of Infrastructure Space</i> (Verso 2014)</b> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Repeatable spatial formulas, like those for free zone world cities, make most of the space being built in the world. Some of the most radical changes to the globalizing world are being written in the language of this almost infrastructural spatial matrix. Administered by mixtures of state and non-state players and driven by profound irrationalities and dubious aspirations, infrastructure space generates de facto, undeclared forms of polity that can outpace law, and it is the secret weapon of some of the world's most powerful players.&nbsp;Even at a moment of ubiquitous computing, Extrastatecraft: the Power of Infrastructure Space (Verso 2014) considers space itself as an information system with the power and currency of software-a spatial operating system for shaping the city. With an experimental narrative structure, the book, moves between exposing evidence of infrastructure space and learning to detect the violence and productivity immanent in its organization. But it also rehearses ways to hack this space with expanded techniques of form-making and surprising approaches to political activism.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Keller Easterling</b> is an architect, writer and professor at Yale. In addition to <span style="mso-spacerun: yes;">&nbsp;</span>Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), Easterling is the author of Subtraction (Sternberg, 2014), The Action is the Form (Strelka Press, 2012) Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Easterling&rsquo;s essay &ldquo;Floor&rdquo; was recently included in the Elements exhibition of the 2014 Venice Biennale.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--[if gte mso 9]> <xml> <o:shapedefaults v:ext="edit" spidmax="1026" /> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <o:shapelayout v:ext="edit"> <o:idmap v:ext="edit" data="1" /> </o:shapelayout> </xml> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p>
OfficeUS: The Architects 10 November 2014 12:21:06 EST http://www.storefrontnews.org/programming/filmss?e=671

Monday November 17, 2014 – Sunday November 23, 2014

<p class="MsoNormal"> <i>The Architects,</i> 2014, HD video</p> <p class="MsoNormal">by Amie Siegel</p> <p class="MsoNormal">November 17-23, 2014 at Stage D in the Arsenale</p> <p class="MsoNormal">Venice, Italy</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px;">Commissioned by Storefront for Art and Architecture as part of Office</span> <i>US</i> <span style="font-size: 12px;">, the U.S. Pavilion at the 2014 International Architecture Biennale, La Biennale di Venezia,&nbsp;</span> <i>The Architects </i> <span style="font-size: 12px;">cuts transversally through the city of New York, moving through ten architecture studios&mdash;from Fifth Avenue to downtown to Brooklyn- unveiling the operational territories and landscapes of global architecture production.</span> <span style="font-size: 12px;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">A singular visual unfolding, the film deploys silent conversations among the architectures, locations, objects and characters that inhabit the picture frame, raising questions of scale, agency and power.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Parallel tracking shots through the working offices chart the office typology through sameness and difference, revealing the reappearing elements of the spaces of architecture production: the long horizontal desks, screens, renderings, models, framing the wide spectrum of practice from large firms to smaller studios, between the lens of the camera and the view of Manhattan<span class="msoIns">,</span> always, and only, just outside the window.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the Artist</b> </p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>288</o:Words> <o:Characters>1647</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>13</o:Lines> <o:Paragraphs>3</o:Paragraphs> <o:CharactersWithSpaces>2022</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS 明朝"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel&rsquo;s work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, MAXXI Rome, Hayward Gallery, London, Whitney Museum of American Art, Walker Art Center, Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and<span class="msoIns"> is</span> the recipient of a Sundance Institute Film Fund award.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px;"> <i>This film was made possible by Storefront for Art and Architecture with the generous support of Elise Jaffe + Jeffrey Brown.</i> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <i> <br /> </i> </span> </p> <p class="MsoNormal">On Saturday, November 22nd a conversation with the artist will take place in Venice, Italy. For more information please contact Kara Meyer km@storefrontnews.org</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>FILM CREDITS&nbsp;</b> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <i> <br /> </i> </span> </p> <p> DIRECTOR: AMIE SIEGEL&nbsp;</p> <p>PRODUCER: ANDREW FIERBERG&nbsp;</p> <p>Co-PRODUCER: MARTINA KLICH&nbsp;</p> <p>PRODUCTION MANAGER: TINA PICCARI&nbsp;</p> <p>CINEMATOGRAPHER: CHRISTINE A. MAIER&nbsp;</p> <p>1ST ASSISTANT CAMERA: BAYLEY SWEITZER&nbsp;</p> <p>DIGITAL I TECH: HENRY PRINCE&nbsp;</p> <p>SOUND RECORDIST: TIMOTHY WONG&nbsp;</p> <p>KEY GRIP: MARK SOLOMON&nbsp;</p> <p>GRIP: DAN STENZEL&nbsp;</p> <p>GRIP: WIL HAMLIN&nbsp;</p> <p>PA: NIR BITTON&nbsp;</p> <p>PA: MATTHEW TOWN&nbsp;</p> <p>COLOR CORRECT &amp; CONFORM: GABRIELE TURCHI&nbsp;</p> <p>SOUND MIXER: GISBURG SMIALEK&nbsp;</p> <p>&nbsp;</p> <p>STOREFRONT FOR ART AND ARCHITECTURE: EVA FRANCH i GILABERT, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; KARA L. MEYER, MELISSA WEISBERG, PIOTR CHIZINSKI, CARLOS MINGUEZ CARRASCO&nbsp; </p> <p>&nbsp;</p> <p>OFFICEUS: EVA FRANCH i GILABERT, ANA MILJACKI , ASHLEY SCHAFER&nbsp;</p> <p>&nbsp;</p> <p>SPECIAL&nbsp;<span style="font-size: 12px;">THANKS: SIMON PRESTON GALLERY, NEW YORK&nbsp;</span> </p> <p>&nbsp;</p> <p>&nbsp;</p>
OFFICEUS: BULLETS WITH-OUT IDEOLOGY 13 November 2014 23:50:54 EST http://www.storefrontnews.org/programming/eventss?e=673

Saturday November 15, 2014 – Sunday November 23, 2014

<div align="left" style="font-family: Times; font-size: medium; line-height: normal;"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal"> <b>BULLETS WITH-OUT IDEOLOGY&nbsp;</b> </p> <p class="MsoNormal"> <b>With the participation of Gene Kohn (KPF),&nbsp;&nbsp;Shawn McLearen,&nbsp;&nbsp;Antoni Muntadas, Ippolito Pestellini,&nbsp;&nbsp;Amie Siegel, OfficeUS Partners and Founders among others.</b> </p> <p class="MsoNormal"> <span style="font-size: 11.8181819915771px;">November 17-23, 2014</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">US Pavilion, Giardini (Venice, Italy)</p> <p class="MsoNormal">Monditalia, Arsenale (Venice, Italy)</p> <!--EndFragment--> </div> <div align="left" style="font-family: Times; font-size: medium; line-height: normal;"> <span style="font-size: 12pt; font-family: 'Times New Roman', Times, serif;"> </span> </div> <div align="left" style="font-family: Times; font-size: medium; line-height: normal;"> <p>&nbsp;</p> <p>OfficeUS, with its first headquarters at the Venice Architecture Biennale, was founded in 2014 with the mission to critically reflect on the production of architecture globally today. Taking as transversal lens of inquiry an archive that contains the production of US firms in a global context over the last hundred years and the architecture offices themselves, OfficeUS has been simultaneously looking backwards and forward while projecting a new model for global architectural practice open to all of us.</p> <p>&nbsp;</p> <p>Over the last twenty-five weeks of the Biennale, the &nbsp;OfficeUS Partners, Arielle Assouline-Lichten, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Curtis Roth, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest have been addressing the 25 OfficeUS Issues, working in collaboration with global outpost offices and a diverse cast of visiting experts, from high rise engineers to students, submitting historical material to contemporary critique while projecting an alternative future where issues become assets.</p> <p>&nbsp;</p> <p>The closing Issue of OfficeUS, Bullets With-Out Ideology, aims to address the role of architects in the perpetuation or redefinition of current economic, social and political forms of action.</p> <p> <img src="https://origin.ih.constantcontact.com/fs190/1101822207214/img/1376.gif?ver=1415950026000" width="600" /> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px; background-color: #ffffff;">For the last week of Office<i>US</i> in Venice, Office<i>US</i> Partners&nbsp;will&nbsp;target some of the projects to be developed in the future present, including PARK, an investigation on corporate social responsibility, and the way the project's structures and forms shape the future of our cities. &nbsp;</span>&nbsp;</p> <p>&nbsp;</p> <p>Below is a series of events, screenings and lectures that will take place throughout the week:&nbsp;</p> <p>&nbsp;</p> <p> <b>Friday, November 16, 1pm</b> </p> <p> <span style="font-size: 12px;">US Pavilion in the Giardini&nbsp;</span> </p> <p> <span style="font-size: 12px;">Shawn McLearen lecures on American Capital &amp; Local Cultural Ecosystems - Towards a Cultural Development Corporation</span> </p> <p>&nbsp;</p> <p> <strong>Tuesday November 18 to Sunday, November 23</strong>,<b> 11am-6pm</b> </p> <p>Stage D, Arsenale</p> <p> <i>The Architects </i>a film by Amie Siegel commissioned for the closing of Office<i>US</i> screens at the Arsenale, at stage D of Monditalia.</p> <p>&nbsp;</p> <p> <strong>Wednesday, November 19, 11am-6pm</strong> </p> <p>US Pavilion in the Giardini</p> <p>A photographic essay by Brett Beyer "Seven fundamental views of the Architectural Office" is presented throughout the day.&nbsp;</p> <p>&nbsp;</p> <p> <strong>Thursday, November 20, 11am-6pm</strong> </p> <p>US Pavilion in the Giardini</p> <p> <span style="font-size: 12px;">A digital essay by Studio Indefinit of aerial images of the almost thousand projects contained in the Repository is on display throughout the day.&nbsp;</span> </p> <p>&nbsp;</p> <p> <strong>Friday November 21, 11am</strong> </p> <p>US Pavilion in the Giardini</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">A. Eugene Kohn, the Chairman of Kohn Pedersen Fox Associates, who founded KPF on July 4, 1976 along William Pedersen and Sheldon Fox, will lecture on the development of KPF global strategy and some of the major international projects the firm has constructed over the years.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">As part of the ongoing research of Office<i>US</i>, Studio Indefinit has extracted as a composite global map the&nbsp;satellite site images of the projects contained in the Office<i>US</i> Repository exhibition at Office<i>US</i>.&nbsp;The full project, World Sites, is on display at the Office<i>US</i>, the US Pavilion in Venice on November 21st and on&nbsp;November 23rd.</p> <p>&nbsp;</p> <p> <strong>Saturday, November 22, 12pm&nbsp;</strong> </p> <p> <span style="font-size: 12px;">US Pavilion in the Giardini&nbsp;</span> </p> <p>Amie Siegel, along with invited curators, media theorists and filmmakers discuss <i>The Architects</i> a film by Amie Siegel and commissioned for the closing of OfficeUS.</p> <p>&nbsp;</p> <p> <strong>Saturday November 22, 10pm - late</strong> </p> <p>Venue TBA</p> <p>An event curated by Office<i>US</i> Partners marks the closing of OfficeUS in Venice.</p> <p>&nbsp;</p> <p> <strong>Sunday November 23, 11am-6pm</strong>&nbsp;</p> <p> <span style="font-size: 12px;">US Pavilion in the Giardini&nbsp;</span> </p> <p>OfficeUS Partners, Founders and a cast of guests and curators close the United States of America Pavilion at the 2014 Venice Architecture Biennale with a working session, and a series of conversation with invited guests, including the presentation of the second publication of OfficeUS, OfficeUS Atlas, and the upcoming exhibition in Spring 2015 at Storefront for Art and Architecture in New York, as well as the future paths of OfficeUS.&nbsp;<span style="font-size: 11.8181819915771px;">&nbsp;Studio Indefinit's project, World Sites will be on display.</span> </p> <p>&nbsp;</p> <p> <b> <br /> </b> </p> <p> <b> <i>Participant Bios</i> </b> </p> <p>&nbsp;</p> <p> <b> </b> </p> <p class="MsoNormal"> <span style="font-size: 8.0pt; font-family: Arial; color: black;"> </span> </p> <p class="MsoNormal"> <b>Studio Indefinit </b>focuses on the interplay between human activity and sensory perception to create immersive, interactive environments. Its members combine their unique backgrounds in acoustics, architecture, sound design, music, user experience, and software development, relying on a common language of sound and space to convert original concepts into tangible experiences.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Shawn McLearen</b> is a real estate developer and Member of Storefront for Art for Architecture. Until recently he served as Vice President of Property Development for Artspace Projects - America's largest non-profit real estate developer for the arts - where he helped raise over $100M toward the completion of projects in New York. He lives in Manhattan with his wife Ming.</p> <p class="MsoNormal">&nbsp;</p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Brett Beyer</b>&nbsp;<span style="font-size: 12px;">is an architectural and fine art photographer based in Brooklyn, New York. He received his degree in studio art from Bard College. His work has appeared in publications such as The New York Times Magazine, American&nbsp;Photography, Rolling Stone, Dwell, Fast Company, and The Cornell Journal of Architecture. Some of his architectural clients include&nbsp;Cornell Architecture Art &amp; Planning, OMA, and SOM. His recent group exhibitions include &ldquo;5 Beekman&rdquo; as part of Visions at Temple Court in New York City, and &ldquo;OMA: Aerial/Interior&rdquo; as part of the International Photography Awards Best of Show in Los Angeles. In 2013 he took part in a week-long residency&nbsp;as part of the 30th anniversary show &ldquo;Being&rdquo; at Storefront for Art and Architecture. He is currently photographing architectural offices in New York City to be shown at the OfficeUS Pavilion for the 2014 Venice Architecture Biennale.&nbsp;</span> </p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Amie Siegel.&nbsp;</b> <span style="font-size: 12px; background-color: #ffffff;">Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel&rsquo;s work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art, New York, as well as solo and group exhibitions at MoMA/PS1, MAXXI Rome, Hayward Gallery, London, Whitney Museum of American Art, Walker Art Center, Kunstmuseum Stuttgart and KW Institute for Contemporary Art, Berlin. Her films have screened at Cannes, Berlin, New York and Toronto Film Festivals, The Museum of Modern Art, New York and The National Gallery of Art, Washington, D.C. She has been a fellow of the DAAD Berliner-Künstlerprogramm, Guggenheim Foundation, and</span> <span class="msoIns" style="font-size: 12px; background-color: #ffffff;">&nbsp;is</span> <span style="font-size: 12px; background-color: #ffffff;">the recipient of a Sundance Institute Film Fund award.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; background-color: #ffffff;"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>A. Eugene Kohn</b>, Chairman of Kohn Pedersen Fox Associates, founded KPF along with William Pedersen and Sheldon Fox, based on a commitment to design service and excellence. Gene has served as Partner-in-Charge of many of KPF's major domestic and international projects and is responsible for many of the firm's new commissions. He has developed a global strategy and has shaped the firm into one of the world's leaders in all aspects of architectural practice.</p> <p class="MsoNormal"> <span style="font-size: 12px; background-color: #ffffff;"> <br /> </span> </p> <p class="MsoNormal"> <b>Alberto Momo</b> (1972).&nbsp;<span style="font-size: 12px;">Film lover, critic and independent film-maker, he lives and works in Torino.&nbsp;</span> <span style="font-size: 12px;">After his architecture studies, he makes videos and documentaries, screened in festivals such as Venezia, Locarno, Rotterdam, Montr&eacute;al.&nbsp;</span> <span style="font-size: 12px;">His special interest is in spatial character of cinema. He made architecture movies for the Accademia di San Luca in Roma and La Biennale di Venezia (2012). He won best Italian documentary in Torino 2006 with a portrait of the Italian architect Elio Luzi. He worked also for TV programs on Italian broadcasts Rai3 and Rai4.&nbsp;</span> <span style="font-size: 12px;">PhD in Architecture with a work on Italian television landscape, lecturer in cinema, architecture, city and territory at the Politecnico of Torino. He writes for several revues and publications (Blow Up, Il Manifesto, Il giornale dell'architettura, l'Enciclopedia Treccani). In 2013, he published with Donatello Fumarola the book Atlante sentimentale del cinema per il XXI secolo, 50 conversations with most important contemporary filmmakers.&nbsp;</span> <span style="font-size: 12px;">As a curator, he realized an installation about Torino in television history within the exibition 011 Torino (with Filippo De Pieri, 2008) and the movie-map of Italy in the exibition Monditalia at La Biennale di Architettura of Venezia 2014, with 80 sequences from italian movies in 60 screens.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; background-color: #ffffff;"> <br /> </span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Born in 1942 in Barcelona,<b> Antoni Muntadas&nbsp;</b>has lived and worked in New York since 1971. His work has been exhibited internationally, including the 51st Venice Biennale (Spanish Pavilion), Documenta VI and X, and the Sao Paulo, Whitney, Lyon, Gwangju and Istanbul Biennales. Solo exhibitions include The Museum of Modern Art in New York, the Berkeley Art Museum in California, the Musee d&rsquo;Art Contemporain de Montreal, the Capc de Bordeaux, France, the Museo de Arte Moderna de Rio de Janeiro in Brazil, and the Museo Nacional Centro de Arte Reina Sofia in Madrid, among other institutions. Muntadas has a long-standing academic career, teaching in universities worldwide.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Ippolito Pestellini Laparelli </b>joined OMA in 2007 and is based in Rotterdam. Pestellini's work and research at OMA/AMO has a focus on design, preservation, scenography, and curation. He currently leads the transformation design of the 16th century Fondaco dei Tedeschi in Venice, and developed Monditalia, a multi-disciplinary exhibition focused on Italy, at the 2014 Venice Architecture Biennale. Recently, Pestellini has directed the design of OMA's Tools for Life furniture collection for Knoll, led architectural competitions including the expansion of Bocconi University in Milan and the Tecnopole of Bologna, designed scenography for the Greek theater of Siracusa in Sicily, and co-curated Cronocaos, OMA's exhibition on preservation at the 2010 Venice Architectural Biennale. Since 2010, Pestellini has overseen a range of AMO projects with Prada, including stage design for fashion shows and directing special events and publications. He contributes to the curatorial development and exhibition design for Fondazione Prada, with projects such When Attitudes Become Form: 1969/2013 in Venice. He holds a Master of Architecture from the Politecnico di Milano.</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--[if gte mso 9]> <xml> <o:shapedefaults v:ext="edit" spidmax="1026" /> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <o:shapelayout v:ext="edit"> <o:idmap v:ext="edit" data="1" /> </o:shapelayout> </xml> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Davide Rapp. </b>1980, architect and videomaker, graduated at Politecnico di Milano. Since 2005 he has been collaborating with several architectural offices in Milano (mutti&amp;architetti, Stefano Boeri Architetti). He is a PH.d candidate in Interior Design at Politecnico di Milano. He presented his work and research at different international schools of design and architecture, delivering lectures at Domus Academy , Milano - NABA , Milano - Politecnico di Milano &nbsp;- Burg Giebichenstein Kunsthochschule , Halle. He is co-author (with Alberto Iacovoni, Rome) of the graphic-essay Playscape (Edizioni Libria, 2009) looking at the public space as a promising field of experimental architectures. He is co-author (with Federico Bernocchi and Francesca Benedetto, Milano) of The Dog From The City (Milano, 2013), a short movie describing the relationship between Nature and the City through the eyes of a dog walking in parks and public spaces. He participated in the 14th International Architecture Exhibition - Fundamentals (Biennale Venezia, 2014) with the project &lsquo;Elements&rsquo;, a movie montage of short architecture-related clips conceived specifically for the intro room of the exhibition Elements of Architecture.</p> <p class="MsoNormal">&nbsp;</p> </div>
Cabaret Series: Ventriloquism 6 November 2014 13:47:22 EST http://www.storefrontnews.org/programming/eventss?e=669

Thursday November 13, 2014 – Thursday November 13, 2014

<p class="MsoNormal"> <span style="font-size: 12px;">Cabaret Series:</span> </p> <p class="MsoNormal"> <b>VENTRILOQUISM</b> </p> <p class="MsoNormal">An evening with the <i>Avery Review</i> and <i>ARPA Journal.</i> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b>Thursday, November 13, 7-9pm</b> </span> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal">In architecture, where research is everywhere and commentary comes easy, how does criticism and research speak to one another? Who are their publics and what are their modes of address? In a cabaret reading, <i>ARPA Journal </i>and the <i>Avery Review</i> reenacted the voices that animate two forums of spirited public conversation. In these acts, critics and subjects traded places, reading from and responding to the arguments and tactics of each other as a form of exchange.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The Storefront community joined the journals' editors and contributors <b>Amale Andraos, Carson Chan, Andr&eacute;s Jaque, Jennifer Leung, Leah Meisterlin, Elliot Montgomery,&nbsp;Garrett Ricciardi and Julian Rose</b>&nbsp;for an evening of ventriloquism and reverie.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Avery Review</i> and <i>ARPA Journal</i> are digital periodicals from the Graduate School of Architecture, Planning and Preservation at Columbia University. Through lively writing and engaged critique, both eschew the boundaries of academia and practice, and argue for the urgency of new platforms for thinking about architecture.<i> ARPA Journal </i>presents applied research to examine the ethical implications of research practice, and spark ideas for its potential transformation. The<i> Avery Review</i> explores the critical essay as potent form for testing one's own intellectual commitments though an engagement with the work of others.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="400" height="321" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"> <param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=112646867" /> <embed type="application/x-shockwave-flash" width="400" height="321" src="http://vimeo.com/moogaloop.swf?clip_id=112646867"> </embed> </object> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Avery Review is:</p> <p class="MsoNormal">James Graham, Editor</p> <p class="MsoNormal">Caitlin Blanchfield, Managing Editor</p> <p class="MsoNormal">Jordan Carver &amp; Jacob Moore, Contributing Editors</p> <p class="MsoNormal"> <a href="http://averyreview.com/">averyreview.com</a> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">ARPA Journal is:</p> <p class="MsoNormal">Janette Kim, Founder and Editor</p> <p class="MsoNormal">Troy Conrad Therrien, Editor</p> <p class="MsoNormal">Isabelle Kirkham-Lewitt, Editor</p> <p class="MsoNormal"> <a href="http://arpajournal.gsapp.org/">arpajournal.net</a> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Music by David Copenhafer.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Bios:</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Amale Andraos</span> is the dean of Columbia University's Graduate School of Architecture, Planning and Preservation, and a founding partner of WORKac. Her publications include&nbsp;<i>49 Cities,&nbsp;Above the Pavement, the Farm!</i>, and the forthcoming&nbsp;<i>Architecture and Representation: The Arab City.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Jordan Carver</span> is the 2014&ndash;2015 Banham Fellow at the University at Buffalo, a co-organizer of&nbsp;<i>Who Builds Your Architecture?</i>&nbsp;and an editor of the<i>&nbsp;Avery Review.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Carson Chan</span> is an architecture writer and curator, pursuing a PhD in Architecture at Princeton University. He has curated many exhibitions of contemporary art and architecture, including the 4th Marrakech Biennial with Nadim Samman and the Biennial of the Americas 2013. His writing appears in books and periodicals worldwide, including <i>Kaleidoscope</i>, where he is a contributing editor, and<i>&nbsp;032c</i>&nbsp;(Berlin), where he is editor-at-large.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Andr&eacute;s Jaque</span> directs Andr&eacute;s Jaque Architects and the Office for Political Innovation. The architecture office explores the potential of post-foundational politics and symmetrical approaches to the sociology of technology to rethink architectural practices. Jaque is currently Advanced Design Professor at Graduate School of Architecture, Planning and Preservation GSAPP Columbia University.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Jennifer W. Leung</span> is co-founder and principal of LCD Studio based in Brooklyn, NY. She is a Critic at the Yale School of Architecture and an Adjunct Assistant Professor of Architecture at Columbia GSAPP. Ms. Leung was the 2006&ndash;2007 Architecture and Urban Studies Fellow at the Whitney Museum and a 2012 MacDowell Colony Fellow.&nbsp; She received an M.Arch I from Princeton University and a B.S. from UCLA.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Leah Meisterlin</span> is an urbanist, architect, and planner; a geosocial data scientist, geographic information systems specialist, and cartographer. Currently, she is a Partner at an interdisciplinary architecture practice Intersticity, term assistant professor of architecture at Barnard &amp; Columbia, and Research Director at&nbsp;<a href="http://www.specialprojectoffice.com/"> <span style="color: windowtext; text-decoration: none; text-underline: none;">Special Project Office</span> </a>&nbsp;(SPO). Her research is primarily focused on concurrent issues of spatial justice, informational ethics, and the effects of infrastructural networks on the construction of social and political space.&nbsp;</p> <p class="MsoNormal"> <br /> <span style="text-decoration: underline;"> Elliott P. Montgomery</span> uses speculative design methods to probe social and environmental implications of emerging technological scenarios. He currently teaches design strategies at Parsons, The New School for Design and has practiced as a design consultant for clients such as Autodesk, GE, LG, Honeywell, and the NYC Department of Education. His work has been exhibited at institutions around the world, including the Museum of Art and Design, the Shanghai Powerstation of Art, the Cite du Design International Biennale, and The Storefront for Art and Architecture. Montgomery is a former design research resident at the US Department of Energy&rsquo;s ARPA-E, a Core77 Design Award Winner, and an Andrew Carnegie Scholar.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Garrett Ricciardi</span> grew up in New Jersey. He received his Masters of Architecture from Princeton University where he was awarded the Suzanne Kolarik Underwood Prize for Excellence in Design. Before studying at Princeton, he attended the Whitney Museum of American Art&rsquo;s Independent Study program, and received his BFA from Cooper Union. He has worked for Acconci Studio, Stan Allen Architect, and Steven Holl Architects. Ricciardi&rsquo;s art and design work has been exhibited internationally in numerous galleries and museums including The Sculpture Center, MIT List Visual Art Center, The Center for Book Arts, and Artist&rsquo;s Space. In addition, he has received grants from the Foundation for the Contemporary Arts and the Bose Audio Corporation.<br /> <br /> <span style="text-decoration: underline;"> Julian Rose</span> grew up in Colorado and New York City. He received his Masters of Architecture from Princeton University where he was awarded the School of Architecture History and Theory Prize. Prior to attending Princeton he earned his BA from Harvard University in Art and Architectural History. He has worked for AMO on Rem Koolhaas&rsquo;s proposal for the State Hermitage Museum in Saint Petersburg, Russia, and for the American firm LTL Architects on various buildings, installations, and exhibition designs, including projects sited at Lincoln Center and the Architectural League of New York. Rose&rsquo;s writing on both art and architecture has been published internationally in such publications as <i>Domus, Log, </i>and<i> Artforum</i>.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Avery Review and ARPA Journal editors bios:</b> </p> <p class="MsoNormal"> <br /> <span style="text-decoration: underline;"> Caitlin Blanchfield</span> is a writer and researcher who lives in New York. She is Managing Editor in the Office of Publications at Columbia University GSAPP and an editor of the&nbsp;Avery Review, her writing has appeared in&nbsp;Pidgin,&nbsp;San Rocco,&nbsp;Urban Omnibus, and elsewhere.&nbsp;<br /> <br /> <span style="text-decoration: underline;"> James Graham</span> is the Director of Publications at Columbia University GSAPP, where he is also teaching and pursuing his PhD in architectural history. He is the founding editor of the&nbsp;Avery Review, and his own writing has been published in&nbsp;Grey Room,&nbsp;AA Files,&nbsp;Manifest, and other journals.<br /> <br /> <span style="text-decoration: underline;"> Janette Kim</span> is an architectural designer, researcher and educator based in New York City. She is principal of&nbsp;All of the Above, a design practiced based in Brooklyn, and a faculty member at the Columbia University GSAPP, where she directs the&nbsp;Applied Research Practices in Architecture initiative and the&nbsp;Urban Landscape Lab<br /> <br /> <span style="text-decoration: underline;"> Isabelle Kirkham-Lewitt</span> is a Master of Architecture candidate at Columbia University GSAPP and received her B.A. in Art History and Architectural Studies from Brown University. She is also co-founder and co-editor of&nbsp;: (Colon) Publication.<br /> <br /> <span style="text-decoration: underline;"> Troy Conrad Therrien</span> is a partner in&nbsp;Therrien&ndash;Barley, a design and innovation consultancy, and a faculty member at the Columbia University GSAPP where he co-directs the Architecture Online Lab and directs&nbsp;The Energy Issue&nbsp;initiative. He holds an MA in architecture history and theory from the AA, an MArch from Columbia and a BASc. in computer engineering from the University of British Columbia.</p>
OfficeUS: Mission Good 4 November 2014 08:52:47 EST http://www.storefrontnews.org/programming/eventss?e=668

Saturday November 8, 2014 – Saturday November 8, 2014

<p class="MsoNormal"> <b>Mission Good</b> </p> <p class="MsoNormal"> <b>FXFOWLE + OfficeUS</b> <a> </a> </p> <p class="MsoNormal">November 8-12, 2014</p> <p class="MsoNormal">US Pavilion, Giardini (Venice, Italy)</p> <p class="MsoNormal">With the participation of: </p> <p class="MsoNormal">Nicholas Garrison, Partner, FXFOWLE</p> <p class="MsoNormal"> <span style="mso-spacerun: yes;">&nbsp;</span> </p> <p class="MsoNormal">The Mission Good workshop at OfficeUS explores architectural criteria that emerge at the intersection of philanthropy, generosity and cultural colonialism. The workshop will specifically focus on the topic of Mission Good with respect to the contemporary spaces of education.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>The Future Spaces of Education</b> </p> <p class="MsoNormal"> <b>Saturday November 8, 2:30-5:00pm</b> </p> <p class="MsoNormal">The world of education is experiencing its greatest period of change since the medieval university was created. This panel examines these changes and their effect on the design of schools and educational institutions. Using precedent cases and speculative future scenarios participants will explore the role of architecture in constructing spaces of learning and supporting evolving pedagogical and educational structures.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>2:30 Presentation by Nicholas Garrison</b> </p> <p class="MsoNormal"> <b>3:30 Presentation by OfficeUS</b> </p> <p class="MsoNormal"> <b>4:30 Public Discussion</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Project Analysis</b> </p> <p class="MsoNormal"> <b>Sunday November 9, 11:00-13:00</b> </p> <p class="MsoNormal">OfficeUS + Nicholas Garrison (Partner FXFOWLE) will analyze a series of 20 university or school projects investigating their basic features and plans in regards to the pedagogical frameworks which they support. The materials generated in those days will be compiled into a small publication featuring schools and universities and their attendant pedagogical models from the repository and around the world.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Project Analysis</b> </p> <p class="MsoNormal"> <b>Tuesday November 11, 11:00-13:00</b> </p> <p class="MsoNormal">Participants and the public will work to develop architectural schemes for future institutions which aim to turn inventive pedagogical concepts into built forms. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Nicholas Garrison, AIA, OAQ, LEED,</b> is Partner and Design Director of FXFOWLE&rsquo;s Cultural-Education Studio. A site-specific design culture is evident throughout his projects worldwide, ranging from his award-<span style="font-size: 12px;">winning schools in Chennai and Sofia, to the Athenaeum at Goucher College and the Laboratory of Ornithology at Cornell University. Current projects include the Children&rsquo;s Aid Society College Prep Charter School in the Bronx, New York, Bilkent Erzurum Laboratory School in Erzurum, Turkey, Dhahran Ahliyya School in Dammam, Kingdom of Saudi Arabia, the master plan for Ethical Cultural Fieldston School in New York City, as well as a new university campus in Nairobi, Kenya. His completed work includes more than 15 International Schools including campuses in Ankara, Bahrain, Doha, Dubai, Budapest, Cairo, Noida (Delhi), The Hague, Istanbul, Riyadh and Vienna, as well as signature higher education projects for Columbia, Vanderbilt, Penn State, and RIT. His projects have been recognized with many design awards, most notably for the Canadian Centre for Architecture in Montreal, which won an AIA National Honor Award, the Prix d&rsquo;Excellence from the Ordre des Architectes du Quebec, and the Governor General&rsquo;s Award Premier Prix from the Canadian Government.</span> </p>
Speechbuster Residency: The Clemente 3 November 2014 09:34:54 EST http://www.storefrontnews.org/programming/projectss?e=667

Wednesday November 5, 2014

<p class="MsoNormal"> <b> <span style="font-size: 15pt; font-family: Helvetica; color: #1a1a1a;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <i>Speechbuster Residency: The Clemente</i> </p> <p class="MsoNormal">November 5 &ndash; December 31, 2014</p> <p class="MsoNormal">Opening Reception: November 5, 2014, 7pm</p> <p class="MsoNormal">Activating spaces through a series of conversations, screenings and events</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The Speechbuster takes residency at&nbsp;The Clemente at 107 Suffolk Street in New York from November 5 &ndash; December 31, 2014. As part of the residency, Storefront is organizing a series of events in collaboration with The Clemente negotiating between the performativity of the Speechbuster, contemporary issues in art and architecture, and the space it occupies.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">On November 5, artists with studios at The Clemente activated the Speechbuster by rearranging the piece in different configurations and hosting 7-minute presentations and performances of their work. Artists included Arts for Art (Patricia Nicholson and William Parker), Itziar Barrio,&nbsp;FELT,&nbsp;Linda Griggs,&nbsp;Rebecca Howard,&nbsp;Michael Katchen,&nbsp;Alexis Neider,&nbsp;Erick Sanchez&nbsp;and&nbsp;Miguel Trelles. A few highlights include:&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>2</o:Words> <o:Characters>12</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>14</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/The_Clemente/Arts_for_Art.jpg" width="81" height="61" /> <br /> <span style="font-size: 12px;">Arts for Art&nbsp;</span> <span style="font-size: 12px;"> <span style="font-size: 11.8181819915771px;">(Patricia Nicholson and William Parker)</span>&nbsp;presented a performance of music (ngoni) and dance</span> <span style="font-size: 12px;"> </span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <img src="../images/tinyMCE_upload/The_Clemente/Itziar_Barrio.jpg" width="90" height="60" /> <br /> </span> </p> <p> <span style="font-size: 12px;">Itziar Barrio shared images and a video of a current project.</span> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/The_Clemente/Linda_Griggs.jpg" width="79" height="44" /> <br /> <span style="font-size: 12px;">Linda Griggs presented drawings from her story-painting series, "The First Times Is Not Like Porn."</span> <br /> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <img src="../images/tinyMCE_upload/The_Clemente/Rebecca_Howard.jpg" width="99" height="66" /> <br /> </span> </p> <p> <span style="font-size: 12px;">Rebecca Howard presented a short, silent video accompanied by a narration.</span> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/The_Clemente/FELT.jpg" width="99" height="96" /> <br /> <span style="font-size: 12px;">FELT presented a 7-minute performance of a work in progress.</span> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/The_Clemente/Michael_Katchen.jpg" width="99" height="73" /> <br /> <span style="font-size: 12px;">Michael Katchen projected images and defined the parameters and goals of a specific visual project in production.</span> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/The_Clemente/Erick_Sanchez.jpg" width="99" height="74" /> <br /> <span style="font-size: 12px;">Erick S&aacute;nchez presented a new series of paintings based on the book &ldquo;The Alchemist&rdquo; by Paulo Coelho. These artworks are his depiction of Santiago&rsquo;s journey.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="400" height="321" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"> <param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=112579180" /> <embed type="application/x-shockwave-flash" width="400" height="321" src="http://vimeo.com/moogaloop.swf?clip_id=112579180"> </embed> </object> <br /> </span> </p> <ul> </ul> <p>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the Artists</b> </p> <p class="MsoNormal"> <b>Arts for Art</b> is a collaboration of Patricia Nicholson and William Parkter. Patricia is a&nbsp;dancer, poet and organizer of movement, music and causes, has developed her work within the aesthetic of free jazz.&nbsp;&nbsp;Her use of composition and improvisation is influenced by this consistent relationship. Her work has been presented at festivals in Sweden, France. Spain, Hungary and Italy as well as in the US.<span style="mso-spacerun: yes;">&nbsp; </span>William born and raised in the Bronx, and living in the Lower East Side since 1975, has been a key figure in the NY creative jazz scene.&nbsp; Renowned as a composer, a bassist and multi-instrumentalist, Parker is also an educator and author. He is prolific artist, with over 150-recorded albums and countless celebrated stage appearances. He is the recipient of awards including &lsquo;musician of the year&rsquo; in 2007 in Italy, and most recently the Doris Duke Performing Artist Award.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Itziar Barrio</b>&rsquo;s practice interlaces music, film and other disciplines to tackle the signs and symbols deployed in these mediums&rsquo; creation of realities, affect and identity. Barrio is interested in the locus where language becomes knowledge; by analyzing the dynamics of this intersection, her work manipulates our attractions and positions us in a different encounter with our usual behaviors and cognitive associations. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>The Fantastic Experimental Latino Theater, Inc</b>. (FELT) was founded in 1994. Its mission is to strengthen and develop artistic and cultural awareness of Latinos in New York City. With its thought provoking, multi-media theater production, FELT reaches a multi-ethnic and inter-generational, diverse audience, representative of the nation&rsquo;s cultural tapestry. Through its written Lab, FELT develops original work of emerging and professional playwrights. It also has an Educational Program, which captures the voice of today&rsquo;s youth, and provides an opportunity for theater and film related initiatives.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-family: arial,sans-serif; font-size: 13px;"> <b> <span class="il">Linda</span> <span class="il">Griggs</span> </b> has been exploring Narrative Art since 1992.&nbsp; Her current series, The First Time Is Not Like Porn, deals with the disparity between sexual expectations based on pornography and the awkwardness of the first sexual experience.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Rebecca Howard</b> is an artist and producer from the U.K. Working across mediums such as printed text, spoken word and sound, her practice seeks to explore notions of dialogue and interaction. Much of Rebecca&rsquo;s work aims to create scenarios, which combine elements of reality and fiction in order to underline tensions and play between the two. Her work has been shown internationally and her texts featured in various publications. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Michael Katchen</b> is a visual artist who uses collage, photography, printmaking, and mass media images to comment on the visual language of contemporary society. He assigns personal meaning to generic representations and transforms the disposable image into a vehicle for personal expression. Additionally, Mr. Katchen serves as the Senior Archivist for Franklin Furnace, an alternative arts organization in Brooklyn, works as freelance photographer, and teaches at the School of Visual Arts.</p> <p class="MsoNormal"> <b>&nbsp;</b> </p> <p class="MsoNormal"> <b>Alexis Neider</b> is a painter, print-maker, and NYC public school teacher.&nbsp;Her work uses domestic tropes and feminist theory to examine the deconstruction of conventional forms--such as cake--in order to address questions of gender, domesticity, and abstraction. No longer is cake an object for consumption; through re-encoding the familiar, it becomes a vehicle to illuminate as well as challenge the complexities of a traditional domestic sphere. Alexis has exhibited widely in NYC and beyond.&nbsp; She recently completed a residency at Can Serrat and looks forward to her first solo show at Bija Gallery.</p> <p class="MsoNormal"> <b>&nbsp;</b> </p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>668</o:Words> <o:Characters>3808</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>31</o:Lines> <o:Paragraphs>7</o:Paragraphs> <o:CharactersWithSpaces>4676</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Erick Sanchez&nbsp;</b> is a painter and sculptor living and working in New York City. He was born in 1973 in Ponce, Puerto Rico. His work is akin to that of an alchemist exploring the binding of pigments and minerals in novel combinations.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">----------------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>35</o:Words> <o:Characters>204</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>250</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The Speechbuster was commissioned by Storefront and made possible by the Robert Rauschenberg Foundation&rsquo;s Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg.&nbsp;&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Logos/RR_logo.png" width="250" height="58" /> </p> <p class="MsoNormal">&nbsp;</p>
OfficeUS: Big Box Rules Workshop 29 October 2014 08:57:09 EST http://www.storefrontnews.org/programming/eventss?e=666

Saturday November 1, 2014 – Wednesday October 15, 2014

<p class="MsoNormal"> <b>Big Box Rules Workshop</b> </p> <p class="MsoNormal"> <b>November 1, 2014</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>With participation of: </b> </p> <p class="MsoNormal">Mahmood Faruqi, Director, RTKL</p> <p class="MsoNormal">Jorge Beroiz, Director, RTKL</p> <p class="MsoNormal">Jan-Maurits Loecke, Associate, RTKL</p> <p class="MsoNormal">Aran Chadwick, Director, Atelier One</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The Big Box Rules workshop explores the typologies of trade, the logistics that instigate them, and the physical landscapes that they enable in turn. With a series of presentations and conversations with OfficeUS experts on the subject of the big box typology, this week brings Mahmood Faruqi and Jorge Beroiz, both directors at RTKL, Jan-Maurits Loecke, an associate at RTKL and Aran Chadwick, a director at Atelier One.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The one-day workshop will focus on the box typology from a design perspective, specifically through the lens of large, single-use buildings in an urban context. Through both presentations of the work of RTKL in discussion with the OfficeUS partners, Big Box Rules will explore how contemporary strategies towards the big box typology might be capable of rethinking its role within the city and the social engagements that the box supports.</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>153</o:Words> <o:Characters>876</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>7</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>1075</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <a> </a>&nbsp;</p>
Critical Halloween: I-Relevance 8 September 2014 12:44:59 EST http://www.storefrontnews.org/programming/eventss?e=655

Friday October 31, 2014 – Wednesday October 15, 2014

<p> <b>I-RELEVANCE</b> </p> <p> <b>CRITICAL HALLOWEEN</b> </p> <p> <b>OCTOBER 31, 2014</b> </p> <p>9:30pm-2am</p> <p>80 Greenwich Street, Lower Manhattan</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">COSTUME COMPETITION</span> </p> <p>with photos by Yuko Torihara</p> <p>JURIED by</p> <p class="MsoNormal">Alanna Heiss / Director of Clocktower Productions</p> <p class="MsoNormal">Roddy Schrock /&nbsp;Eyebeam Director of Residencies and Programs</p> <p class="MsoNormal">Campbell Hyers / CEO of Control Group</p> <p class="MsoNormal">Bill Menking / The Architect's Newspaper, Editor in Chief</p> <p class="MsoNormal">Sebastian Errazuriz / Artist</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Eva Franch / Storefront for Art and Architecture Executive Director and Chief Curator</p> <p>MUSIC by Hessismore, Sergio Rebelo and dj n-ron</p> <p>DANCING&nbsp;</p> <p>by you and irrelevant ghosts</p> <p>&nbsp;</p> <p> <b>ONLINE TICKETS NO LONGER AVAILBLE</b> </p> <p> <b>TICKETS WILL BE SOLD AT DOOR UNTIL WE REACH CAPACITY FOR $60</b> </p> <p>&nbsp;</p> <p> <b>With the aim to unleash everyone's inner critic through sartorial guise, Storefront for Art and Architecture presents the 2014 Critical Halloween Party and Costume Competition on October 31st. &nbsp;</b> </p> <p> <b> <br /> </b> </p> <p> <b>Following themes and ghosts of year's past including on Banality, Metaphor and Corporate-Avantgarde, this year's theme dwells on one of the most feared ghosts of art and architectural production: I-Relevance. &nbsp;Considering the dark powers of our increasingly digital world and an online culture that propels banality to stardom, where mimes become essays and traditional forms of expression often vanish, this year's event asks artists, architects, writers, and citizens to address the concept of Irrelevance within contemporary culture and contemporary digital platforms.</b> </p> <p> <b> <br /> </b> </p> <p> <b>From obsolete terms, forms, ideologies, philosophical movements to emerging economic systems &nbsp;or aesthetic languages, from Irrelevant to I-Relevant, we invite you to bring your thoughts into your costume.</b> </p> <p> <b> <br /> </b> </p> <p> <b>Tickets: $50 - &nbsp;Admits One / $60 at the Door</b> </p> <p> <b>Critical Firms $1,000 - Admits Ten</b> </p> <p> <b>Includes Entry, Open Bar, and Registration for Costume Competition</b> </p> <p> <b>Purchase tickets online below</b> </p> <p> <b>All benefits support Storefront for Art and Architecture Programs</b> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <i>Please note a small credit card fee is included in all online purchases. &nbsp;If you would like to avoid this fee, please mail checks directly to Storefront Offices: I-Relevance, &nbsp;611 Broadway, Suite 634, New York, NY 10012. Tickets: $50 each.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> <b> Sponsored by&nbsp;</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>PORCELANOSA&nbsp;USA</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/Porcelanosa_Logo.jpg" width="307" height="53" /> <br /> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>ARUP</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/aruplogo.png" width="200" height="59" /> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>RD RICE</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Giff_Library/rdrice.gif" width="214" height="64" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Event Partners</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Hyperallergic</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Hyperallergic-LOGO-071112.jpg" width="300" height="35" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Perrier</b> </p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/PERRIER_WATCH_LOGO.jpg" width="150" height="81" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Critical Firms</b> </p> <p class="MsoNormal">BIG-Bjarke Ingels Group</p> <p class="MsoNormal">DS+R</p> <p class="MsoNormal">KPF</p> <p class="MsoNormal">Miller Blaker</p> <p class="MsoNormal">SO - IL</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>4</o:Words> <o:Characters>24</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>29</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Robert A.M. Stern Architects</p> <p class="MsoNormal">Toshiko Mori Architects</p> <p class="MsoNormal">Weiss/Manfredi</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Critical Committee</b> </p> <p class="MsoNormal">+ POOL&nbsp;</p> <p class="MsoNormal">Allied Works Architecture</p> <p class="MsoNormal">Allison Wicks, Weiss/Manfredi, <i>Critical Firm</i> </p> <p class="MsoNormal">Andrew Heid</p> <p class="MsoNormal">Ariane Harrison</p> <p class="MsoNormal">Bjarke Ingels, BIG,&nbsp;<i>Critical Firm</i> </p> <p class="MsoNormal">Charles Renfro, DS+R,&nbsp;<i>Critical Firm</i> </p> <p class="MsoNormal">Felix Burrichter, PIN-UP</p> <p class="MsoNormal">Harrison Atelier</p> <p class="MsoNormal">Hillary Sample, MOS</p> <p class="MsoNormal">Karen Wong</p> <p class="MsoNormal">Lauren Keady</p> <p class="MsoNormal">LOT-EK</p> <p class="MsoNormal">Melinda Wang</p> <p class="MsoNormal">nARCHITECTS</p> <p class="MsoNormal">Phu Hoang and Rachely Rotem, MODU</p> <p class="MsoNormal">RAAD</p> <p class="MsoNormal">Ramses S. Serrano / Stribling &amp; Associates</p> <p class="MsoNormal">Sachi Hoshikawa</p> <p class="MsoNormal">Shawn McLearen, Artspace</p> <p class="MsoNormal">Sebastian Errazuriz</p> <p class="MsoNormal">Snarkitecture</p> <p class="MsoNormal">Softlab</p> <p class="MsoNormal">Studio Christian Wassmann</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>76</o:Words> <o:Characters>434</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>532</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Toshiko Mori, Toshiko Mori Architects, <i>Critical Firm</i> </p> <p class="MsoNormal">Troy Conrad Therrien</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <span style="text-decoration: underline;">Architectural Media Partner</span> </b> </p> <p class="MsoNormal"> <b>The Architect's Newspaper</b> </p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/logos.an.masthead01.gif" width="250" height="32" /> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>Special thanks to</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>PopChips</b> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/Giff_Library/image001.png" width="130" height="35" /> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Apple Industries</b> </p> <p class="MsoNormal"> <b> <img src="../images/tinyMCE_upload/Giff_Library/Apple_Industries_Logo_Address.png" width="200" height="67" /> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Soho Art Materials</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> <br /> </i> </p> <p> <i> <br /> </i> </p> <p> <img src="../images/tinyMCE_upload/Giff_Library/IRRELEVANCE_HALLOWEEN-2014_1000.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/IRRELEVANCE_HALLOWEEN-2014_600.gif" width="600" height="600" /> </p>
Storefront TV: Andres Jaque 26 October 2014 04:07:39 EST http://www.storefrontnews.org/programming/eventss?e=665

Tuesday October 28, 2014 – Friday December 13, 2013

<p class="MsoNormal"> <b> <span style="font-size: 23.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #1a1a1a;"> <br /> </span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 23.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #1a1a1a;"> <br /> </span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 23.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #1a1a1a;"> <br /> </span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 23.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #1a1a1a;"> <img src="../images/tinyMCE_upload/andres_mies_2.gif" width="500" height="324" /> <br /> </span> </b> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <b> <span style="font-size: 12px;">Storefront TV:&nbsp;</span> <span style="font-size: 12px;">From Underground Mies to Underground Storefront</span> </b> </p> <p class="MsoNormal"> <span style="font-size: 12px;">October 28, 7-9pm&nbsp;/&nbsp;&nbsp;Storefront Gallery - SF TV Studio /&nbsp;</span> </p> <p class="MsoNormal">by Andr&eacute;s Jaque / Office for Political Innovation</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Mies' Barcelona Pavilion, as it was reconstructed in 1986, includes a basement that so far has remained unnoticed. The basement has been the place where all the material evidences of the daily aging and the ordinary production of the fictional pavilion are hidden. Andr&eacute;s Jaque and the Office for Political Innovation spent two years scrutinizing the basement and eventually took what is concealed in it back to the upper floor. The work explored the idea that a mundane and contingent Mies can be inhabited and celebrated.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">"From Underground Mies to Underground Storefront" is the first program of the Storefront TV season exploring visibility in architecture&nbsp;through a range of virtual subterranean visits.&nbsp;The program is brought to Storefront TV on the occasion of the launch of the book "PHANTOM. Mies as Rendered Society" by Andr&eacute;s Jaque / Office for Political Innovation.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">With the participation of:&nbsp;</p> <p class="MsoNormal">Andr&eacute;s Jaque&nbsp;</p> <p class="MsoNormal">Nerea Calvillo&nbsp;</p> <p class="MsoNormal">Laura Kurgan&nbsp;</p> <p class="MsoNormal">Spyros Papapetros</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Storefront TV studio has limited seating. There will be additional seating available at the gallery. To watch the program live please RSVP to mw@storefrontnews.org to attend.&nbsp;Free and open to everyone.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">To live stream the program click&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001bwPhVQuwCyFS3BDKTRKSE33aKTJmWXgsBjZeYOibESCdgRZXvV45nsa-MROs30UbEoEdTEtSOpemJFgqcVFDTCEGWEv5KZQ1EpNhlu9sflfGLxzuS8U0Kw=="> <span style="color: windowtext; text-decoration: none; text-underline: none;">here</span> </a>.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">About Storefront TV:</p> <p class="MsoNormal">Storefront TV is an online channel focused on the communication of contemporary art and architecture ideas with an emphasis on experimentation with a live TV format. All selected pilot programs will be taped live at Storefront for Art and Architecture with live audience and broadcasted online.</p> <p class="MsoNormal"> <br /> <!--[endif]--> </p> <p class="MsoNormal">This program is funded in part by Spain Culture New York - Consulate General of Spain: member of the network Spain Arts &amp; Culture.</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <iframe width="560" height="315" frameborder="0" src="http://www.youtube.com/embed/XpqAV-znPT4"> </iframe> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <br /> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; font-family: &quot;Franklin Gothic Medium&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <span style="font-family: 'Franklin Gothic Medium', Arial, Helvetica, sans-serif; font-size: 15px; line-height: normal; background-color: #ffffff;"> <img src="../images/tinyMCE_upload/Giff_Library/mies.jpg" width="400" height="37" />&nbsp;</span> </span> </p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/spain.jpg" width="400" height="153" /> </p>
Definitions Series: Trees 7 October 2014 16:16:38 EST http://www.storefrontnews.org/programming/seriess?e=662

Thursday October 16, 2014 – Thursday October 16, 2014

<p class="MsoNormal"> <b> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Definition Series: Tree</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> Thursday October 16, 2014</span> </b> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222;"> <br /> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">7-9pm</span> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222;"> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> </span> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>20</o:Words> <o:Characters>118</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>144</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </span> </p> <p class="MsoNormal"> <i>&ldquo;Each tree, like some historic page, enfolds a world of bygone lore, the legends of a former age inscribed upon its branches hoar.&rdquo; Baudelaire</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222;">Storefront presented Definition Series: Tree on the occasion of the launch of </span> <span style="font-size: 9.5pt; font-family: Arial; color: black;">Neubau Forst Catalogue<i>&nbsp;<span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Urban Tree Collection for the Modern Architect &amp; Designer&nbsp;</span> </i>by Stefan Gandl and Benjamin Ganz on October 16, 2014.</span> <span style="font-size: 10.0pt; font-family: Arial;"> </span> </p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; color: black;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; color: black;">With a selected group of Designers, Landscape Architects and Artists, this book launch event provided ten approximations to the relationship between cities, designers, architects, artists and trees. The content of the book, 315 trees, were on display at Storefront's gallery during the event.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: #222222;">To participate, definitions of "Tree" were emailed to</span> <span style="font-size: 13px; color: #222222; font-family: Arial;">&nbsp;</span> <span style="mso-bidi-font-size: 12.0pt; color: windowtext; text-decoration: none; text-underline: none;"> <a href="mailto:info@storefrontnews.org">info@storefrontnews.org</a>&nbsp;</span> <span style="font-size: 13px; color: #222222; font-family: Arial;">prior to the event. These definitions were gathered as part of Storefront's ongoing Dictionary of Received Definitions.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="400" height="321" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0"> <param name="src" value="http://vimeo.com/moogaloop.swf?clip_id=107158267" /> <embed type="application/x-shockwave-flash" width="400" height="321" src="http://vimeo.com/moogaloop.swf?clip_id=107158267"> </embed> </object> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Free and open to the public. Please support our programs and&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001bZiXvzA9wblptXhyfyqOb-HP5l211ez2bFjd0YwmCtCEqYnTKJSE1VYZTKLCuLlfDVi0A-hOSsWFKq9kVbXcNSBbUDFWPUtjxc6flRABOvylSxe_0QELY0q-jUSIFgW2"> <span style="color: windowtext; text-decoration: none; text-underline: none;">become a member</span> </a>. If you are a&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001bZiXvzA9wblptXhyfyqOb-HP5l211ez2bFjd0YwmCtCEqYnTKJSE1VYZTKLCuLlfDVi0A-hOSsUshSxI-eHyoe19RoaFNxdW_eKxUqKQqBzOYmBIitmAgw=="> <span style="color: windowtext; text-decoration: none; text-underline: none;">Storefront member</span> </a>&nbsp;and would like to reserve a seat at the event, RSVP to Melissa Weisberg at&nbsp;<a href="mailto:mw@storefrontnews.org"> <span style="color: windowtext; text-decoration: none; text-underline: none;">mw@storefrontnews.org</span> </a>.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the Book</b> </p> <p class="MsoNormal">Neubau Forst Catalogue&nbsp;is a collection of detailed silhouettes of urban trees and separate tree sculptures. In years of manual work, using a method developed especially for this project, these details have been digitally removed from their original urban surroundings in Berlin.&nbsp;The materials are distinguished by their extent, outstanding quality of detail, and excellent resolution of the usual autotraced digital tree library.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">English, 2014,&nbsp;</p> <p class="MsoNormal">432 Pages, 765 full-color illustrations (315 HD-bitmap tree masks, 327 HD-bitmap tree modules (color), 40 HD vector trees, 16 illus. of bark (duotone), 144 documentary illus. (color)&nbsp;</p> <p class="MsoNormal">24 x 28 x 4.7 cm, 9.5 x 11 x 1.98 in, Softcover</p> <p class="MsoNormal">ISBN 978-3-03778-435-8</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Publisher:</b> Lars M&uuml;ller Publishers</p> <p class="MsoNormal">http://neubauberlin.com/</p> <p class="MsoNormal">http://neubauforst.com/</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the author:</b>&nbsp;</p> <p class="MsoNormal">Stefan Gandl was born in 1969. Digital fonts, geometric patterns, and pictograms are the major building blocks that the Austrian designer has used to construct not only his studio, Neubau, in Berlin, but also an entirely new realm of signs, which he and his international team are constantly expanding.</p> <div> <br /> </div> <p class="MsoNormal">The Neubau Forst Team (2009-14)</p> <p class="MsoNormal">Akane Sakai (JP),Bhav Mistry (UK), Benjamin Ganz (CH), Cezanne Noordhoek (NL), Christoph Gr&uuml;nberger (DE), Daniel Cottis (US), David Pope (IR), Fran&ccedil;ois Leherissier (FR), Joerg Petri (DE), Lukas Reinhard (DE), Marine Stephane (FR), Margarida Castel-Branco (PT), Marius Hanf (DE), Maximilian Voormann (DE), Miriam Busch (DE), Moritz Otten (DE), Oriol Salles (ES), Paul Heys (UK), Robert Loeber (UK), Stefan Gandl (AT), Thomas Holmes (UK), Will Smith (UK)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">--------------------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>18</o:Words> <o:Characters>104</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>127</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;">The</span> <b> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Definitions Series</span> </b> <span style="font-size: 9.5pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;">invites a series of individuals to construct, propose and articulate definitions of a specified term. &nbsp;</span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>35</o:Words> <o:Characters>203</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>249</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! 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Annual Benefactor Membership Dinner 4 September 2014 09:16:00 EST http://www.storefrontnews.org/programming/eventss?e=653

Tuesday October 14, 2014 – Wednesday October 15, 2014

<p> <img src="../images/tinyMCE_upload/Giff_Library/Membership_Invite.png" width="500" height="404" /> </p> <p>&nbsp;</p> <p>Storefront's Annual Membership Dinner</p> <p>for Benefactor and Visionary Members of Storefront</p> <p>October 14, 2014, 7pm</p> <p>Storefront Gallery</p> <p>97 Kenmare Street</p> <p>New York, NY 1001</p> <p>&nbsp;</p> <p>Become a Benefactor or Visionary Member&nbsp;<span style="font-size: 12px;">and RSVP today to mw@storefrontnews.org.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Benefactor Membership:</span> </p> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="D7GZ8YC4ZAPLU" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_SM.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <br />Visionary Membership:&nbsp;<br /> </form> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="TAQWL8EYYAM9J" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_SM.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <br /> <img src="../images/tinyMCE_upload/MD.gif" width="500" height="332" /> </form>
OfficeUS: Trojan Horses - A New World Lexicon 8 October 2014 15:44:34 EST http://www.storefrontnews.org/programming/eventss?e=663

Friday October 10, 2014 – Saturday October 11, 2014

<p class="MsoNormal"> <b>Trojan Horses: A New World Lexicon </b> </p> <p class="MsoNormal"> <b>Venice Book Launch, Presentation and Workshop by Keller Easterling and OfficeUS </b> </p> <p class="MsoNormal"> <b>October 10-11, 2014</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Over two days Keller Easterling and OfficeUS will discuss forms of action and intervention for architects and spatial practitioners. The open workshop will examine the global implications of information flows, outsmarting regulations, and spaces beyond reach of government.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Friday, Oct 10 - 16:00-18:00 Extrastatecraft</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Keller Easterling (Yale School of Architecture) will present her upcoming book Extrastatecraft: The Power of Infrastructure Space (Verso, 2014) that concludes a multiyear research project on the notion of Extrastatecraft and the spatial implications of free trade and special economic zones as the &ldquo;most contagious new world city paradigm.&rdquo;</p> <p class="MsoNormal">The presentation will focus on An Expanded Activist Repertoire in Infrastructure Space (gossip, rumour, exaggerated compliance) as a set of strategies suggesting engagement and resistance in spaces that exceed national, governmental and economic borders. &nbsp;</p> <p class="MsoNormal">Followed by roundtable discussion with OfficeUS Partners and audience.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Saturday, Oct 11 - 11:00-16:30 Introduction To A New World Lexicon</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">11:00-13:00 Presentation by OfficeUS Partners</p> <p class="MsoNormal">Partners will present a list of projects and strategies that have been developed and used in OfficeUS over the last months. Drawing from the presentations and concrete examples a list of terms reflecting on the work of OfficeUS as a global practice will be assembled and discussed with the participants of the workshop, such as: mediatic office, patent, embassy, museum, comfort, standard, corporate geography, work, certification, manual, soundtrack, franchise, competition, exception...</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>[1 hour lunch break]</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>14:00-16:30 Workshop: Definitions / Diagrams</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal">Using the collected terms from the morning discussions the group will identify, define and evaluate their performance. In this session participants will use images, diagrams, code, websites, words and drawings to transform these terms into new active forms for global offices worldwide. </p> <p class="MsoNormal"> </p>
Situation NY 29 September 2014 15:47:06 EST http://www.storefrontnews.org/programming/exhibitionss?e=661

Saturday October 4, 2014 – Saturday December 20, 2014

<p class="MsoNormal"> <i> <b>Situation NY</b> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 12px;">Extended through December 20, 2014</span> </b> </p> <p class="MsoNormalCxSpMiddle"> Opening Reception: October 3, 2014, 7pm </p> <p class="MsoNormalCxSpMiddle">An installation designed by Jana Winderen and Marc Fornes /&nbsp;<b> <span style="font-family: Arial;"> </span> </b> <span style="font-size: 12px;">THEVERYMANY</span> </p> <p class="MsoNormalCxSpMiddle"> <span style="font-size: 12px;">On the occasion of the launch of the World Wide Storefront / wwstorefront.org /&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Reflecting on the contemporary conditions emerging between the digital and the physical realms, the collaboration of Winderen and Fornes collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting visitors to question the properties of matter and the built environment surrounding us. The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form. Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract, spatial, formal and acoustic variations and compositions, <i>Situation NY</i> raises questions about context, sensorial readings, estrangement and the uncanny tangentially resonating with contemporary debates around the ontology of objects.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>SITUATION NY</i> </b> </p> <p class="MsoNormal">Design by Jana Winderen and Marc Fornes /&nbsp;<span style="font-size: 12px;">THEVERYMANY</span> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Fabrication by</b> </p> <p class="MsoNormal">bengal.fierro</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Commissioned by&nbsp;</b> </p> <p class="MsoNormal">Storefront for Art and Architecture</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>With the support of&nbsp;</b> </p> <p class="MsoNormal">Robert Rauschenberg Foundation</p> <p class="MsoNormal"> <br /> <!--[if !supportLineBreakNewLine]--> <br /> <!--[endif]--> </p> <p class="MsoNormal"> <b>About the artists:</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Jana Winderen&nbsp;</b>is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics, chemistry and fish ecology from the University in Oslo. Jana's work consists of researching hidden depths with the latest technology and her work reveals the complexity and strangeness of the unseen world beneath. Jana is artist-in-residence at the TBA21 Academy and releases her audio-visual works on Touch. In 2011 she won the Golden Nica, Ars Electronica, for Digital Musics &amp; Sound Art. Amongst her activities are immersive multi-channel installations and concerts and has performed all over the world. She currently lives and works in Oslo.&nbsp;&nbsp;<a href="http://www.janawinderen.com/"> <span style="text-decoration: none; color: windowtext;">www.janawinderen.com</span> </a> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Marc Fornes&nbsp;</b>is an architect founder and principal of the THEVERYMANY a multi-disciplinary studio practicing architecture through systematic research and development into applied Computer Science and Digital Fabrication. His prototypical structures and organic environments are part of the permanent collections such as the Centre Pompidou, the FRAC Centre and the CNAP. Marc is a TED Fellow and was artist in residence at the Atelier Calder. His practice has been awarded New Practices New York by the AIA, an Architectural League Prize, Design Vanguard by Architectural Record and the WAN 21 for 21 Award. &nbsp;He currently lives in New York and is teaching at Princeton and at Harvard GSD.&nbsp;<a href="http://www.theverymany.com/"> <span style="text-decoration: none; color: windowtext;">www.theverymany.com</span> </a> </p> <p class="MsoNormal"> <b>&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About&nbsp;<span style="font-size: 12px;">bengal.fierro</span> </b> </p> <p class="MsoNormal">Additional and generous support has been kindly provided by Brooklyn based fabrication consultant bengal.fierro including prototyping, laser cutting the 2000 unique parts and developing the powder coating of the customized neon pink color of the installation. ​</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>33</o:Words> <o:Characters>191</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>234</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>390</o:Words> <o:Characters>2224</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>18</o:Lines> <o:Paragraphs>4</o:Paragraphs> <o:CharactersWithSpaces>2731</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Situation NY&nbsp;</i>is supported by the Robert Rauschenberg Foundation&rsquo;s Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg.&nbsp;&nbsp;Additional support has been provided by fabrication consultant bengal.fierro.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/RR_logo.png" width="300" height="70" /> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Situation NY</b> is presented on the occasion of the launch of the WorldWide Storefront project. To learn more about it please visit <a href="http://wwstorefront.org/#1">wwstorefront.org</a> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <a href="http://wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefrontwebiste.jpg" width="600" height="67" /> </a> </p>
WWSf: Microgeographies 29 August 2014 13:05:51 EST http://www.storefrontnews.org/programming/projectss?e=642

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Microgeographies </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormalCxSpMiddle">Curated by Hariklia Hari<b> <span style="font-family: Arial;"> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Reacting to the states of abandonment of cities in Greece as a result of economic, social and personal crisis, and reflecting on the gradual reconstruction processes occurring in southern Europe, <i>Microgeographies</i> presents a series micro-exhibitions, actions, installations and performances in public and domestic spaces with the collaboration of artists, architects, political scientists, writers, local communities and independent art spaces.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The events and discussions reflect on the potential reuse and reactivation of abandoned buildings in the center of Athens, addressing questions of tourism, gentrification, &ldquo;right to the city&rdquo; and other community based movements for the reconstruction of the city. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/microgeographies">Facebook</a> </p> <p class="MsoNormal">Instagram: microgeographies</p> <p class="MsoNormal"> <a href="https://vimeo.com/user2542973">Vimeo</a> </p> <p class="MsoNormal"> <a href="https://www.flickr.com/photos/127662399@N02/">Flickr</a> </p> <p class="MsoNormal">Websites:</p> <p class="MsoNormal"> <a href="http://www.nonplan.gr">www.noplan.gr</a> </p> <p class="MsoNormal"> <a href="http://microgeographies3.nonplan.gr/">www.microgeographies.org</a> </p>
WWSf: A to B - Crossing the Railway 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=644

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i>A to B Crossing the Railway </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Pete &amp; Vegas</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The train tracks connecting Montreal to North America cross the entire city of Montreal. They divide the different boroughs and give the city its shape, as we know it today. The lack of simple infrastructure forces pedestrians and cyclists to take shortcuts. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>A to B</i> operates as a cartographic urban forum along the Canadian Pacific&rsquo;s Railway to map and discuss the uses and conflicts of the railways&rsquo; urban landscape. The project seeks to produce a conversation about the ways in which citizens can have a role in the discussion of the construction of the city and the definition and solutions of urban frictions. <i>A to B</i> raises questions of city design through ephemeral exhibitions, nomadic installations and walking tours along the railway.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/pages/Pete-Vegas/281458021866689?ref=ts&amp;fref=ts">Facebook</a> </p> <p class="MsoNormal">Instagram: peteandvegas</p> <p class="MsoNormal">Twitter: @peteandvegas</p> <p class="MsoNormal"> <span style="font-size: 12px;">Website: <a href="http://peteandvegas.com/">www.peteandvegas.com</a> </span> </p>
WWSf: Container Artist Residency 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=646

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i>Container Artist Residency<span style="mso-spacerun: yes;">&nbsp; </span> </i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Maayan Strauss </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Container</i> takes artists onboard commercial container carriers along existing international shipping routes. Hosting artists in the ships&rsquo; available cabins, this backstage pass provides firsthand encounter with maritime shipping. <i>Container</i> challenges the traditional idea of studio residencies and invites artists to work within a unique intersection of industry, culture and technology. The residency&rsquo;s geographic location can only be defined in relation to the various shipping routes and the nexus of destinations that form the backdrop of global trade. Anchored in a context without a fixed physical location, <i>Container</i> foregrounds global commerce as the artist&rsquo;s own immediate work environment.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/pages/Container-Artist-Residency/1544182152478240">Facebook</a> </p> <p class="MsoNormal">Instagram: @container_artist_residency&nbsp;</p> <p class="MsoNormal">Twitter: @ContainerArtRes</p> <p class="MsoNormal">Website: <span style="mso-field-code: &quot;HYPERLINK 022http;"> <a href="http://www.containerartistresidency.org">www.containerartistresidency.org</a> </span> </p> <p class="MsoNormal">Personal artist website: <span style="mso-field-code: &quot;HYPERLINK 022http;"> <a href="http://www.maayanstrauss.com">www.maayanstrauss.com</a> </span> </p> <p class="MsoNormal">Personal Instagram: @missstrauss</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Carlos&rsquo; website: <span style="mso-field-code: &quot;HYPERLINK 022http;"> <a href="http://www.carlosvelaprado.com">www.carlosvelaprado.com</a> </span> </p>
WWSf: Gallery Attachment 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=647

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i>Gallery Attachment</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Andrew Kovacs and Laurel Consuelo Broughton</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px;">Premised as a literal inversion of the classic white box gallery into an independent, freestanding, small-sized architectural object, </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> questions perceived notions of exhibition and public space, creating an opportunity for a new conduit of architectural thinking for architectural allies and strangers alike. </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> aims to be both container and content; exhibition space and object; art gallery and public space. </span> <i>Gallery Attachment</i> <span style="font-size: 12px;"> is a small museum constructed out of the debris and discarded elements of the contemporary, physical and cultural environment.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/pages/Gallery-Attachment/770142149696409?fref=ts">Facebook</a> </p> <p class="MsoNormal">Instagram: gallery_attachment</p> <p class="MsoNormal">Twitter: @g_attachment</p> <p class="MsoNormal">Website: <a href="http://www.galleryattachment.com/">www.galleryattachment.com</a> </p>
WWSf: Next Station, Micro Ecologies in Tel Aviv's Central Bus Station 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=649

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Next Station, Micro Ecologies in Tel Aviv's Central Bus Station</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Onya Collective </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Tel Aviv&rsquo;s Central Bus Station (CBS), one of the world&rsquo;s largest bus stations, occupies an area of over 10 acres and 7 floors. The mall contains 1,600 stores, public transportation platforms, offices, an atomic bomb shelter, cultural institutions, and community organizations. The CBS area is also a concentration of social and racial tensions generated by structural decay and state neglect, accelerated by migration waves from Asia and Africa.<span style="font-family: &quot;Times New Roman&quot;; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;"> </span> </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Next Station</i> questions the building&rsquo;s future with a series of interventions&mdash;selected from an open call for proposals&mdash;occupying the depths of the CBS. Seeking to present innovative ways to connect cityscape and nature, Urban Farming, Guerilla Gardening and Micro Gardening projects installed in the CBS reflect on the ecologies of the urban environment and how they can help to resolve conflicts in the convulsive city of Tel Aviv.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNoSpacing">Web:&nbsp;<span style="mso-field-code: &quot;HYPERLINK 022http;"> <a href="http://onyacity.com/nextstation/">http://onyacity.com/nextstation/</a> </span> </p> <p class="MsoNoSpacing">Blog:&nbsp;<span style="mso-field-code: &quot;HYPERLINK 022http;"> <a href="onyacity.tumblr.com">onyacity.tumblr.com/</a> </span> </p> <p class="MsoNoSpacing">Instagram: @onyacity #onyacity</p> <p class="MsoNoSpacing">Facebook: <a href="https://www.facebook.com/onyacity">/onyacity</a> </p> <p class="MsoNoSpacing">Twitter: @onyacity</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNoSpacing">Soundcloud: <a href="https://soundcloud.com/onyacity">Onya City Collective</a> </p>
WWSf: RavinePortal 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=650

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>RavinePortal</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Megan Torza</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Located at the former headquarters of the Ontario Association of Architects, <i>RavinePortal</i> presents architectural, landscape and artistic interventions that address the physical and psychological disconnect between Toronto&rsquo;s dense urban environment and the 26,000 acres of ravine landscape that shape the city. The site, now a private architecture office, is situated within the Rosedale Valley Ravine less than 500 yards from the intersection of Yonge Street and Bloor Street, Toronto&rsquo;s most prominent commercial address and main subway interchange.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The exhibition explores the past and present role the ravines play in the life of the city, and the future potential of the ravine system as a defining, interconnected and accessible open space and cultural network. The exhibition program includes a series of three chronological graphic exhibitions projected onto the face of the DTAH studio at 50 Park Road, a walking tour through the adjacent ravine, two lectures, and the installation of two new public art works during the course of the exhibition demonstrating how the installation of public art within the ravines can connect and endear the citizens of Toronto to the ravines in a way that is meaningful and sustainable.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal">Instagram: theportal_toronto</p> <p class="MsoNormal">Twitter: @RavinePortal | #ravineportal</p> <p class="MsoNormal"> <a href="http://www.dtah.com">www.dtah.com</a> </p> <p>&nbsp;</p>
WWSf: Storefront Marketplace 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=651

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Storefront Marketplace</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Sandra Teitge and Christina Green (collaborator in Thessaloniki)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Storefront Marketplace</i> infiltrates itself into three different largely unnoticed market environments run by&nbsp;underrepresented communities. Starting at a Hmong market in&nbsp;St. Paul, Minnesota, it travels to&nbsp;Thessaloniki, Greece and integrates itself into the city&rsquo;s urban fabric and multi-layered, multi-cultural history. It then moves to an old restored indoor market in Berlin, Germany. Its interest lies in investigating and experimenting with the marketplace as a space for exchange through performances, food, sound, and objects. An artist run program of films, lectures, performative interventions, radio programs, and culinary events engages and addresses large, central civic constituencies.<span style="font-size: 12px;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Featured artists and participants: Pauline Beaudemont, Hana Erdman, Jasmin Ihrac, Atalya Laufer, Emeka Ogboh, Ece Pazarbasi, Emily Stover, Fres Thao, Agustina Woodgate with Pao Houa Her, University of Minnesota College of Design, and many other local artists and architects.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Supported by: Pro Helvetia, Schweizer Kulturstiftung and Foundation for Contemporary Arts</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media:</b> </p> <p class="MsoNormal">Instagram: sandra.teitge</p> <p class="MsoNormal">Twitter: @SandraTeitge</p>
WWSf: Tropical Ghosts 4 September 2014 07:45:54 EST http://www.storefrontnews.org/programming/projectss?e=652

Friday September 26, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#1"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Tropical Ghosts</i> </p> <p class="MsoNormal">September 26 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Laura Castro, Engel Leonardo, M&oacute;nica de Moya, and Maurice S&aacute;nchez</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">What was once mostly a single-family residential neighborhood, the Poligono Central of Santo Domingo is now considered the city center, densely packed with high-rise housing units, office buildings and shopping malls. The exponential growth of the area has affected the public space and contributed to the loss of the semipublic space, an architectural domestic typology representative of the Tropical Modern Style. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>Tropical Ghosts</i> is a series of site-specific urban interventions and meetings in Pol&iacute;gono Central, Santo Domingo that explores issues of growth, identity and systems of sharing in the tropical communities. The project also serves as an investigation and online archive to expand relevant information related to the area, from original plans of the houses and interviews with the inhabitants to designs for the future of the area.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/TropicalGhosts?fref=ts">Facebook</a> </p> <p class="MsoNormal"> <a href="http://tropicalghostsdr.tumblr.com/">Tumblr</a> </p> <p class="MsoNormal"> <a href="https://vimeo.com/tropicalghostsdr">Vimeo</a> </p> <p class="MsoNormal">Instagram: @tropicalghostsdr</p>
OfficeUS: Anger-Love Management Workshop 24 September 2014 13:11:24 EST http://www.storefrontnews.org/programming/eventss?e=660

Friday September 26, 2014 – Thursday October 2, 2014

<p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2014-09-04T14:36:00Z</o:Created> <o:LastSaved>2014-09-04T20:27:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>198</o:Words> <o:Characters>1134</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>9</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1392</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Following the suicide bombings in Beirut in 1983, security became a critical issue for the Office of Foreign Buildings Operations (FBO). The Inman Report, submitted by the State Department in the aftermath of the bombings, called for the replacement of 126 out of 226 diplomatic posts worldwide. Since the attacks on US embassies continued after the Inman Report was adopted, a number of more stringent security measures were added, culminating with the three scales of the Standard Embassy Plan produced and implemented in over twenty new embassies under the guidance of the new head of Bureau of Overseas Building Operations (OBO), retired General Charles Williams. In response to the criticism of both the US foreign policy and of the new crop of US embassies, the Department of State launched the Design Excellence Program in early 2011, which revived the conversation about openness versus security in embassy design. It is no surprise that the most passionate expressions of both positive and negative sentiment towards the US involve its embassy architecture. Suffering the symptoms of larger political currents these sites and architectures provide a particularly valuable opportunity to set the tone of future international relationships. What if the architect&rsquo;s tools went beyond tall walls and distances to include anticipating historical change?&rdquo;</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p>&nbsp;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img src="../images/tinyMCE_upload/Giff_Library/wall-gif-1.gif" width="189" height="1000" /> </p> <p>&nbsp;</p> <p class="MsoNormal"> <b>WEEK 18/25&nbsp;</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>LOVE-ANGER MANAGEMENT WORKSHOP&nbsp;</b> </p> <p class="MsoNormal"> <span style="font-size: 12px;">Curated by Cornell University School of Architecture and Planning and OfficeUS</span> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>September 21-28, 2014</b> </p> <p class="MsoNormal"> <b>Office<i>US</i>,&nbsp;Venice&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>OFFICEUS Experts Aaron Betsky, Jane Loeffler, Jason Schupback and Caroline O'Donell among others.&nbsp;</b> </p> <p>&nbsp;</p> <p> Anger-Love Management explores the spaces, typologies and protocols of the architectures of diplomacy. With a series of presentations and conversations with OfficeUS Experts on the subjects of diplomacy, architecture, governance and politics, </p> <p class="MsoNormal">&nbsp;</p> <div style="font-size: 12px;"> <br /> <ul> </ul> <p>&nbsp;</p> <p class="MsoNormal"> <b>SCHEDULE</b> </p> </div> <p>&nbsp;</p> <p> <b>Wednesday-Saturday</b> </p> <p> <span style="font-size: 12px;">Throughout the week, the students at Cornell University, present their research and design work developed during their 2014 Fall option studio US and Them: Architectures of National and Global Identity under the guidance of Caroline O'Donell and the assistance of Richard Meier and Michael Jefferson as a visiting critic to the audience in Venice, the OfficeUS team, OfficeUS Experts and visiting schools.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px;">Wednesday&nbsp;</span> </p> <p> <b>"Architectures of Diplomacy"</b> </p> <p> <b>Jane Loeffler&nbsp;</b> </p> <p> <b> <br /> </b> </p> <p>Thursday</p> <p> <span style="color: #222222; font-family: arial, sans-serif; font-size: 13.3333330154419px; line-height: normal; background-color: #ffffff;"> <b>"Design Government: Work at the Intersection of Design and Public"</b> </span> </p> <p> <span style="font-size: 12px;"> <b>Jason Schupbach</b> </span> </p> <p>&nbsp;</p> <p> <b>"US and Them"</b> </p> <p> <b>Ashley Schafer, Caroline O'Donnell, Michael Jefferson</b> </p> <p>&nbsp;</p> <p>Friday</p> <p> <b>"Us and Them" redesign Charette</b> </p> <p> <b>Cornell University and Ohio University Students</b> </p> <p> <b> <br /> </b> </p> <p>Saturday, 2pm</p> <div style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;"> <b>Domes, Grids, and Grates: The Power of American Architecture</b> </div> <div style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;"> <b>Aaron Betsky</b> </div> <div style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;"> <b> <br /> </b> </div> <div style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;"> <i>Although the United States has been the site of quite a few architectural innovations, including the skyscraper and the modern campus, its image in the world has become bound up first, with the domes of democracy, then with the grids of rationalized bureaucracy, and more recently with the assimilation of security measures into every aspect of the built environment. We will discuss what each of these design elements signifies within a global context, both about the United States and about the implementation of a global economy, society, and culture. Finally, will the State Department's Design Excellence substantially change the way the United States projects its power?</i>&nbsp;</div> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p>&nbsp;</p> <p> <span style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;">Aaron Betsky is a critic of art, architecture, and design. Most recently, he was Director of the Cincinnati Art Museum (2006-2014), Director of the Netherlands Architecture Institute (2001-2006), and Curator of Architecture, Design, and Digital Projects at the San Francisco Museum of Modern Art (1995-2001). He also directed the 11th Venice International Architecture Biennale, "Out There: Architecture Beyond Buildings" (2008). He is the author of a dozen books, including, most recently, his collected essays, At Home in Sprawl (2011). His opinionated survey of modernism will be published this fall. His twice-weekly blog appears at&nbsp;</span> <a href="http://architectmagazine.com/beyondbuildings" target="_blank">architectmagazine.com/beyondbuildings</a> <span style="color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: normal; background-color: #ffffff;">. He is also a member of the State Department's Industry Advisory Group.</span> </p> <p>&nbsp;</p> <p>Jason Schuppback, a<span style="font-size: 12px;">s director of Design Programs for the National Endowment for the Arts, Jason Schupbach oversees all design and creative grantmaking and partnerships, including Our Town and Design Art Works grants, the Mayor&rsquo;s Institute on City Design, the Citizens&rsquo; Institute on Rural Design, and the NEA's involvement in the HUD Sandy Recovery Taskforce Rebuild by Design Competition. Previously Schupbach has served as the Creative Economy and Information Technology Industry director for Massachusetts and has also worked for the mayor of Chicago and New York City's Department of Cultural Affairs."</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Caroline O'Donnell</span>&nbsp;<span style="font-size: 12px;">is an Irish designer, writer, and director of the M.Arch program at Cornell University. She is principal of the firm CODA, currently based in Ithaca, NY, USA. As CODA she won the&nbsp;</span> <a href="http://en.wikipedia.org/wiki/MoMA_PS1"> <span style="color: windowtext; text-decoration: none; text-underline: none;">PS1 MoMA</span> </a> <span style="font-size: 12px;">Young Architects Program in 2013 and built "Party Wall" at PS1 in Long Island City, New York. She is the Richard Meier Professor of Architecture at Cornell University and Editor-in-Chief of the&nbsp;</span> <a href="http://en.wikipedia.org/wiki/Cornell_Journal_of_Architecture"> <span style="color: windowtext; text-decoration: none; text-underline: none;">Cornell Journal of Architecture</span> </a> <span style="font-size: 12px;">.</span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2014-09-04T14:36:00Z</o:Created> <o:LastSaved>2014-09-04T20:27:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>95</o:Words> <o:Characters>542</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>665</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <p class="MsoNormal">Michael Jefferson is a New York City based designer who has worked with Adjaye Associates, CODA, studio SUMO, and OMA. Jefferson works with Suzanne Lettieri as a partner of JeLe, an architecture collaborative focused on the research and design of evolving building typologies. Most recently, JeLe has examined the elevated house condition of the coastal United States, resulting in the project (post)line, which has been featured in&nbsp;&nbsp;Project&nbsp;&nbsp;and exhibited in New York City and at Cornell. JeLe is currently working on a raised house in Suriname and a readaptation of an institutional building.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>86</o:Words> <o:Characters>494</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>606</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Cornell Students</b> </p> <p class="MsoNormal">Agarwal, Snigdha /&nbsp;<span style="font-size: 12px;">Ahn, Dong-kyun /&nbsp;</span> <span style="font-size: 12px;">Bacus, Rachel /&nbsp;</span> <span style="font-size: 12px;">Chasing Hawk, Savannah /&nbsp;</span> <span style="font-size: 12px;">Dessauvage, Maur /&nbsp;</span> <span style="font-size: 12px;">Garcia Mora, Rodrigo /&nbsp;</span> <span style="font-size: 12px;">Hoffman, James /&nbsp;</span> <span style="font-size: 12px;">Jiang, Boyao /&nbsp;</span> <span style="font-size: 12px;">Kim, Jun Yeon /&nbsp;</span> <span style="font-size: 12px;">Liu, Jingyang /&nbsp;</span> <span style="font-size: 12px;">Pei, Pengyu /&nbsp;</span> <span style="font-size: 12px;">Surana, Akshay /&nbsp;</span> <span style="font-size: 12px;">Svatos-Raznjevic, Hana /&nbsp;</span> <span style="font-size: 12px;">To, Hon Chiu Alfred /&nbsp;</span> <span style="font-size: 12px;">Xiang, Yuchen /&nbsp;</span> <span style="font-size: 12px;">Zhao, Chenglong</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;">This Schedule is Subject to change. Please visit us again for updates.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>To follow the events live visit www.OfficeUS.org</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="outline-width: 0px; font-size: 12px;">This workshop is part of the work and investigations of OfficeUS at the 2014 Venice Architecture Biennale. To learn more about the OfficeUS Issues go&nbsp;</span>&nbsp;<span style="outline-width: 0px; font-size: 12px;"> </span> <span style="outline-width: 0px; font-size: 12px; color: windowtext;"> <a href="../programming/events?preview=true&amp;e=617">here</a> </span> </p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <img src="../images/tinyMCE_upload/Giff_Library/cornell.png" width="261" height="196" /> <br /> </span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p>
WWSf: Host - Natural Histories for Los Angeles 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=648

Thursday September 25, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#3"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Host: Natural Histories for Los Angeles</i> </p> <p class="MsoNormal">September 25 &ndash; November 21, 2014</p> <p class="MsoNormal">Mimi Zeiger, Leonardo Bravo and River Jukes-Hudson, Sarah Lorenzen</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Host: Natural Histories for Los Angeles</i> explores the multivalent meaning of &ldquo;host&rdquo; though spectacle, parasitic opportunism, and domestic landscapes. The Neutra VDL Research House serves as the site of these investigations and the house, embedded with spatial effects&mdash;mirrors, screens, and pools of water&mdash;heightens and confuses the relationship between the domestic interior and the exterior.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Host features a penthouse exhibition by Medellin-based architect and landscape architect Luis Callejas that exploits environmental connections between his practice and the Neutra VDL Research House. Big City Forum will host a talk between Callejas and Wonne Ickx of Mexico City&rsquo;s Productora.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Host includes LA Forum&rsquo;s Out There Doing It series. Select emerging architects, designers, and&nbsp;writers present work and reflect on Southern California&rsquo;s cultural landscape. The OTDI series&nbsp;concludes with a potluck curated by Jia Gu of Supper Studio. The 2014 OTDI participants represent expanded architecture and design practice. Their work ventures, sometimes organically and sometimes parasitically, into extra-disciplinary territories and includes film, gaming, publishing, and narrative.</p> <p class="MsoNormal"> <span style="font-size: 10.0pt; font-family: Times;">&nbsp;</span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>111</o:Words> <o:Characters>637</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>782</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal">Facebook:&nbsp;<a href="https://www.facebook.com/hostlosangeles"> <span style="color: windowtext; text-decoration: none; text-underline: none;">https://www.facebook.com/hostlosangeles</span> </a> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Twitter:&nbsp;<a href="https://twitter.com/HostLosAngeles"> <span style="color: windowtext; text-decoration: none; text-underline: none;">@HostLosAngeles</span> </a> </p>
WWSf: Circus for Construction 4 September 2014 07:42:31 EST http://www.storefrontnews.org/programming/projectss?e=645

Saturday September 20, 2014 – Friday November 21, 2014

<p class="MsoNormal"> <i> <a href="http://www.wwstorefront.org/#3"> <img src="../images/tinyMCE_upload/Giff_Library/wwstorefront_website_link_logo_500px.jpg" width="500" height="60" /> </a> <br /> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Circus for Construction</i> </p> <p class="MsoNormal">September 20 &ndash; November 21, 2014</p> <p class="MsoNormal">Curated by Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke, and Ben Widger</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The <i>Circus for Construction</i> is a traveling institution in search of knowledge, crafts and individuals outside of a traditional gallery&rsquo;s reach. Located on the back of a custom built truck, the <i>Circus for Construction</i> draws from a long history of itinerant and heterotopic spaces. The project learns from both historic traveling sideshows and food trucks, circumventing the baggage of its brick and mortar peers by hitting the road. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">In fall 2014, the <i>Circus for Construction</i> will arrive at three cities (Boston, Buffalo and Ithaca) to host both local and imported spectacles. Afterward, it leaves behind nothing but flattened grass.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Social Media</b> </p> <p class="MsoNormal"> <a href="https://www.facebook.com/circusforconstruction">Facebook</a> </p> <p class="MsoNormal"> Website:&nbsp;<a href="http://www.circusforconstruction.com">&nbsp;<span style="color: windowtext; text-decoration: none; text-underline: none;">http://www.circusforconstruction.com</span> </a> </p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p class="MsoNormal"> <span style="font-size: 12px;">Twitter: @TheCircusGroup</span> </p>
World Wide Storefront - Situation NY 12 September 2014 14:35:05 EST http://www.storefrontnews.org/programming/projectss?e=656

Friday September 19, 2014 – Saturday December 20, 2014

<p class="MsoNormal"> <i> <b>World Wide Storefront</b> </i> </p> <p class="MsoNormal"> <b>Extended through December 20, 2014</b> </p> <p class="MsoNormalCxSpMiddle">Opening Reception: October 3, 2014, 7pm</p> <p class="MsoNormalCxSpMiddle">Ten global design projects</p> <p class="MsoNormalCxSpMiddle">And an installation by Jana Winderen and Marc Fornes<b> <span style="font-family: Arial;"> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> World Wide Storefront </i>&ndash; WWSf - is a mode of action; its aim is to unveil, produce and discuss experimental cultural works on a global scale from local points of view. By using the ability of contemporary means of communication to join space, undo place and avoid time, WWSf provides leadership in imagining future modes of global cultural production through digital and physical realms.&nbsp; </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> For the inaugural edition of <i>World Wide Storefront</i>, ten projects selected from an open call by an international jury, simultaneously present, for a two-month period, site-specific performances, exhibitions and events. Selected for their ability to produce alternative platforms within local contexts, the projects&rsquo; scale of operation and action range from a transoceanic traveling artist residency, to food market spaces, to urban interventions in foreclosed ancient structures, to the construction and inhabitation of residual spaces and infrastructures in the city. Visitors to the Storefront gallery space in New York are able to access the projects through augmented reality applications and a digital portal onsite. Audiences can also access projects through a newly designed wwstorefront.org website.&nbsp; </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Contrasting with an intangible layer of digital content that connects the visitor to the activities of the 10 worldwide locations is Situation NY, <a href="../programming/exhibitions?c=&amp;p=&amp;e=661">a site-specific installation by artist Jana Winderen and architect Marc Fornes </a>in Storefront&rsquo;s gallery at 97 Kenmare Street.&nbsp; </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The online platform www.WWStorefront.org launched September 19, 2014.&nbsp;</p> <p class="MsoNormal">The WWSf Coordinates launch October 3, 2014.&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px;">We invite you to download the free app Junaio and explore the traces and spaces around the Storefront Gallery -including the Newsprint- through augmented reality incursions into each one of the WWSf projects,&nbsp;to visit them through the WWSF Portal, or learn more and contribute at the new platform at &nbsp;</span> <i> <a target="_blank">www.wwstorefront.org</a>&nbsp;</i> </p> <p>&nbsp;</p> <p class="MsoNormal"> <i> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <i> <b>ABOUT WORLD WIDE STOREFRONT</b> </i> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i>The ten projects launch simultaneously on September 19, 2014 and include a series of programs, performances, activities and events at project sites as well as an overarching blog designed by Pentagram:</i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i>Project website:&nbsp;<a href="http://www.wwstorefront.org/" target="_blank">www.wwstorefront.org</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=644">A to B - Crossing the Railway</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=645">Circus for Construction</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=646">Container Artist Residency</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=647">Gallery Attachment</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=647">Host - Natural Histories for Los Angeles</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=642">Microgeographies</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=649">Next Station, Micro Ecologies in Tel Aviv's Central Bus Station</a> </i> </p> <p> <i> </i> </p> <p class="MsoNormal"> <i> <a href="../programming/projects?c=&amp;p=&amp;e=650">RavinePortal</a> </i> </p> <p> <i> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=651">Storefront Marketplace</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=652">Tropical Ghosts</a> </p> <p class="MsoNormal"> <a href="../programming/projects?c=&amp;p=&amp;e=652"> <br /> </a> </p> <p class="MsoNormal">The projects, selected for their ability to produce alternative platforms within their local contexts, range from transoceanic traveling artist residency spaces, to urban interventions in foreclosed ancient structures, to the construction and inhabitation of residual spaces and structures in the city. Contrasting with the site specificity and visceral immediacy of the <i> <a href="../programming/exhibitions?c=&amp;p=&amp;e=661">Situation NY</a> </i> installation by Winderen and Fornes, an invisible layer of digital content accessed through smart phones and a digital portal bring the visitor into series of intermediate spaces that connect audiences to the activities of the 10 artist groups producing projects. </p> <p class="MsoNormal">&nbsp;</p> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <b>WORDWIDE STOREFRONT Project Agents</b> </p> <p class="MsoNormal">Laura Castro, Engel Leonardo, Monica De Moya and Maurice Sanchez; Hariklia Hari; Andrew Kovacs and Laurel Consuelo Broughton; Pete &amp; Vegas; Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke and Ben Widger; Onya Collective; Maayan Strauss; Sandra Teitge; Megan Torza; and Mimi Zeiger, Leonardo Bravo, River Jukes-Hudson and Sarah Lorenzen.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Curated by </p> <p class="MsoNormal">Eva Franch i Gilabert</p> <p class="MsoNormal">Carlos M&iacute;nguez Carrasco, Associate Curator </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Graphic Design and Web Design </p> <p class="MsoNormal">Pentagram, Natasha Jen. Jeffrey Waldman</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Programmer </p> <p class="MsoNormal">Pentagram, Jaeyoon Kim</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Digital-Physical Technology </p> <p class="MsoNormal">Esther Sze-Wing Cheung and George Showman</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Worldwide Storefront</i>&nbsp;</b> <span style="font-size: 12px;">is produced by Storefront for Art and Architecture with the support of Peter Guggenheimer.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p>&nbsp;</p>
OfficeUS: Issues - Labor LEED Workshop 7 September 2014 16:47:46 EST http://www.storefrontnews.org/programming/eventss?e=654

Thursday September 18, 2014 – Saturday September 20, 2014

<p class="MsoNormal"> <span style="font-size: 11.8181819915771px; background-color: #ffffff;">Ethical imperatives currently hover over architectural practices worldwide. The notion of exploitation, environmental or human, is often addressed today less through a recourse to previous principles for the generation of form, space, or program than through bureaucratized frameworks that involve little beyond simply checking, for better or worse taste, a compliance box. The US Green Building Council (USGBC), the developer of the LEED building rating system, was created in 1993. The aura surrounding LEED Platinum certification has become a common object of desire among developers and clients around the world, sometimes more powerful than any local code. Buildings around the world are being designed to enter the club of the self-consciously responsible in relationship to energy consumption and sustainable practices. In a parallel manner, a growing awareness of the conditions of labor on construction sites worldwide has prompted reflection on questions of human sustainability and the principles that might be applied, whether through measuring tools or design strategies, to make the building of architecture an ethically tenable construct. What are the mechanisms for ensuring human sustainability?</span> </p> <p class="MsoNormal"> </p>
OfficeUS: SOM Superlatives Workshop 15 September 2014 14:33:48 EST http://www.storefrontnews.org/programming/eventss?e=659

Saturday September 6, 2014

<p class="MsoNormal"> <b>Saturday, September 6, 2014,&nbsp;2PM - 5PM</b> </p> <p class="MsoNormal"> <b>Workshop&nbsp;with&nbsp;Skidmore, Owings &amp; Merrill LLP</b> </p> <p class="MsoNormal"> <b>US Pavilion, Giardini (Venice, Italy)</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Through processes of optimization and organization, US architecture firms such as&nbsp;Skidmore, Owings &amp; Merrill LLP (SOM)&nbsp;have claimed to produce the best, for the most, for the least - what Office<i>US</i>&nbsp;calls architectural "Superlatives."&nbsp;Since the firm's emergence in 1936,&nbsp;SOM&nbsp;has been the architectural office synonymous with the term "corporate" in its practices. Modeled on many of the same managerial principles of its corporate clients,&nbsp;SOM&nbsp;applied strategies such as decentralization and specialization to architectural practice. Despite its scale,&nbsp;SOM&nbsp;has represented a unique combination of design authorship and pragmatic acumen. The firm has a large presence in the Office<i>US</i>&nbsp;Repository, which chronicles the story of U.S. architecture built abroad.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">SOM&nbsp;Design Director Kent Jackson, and&nbsp;SOM&nbsp;Structural and Civil Engineering Partner Bill Baker joined Office<i>US&nbsp;</i>Partners for a one-day&nbsp;workshop&nbsp;that aimed to give an overview and specific insights on different scales and scopes of their architecture projects - from the aesthetic to the material to the technical to the managerial.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Have a question or comment for one of our guests? Want to join the discussion? Tweet<i>US</i> @office_us&nbsp;/ email:&nbsp;partner@officeus.org</p>
OfficeUS: Chicagoism 13 August 2014 13:57:59 EST http://www.storefrontnews.org/programming/projectss?e=641

Thursday August 14, 2014

<p class="p1"> <b>Alexander Eisenschmidt: Chicagoism</b> </p> <p class="p1">&nbsp;</p> <p class="p1">1871 was the year in which the cities of Berlin and Chicago were catapulted into a modern</p> <p class="p1">reality. That year the Chicago Fire inspired a building code that in combination with advances in&nbsp;<span style="font-size: 12px;">fireproofing iron and steel frames and inventions such as Otis&rsquo;s safety passenger elevator&nbsp;</span> <span style="font-size: 12px;">guided the construction of a new city with massive buildings that soon lined entire blocks of the&nbsp;</span> <span style="font-size: 12px;">downtown grid. On the other side of the Atlantic, Berlin&rsquo;s emergence as the capital of the&nbsp;</span> <span style="font-size: 12px;">Second German Empire shifted the political, economic, and cultural landscape of Germany and&nbsp;</span> <span style="font-size: 12px;">Europe and established the city as a metropolis. In the wake of these developments, a trans-</span> <span style="font-size: 12px;">Atlantic exchange between the two cities began to reconsider each city&rsquo;s option towards a new&nbsp;</span> <span style="font-size: 12px;">metropolitan condition. Chicago became the model through which Berlin was able to understand&nbsp;</span> <span style="font-size: 12px;">its own rapid urbanization during the late nineteenth century and, ultimately, re-conceiving itself&nbsp;</span> <span style="font-size: 12px;">as a space of possibilities for the invention of a metropolitan architecture. At the same time,&nbsp;</span> <span style="font-size: 12px;">German Sociologists (such as Werner Sombart, Ferdinand T&ouml;nnies, and Max Weber) visited&nbsp;</span> <span style="font-size: 12px;">Chicago, detected the purest representation of modern urbanization, and helped architects (</span> <span style="font-size: 12px;">such as Root John Wellborn Root and Louis H. Sullivan) to comprehend the unique conditions&nbsp;</span> <span style="font-size: 12px;">of what they saw as &ldquo;prototypical American city and ur-metropolis.&rdquo;</span> </p> <p class="p1"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="p1"> <img src="../images/tinyMCE_upload/1-Chicago-World-copy-2-670x694.jpg" width="670" height="694" /> </p> <p class="p1">&nbsp;</p> <p class="p1">Map of Chicago with an added comparative map of Berlin, printed by Meyers in Leipzig, Germany, 1900: To German&nbsp;<span style="font-size: 12px;">travelers on their journey through Chicago, the map acted as a constant reminder of the two cities&rsquo; intimate relationship &ndash;&nbsp;</span> <span style="font-size: 12px;">a cartographic experiment to visualize a German Chicago and an American Berlin.</span> </p> <p class="p1"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="p1"> <i>Alexander Eisenschmidt is a designer, theorist, and Assistant Professor of Architecture at the&nbsp;<span style="font-size: 12px;">University of Illinois at Chicago. His work investigates the productive tension between the&nbsp;</span> <span class="s1" style="font-size: 12px;">modern city and architectural form &ndash; </span> <span style="font-size: 12px;">a topic on which he has published and lectured</span> </i> </p> <p class="p2"> <i>extensively. <span class="s1">He is author and </span>editor of City Catalyst (Architectural Design, 2012), co-editor of</i> </p> <p class="p2"> <i>Chicagoisms (Scheidegger &amp; Spiess / Park Books, 2013), designer and <span class="s1">curator of &ldquo;City Works&rdquo;&nbsp;</span> <span class="s1" style="font-size: 12px;">at the 13</span> <span class="s2" style="font-size: 12px;">th </span> <span style="font-size: 12px;">International Architecture Biennale in Venice, and co-curator and designer of the&nbsp;</span> <span style="font-size: 12px;">exhibition &ldquo;Chicagoisms&rdquo; at the Art Institute of Chicago (2014). Eisenschmidt is also founding&nbsp;</span> <span class="s3" style="font-size: 12px;">partner at Studio Offshore. </span> <span style="font-size: 12px;">*for further information see: http://www.AEisenschmidt.com</span> </i> </p>
Membership Events: Exclusive OfficeUS Repository Tours 9 July 2014 11:33:23 EST http://www.storefrontnews.org/programming/eventss?e=636

Thursday August 14, 2014 – Tuesday November 25, 2014

<div> <img src="../images/tinyMCE_upload/Acconci_Studio_02.jpg" width="500" height="333" /> <br /> </div> <div>The Office<i>US</i> Repository presents a curated collection of 1001 architecture projects from the last 100 years, designed by 200 US-based architecture firms and realized abroad.&nbsp;</div> <div> <br /> </div> <div> <span style="font-size: 12px;">The Repository is one of the key elements of Office</span> <i>US</i> <span style="font-size: 12px;">, the United States Pavilion at the 2014 Venice Architecture Biennale for which Storefront has been commissioned.&nbsp;</span> <span style="font-size: 12px; background-color: #ffffff;">Collectively, the projects in the archive tell multiple, imbricated stories of U.S. firms, typologies, and technologies. The office consists of</span> <a href="../programming/projects?c=&amp;p=&amp;e=630">8 architects selected from an international open call,</a> <span style="font-size: 12px; background-color: #ffffff;">&nbsp;visiting experts, and outpost offices distributed worldwide. Over the 25 weeks of the Biennale,&nbsp;Office</span> <i>US</i> <span style="font-size: 12px; background-color: #ffffff;">&nbsp;revisits the projects in the archive, their premises and conclusions, to construct an agenda for the future production of architecture.</span> </div> <div> <br /> </div> <div>These private tours brought a glimpse of Office<i>US</i> to New York, offering the opportunity to learn more about the involvement of the firms in OfficeUS, the structure of the office, and their current work.&nbsp;</div> <div> <span style="outline-width: 0px; font-size: 12.222222328186035px; background-color: #ffffff;"> <br /> </span> </div> <div> <span style="outline-width: 0px; font-size: 8px; background-color: #ffffff;"> <img src="../images/tinyMCE_upload/RMP_Office_Portrait_by_Silja_Magg.jpg" width="500" height="333" /> <br /> </span> </div> <div> <span style="outline-width: 0px; font-size: 12.222222328186035px; background-color: #ffffff;"> <h1> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;">Office Portrait. Photo by Silja Magg.</div> <div style="font-size: 48px; font-weight: normal; line-height: 16px; background-color: #ffffff;"> <br /> </div> </h1> <h1> <b>Richard Meier &amp; Partners&nbsp;</b> </h1> <h1> <b>AUGUST 14, 2014</b> </h1> <div style="font-size: 12.222222328186035px;"> <b>6:00 PM</b> </div> <div style="font-size: 12.222222328186035px;"> <span style="font-size: 12px;"> <br /> </span> </div> <div style="font-size: 12.222222328186035px;"> <span style="font-size: 12px;">The work of Richard Meier &amp; Partners is instantly recognizable and internationally respected. For over five decades, we have been appointed to create important public and private buildings. Our offices in New York and Los Angeles employ a multicultural staff of talented professionals practicing architecture, urbanism, product design and exhibition design. We aspire to thoughtful, elegant contemporary architecture that exceeds our clients&rsquo; expectations for beauty and elegance.</span> </div> <div style="font-size: 12.222222328186035px;"> <div> <br /> </div> <div>Recent work includes one of the most sustainable office and research buildings in Europe for Italcementi in Bergamo, Italy; the headquarters in Hamburg for the Neumann Kaffee Gruppe; the Jesolo Lido Condominium in Jesolo, Italy; the first office project in the Czech Republic built on a speculative basis to receive the highest LEED certification; and the United States Courthouse in San Diego, California. We currently have new projects in North America, South America, Europe, and Asia.</div> <div> <br /> </div> <div>Richard Meier &amp; Partners is led by Richard Meier and six partners &ndash; Michael Palladino, James R. Crawford, Bernhard Karpf, Vivian Lee, Reynolds Logan, Dukho Yeon &ndash; and sustains an international practice with offices in New York and Los Angeles.</div> <div> <br /> </div> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/LOT-EK.jpg" width="500" height="252" /> <br /> </div> <div> <br /> </div> <div> <h1> <b>LOT-EK</b> </h1> <h1> <b>SEPTEMBER 9, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;">LOT-EK UPCYCLES OBJECTS TO CREATE REMARKABLE BUILDINGS</div> <div style="font-size: 12.222222328186035px;">LOT-EK SCANS THE ENVIRONMENT IN SEARCH OF MANMADE OBJECTS AND SYSTEMS</div> <div style="font-size: 12.222222328186035px;">LOT-EK EXPLOITS OBJECTS AS RAW MATERIAL FOR ARCHITECTURE</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK has achieved high visibility in the architecture/design/art world for its sustainable and innovative approach to construction, materials and space through the upcycling of existing industrial objects and systems not originally intended for architecture.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK is a design studio based in Naples and New York. Founded in 1993 by Ada Tolla and Giuseppe Lignano, it has been involved in residential, commercial and institutional projects in the US and abroad, as well as projects for major cultural institutions and museums including MoMA, the Whitney Museum, the Guggenheim and the MAXXI.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">LOT-EK&rsquo;s founding partners, Ada Tolla and Giuseppe Lignano, have a Masters Degree in Architecture and Urban Design from the Universita&rsquo; di Napoli, Italy (1989), and have completed post-graduate studies at Columbia University, New York (1990-1991). Besides heading their professional practice, they also teach at Columbia University, Graduate School of Architecture, Planning and Preservation and lecture at major universities and institutions throughout the US and abroad.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">In December 2011, Ada and Giuseppe were recognized as USA Booth Fellows of Architecture &amp; Design by United States Artists (USA).&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/Preston_Schlebusch_860_Broadway.jpg" width="500" height="376" /> <br /> </div> <div style="font-size: 12.222222328186035px;"> <h1> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;">Photo by Preston Schlebusch.</div> <div style="font-size: 8px; font-weight: normal; line-height: 16px; background-color: #ffffff;"> <br /> </div> </h1> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b>SELLDORF ARCHITECTS</b> </h1> <h1> <b>SEPTEMBER 17, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;">Selldorf Architects is a 65-person architectural design practice that was founded by Annabelle Selldorf in 1988. The firm&rsquo;s work includes public and private projects that range from museums and libraries to a recycling facility, and at scales encompassing the construction of new buildings, restoration of historic interiors, and exhibition design. Creating buildings that are both contemporary and timeless is a fundamental goal of the firm. The practice designs buildings and public spaces that are an integrated and authentic reflection of the cities and institutions they serve. Projects evolve in response to their specific context and program, drawing influence from local materials and building traditions. This context-driven approach is guided by rigor, precision, and restraint. The firm&rsquo;s clients include cultural institutions and universities such as the Museum of Contemporary Art San Diego, Neue Galerie New York, the Sterling and Francine Clark Art Institute, and Brown University. In addition, the firm has created numerous galleries for David Zwirner, Hauser &amp; Wirth, and Gladstone Gallery among others, and designed exhibitions for Frieze Masters and the 2013 Venice Art Biennial.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">Selldorf Architects recently completed a 30,000 sf LEED Gold gallery building for David Zwirner and finished work on the Sunset Park Material Recovery Facility, a new recycling facility and education center on the Brooklyn waterfront. In July, the firm&rsquo;s renovation of the Sterling and Francine Clark Art Institute&rsquo;s Museum Building opened to the public, followed by the opening of the Manton Research Center Renovation in early 2015. Selldorf Architects is currently designing an expansion for the Museum of Contemporary Art San Diego; converting a former rail depot into LUMA Arles, a new contemporary art center in Arles France; and renovating Brown University&rsquo;s library for special collections.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;">Annabelle Selldorf is the Principal of Selldorf Architects. Born and raised in Germany, she received a Bachelor of Architecture degree from Pratt Institute and a Master of Architecture degree from Syracuse University in Florence, Italy. Ms. Selldorf is a Fellow of the American Institute of Architects, an Academician of the National Academy Museum, and serves on the Board of the Architectural League of New York and the Chinati Foundation.&nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/Acconci_Studio_02.jpg" width="500" height="333" /> <br /> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b> <br /> </b> </h1> <h1> <b>ACCONCI STUDIO</b> </h1> <h1> <b>SEPTEMBER 18, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="font-size: 12.222222328186035px;"> <b> <i>Acconci Studio</i> </b>&rsquo;s design &amp; architecture comes from another direction, from Vito Acconci&rsquo;s backgrounds in writing &amp; art. His poems in the late 60&rsquo;s treated language as matter (words to look at rather than through) &amp; the page as a field to travel over; his performances in the early 70&rsquo;s helped shift art from object to interaction between art-doer &amp; viewer; later in the 70&rsquo;s, his installations turned viewers into participants; &nbsp;in the early 80&rsquo;s, his architectural-units could be transformed by users. By the late 80&rsquo;s his work crossed over &amp; he formed Acconci Studio, a design firm that mixes poetry &amp; geometry, computer-scripting &amp; sentence-structure, narrative &amp; biology, chemistry &amp; social-science. The Studio uses computers to give form to thinking; they use forms to <i>find</i> ideas. They make not nodes so much as circulation-routes, they design time as much as space. Their design starts with clothing &amp; ends with vehicles &ndash; in-between, they design buildings that slip into landscape &amp; vice versa; they make spaces fluid, changeable &amp; portable; they make architecture subservient to people &amp; not vice versa -- they anticipate cities on the move. Built in the last decade are, in Graz, a person-made island where the theater, a bowl, twists to become a playground on its way to becoming a dome, a restaurant; in Tokyo, a clothing store as soft as clothing; in Coney Island an elevated subway-station fa&ccedil;ade that waves &amp; bulges to make views &amp; seats; in Toronto, a building-complex fence that twists &amp; rises up the building to make wind-screens, &amp; splits to make public-places. Being built now, in Indianapolis, is an interactive tunnel through a building where pedestrians &amp; cyclists set off lights that swarm around them like fireflies. &nbsp;</div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <b> <img src="../images/tinyMCE_upload/Libeskind_med_II.jpg" width="499" height="333" /> <br /> </b> </div> <div style="font-size: 12.222222328186035px;"> <b> <br /> </b> </div> <div style="font-size: 12.222222328186035px;"> <b>STUDIO LIBESKIND</b> </div> <div style="font-size: 12.222222328186035px;"> <h1> <b>OCTOBER 1, 2014</b> </h1> <div style="font-size: 12px;"> <b>6:30 PM</b> </div> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>117</o:Words> <o:Characters>668</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>820</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal"> <span style="font-size: 12px; color: #222222; font-family: Arial; line-height: 16px;">Led by partners Daniel Libeskind and Nina Libeskind, CEO/principal Carla Swickerath, and principals Yama Karim and Stefan Blach, Studio Daniel Libeskind designs in a variety of scales for a range of uses all around the world. As well as the museum typology, for which it is perhaps best known, the studio develops schemes for public housing, residential towers, mixed-use commercial centers, concert halls, memorials, university buildings, and convention centers. A series of master plan commissions have deeply engaged the studio in urban design and city making and the vast array of issues and ideas that pertain to building sustainably for the future.</span> <br /> <span style="font-size: 12px; color: #222222; font-family: Arial; line-height: 16px;">As well as its New York headquarters, the Studio Daniel Libeskind also maintains Libeskind Design, a product division in Milan, and an office in Z&uuml;rich.</span> <br /> <span style="font-size: 13px; font-family: Arial; line-height: 16px;">&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <br /> </div> <div style="font-size: 12.222222328186035px;"> <div style="background-color: #ffffff;"> <div style="background-color: #ffffff;"> <br /> </div> </div> </div> </div> </div> </span> </div>
AIR UP! 23 July 2014 08:06:22 EST http://www.storefrontnews.org/programming/filmss?e=637

Tuesday July 29, 2014

<p class="MsoNormal"> <b>AIR UP!&nbsp;</b> </p> <p class="MsoNormal"> <b>July 29, 2014, 7pm</b> </p> <p class="MsoNormal"> <b>Film Screening followed by a Q&amp;A with Jack Masey</b> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>175</o:Words> <o:Characters>1002</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1230</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal"> <span style="font-size: 12px;">In 1967, in an effort to attract the most talented architects and exhibition designers in the United States, the United States Information Agency's design chief Jack Masey organized a competition to design the US Pavilion at Asia&rsquo;s first Category One World&rsquo;s Fair&mdash;Expo &rsquo;70 Osaka.</span> <span style="font-size: 12px;">The winning design team&mdash;which prevailed over submissions by Isamu Noguchi, George Nelson, Minoru Yamasaki, James Stewart Polshek, Paul Rudolph and others&mdash;was the New York partnership of architects Davis &amp; Brody, and exhibition designers Chermayeff, Geismar &amp; deHarak. Their concept, an air-inflatable pavilion, soon fell victim to serial Congressional funding cuts and was entirely redesigned twice before EXPO &rsquo;70 opened. Despite a 50% cut in its funding, the team managed to produce a US Pavilion for Expo &rsquo;70 that featured the largest, lightest clear-span air-supported roof ever built.&nbsp;</span> <span style="font-size: 12px;">Even with its &ldquo;extraordinarily economical $4.5 per sq. ft. cost&rdquo;, the US Pavilion at EXPO &rsquo;70 became &ldquo;a master work of structural elegance and...technological advances.&rdquo; And, the project came in on time and under budget.</span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>175</o:Words> <o:Characters>1002</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1230</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <span style="font-size: 12px;"> <i>Air Up! Construction of the US Pavilion at EXPO '70 Osaka</i>--a&nbsp;Japanese-language documentary film with English sub-titles--details the construction and inflation of the radically-engineered pneumatic dome designed for the US Pavilion at EXPO &rsquo;70 Osaka.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>27</o:Words> <o:Characters>154</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>189</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </span> </p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>25</o:Words> <o:Characters>144</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>176</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The screening was followed by a Q&amp;A with Jack Masey,&nbsp;former Director of Design for the USIA, and design chief for&nbsp;USIA's major exhibitions and Expos including Expo '70 Osaka.</p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> <p class="MsoNormal">This film was screened in conjunction with a day-long symposium/event hosted by Office<i>US</i> in Venice, Italy at the Arsenale as part of the Monditalia 'Freeport' series of the 2014 Venice Architecture Biennale, la Biennale de Venezia. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">AIR UP!</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Construction of the US Pavilion at EXPO &rsquo;70 Osaka &ndash; </p> <p class="MsoNormal">A United States Information Agency Project</p> <p class="MsoNormal">&nbsp;<span style="font-size: 12.222222328186035px;">&nbsp;</span> </p> <p class="MsoNormal">Film Sponsor:</p> <p class="MsoNormal">Ohbayashi-Gumi, Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Film Production:</p> <p class="MsoNormal">Nichiei Shinsha</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Commissioner General of U.S. Pavilion:</p> <p class="MsoNormal">Howard L. Chernoff</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Deputy Commissioner General for Planning and Design:</p> <p class="MsoNormal">Jack Masey</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">U.S. <a> </a>Exhibition Design Team:</p> <p class="MsoNormal">Davis, Brody, Chermayeff, Geismar, deHarak Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Principals:</p> <p class="MsoNormal">Lewis Davis, Samuel M. Brody, Alan Schwartzman, </p> <p class="MsoNormal">Ivan Chermayeff, Thomas H. Geismar, Rudolf deHarak</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Project Architect:</p> <p class="MsoNormal">Yasuo Uesaka</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Senior Exhibition Curator:</p> <p class="MsoNormal">Phyllis Montgomery</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Senior Exhibition Designer:</p> <p class="MsoNormal">David Sutton</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Structural Engineers:</p> <p class="MsoNormal">David Geiger&mdash;Horst Berger</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Mechanical Engineers:</p> <p class="MsoNormal">Cosentini Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Landscape Architects:</p> <p class="MsoNormal">M. Paul Friedberg &amp; Associates</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Lighting Consultant:</p> <p class="MsoNormal">Howard Brandston Lighting Design, Inc.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Audio-Visual Consultant:</p> <p class="MsoNormal">Will Szabo Associates Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">General Contractor, Co-Architect:</p> <p class="MsoNormal">Ohbayashi-Gumi, Ltd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Film Restoration:</p> <p class="MsoNormal">Beverly Payeff-Masey, MetaForm Design International</p> <p class="MsoNormal">Mina Chow, AIA, NCARB, U.S.C. School of Architecture, Los Angeles</p> <p class="MsoNormal">Clark Muller, Colorist, <span style="mso-no-proof: yes;"> <!--[if gte vml 1]> <v:shapetype id="_x0000_t75" coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe" filled="f" stroked="f"> <v:stroke joinstyle="miter" /> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0" /> <v:f eqn="sum @0 1 0" /> <v:f eqn="sum 0 0 @1" /> <v:f eqn="prod @2 1 2" /> <v:f eqn="prod @3 21600 pixelWidth" /> <v:f eqn="prod @3 21600 pixelHeight" /> <v:f eqn="sum @0 0 1" /> <v:f eqn="prod @6 1 2" /> <v:f eqn="prod @7 21600 pixelWidth" /> <v:f eqn="sum @8 21600 0" /> <v:f eqn="prod @7 21600 pixelHeight" /> <v:f eqn="sum @10 21600 0" /> </v:formulas> <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect" /> <o:lock v:ext="edit" aspectratio="t" /> </v:shapetype> <v:shape id="Picture_x0020_2" o:spid="_x0000_i1025" type="#_x0000_t75" style='width:54pt;height:11pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image001.png" mce_src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image001.png" o:title="" /> <v:textbox style="mso-rotate-with-shape:t" mce_style="mso-rotate-with-shape:t" /> </v:shape> <![endif]--> <!--[if !vml]--> <img src="file://localhost/Users/evafranchgilabert/Library/Caches/TemporaryItems/msoclip/0/clip_image002.png" width="56" height="13" /> <!--[endif]--> </span>, Venice, California</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Translation <span style="font-size: 10.0pt;">(</span> <span style="font-size: 10pt; font-family: &quot;MS 明朝&quot;;">翻訳</span> <span style="font-size: 10.0pt;">):</span> </p> <p class="MsoNormal">Yusuke Isotani <span style="font-size: 10.0pt;">(</span> <span style="font-size: 10pt; font-family: &quot;MS 明朝&quot;;">礒谷有亮</span> <span style="font-size: 10.0pt;">)</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Subtitles:</p> <p class="MsoNormal">Joann Huang</p> <p class="MsoNormal">Arianne Kouri</p> <p class="MsoNormal">MetaForm Design International</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Special Thanks:</p> <p class="MsoNormal">Irina Chernyakova</p> <p class="MsoNormal">Mina Chow</p> <p class="MsoNormal">Eva Franch i Gilabert</p> <p class="MsoNormal">Joann Huang</p> <p class="MsoNormal">Yusuke Isotani</p> <p class="MsoNormal">Arianne Kouri</p> <p class="MsoNormal">Jack Masey</p> <p class="MsoNormal">Ana Milja<span style="color: black;">č</span>ki<b> <span style="font-family: &quot;Lucida Grande&quot;; color: black;"> </span> </b> </p> <p class="MsoNormal">Clark Muller</p> <p class="MsoNormal">Brendan Rooney</p> <p class="MsoNormal">OfficeUS, 2014 Venice Architecture Biennale</p> <p class="MsoNormal">Beverly Payeff-Masey</p> <p class="MsoNormal">Ashley Schafer</p> <p class="MsoNormal">Storefront for Art and Architecture</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if !mso]> <mce:style> <! 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OfficeUS: Workshop with Professor Anupama Rao 15 September 2014 13:49:12 EST http://www.storefrontnews.org/programming/eventss?e=657

Saturday July 26, 2014

<p class="MsoNormal">&ldquo;SUBALTERN URBANISM?&rdquo;</p> <p class="MsoNormal"> <br /> Workshop with Professor Anupama Rao (Barnard College, Columbia University) &amp; Office<i>US</i> Housing Public Good research group.<br /> Saturday, July 26th, 4-6PM (Venice, Italy)</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <br /> &ldquo;Subaltern Urbanism?&rdquo; will examine contemporary discourses and strategies around housing projects in a global context. We will touch on experimental self-building and self-funding initiatives; the role of the state in conditions of deregulated and informalized development; the privatized planning processes and financial speculations associated with these trends&hellip; What prototypes of &ldquo;citizenship&rdquo; do different housing models enact and (re)produce? What is the role of architecture --and architects-- within these processes?</p>
OfficeUS: Potential Participation Party 23 July 2014 08:55:45 EST http://www.storefrontnews.org/programming/eventss?e=638

Friday July 25, 2014 – Friday July 25, 2014

<p class="MsoNormal"> <b>Guggenheim Helsinki Design Competition</b> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b>Potential Participation Party</b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b>July 25th, 2014, Arsenale, Venice</b> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <img src="../images/tinyMCE_upload/guggenheim_2.gif" width="424" height="600" /> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="MsoNormal">Office<i>US</i>, a global collaborative architectural practice with its first headquarters at the United States Pavilion at the 14th International Architecture Exhibition - la Biennale di Venezia, announced its intention to seriously consider entering the Guggenheim Helsinki Design &shy;Competition.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">In celebration of the exciting&nbsp;potential&nbsp;for Office<i>US</i>&nbsp;to perhaps enter the Guggenheim Helsinki Design Competition, the Office<i>US</i> Partners hosted a&nbsp;Potential&nbsp;Participation&nbsp;Party, on&nbsp;July 25th 2014&nbsp;at the Arsenale. The&nbsp;Potential&nbsp;Participation&nbsp;Party&nbsp;featured special guests including Adnan Yildiz, Anupama Rao, Aristide Antonas, Kaarin Taipale and Andrew Ross in conversation with the Office<i>US</i>&nbsp;partners; with a special performance of Office<i>US</i>&nbsp;either entering, not entering or still considering entering the Guggenheim Helsinki Design Competition.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Helsinki, a global city standing at the intersection of East and West (founded by King Gustav I of Sweden in 1550 as a town of Helsingfors which remained a tiny town, plagued by poverty, wars, and diseases), is emerging as a city to watch. Helsinki (like Office<i>US</i>) has been said to have recently embarked on an ambitious yet highly sensitive program of renewal and development, initiating what has been called the greatest urban change in its history since Helsinki became the capital of Finland two hundred years ago. Office<i>US</i>&nbsp;was honored to consider the possibility of exploring exciting new concepts such as: cityscape, architecture, usability, sustainability and feasibility (in this order) through maybe&nbsp;participating&nbsp;in the Guggenheim Helsinki Design Competition from within the Peggy Guggenheim Pavilion in Venice, Italy.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Office<i>US</i>&nbsp;(like Helsinki), has been called an increasingly popular visitor destination. Many have described Office<i>US</i>&nbsp;as a standard bearer for la Biennale di Venezia and a model for architectural offices around the world. Benefitting from an exceptional education system, entrepreneurial spirit, appetite for innovation, and a demonstrated success in international happiness indices, Office<i>US</i>&nbsp;is increasingly seen by many important sources as an expert in global architecture, building tall, and designing deep, while remaining sensitive to the sustainability of local traditions.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">It is envisaged that the Guggenheim Helsinki (like Office<i>US</i>) would organize and present internationally significant exhibitions of artworks from the twentieth and twenty-first centuries, while sources indicate that the Guggenheim Helsinki will also specialize in Nordic art and architecture. Following a detailed Concept and Development Study by the Guggenheim Foundation, the Guggenheim &shy;Helsinki (like Office<i>US</i>) has been sited on a prominent waterfront site close to the historic city center and immediately visible to visitors arriving by sea.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>497</o:Words> <o:Characters>2837</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>23</o:Lines> <o:Paragraphs>5</o:Paragraphs> <o:CharactersWithSpaces>3484</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Office<i>US</i>&nbsp;is excited to welcome the Guggenheim Helsinki into the global constellation of Guggenheim museums, including the Solomon R. Guggenheim Museum in New York, the Guggenheim Museum Bilbao, the future Guggenheim Abu Dhabi, and the Peggy Guggenheim Collection and Peggy Guggenheim Pavilion (Office<i>US</i>&nbsp;headquarters) in Venice. Office<i>US</i>&nbsp;eagerly anticipated a serious consideration of the&nbsp;potentially&nbsp;productive exchange which engages what has been referred to as Finland's revolutionary bioeconomy, through what may or may not be our collaborative interest in the sustainable use of wood, and the latest in digital technology.</p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="c4"> <span class="c0" style="font-size: 16pt; font-weight: bold;"> <br /> </span> </p> <p class="MsoNormal"> <b>Schedule</b> </p> <p class="MsoNormal"> <i>2:00 pm</i> Introduction</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>2:15 pm</i> Guest presentations&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>4:15 pm </i>Screening of&nbsp;<a href="../programming/events?preview=true&amp;e=637"> <span style="color: windowtext; text-decoration: none; text-underline: none;">"AIR UP!</span> </a>&nbsp;Construction of the US Pavilion at EXPO '70 Osaka - A United States Information Agency Project"</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>4:40 pm </i>Workshop on engagement methods</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>8:30 pm </i>Party with Guggenheim Effect cocktails and Palm Jockey DJ/VJ set at &nbsp;&nbsp;<a href="http://goo.gl/hLSwYb"> <span style="color: windowtext; text-decoration: none; text-underline: none;">TEATRO MARINONI BENE COMUNE</span> </a>,&nbsp;&nbsp;<a href="http://goo.gl/hLSwYb"> <span style="color: windowtext; text-decoration: none; text-underline: none;">Lungomare Gabriele D&rsquo;Annunzio</span> </a>,&nbsp;&nbsp;<span style="color: windowtext; text-decoration: none; text-underline: none;"> <a href="http://goo.gl/hLSwYb">Lido di Venezia</a> </span> </p>
Members Tour at 101 Spring Street 12 April 2014 18:38:15 EST http://www.storefrontnews.org/programming/eventss?e=613

Wednesday July 23, 2014

<p> <b>Member's Tour of artist Donald Judd's Former Living and Working Space</b> </p> <p> <b>101 Spring Street</b> </p> <p> <b>July 23, 2014</b> </p> <p> <b>5:00pm</b> </p> <p> <span style="outline-width: 0px; font-size: 12px;"> <i> <br /> </i> </span> </p> <p> <i>&ldquo;The solution to social and political miseries is political action. Most people, including artists, don't want to act and that suits the various governments. Artists can and should object as artists but the real action is as a citizen among citizens."</i> </p> <p> <span style="outline-width: 0px;"> </span> </p> <p>&ndash;Donald Judd, 1973</p> <div> <br /> </div> <p> Storefront for Art and Architecture is pleased to offer&nbsp;<a href="../info/supporters">Storefront Members</a>&nbsp;a private guided tour at 101 Spring Street, the former living and working space of artist Donald Judd.</p> <p>&nbsp;</p> <p> <i> <b>Free for Storefront Members</b>. RSVP is required on a first come, first serve basis.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i> <b>Storefront is no longer accepting RSVPs for this event.&nbsp;</b> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: NETWORK PATENTS Workshop with the University of San Diego 15 September 2014 14:03:47 EST http://www.storefrontnews.org/programming/eventss?e=658

Thursday July 10, 2014 – Saturday July 12, 2014

<p class="MsoNormal"> <b>NETWORK PATENTS</b> </p> <p class="MsoNormal">With the&nbsp;University&nbsp;of&nbsp;San&nbsp;Diego&nbsp;(USD)</p> <p class="MsoNormal">July 10 - 12, 2014</p> <p class="MsoNormal">IUAV &amp; OfficeUS,&nbsp;Venice&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">To continue its architectural investigations, Office<i>US</i>&nbsp;hosted a series of workshops with a diverse cast of visiting experts. The office explored Network Patents, one of the 25&nbsp;<a href="http://r20.rs6.net/tn.jsp?f=001aCoyQ8z92hPjOEV35voiBvYCkhZtEvDnNjLyAIsCKNOu11Er7qaEqaNYIFiwkJwm4tQDGxkmQ0vqCLsBGA3P7lF-ZR7n7_xLRc2t0oAu8vcTN9hDX6tTrRTq_fdn73Au3oL9Ylty_hTXoJ2TA2PhaVQ_6QQLrOdMvHM57e0V6oJVgwOSRyxrWVoavIdI2EiyKvWWQBWXDCd9hXBBGbABQYZn8nhQAb3cYKHYZfiPXlA4b86d7Ibp_cCy52TrPwHmDIPLpJ2bTuVx_Iven28N6uUqjPFoGiNc3k4D2YVSPCuBvS7bfNh__C0U5jD1dzaQbpjzBS9ifch0yHpcyGkDDzR_fN3xHYFtgQq8cgkdhd8N5667tapYfA==&amp;c=QCxar4sn5roMFCb5MK1nNiirfjhhe3v7bfxqOWPbicoOM0m9kdUXoQ==&amp;ch=ChsgNpdasPF5kJ_DhJUE1Gx47Aq8uI1c0Z-WbKIM6g"> <span style="color: windowtext; text-decoration: none; text-underline: none;">OfficeUS&nbsp;Issues</span> </a>&nbsp;with&nbsp;a team organized by the&nbsp;University&nbsp;of&nbsp;San&nbsp;Diego&nbsp;(USD), who visited us on the occasion of Buckminster Fuller's 119th birthday.&nbsp;</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Bucky Fuller's Artifacts, Concepts, Inventions</b> </p> <p class="MsoNormal"> <span style="font-size: 12px;">Thursday, July 10th&nbsp;</span> <span style="font-size: 12px;">5-6:30pm, IUAV</span> </p> <p class="MsoNormal"> <a href="http://r20.rs6.net/tn.jsp?f=001aCoyQ8z92hPjOEV35voiBvYCkhZtEvDnNjLyAIsCKNOu11Er7qaEqaNYIFiwkJwmJGGLOUIm315O6jeF4RRpBj2PQyQjfVF9D0-GVYxlsjvxkWTlmCk4nTCI5MQ8q9HPokuZZikcJAPsM7E1C9X9rktVbsMDdkx9G4F2mvTsy9ExQi9qPRhvc8yuWVh9v7iYfPd6_5SvGXUtgqKTYVj9KInVRvwng7HnHPNxhGeNzlZbPxmSGusxtre1HVncTgyYI_aOg0Q1Y8ivSMR_KK8LBRwHFL8UDfZpiEXNrmJq-tBIUzuBjwGrQYGAIk-MA0IcFQODJnF7kALqxAG2UKFQau0wHKwzfWTm2zTg6g51mZJLJfegi056-A==&amp;c=QCxar4sn5roMFCb5MK1nNiirfjhhe3v7bfxqOWPbicoOM0m9kdUXoQ==&amp;ch=ChsgNpdasPF5kJ_DhJUE1Gx47Aq8uI1c0Z-WbKIM6g"> <span style="color: windowtext;">Daniel L&oacute;pez-P&eacute;rez Ph.D.</span> </a>&nbsp;(Department of Art, Architecture and Art History,&nbsp;University&nbsp;of&nbsp;SanDiego)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">L&oacute;pez-P&eacute;rez spoke about Fuller's Artifacts (Prototypes), Concepts (Synergetic Definitions), Inventions (Patents) and the search for "Network Thinking" into the present.</p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;"> <b>Network Thinking: Contemporary Notions of Research and Practice</b> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;">Friday, July 11th,&nbsp;11:00-12:30pm, IUAV</span> </p> <p class="MsoNormal"> <a href="http://r20.rs6.net/tn.jsp?f=001aCoyQ8z92hPjOEV35voiBvYCkhZtEvDnNjLyAIsCKNOu11Er7qaEqaNYIFiwkJwmycEQZBO0BAcefE54Tx7SKe5DR2b8AeSqu_vv4XHA471LYnKSccXZXFNbT-mm1XdiIJLKnICeKV3PW5ox0Uu-5D5HpwWEN2gHxkLHzb1UBi_HjRAyQfy32k76LcfID5V_KAZyLsrbklOKNPpyo6xJUqKMFM-YA6mtjD00G-w1ATnehy6YydvEGjN66rsOCLVOw8DjKU3Bskp6-K_yU5pPOnYzXBA_uEw37ZgukXQakNj0gNAC3aP5RGta61UzL_vnYNGa03sqC5XGntB3y_xlgHCphW_SN-Zt&amp;c=QCxar4sn5roMFCb5MK1nNiirfjhhe3v7bfxqOWPbicoOM0m9kdUXoQ==&amp;ch=ChsgNpdasPF5kJ_DhJUE1Gx47Aq8uI1c0Z-WbKIM6g2RpH9SIg1oJw=="> <span style="color: windowtext; text-decoration: none; text-underline: none;">Hanif Kara</span> </a>&nbsp;(FIStructE) (Hon FRIBA) (AKTII, Harvard's Graduate School of Design)</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Kara&nbsp;spoke about&nbsp;"Design Engineering"&nbsp;through the work of&nbsp;AKTII,&nbsp;the difference between&nbsp;"Research"&nbsp;and&nbsp;"Design (Re)search"&nbsp;through the work of P.ART; contemporary design trends and opportunities for future research projects.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Commemorating R. Buckminster Fuller's 119th&nbsp;Birthday!</b> </p> <p class="MsoNormal">Saturday, July 12th, 11:00-1:00pm,&nbsp;OfficeUS&nbsp;in the Pavilion</p> <p class="MsoNormal"> <a href="http://r20.rs6.net/tn.jsp?f=001aCoyQ8z92hPjOEV35voiBvYCkhZtEvDnNjLyAIsCKNOu11Er7qaEqaNYIFiwkJwmFL-ZAUO_E0-7YCRrXpuZLXe9-au_Rwlo06_cfy96aGjNedmncswUXuf0d_r-UxoFiPfjJjA2LD35nsJKKej34SWGxrB4vZpjt3FYPmdGyZuE-jtV7u2nodJZRInG3MCTDmLOg9hqWW4P23yW7T1OJP0FIaC5vRDCZkPcu83h8TkpQHM6C7J6UF1mcTo9IjvKHZFTwy2Tmu1bQa4o2LAc1REqXkWgHk_-tePBOrV37R44iOaHNR2ztisVa9iut1vx9kjtiPNip4FoVKO370c3wb-SV1n2pJSt4J7qhwkmqmM=&amp;c=QCxar4sn5roMFCb5MK1nNiirfjhhe3v7bfxqOWPbicoOM0m9kdUXoQ==&amp;ch=ChsgNpdasPF5kJ_DhJUE1Gx47Aq8uI1c0Z-WbKIM6g2RpH9SIg1oJw"> <span style="color: windowtext; text-decoration: none; text-underline: none;">Joachim Krausse Ph.D.&nbsp;</span> </a>(Dessau Department of Design, Anhalt&nbsp;University&nbsp;of Applied Sciences) and Daniel L&oacute;pez-P&eacute;rez</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Krausse spoke about Fuller's notion of Planetarium, the Geodesic Dome as "your private sky," and the geometrical explorations with the "Jitterburg Transformation". L&oacute;pez-P&eacute;rez&nbsp;spoke about Fuller's "World-Man" lecture, delivered at Princeton in 1966, along with a number of experiments that explored the concepts of Tensegrity, Geoscope, Wealth and Total Challenge.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>From Fuller&acute;s Manhattan Dome to Aer&oacute;polis</b> </p> <p class="MsoNormal">Saturday, July 12th, 11:00-12:00pm, OfficeUS in the Pavilion&nbsp;</p> <p class="MsoNormal"> <span style="text-decoration: underline;">Nerea Calvillo Ph.D.</span> (Goldsmiths,&nbsp;University&nbsp;of London)&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Calvillo spoke about contemporary practices focused on environmentalism, and Fuller's legacy upon these. &nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Network Patents at OfficeUS has been organized in partnership with&nbsp;The&nbsp;University&nbsp;of&nbsp;San&nbsp;Diego.&nbsp;<span style="font-size: 12px;">&nbsp;</span> </p>
Storefront TV: Call for Pilots 10 June 2014 10:50:49 EST http://www.storefrontnews.org/programming/projectss?e=622

Friday June 13, 2014

<p>After the exciting inaugural Storefront TV season in Fall 2013, Storefront for Art and Architecture announces the launch of a second season with a Call for Pilots, inviting proposals of original television programs and web series. All selected pilot programs will be taped at Storefront for Art and Architecture in front of a live studio audience and broadcasted online. Applications will be reviewed on a rolling basis through August 20, 2014.&nbsp;</p> <p>&nbsp;</p> <p>Interested parties should submit a proposal using <a href="https://docs.google.com/a/storefrontnews.org/forms/d/1RrWRpc6qn9R3MofaxD3cvcxQpcGohQjPTJcUZHTs6Uw/viewform?sid&amp;c=0&amp;w=1&amp;token">this form</a> on or before August 20, 2014.&nbsp;</p> <p>&nbsp;</p> <p> <b>About Storefront TV</b> </p> <p>Storefront TV is an online channel focused on the communication of contemporary art and architecture ideas with an emphasis on experimentation with a live TV format. All selected pilot programs will be taped live at Storefront for Art and Architecture with live audience and broadcasted online.</p> <p>&nbsp;</p> <p>Storefront TV's inaugural season included three programs: Perchance, A Talk Show of P's, led by Prem Krishnamurthy; BEING by ESPTV; and Who's afraid of the Big Bad Box?, a drawing show by Michael Young.&nbsp;</p> <p>&nbsp;</p> <p>For questions, please contact Piotr Chizinski at pc@storefrontnews.org.&nbsp;</p> <p>&nbsp;</p>
OfficeUS: Working Summit Issues Workshop 31 May 2014 10:50:25 EST http://www.storefrontnews.org/programming/projectss?e=621

Friday June 6, 2014 – Sunday June 8, 2014

<p>OfficeUS 25 ISSUES TALKS, the inaugural working summit of the United States Pavilion at the 14th International Architecture Exhibition, la Biennale de Venezia, in Venice, Italy. The conversations took place during the opening days, on June 6th, 7th, and 8th at the US Pavilion in the Giardini and launched the six month investigation of OfficeUS.</p> <p>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>FRIDAY, JUNE 6TH</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <i>12-1 pm</i> <b> Ex-Im</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Bernard Tschumi,&nbsp;<span style="font-size: 12px;">Brett Steele,&nbsp;</span> <span style="font-size: 12px;">Jonathan Solomon,&nbsp;</span> <span style="font-size: 12px;">Nader Tehrani,&nbsp;</span> <span style="font-size: 12px;">Mark Wigley,&nbsp;</span> <span style="font-size: 12px;">Mohsen Mostafavi,&nbsp;</span> <span style="font-size: 12px;">Richard Armstrong,&nbsp;</span> <span style="font-size: 12px;">Sarah Whiting</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the circulation of ideas through different spaces, individuals and socio-political conditions that have shaped the collective imaginary of 20th century architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>1-2 pm</i> <b> Best Practices &amp; Around the Clock</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Beatriz Colomina,&nbsp;<span style="font-size: 12px;">James von Klemperer,&nbsp;</span> <span style="font-size: 12px;">Juan Herreros,&nbsp;</span> <span style="font-size: 12px;">Sylvia Lavin,&nbsp;</span> <span style="font-size: 12px;">Leong&amp;Leong</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the effects of organizational structures, business models and tools on the life of a practice, as well as on its architectural products while discussing the contemporary totalization of work and play and the spatial, social, economic and creative models associated with it.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>2-3 pm</i> <b> Crude Ideals</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Hamed Khosravi,&nbsp;<span style="font-size: 12px;">Reinhold Martin,&nbsp;</span> <span style="font-size: 12px;">Todd Reisz,&nbsp;</span> <span style="font-size: 12px;">Ivan Rupnik,&nbsp;</span> <span style="font-size: 12px;">Adrian Lahoud,&nbsp;</span> <span style="font-size: 12px;">Anthony Fontenot</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the energy resource economies as drivers of city form, including contemporary smart cities and off-the-grid settlements.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>3-4 pm</i> <b> Trojan Horses &amp; Little Americas</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Keller Easterling,&nbsp;<span style="font-size: 12px;">Felicity D. Scott,&nbsp;</span> <span style="font-size: 12px;">Mimi Zeiger,&nbsp;</span> <span style="font-size: 12px;">Peter Zellner</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining how architecture sneaks in programmatic and ideological agendas into foreign territories in a state of disguise.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>4-5 pm</i> <b> Labor LEED &amp; The Invisibles</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Erin Rae Hoffer,&nbsp;<span style="font-size: 12px;">Mabel Wilson,&nbsp;</span> <span style="font-size: 12px;">Alejandro Zaera-Polo,&nbsp;</span> <span style="font-size: 12px;">Brendan McGetrick</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Exploring the protocols that perpetuate the exclusion of social groups from the decision making table while speculating about what new tools, codes and system of measurement can be implemented to produce higher levels of equality among the individuals building, living and servicing architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>5-6 pm</i> <b> Reprogramming &amp; Bullets Without Ideology &nbsp;</b> </p> <p class="MsoNormal"> <span style="text-decoration: underline;">Liz Diller,&nbsp;<span style="font-size: 12px;">Michael Hays,&nbsp;</span> <span style="font-size: 12px;">Jorge Otero-Pailos,&nbsp;</span> <span style="font-size: 12px;">Eyal Weizman</span> </span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Examining the architectural implications of technological, political and ideological paradigm shifts while exploring the ideological openness &ndash; or vacuum- of prototypical architecture, which by definition presents solutions in search of a problem.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>6-7 pm</i> <b> Closing Drinks and thoughts by Forensis</b> </p> <p class="MsoNormal"> <b> </b> </p> <p class="MsoNormal"> </p>
OfficeUS 13 March 2014 18:07:29 EST http://www.storefrontnews.org/programming/projectss?e=610

Wednesday June 4, 2014 – Sunday November 23, 2014

<h5> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Author>k leshk</o:Author> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2010-01-28T11:57:00Z</o:Created> <o:LastSaved>2010-01-28T11:59:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>187</o:Words> <o:Characters>1067</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>8</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1310</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">Storefront for Art and Architecture, the commissioner of the 2014 United States Pavilion at the 14th International Architecture Exhibition - la Biennale di Venezia presents Office<i>US</i>,&nbsp;a global experiment in the making of architecture, history and work.&nbsp;&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Office<i>US</i>&nbsp;responds to&nbsp;<a href="http://www.labiennale.org/en/architecture/news/25-01.html"> <span style="color: windowtext; text-decoration: none; text-underline: none;">the theme of&nbsp;Absorbing Modernity: 1914-2014</span> </a>&nbsp;by focusing on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Office<i>US</i>&nbsp;is an active, global, experimental architecture office that researches, studies, and remakes projects from an onsite archive of 1,000 buildings and the 200 U.S. based architecture offices engaged in their construction. Collectively, the projects in the archive tell multiple, imbricated stories of U.S. firms, typologies, and technologies. The office&nbsp;is&nbsp;led&nbsp;by&nbsp;partners&nbsp;Arielle&nbsp;Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest,&nbsp;<a href="http://www.storefrontnews.org/programming/projects?c=&amp;p=&amp;e=630"> <span style="color: windowtext; text-decoration: none; text-underline: none;">&nbsp;8 architects selected from an international open call,</span> </a>&nbsp;along with&nbsp;visiting experts, and outpost offices distributed worldwide. Over the 25 weeks of the Biennale,&nbsp;Office<i>US</i>&nbsp;revisits the projects in the archive, their premises and conclusions, to construct an agenda for the future production of architecture.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">For six months, the Office looks simultaneously backward and forward, submitting both historical material and office protocols to contemporary agents of disruption, critique, pessimism, and optimism physically and digitally.&nbsp;Office<i>US</i>&nbsp;is simultaneously a repository and a laboratory of ideas and criticism in the form of an alternative architecture office.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The&nbsp;<i>OfficeUS&nbsp;Manual</i>, an open source document that will contain a historical selection of office manuals and a set of contemporary entries, will guide along the&nbsp;<i>OfficeUS&nbsp;Agenda</i> and the<i>&nbsp;OfficeUS&nbsp;Atlas</i>, The Office&rsquo;s work that will ultimately be published as the Office<i>US</i> New World at the end of the Biennale.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">All content and work produced throughout the biennale will be recorded, broadcasted and transmitted through the online platform of&nbsp;Office<i>US</i>.</p> </h5> <h5> <br /> <p class="MsoNormal"> <b>Follow the work of Office<i>US</i> on the <a href="http://blog.officeus.org/">Office<i>US</i> Blog here</a>.&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> </h5> <div>TO LEARN MORE AND/OR TO SUPPORT THIS PROJECT PLEASE VISIT&nbsp;<a href="http://officeus.org/">OFFICEUS.ORG</a>.</div> <div> <br /> <span style="font-size: 12.222222328186px; text-align: -webkit-center; text-decoration: underline;"> <a href="http://visitor.r20.constantcontact.com/manage/optin?v=001EYE_9pNc5E3RmfUyXaqES1fVPAw5NAGRBXcQl2lMmE6YaF8mmVrMwcodSL5BlN84mjJhNeKleagMy_CbA9Q3624HvuagSL7MDZk-e1XKL2jLnM0L-wAdCn2GM9vr2shXFaH_V1tR6YiNcropzoFZT4C7YX6S7UNzvB_4XpPnd94%3D"> <b>Get OfficeUS Updates by signing up for the mailing list</b> </a> </span> </div> <h5> <br /> </h5> <div> <b>OfficeUS Partners</b> </div> <div> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>31</o:Words> <o:Characters>179</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>219</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">Arielle&nbsp;Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest. &nbsp;</p> <p class="MsoNormal">&nbsp;</p> <!--EndFragment--> </div> <div> <b>Participants</b> </div> <div> <div>A. L. Aydelott and Associates, Acconci Studio, Adrian Smith + Gordon Gill Architecture, Adrian Wilson Associates, AECOM, Albert Kahn Associates, Antoine Predock Architect PC, Arquitectonica, Arthur B. Froehlich and Associates, Asymptote Architecture, ATOPIA, Ayres, York and Sawyer, Bassetti Architects, Benjamin Thompson Associates, Bernard Tschumi Architects, Bohlin Cywinski Jackson, Brown Daltas and Associates, Cambridge Seven Associates, Cannon Design, Carl Koch, Carlos Zapata Studio, Cass Gilbert, Center for Environmental Structure, CRSS Inc., Daniel, Mann, Johnson &amp; Mendenhall, Davis Brody Bond, Delano and Aldrich, Diller Scofidio + Renfro, Donald Hatch and Associates, Duany Plater-Zyberk &amp; Company, Eduardo Catalano, Edward Durell Stone and Associates, Edward Larrabee Barnes Associates, Eero Saarinen and Associates, Eisenman Architects, Ellerbe Becket, Epstein, Frank Lloyd Wright, FXFOWLE Architects, Gehry Partners, Gensler, George A. Fuller Company, Gluckman Mayner Architects, Goettsch Partners, Graham, Anderson, Probst &amp; White, Gunnar Birkerts and Associates, Gwathmey Siegel Kaufman Architects, Harrison and Abramovitz, Harry Weese Associates, Hartman-Cox Architects, Hashim Sarkis Studios, Helmle and Corbett, Henry Killam Murphy, HKS, Inc., Hodgetts + Fung, HOK, Holabird and Root, H&ouml;weler + Yoon Architecture, Hugh Stubbins and Associates, I. M. Pei Architect, Integrus, JAHN, Jerde Partnership, John Hejduk, John Johansen, John Portman and Associates, John Russell Pope, Joseph Allen Stein and Associates, Kevin Roche John Dinkeloo and Associates, Kieran Timberlake, KMW Architecture, Koetter Kim and Associates, Kohn Pedersen Fox Associates, KVA matx, L.E.FT, Lathrop Douglass, LEESER Architecture, Leo A Daly, Leong Leong, LOT-EK, Louis I. Kahn, Louise Braverman, Architect, Machado and Silvetti Associates, MACK Architect(s), Marcel Breuer Associates, MASS Design Group, McKim, Mead &amp; White, Michael Graves and Associates, Michael Maltzan Architecture, Mitchell/Giurgola Architects, Moore Ruble Yudell, Morphosis Architects, Morris Lapidus Associates, MOS Architects, NADAAA, NBBJ, NELSON H2L2, OBRA Architects, Office dA, ORG Organization For Permanent Modernity, over,under, Paul Rudolph, Paul Williams, Payette, Pei Cobb Freed &amp; Partners Architects, Pelli Clarke Pelli Architects, Perkins + Will, Perkins, Fellows and Hamilton, Perry Dean Rogers | Partners Architects, Philip Johnson / Alan Ritchie Architects, Polshek Partnership, Populous, Preston Scott Cohen, Rafael Vi&ntilde;oly Architects, Ralph Lerner Architects, Ralph Rapson, Raymond &amp; Rado, REX Architecture, Richard J. Neutra, Richard Meier and Partners Architects, Robert A.M. Stern Architects, Robert P. Madison International, ROMA Design Group, RoTo Architecture, RTKL, RUR Architecture PC, Safdie Architects, Santos Prescott and Associates, Sasaki Associates, Schultze and Weaver, Selldorf Architects, Sert, Jackson and Associates, Shepley Bulfinch, SHoP, Shreve, Lamb and Harmon, SITE, Skidmore, Owings &amp; Merrill, Slade Architecture, SmithGroupJJR, SO-IL, Sorg Architects, SsD, Stan Allen Architect, Steven Holl Architects, Studio Daniel Libeskind, Studio Hillier, Studio Shanghai, studio SUMO, STUDIOS Architecture, The Architects Collaborative, The Austin Company, The Eggers Group, The Leonard Parker Associates, The Office of Ludwig Mies van der Rohe, Thomas W. Lamb, Tigerman McCurry Architects, Tod Williams Billie Tsien Architects, Toshiko Mori Architect, Town Planning Associates, USIA-Masey, Utile, Venturi, Scott Brown and Associates, Victor A. Lundy, Victor Gruen International, Vincent G. Kling, VJAA, Walker and Gillette, Walter Burley Griffin and Marion Mahony, Warren and Wetmore, WEISS/MANFREDI Architecture/Landscape/Urbanism, William B. Tabler Architects, William E. Parsons, William L. Pereira and Associates, William Welles Bosworth, Wimberly Allison Tong &amp; Goo, Wodiczko + Bonder, WORKac, Yamasaki and Associates, Zago Architecture, Zimmer Gunsul Frasca</div> <div> <br /> </div> <div> <div> <b>Office US Team</b> </div> <div>&nbsp;</div> <div> <b>OfficeUS Leader</b> </div> <div>Storefront for Art and Architecture</div> <div> <br /> </div> <div> <b>Curators</b> </div> <div>Eva Franch i Gilabert, Ana Miljački, &nbsp;Ashley Schafer</div> <div> <br /> </div> <div> <b>Associate Curator</b> </div> <div>Michael Kubo</div> <div> <br /> </div> <div> <b>Assistant Curators</b> </div> <div>Carlos M&iacute;nguez Carrasco, Jacob Reidel</div> <div> <br /> </div> <div> <b>Co-Organizer</b> </div> <div>PRAXIS</div> <div> <br /> </div> <div> <b>Exhibition Design</b> </div> <div>LEONG LEONG: Chris Leong, Dominic &nbsp;Leong, Gabriel Burkett; Jackie Woon &nbsp;Bae, Clare Johnston, Yu-Hsiang Lin, &nbsp;Jane Jonghyun Yi</div> <div> <br /> </div> <div> <b>Graphic Design</b> </div> <div>Pentagram: Natasha Jen; &nbsp;Jeffrey Waldman; Justin Chen, &nbsp;JangHyun Han, Jin Kwang Kim, Oeun &nbsp;Kwon, Yenwei Lui, Lucia Del Zotto</div> <div> <br /> </div> <div> <b>Technology Architecture</b> </div> <div>CASE</div> <div> <br /> </div> <div> <b>Audio-Visual and Lighting Design</b> </div> <div>Arup: Star Davis, Stephanie Hillegas, &nbsp;Matthew Mahon, David Rife</div> <div> <br /> </div> <div> <b>Outpost Network Strategy</b> </div> <div>Therrien-Barley</div> <div> <br /> </div> <div> <b>Media Producer</b> </div> <div>Andrew Fierberg</div> <div> <br /> </div> <div> <b>Web Design</b> </div> <div>M-A-U-S-E-R; Partner &amp; Partners</div> <div> <br /> </div> <div> <b>Publishing Partner</b> </div> <div>Lars Müller Publishers</div> <div> <br /> </div> <div> <b>Media Partner</b> </div> <div>Architizer</div> <div> <br /> </div> <div> <b>Project Coordinator</b> </div> <div>Irina Chernyakova</div> <div> <br /> </div> <div> <b>Research Coordinator</b> </div> <div>Juan Jofre</div> <div> <br /> </div> <div> <b>Development, External Relations, Special Events</b> </div> <div>Kara L. Meyer</div> <div> <br /> </div> <div> <b>Technology and Production Coordinator</b> </div> <div>Piotr Chizinski</div> <div> <br /> </div> <div> <b>Outreach and Communications Manager</b> </div> <div>Zeynep G&ouml;ksel</div> <div> <br /> </div> <div> <b>Project Assistant</b> </div> <div>Natalie Snyder</div> <div> <br /> </div> <div> <b>Praxis</b> </div> <div>Amanda Reeser Lawrence, Margaret &nbsp;Arbanas, Andrew Colopy, Megan Miller, &nbsp;Fred Tang, Irina Verona</div> <div> <br /> </div> <div> <b>Installation Support</b> </div> <div>Ryder Richards</div> <div> <br /> </div> <div> <b>Public Relations</b> </div> <div>Novit&agrave; Communications</div> <div> <br /> </div> <div> <b>Coordination in Venice</b> </div> <div>Chiara Barbieri (Peggy Guggenheim &nbsp;Collection), Designlab, Giacomo Di &nbsp;Thiene &amp; Germano Colonna (Th&amp;Ma &nbsp;Architettura), Saverio Panata &amp; Silvia Zini</div> <div> <br /> </div> <div> <b>MIT Department of Architecture</b> </div> <div>Kyle Barker, Christianna Bonin, Kyle &nbsp;Coburn, Nathan Friedman, Sam</div> <div>Ghantous, Anastasia Hiller, Jessica &nbsp;Jorge, Karen Kitayama, Gabriel &nbsp;Kozlowski, Jasmine Kwak, Patrick Evan &nbsp;Little, Ann Lok Lui, Moojin Park, Austin &nbsp;Smith, Tyler Stevermer, Evelyn Ting, &nbsp;Michael Waldrep, Sarah Weir, Natthida &nbsp;Wiwatwicha, Rixt Woudstra, Wenfei Xu; &nbsp;Support: Daniel Chang, Kristina &nbsp;Eldrenkamp, Nicolo Guida, Lee Moreau, &nbsp;David Oliver, Chiranit Prateepasen, &nbsp;Claire Shafer, Trygve Wastvedt</div> <div> <br /> </div> <div> <b>Austin E. Knowlton School at The Ohio State University</b> </div> <div>Laila Ammar, Levi Bedall, Tyler &nbsp;Brozovich, Joe Carifa, Nicholas &nbsp;Castillo, Luke Dougal, Clay Ellerbrook, &nbsp;Abdelrahman Elzamly, Talia Friedman, &nbsp;Chris Mannella, Nicholas Miller, Dustin&nbsp;<span style="font-size: 12px;">Page, Darren Spensiero, Alexander &nbsp;Stagge, Jacqueline Stern, Jianning &nbsp;Zhong, Michael Zumpano</span> </div> <div> <br /> </div> <div> <b>Project Contributors</b> </div> <div>Daniel Barber, Barry Bergdoll, Phil &nbsp;Bernstein, Brett Beyer, Aleksandr Bierig, &nbsp;Michael Blackwood, Gabrielle Brainard, &nbsp;Felix Burrichter, Beatriz Colomina, &nbsp;Designers Assembly, Peggy Deamer, &nbsp;Elizabeth Diller, Keller Easterling, &nbsp;Branden Hookway, Timothy Hyde, &nbsp;Christophe Laudamiel, Miguel McKelvey, &nbsp;Ijlal Muzaffar, Jorge Otero-Pailos, &nbsp;Johnathan Puff, Pierce Reynoldson, &nbsp;Ivan Rupnik, Hilary Sample, Denise &nbsp;Scott Brown, Amie Siegel, Slow and &nbsp;Steady Wins the Race by Mary Ping, &nbsp;Studio Indefinit, Omar Sosa, Liam &nbsp;Young, Claire Zimmerman</div> <div> <br /> </div> <div> <b>Project Support</b> </div> <div>Silvia Callegari, Michelle Callinan, &nbsp;Tyrene Calvesbert, Diandra Cohen, &nbsp;Ian Costello, Ashely Kuo, Francesca &nbsp;Lantieri, Itzel Lavanderos, Anu Lill, &nbsp;Yuma Shinohara, Michael Signorile, &nbsp;Zaina Soueid, Melody Stein, Elise Stella, &nbsp;Mario Torres</div> <div> <br /> </div> <div> <b>Project Advisors</b> </div> <div>Laurie Beckleman, Aaron Betsky, &nbsp;Holly Block, Beatriz Colomina, Keller &nbsp;Easterling, Campbell Hyers, Cathy &nbsp;Lang Ho, James von Klemperer, Marc &nbsp;Kushner, Lars Müller, Douglass Rice,</div> <div>Bob Rubin, Sylvia J. Smith, Lisa &nbsp;Phillips, Artur Walther, Sarah Whiting, &nbsp;Karen Wong</div> <div> <br /> </div> <div> <b>Special Thanks</b> </div> <div>Peter Aaron, Iris Alonzo, Zahra Ali Baba, Dana Aljouder, Alan I. Appel, Iwan Baan, Roberta Bartalone, Barry Beagan, Cameron Blaylock, Gary Boyd, Roy Brand, Beth Broome, Abby Bussel, Michelle Callinan, Anna Canepa, Bryan Cave LLP: Alan Appel, Greg Galvin, Nicole Gates, Robert Lancaster, Margery Perlmutter, Stefan Skulesch; Michael Cadwell, Rebecca Chamberlain, Alan Cross, Nicholas de Moncheaux, Patricia Driscoll, Ignacio Peydro Duclos,&nbsp;<span style="font-size: 12px;">Ellen Finnie Duranceau, Nazareth Ekmakijan, Igor Ek&scaron;tajn, Rami el Samahy, Britt Eversole, Alia Farid, Enrico Fontanari, Christine Foushee, Frener &amp; Reifer: Thomas Geissler, Michael Purzer; Curt Gambetta, Emil Rodriguez Garabot, Joseph Grima, Roland Halbe, Jim Harrington, Sarah Herda, Dessen Hillman, Adam Himes, Sarah Hirschman, Margaret Ho, Mark Jarzombek, Duncan Kincaid, Arianne Kouri, Naho Kubota, Neil Levine, Rungu Lin, Rob Livesey, Hannah&nbsp;</span> <span style="font-size: 12px;">Loomis, Elizabeth Gill Lui, Sebastian Lux, Richard Mandelkorn, Sandro Marpillero, Melissa Marsh, Jack Masey, Lorrie A. McAllister, Brendan McGetrick, Cathleen McGuigan, John McLaughlin, Franco Micucci, Antoni Muntadas, Hansrobyn van Oosten, Janet Parks, Beverly Payeff-Masey, Neal Prince, Ivan Ra&scaron;ković, Julian Rose, Marco Roso, Marco Ariso Rota, Ryan Rothman, Joel Sanders, Ad&egrave;le Naud&eacute; Santos, Kelly Schein, Ori Scialom, Neslihan Sen, Karin &Scaron;erman, Douglas Sershen, Sarah Sherman, Tarek Shuaib, Amber Sinicrope, Alexandra Lee Small, Erica Stoller, Hicks Stone, Sam Sweezy, Nader Tehrani, Wayne Thom, Allie&nbsp;</span> <span style="font-size: 12px;">Turner, Dicle Uzunyayla, Gary Van Zante, Ana Cristina Vargas, Mariel Viller&eacute;, Ann Whiteside, Jaren Wilcoxson, Mark Young, Ines Zalduendo</span> </div> <div> <span style="font-size: 12px;"> <br /> </span> </div> <div> <span style="font-size: 12px;"> <b>Sponsors</b> </span> </div> <div> <span style="font-size: 12px;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>287</o:Words> <o:Characters>1636</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>13</o:Lines> <o:Paragraphs>3</o:Paragraphs> <o:CharactersWithSpaces>2009</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">Austin E. Knowlton School of Architecture at the Ohio State University, Autodesk (Creative Partner), Bureau of Educational and Cultural Affairs, US Department of State, Herman Miller (Creative Partner), Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York), The Massachusetts Institute of Technology, Department of Architecture; AECOM, Arup, Esto, Graham Foundation for Advanced Studies in the Fine Arts, Hewlett Packard | AMD, Kohn Pedersen Fox Associates (KPF), Reggiani S.p.A. Illuminazione; American Apparel, Elise Jaffe + Jeffrey Brown, Frederick Iseman, FXFOWLE Architects, MakerBot, Oldcastle BuildingEnvelope, Robert Melvin Rubin and St&eacute;phane Samuel, Skidmore, Owings &amp; Merrill LLP, Walther Family Foundation; Arthur H. Schein Memorial Fund, JAHN; Cornell University, Lanny and Sharon Martin, OTTO Archive, RTKL, The University of San Diego; Charles Renfro, Control Group, Harman, Iwan Baan, Michael A. Manfredi and Marion Weiss, Peter Aaron, RD RICE Construction Inc., The American Institute of Architects; Acci&oacute;n Cultural Espa&ntilde;ola, Adrian Smith + Gordon Gill, Barbara Jakobson, Beth Rudin DeWoody, Daniel and Estrellita Brodsky, David and Jane Walentas, Elizabeth Gill Lui, Eva Ching and Jeff Small, Frederieke Taylor, Knowlton School Alumni Society, Lauren Kogod &amp; David Smiley, Michael Blackwood Productions Inc., Richard Mishaan Design, Roland Halbe Fotografie, Todd DeGarmo, Toshiko Mori Architect PLLC; American Printing Company, Armando Delatorre, Belmont Freeman, Brian Butterfield, Carlos Brillembourg and Karin Waisman, C &amp; M Shade Corporation, Claudia Gould, Eades Appliance Technology (E.A.T.), Holly Block, Jinhee Park and John Hong, SsD, Karen Wong, Linda and Harry Macklowe, Lucy Bullivant, Mabel Wilson, Margery Perlmutter, NRI (National Reprographics Inc.), Sara P. Meltzer, Sheila Kennedy, AIA &amp; Juan Frano Violich, FAIA, Soho Art Materials, Steven T. Incontro and David Joselit, The Legacy Companies, The Henry Ford, Vram Malek</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/all_logos.png" width="500" height="326" /> </p> <!--EndFragment--> </span> </div> </div> <div> <br /> </div> <div> </div> </div>
OfficeUS: OUTPOSTS 24 July 2014 04:36:20 EST http://www.storefrontnews.org/programming/projectss?e=639

Wednesday June 4, 2014

<p> <span style="font-size: 12px;">OfficeUS Outpost</span> </p> <p> <span style="font-size: 12px;">July 15, 2014 - August 30, 2014</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">OfficeUS</span>&nbsp;<span style="font-size: 12.222222328186035px; background-color: #ffffff;">&nbsp;is an architecture collective, with its first headquarters in the US Pavilion at the 2014 Venice Architecture Biennale, that aims to redefine the terms of design and production of architecture on a global scale. Participation in&nbsp;</span>&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;<span style="font-size: 12.222222328186035px; background-color: #ffffff;">&nbsp;is an act of architectural generosity towards the production of ideas and projects beyond current social, economical, pedagogical and disciplinary constraints.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px;">OfficeUS</span> <i>&nbsp;</i>Partners<i>&nbsp;</i>invited 90 architects worldwide to participate in the activities of a global architecture office. OfficeUS Outposts contribute their voices, expertise and skills to&nbsp;<span style="font-size: 12px;">OfficeUS&nbsp;</span> <span style="font-size: 12px;">on a regular basis.&nbsp;</span> <span style="font-size: 12px;">The selected members of the Office</span> <i>US</i> <span style="font-size: 12px;"> Outpost Community are architects working within corporate offices, small firms, government agencies, universities or independently.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12px;"> <span style="font-size: 12px;">Throughout the 25 weeks of the Venice Architecture Biennale, a series of 25&nbsp;</span> <span style="outline-width: 0px; font-size: 12.222222328186035px;">Office</span> <span style="font-size: 12px;">&nbsp;</span> <i>US</i> <span style="font-size: 12px;">&nbsp;Issues (ranging from Public Housing to Smart Materials) provide the framework of OfficeUS</span> <i>&nbsp;</i> <span style="font-size: 12px;">inquiry.&nbsp;</span>OfficeUS</span>&nbsp;Outpost Architects participate from their local base in the development and implementation of projects in collaboration with the 6&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;Partners in residence at the&nbsp;<span style="font-size: 12px;">OfficeUS</span>&nbsp;Headquarters in the US Pavilion at the 2014 Venice Architecture Biennale.&nbsp;<span style="font-size: 12px;">The projects will be ultimately compiled in the OfficeUS New World book, published by Lars Muller.</span> </p> <p>&nbsp;</p> <p>The Storefront Gallery in New York is an open base for OfficeUS Outposts and visitors to engage with the content and activities of OfficeUS.</p> <p>&nbsp;</p> <p> <span style="font-size: 12px;">Other OfficeUS Outposts are:&nbsp;</span> </p> <p>&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>521</o:Words> <o:Characters>2971</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>24</o:Lines> <o:Paragraphs>5</o:Paragraphs> <o:CharactersWithSpaces>3648</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b> <span style="font-size: 10.0pt; mso-bidi-font-size: 19.0pt; font-family: Arial; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black;"> <a href="http://www.allardvanhoorn.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Allard van Hoorn,</span> </a>&nbsp;<a href="http://www.french2d.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Anda French,</span> </a>&nbsp;<a href="http://antonas.blogspot.gr/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Aristide Antonas,</span> </a>&nbsp;<a href="http://austin-mergold.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Austin Mergold,</span> </a>&nbsp;Ben Brady,&nbsp;Benjamin Porto,&nbsp;<a href="http://www.issuu.com/cara.liberatore/docs/liberatore_cara_portfolio"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Cara Liberatore,</span> </a>&nbsp;Caroline Smith,&nbsp;<a href="http://www.cpiuc.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Carla Seppe,</span> </a>&nbsp;<a href="http://www.cpiuc.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Cheryl Wing-Zi Wong,</span> </a>&nbsp;Chrissi Nasz,&nbsp;<a href="http://miniatura.cc/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Ciro Miguel,</span> </a>&nbsp;<a href="http://www.boym.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Constantin Boym,</span> </a>Daniel Tudor Munteanu,&nbsp;<a href="http://www.daniellerago.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Danielle Rago,</span> </a>&nbsp;<span style="mso-bidi-font-size: 12.0pt; color: black;"> <a href="http://www.adengoarchitects.com/">Doreen Adengo,</a>&nbsp;</span> <a href="http://issuu.com/eva_alvarez/docs/gomez_alvarez_arquitectes__february/8"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Eva Alvarez,</span> </a>&nbsp;<a href="http://bit.ly/1fGrC2R"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Fabio Gigone,</span> </a>&nbsp;<a href="http://europaconcorsi.com/authors/2144620922-Fabrizio-Furiassi"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Fabrizio Furiassi,</span> </a>&nbsp;<a href="http://www.christ-gantenbein.arch.ethz.ch/fruhlingssemester-2014.html"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Filippo Cattapan,</span> </a>&nbsp;<a href="http://www.tenonearch.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Garrick Jones,</span> </a>&nbsp;Hanna Espinosa,&nbsp;<a href="http://smharch.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Henry Smith-Miller,</span> </a>&nbsp;<a href="http://www.oiio.gr/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Ioannis Oikonomou,</span> </a>&nbsp;Jean Benoit Vetillard,&nbsp;<a href="http://www.french2d.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jenny French,</span> </a>&nbsp;<a href="http://jonathancrisman.net/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jonathan Crisman,</span> </a>&nbsp;<a href="http://www.paradoxcity.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Jorg Sieweke,</span> </a>&nbsp;Juan Molina Restrepoe,&nbsp;<a href="http://www.possiblemediums.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Kristy Balliet,</span> </a>&nbsp;Lisa Pauli,&nbsp;<a href="https://www.facebook.com/pages/Luis-Diego-Quiros-Arquitectura/128782853838280?ref=hl"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Luis Diego Quiros Pacheco,</span> </a>&nbsp;<a href="http://www.linkscale.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Maj Plemenitas,</span> </a>&nbsp;<a href="http://www.pilarpinchart.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Maria Pilar Pinchart,</span> </a>&nbsp;Mart Schaefer,&nbsp;<a href="http://www.matthewmessner.com/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Matthew Messner,</span> </a>&nbsp;<a href="http://www.terreform.org/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Mitchell Joachim,</span> </a>&nbsp;<a href="http://issuu.com/nazaninnayini/docs/naeini_portfolio-13"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Nazanin Naeini,</span> </a>&nbsp;<a href="http://www.nickaxel.net/"> <span style="mso-bidi-font-size: 12.0pt; color: black;">Nick Axel,</span> </a>&nbsp;Nikoletta Filippidou,&nbsp;</span> </b> <b> <span style="font-size: 10pt; font-family: Arial;"> <a href="http://kydcaa.com/">Pablo Costa,</a>&nbsp;Pamela Ritchot,&nbsp;Paolo Migliori,&nbsp;<a href="https://www.linkedin.com/profile/view?trk=nav_responsive_tab_profile&amp;id=86714383">Patrizia Toscano,</a>&nbsp;<a href="http://www.paulpreissner.com/">Paul Preissner,</a>&nbsp;<a href="http://petermacapia.com/">Peter Macapia,</a>&nbsp;<a href="http://phillipdenny.com/">Phillip Denny,</a>&nbsp;<a href="http://dsgnagnc.com/">Quilian Riano,</a>&nbsp;<a href="http://www.schneider-schumacher.de/de/buero/standorte">Ragunath Vasudevan,</a>&nbsp;<a href="http://www.sahramotalebi.com/">Sahra Motalebi,</a>&nbsp;<a href="http://arch.rice.edu/People/Faculty/Sam-Stewart-Halevy">Samuel Stewart-Halevy,</a>Sara Dean,&nbsp;Sasa Zivkovic,&nbsp;<a href="http://selma-alihodzic.com/">Selma Alihodzic,</a>&nbsp;Sindy Mart&iacute;nez Lortia,&nbsp;<a href="http://agencyarchitecture.com/">Stephen Mueller,</a>&nbsp;<a href="http://tallerdecasqueria.com/">Taller de Casquer&iacute;a Collective,</a>&nbsp;Tamar Alon, and Ted Landrum.</span> </b> </p> <p>&nbsp;</p> <p>Outposts Applications were received from more than 300 locations worldwide.&nbsp;</p> <p> <iframe width="425" height="350" frameborder="0" scrolling="no" marginheight="0" marginwidth="0" src="https://www.google.com/maps/ms?hl=en&amp;ie=UTF8&amp;oe=UTF8&amp;msa=0&amp;msid=213263596755166446011.0004f999ebf24a5f3d1e9&amp;ll=11.072998,15.173647&amp;spn=97.681741,275.699709&amp;t=m&amp;output=embed"> </iframe> <br />View <a href="https://www.google.com/maps/ms?hl=en&amp;ie=UTF8&amp;oe=UTF8&amp;msa=0&amp;msid=213263596755166446011.0004f999ebf24a5f3d1e9&amp;ll=11.072998,15.173647&amp;spn=97.681741,275.699709&amp;t=m&amp;source=embed">Outposts</a> in a larger map </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: OLFACTORY DESIGN 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=623

Wednesday June 4, 2014 – Sunday November 23, 2014

<!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal"> <i>OfficeUS Scents</i> </p> <p class="MsoNormal">June 4 &ndash; November 21, 2014</p> <p class="MsoNormal">By Christophe Laudamiel</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>OfficeUS Scents&nbsp;</i>is a project by Christophe Laudamiel at the 14th International Architecture Exhibition &ndash; la Biennale di Venezia as part of the U.S. Pavilion project Office<i>US</i>.&nbsp;The project constructs olfactory spaces for the five rooms in Office<i>US</i>&nbsp;as a sensorial historiography and critique of the projects and offices contained in the Repository and as a spatial materialization of the functions contained in each room.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 1: 1914-1960: THE BOOK THIEF No 5</b> </p> <p class="MsoNormal">While historical records allow us to understand the past through the reconstruction of visual, textual or material portraits and approximations of physical and measurable conditions, the history of scents is still an uncharted historical territory. While other senses have undergone a process of rationalization and scientific quantification and representation, including vision, hearing (from music to the spoken word), and touch (through temperature), smell has been difficult to quantify and measure.&nbsp;Olfactory records are still today hard to find, even when recognized as one of the most powerful tools for space making.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;The Book Thief,&rdquo; the first scent of Office<i>US</i>, is a scent that transports the visitor from the Giardini into an imaginary fictional past, filling the room that displays the first five decades of U.S. architectural work produced abroad. Made of wooden and fabric leather shades, &ldquo;The Book Thief&rdquo; scent transforms and transports the olfactory space of the visitor into an early 20th century office of wooden desks and leather books.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 2: 1961-2000: NEROLITO No 2</b> </p> <p class="MsoNormal">In an imaginary hyper globalized context, where people, buildings and food will extrinsically be all the same, one of the discerning aspects and qualities of cities and territories will be associated with the scents that emanate from the local mix of land, air, vegetation and built matter.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The range of locations, styles, politics and economics of buildings produced by US firms around the world during the second half of the twentieth century is mostly characterized by the corporate office building of air-conditioned spaces and high reflections facades. The oil boom of the 60&rsquo;s propagated an architecture of glass and steel that remained mostly isolated from its context. &ldquo;Nerolito No 2&rdquo; borrows its name, &ldquo;small Neroli&rdquo; in Italian, from &ldquo;Neroli,&rdquo; the jargon term used by perfumers worldwide to describe Orange Flower Essence, one of the best-accepted scents worldwide common to many cultures and discernible by young and adult bodies. According to scientific studies, citrus smells are aromatic assets that produce a relaxing effect curbing stress and anxiety. &ldquo;Nerolito No 2&rdquo; appears in the section of Office<i>US</i> where office buildings do not appear only as buildings but also as the carries of a culture of work, production and modern life detached from physical and emotional contexts.&nbsp;While emotional distress and contextual isolation is still present in the work environment worldwide, new research in work environments, like the new headquarters for Facebook, is indeed closer to the orange orchard field.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;Nerolito No 2&rdquo; also contains the woody-frankincense molecule found naturally in orange peel, Bergamot oil from Italy, Sicilian Mandarins, a brushstroke of moss and blond vetyver soft notes. Thus &ldquo;Nerolito No 2&rdquo; is at the same time a global scent and a reminder of the forgotten olfactory spaces that buildings erase.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 3: Rotunda: OFFICEUS DRAPE No 20</b> </p> <p class="MsoNormal">The emergence of digital work and new social habits that allow us to work anywhere, anytime, has consequently blurred the distinction between work and play, leisure and duty, reprogramming and dematerializing traditional spatial demarcations, with a tendency for all activities to converge ultimately into one space: the bed. A place where the love and lust for work and life can equally be performed is in the rotunda of Office<i>US</i>, induced with &ldquo;Drape No 20,&rdquo; a scent that perpetually constructs the feeling of fresh blankets, of a perfect now, of omnipresent newness and &ldquo;nowness.&rdquo;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 4: 2001-2008:&nbsp; SPACEWOOD No 40SUS</b> </p> <p class="MsoNormal">While the sense of smell is often associated with memory, scent operates as any other language participating in the construction of new cognitive territories. Our sensorium constantly tries to make sense of smells, associating them to past or acquired experiences, yet there are new smells that, when not attached to new experiences, might be able to trigger a new, uncharted and perhaps future space.&nbsp;While language constructs new words through neologisms, composite figures or borrowings, new scents can be constructed by understanding what different and new associations they enable within our sensorium. The correlation between the scent and its perceived significance or meaning is more complex than the direct correlation between words and meaning. Violet Leaves, a precious ingredient only to be found in farms near Egypt and one of the economy motors for the farmers for that region, smells like fresh cucumber; Blue Chamomile smells like plastic and rubber and Polygonum essence and Cilantro molecules smell, for instance, quite electric.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&ldquo;SpaceWood&rdquo; has been designed with Bergamot coupled with anis, hawthorn and acacia flower notes that ultimately produce a neon-green and yellow landscape that occupies olfactory spaces yet to be learned, apprehend and understood. As an experiment for the visitor and for Office<i>US</i>, &ldquo;SpaceWood&rdquo; is yet to be described.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Room 5: 2009-2014:&nbsp; SQUEEZE ME B FULL 2, or how to project a freshly squeezed lemon onto the walls</b> </p> <p class="MsoNormal">A constant olfactory experience is conditional to a constant state of change. The mechanisms of our olfactory system function in such a manner that our body stops registering scents over a certain time of exposure as a way to adapt to contextual conditions and be able to sense change. The fifth room of Office<i>US</i>, which encompasses the kitchen of the experimental office, smells as if one is slicing a lemon, constructing a background scent that allows all of the scents emerging from the kitchen to be revealed within this fresh neutrality.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Scents at OfficeUS are displayed by microprecise scent players from AirQ, a Prolitec brand, based in Milwaukee, WI, USA:&nbsp;<a href="http://www.airq.com/"> <span style="color: windowtext; text-decoration: none; text-underline: none;">www.airq.com</span> </a> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>The project is sponsored by Prolitec and DreamAir.</i> </p> <!--EndFragment-->
OfficeUS: DRESS CODE DESIGN 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=624

Wednesday June 4, 2014 – Sunday November 23, 2014

<p class="MsoNormal">Office<i>US</i>, a project that looks back into the last hundred years of architecture production and its protocols, commissioned Slow and Steady Wins the Race to rethink the dress code of the architecture office.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Through a series of reenactments of classical pieces of clothing, the collection brings slight lines and threads of humor into the white shirt of the corporate office.</p>
OfficeUS: SPACE DESIGN 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=625

Wednesday June 4, 2014 – Sunday November 23, 2014

<p> The U.S. Pavilion for the 14th Venice Architecture Biennale is an experimental architecture office that researches and remakes projects from an on-site archive of 1,000 buildings and 200 United States&ndash;based architecture offices.&nbsp;</p> <p>&nbsp;</p> <p>Leong Leong&rsquo;s design for the U.S. Pavilion is a prototype workspace that reflects upon the future of the architectural office and the legacy of the last 100 years of United States architectural production. The Pavilion responds to the theme of the XIV Architecture Biennale, "Absorbing Modernity: 1914-2014," by focusing on the ways in which the space, structures, and protocols of the U.S. architectural office have participated in the construction of Modernity. The Office<i>US</i> Headquarters, designed by architects Leong Leong, consists of three fundamental elements: a Wall, a Table and a Curtain.</p> <p>&nbsp;</p> <p>The Wall, parallel to the external walls of the US Pavilion designed by Delano and Aldrich in 1930, contains 1000 Office<i>US</i> Binders that present the Repository chronologically ordered from 1914 to 2014 and the 25 Office<i>US</i> Issues in the form of black binders to be filled as the biennale unfolds.&nbsp;<span style="font-size: 12px;">The Table, traversing the entire plan of the building, supports and fuses work, display and play with a series of historical, functional and curatorial objects, models and books.&nbsp;</span> <span style="font-size: 12px;">The Curtain, a composition of office blinds, transforms the space of the Giardini inside out making the courtyard of the US Pavilion the interior meeting table of the Biennale.</span> </p> <div> <br /> </div>
OfficeUS: FUNDAMENTAL VIEWS OF THE ARCHITECTURE OFFICE 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=626

Wednesday June 4, 2014 – Sunday November 23, 2014

<p class="MsoNormal">As part of the ongoing research of Office<i>US</i>, Brett Beyer has produced a photographic essay that documents contemporary physical spaces of the architecture office.</p> <p class="MsoNormal"> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px;">The essay, consisting of 179 images, is constructed through an exploration of New York studios. The project portrays, depicts, unveils and constructs a contemporary archetype of practice. As a reflection of the homogenized contemporary working landscape, the photographic essay focuses the viewer's attention on classical and emerging spaces of the office. The essay takes us on a journey from the exhibitionist reception, passing by chaotically crafted model shops, customized identical desks and a series of ubiquitous&nbsp;meeting rooms. Technological and emotional subnarratives appear through&nbsp;idiosyncratic objects and forms and&nbsp;digital artifacts. The essay walks us through an imaginary office with chromatic punctuations and varying points of view. Beyer's essay ends with the best views of this New York architecture office, constructing a partial portrait of a contemporary whole.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">The full project was on display at Office<i>US</i>, the US Pavilion in Venice on November 19th and November 23rd.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Artist Bio</b> </p> <p class="MsoNormal"> <span style="font-size: 12px; background-color: #ffffff;">Brett Beyer</span>&nbsp;<span style="font-size: 12px; background-color: #ffffff;">is an architectural and fine art photographer based in Brooklyn, New York. He received his degree in studio art from Bard College. His work has appeared in publications such as The New York Times Magazine, American&nbsp;Photography, Rolling Stone, Dwell, Fast Company, and The Cornell Journal of Architecture. Some of his architectural clients include&nbsp;Cornell Architecture Art &amp; Planning, OMA, and SOM. His recent group exhibitions include &ldquo;5 Beekman&rdquo; as part of Visions at Temple Court in New York City, and &ldquo;OMA: Aerial/Interior&rdquo; as part of the International Photography Awards Best of Show in Los Angeles. In 2013 he took part in a week-long residency&nbsp;as part of the 30th anniversary show &ldquo;Being&rdquo; at Storefront for Art and Architecture. He is currently photographing architectural offices in New York City to be shown at the OfficeUS Pavilion for the 2014 Venice Architecture Biennale.&nbsp;</span> </p>
OfficeUS: GRAPHIC DESIGN 27 June 2014 05:50:27 EST http://www.storefrontnews.org/programming/projectss?e=627

Wednesday June 4, 2014 – Sunday November 23, 2014

<p>The Office<i>US</i> Identity, designed by Natasha Jen / Pentagram, constructs a visual interplay between the historical understandings of the corporate, the institutionalized and the avant-garde forms of communication. Present in every design aspect of the project, the Office<i>US</i> identity constructed in its basis by Arial and Times New Roman italic types, move through the space of the office, the publications and the digital and physical curatorial objects and platforms.</p> <div> <br /> </div> <div>Read more on <a href="http://architizer.com/blog/infographics-reveal-100-years-of-us-architectss-work-around-the-world/">Architizer</a>.</div>
OfficeUS: WEB DESIGN 27 June 2014 05:52:40 EST http://www.storefrontnews.org/programming/projectss?e=628

Wednesday June 4, 2014 – Sunday November 23, 2014

<p>The Office<i>US</i> Website is based on open source technologies and existing platforms to provide social, technological and spatial spaces of convergence and disruption that allow users and visitors to move through time (1914-2014) and space (Venice-Worldwide) with access to historical material and real time production and discussion.</p> <p>&nbsp;</p> <p>For more, visit <a href="http://www.officeus.org/">www.officeus.org</a>.</p> <div> <br /> </div> <p> <a href="www.officeus.org"> <img src="../images/tinyMCE_upload/websitegif-officeus2.gif" width="500" height="269" /> </a> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/website-archive_repository22.gif" width="640" height="342" /> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">Office<i>US</i> Website has been designed by M-A-U-S-E-R, Office<i>US</i> Partner and Directors of the Department of META.</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <b> <span style="font-size: 12.222222328186035px;">About&nbsp;</span> <span style="font-size: 12px;">M-A-U-S-E-R</span> </b> </p> <p>Based in Stuttgart and Istanbul, Mona Mahall and Asli Serbest, M-A-U-S-E-R, represent the practice and research of the Micro Architecture Unit Star Energy Ray. As an undisciplined, collaborative studio they reflect and produce architecture in and through different media. Their only, quasi-universal, principle is that ideas&thinsp;&ndash;&thinsp;although being shaped by certain linguistic, social, political, technological, and interpretative conditions&thinsp;&ndash;&thinsp;dominate their strategies, procedures, and objects. Therefore, M-A-U-S-E-R&rsquo;s work can come as building, installation, video, graphic, sound, text, etc.&thinsp;&ndash;&thinsp;depending on the idea behind. It can use existing forms or develop anti-forms. It is shown in their self-published magazine Junk Jet, in their texts for e-flux journal, Perspecta, etc., and in their exhibitions at K&uuml;nst&ndash;lerhaus Stuttgart, General Public, Berlin, Storefront for Art and Architecture, New York, etc. Mona and Asli each completed a PhD on a critical reflection of modern speculative architecture. Currently, M-A-U-S-E-R holds the chair of fundamentals of design at the Stuttgart State Academy of Art.</p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;"> </span> </p> <p>As Partners of Office<i>US</i>, Mona and Asli integrate what is usually separate. Depending on the moment, they become webmasters, existentialist philosophers, Palm Jockeys, members of the cabin crew, or architects that from a long way off look like flies.&nbsp;</p>
OfficeUS: VERNISSAGE 7 July 2014 12:06:00 EST http://www.storefrontnews.org/programming/eventss?e=631

Wednesday June 4, 2014 – Friday June 6, 2014

<p> <b>OfficeUS Opening Bites Dinner</b> </p> <p> <i> <a href="https://www.flickr.com/photos/storefront/sets/72157644746550610/">View photos</a> </i> <a href="https://www.flickr.com/photos/storefront/sets/72157644746550610/"> </a> </p> <p>&nbsp;</p> <p>On June 4, 2014 Office<i>US</i> gathered distinguished guests, project supporters and team members at InParadiso to celebrate the launch of Office<i>US</i>. The dinner, created by <a href="../programming/projects?c=&amp;p=&amp;e=630">OfficeUS Partners</a>, Cooking Sections, included a composed menu considering the realities of postwar America where the refrigerator, microwave and other modern conveniences were used as key ingredients to create bites of history inspired from the Office<i>US</i> Repository.&nbsp;</p> <p>&nbsp;</p> <p>To view the full menu, <a href="http://blog.officeus.org/?p=82&amp;utm_source=VENICE+REPORT+_OFFICEUS+LAUNCH&amp;utm_campaign=OFFICEUS&amp;utm_medium=email">click here</a>.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/14412853952_9d233ffa41.jpg" width="500" height="333" /> </p> <p> <span style="font-size: 9px;">Photo by Tammy Shell.</span> </p> <div> <span style="font-size: 9px;"> <br /> </span> </div> <p> <b>OfficeUS Press Conference</b> </p> <p> <i> <a href="https://www.flickr.com/photos/storefront/sets/72157644746692618/">View photos</a> </i> </p> <p>&nbsp;</p> <p>The press conference on June 5, 2014 included presentations by the U.S. State Department and the three curators of Office<i>US</i>. The full Office<i>US</i> team was introduced around the courtyard table designed by Leong Leong, the new open meeting room of the office in the Giardini. Following the press conference, Office<i>US</i> hosted an Office Party to celebrate the launch of Office<i>US</i>.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/14455490101_baf14d07f7.jpg" width="500" height="333" /> </p> <p> <span style="font-size: 9px;">Photo by Nicolo Gemin.</span> </p> <p>&nbsp;</p> <p> <b>OfficeUS Mission Statement: Peggy Guggenheim Cocktail Reception</b> </p> <p> <i> <a href="https://www.flickr.com/photos/storefront/sets/72157645149625502/">View Photos</a> </i> <a href="https://www.flickr.com/photos/storefront/sets/72157645149625502/"> </a> </p> <p>&nbsp;</p> <p>On June 5th, 2014 a cocktail party with more than 1,000 guests took place at the Peggy Guggenheim Collection where everyone toasted the history of U.S. firms and the future that lies ahead with a specialty drink "the Guggenheim Effect" designed by <a href="../programming/projects?c=&amp;p=&amp;e=630">OfficeUS Partners</a>, Cooking Sections.&nbsp;</p> <p>&nbsp;</p> <p> <i>Who Owns The Guggenheim Effect? is a cocktail containing different spices, tomato, vodka and a piece of fresh Italian pasta cut with the shape of the Guggenheim Bilbao Museum, specially developed for the opening party of OfficeUS at the Peggy Guggenheim Collection, Venice. Recently, the Guggenheim Foundation threatened to sue an Italian chef in Bilbao for creating pasta in the shape of the elevation of their museum. The concept of our piece consisted of re-appropriating the appropriation of the image of a building. We brought it into the museum itself to open up the discussion about the ownership of cultural/architectural icons and their socioeconomic implications. In the glass, there was also a little flag reading the title of the intervention.&nbsp;</i> <span style="font-size: 12px;"> <i>MakerBot was an incredible tool to produce the pasta cutters with a sharp edge and would like to keep on working with it in the future.</i> </span> </p> <p>- Cooking Sections</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About Cooking Sections</b> </p> <p>Based in London, Daniel Fern&aacute;ndez Pascual and Alon Schwabe create new critical methods of mapping territories and urbanism through their trajectory of geopolitical cooking performances. After meeting at the Centre for Research Architecture, Goldsmiths, University of London, they founded Cooking Sections: a research-practice that cooks site-specific edible maps of boundaries, thresholds, events, buildings, architectures, landscapes, oddities and anomalies. Past performances have taken place at Storefront for Art and Architecture, New York; The Bartlett, London; Institut F&uuml;r Raumexperimente, Berlin; dOCUMENTA(13); TEDx Talks, Madrid; Halle14, Leipzig; Polytechnic Architecture School ETSAM, Madrid; Fiorucci Art Trust, London amongst others. They have been associate residents participating in The Politics of Food program, at Delfina Foundation, London.</p>
OfficeUS: REPOSITORY 8 July 2014 04:11:06 EST http://www.storefrontnews.org/programming/projectss?e=634

Wednesday June 4, 2014 – Tuesday July 31, 2035

<p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The Office<i>US</i> Repository presents a curated collection of 1,001 architecture projects from the last 100 years designed by 200 U.S. based architecture firms and realized abroad. Each participating office and each project is represented in individual binders through photographs, architectural documentation, descriptive texts, key publications, and other miscellaneous documents.&nbsp;</span> </span> </p> <p>&nbsp;</p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">Wrapping the interior of the US Pavilion, the Repository binders produce a visual field of projects. The covers depict firm logos, years of production, a photograph and other information to allow an overview of each project. Visitors are invited to sit down and read the project and office binders.</span> </span> </p> <p>&nbsp;</p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The Repository also contains the work of over&nbsp;200 U.S. based architecture offices, appoximately 90 of which are currently practicing. These range from historically established practices such as Holabird &amp; Root, SOM and Albert Khan to young firms such as over,under and SO-IL.&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">&nbsp;</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">The research for the Repository is an ongoing project that consists of archival research, field research and primary sources provided by current architectural firms. This research includes both carefully chosen archival and secondary sources, and compiles architectural documentation in the form of photographs and drawings, discourse in the form of published articles, and other miscellaneous materials.</span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;"> </span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;"> <br /> </span> </span> </p> <p> <span style="font-family: Arial; font-size: small;"> <span style="white-space: pre-wrap;">More material to be considered for inclusion in the Office<i>US</i> Repository can be sumbitted by visiting the Officeus.org website.&nbsp;</span> </span> </p>
OfficeUS: DENISE SCOTT BROWN'S ISSUES 5 August 2014 06:28:16 EST http://www.storefrontnews.org/programming/filmss?e=640

Wednesday June 4, 2014 – Monday November 24, 2014

<p class="MsoNormal">The work of Denise Scott Brown has taken different mediums and formats throughout the years with a strong emphasis on visual culture. For Office<i>US</i>, the 2014 US Representation at the Venice Architecture Biennale, Denise Scott Brown produced a series of seven compilations of images of her photographic archive that run transversaly through seven of the 25 Office<i>US</i> Issues. The Office<i>US</i> Issues are narratives and themes that have endured historically and that are lenses of inquiry by which Office<i>US</i>&nbsp;developed its work throughout the Venice Architecture Biennale.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">The seven films on display at the US Pavilion in the working stations of the office, contain a heterogeneous assemblage of architecture images, from Le Corbusier&rsquo;s Unite d&rsquo;Habitation, to event stills of World Fair Exhibitions, to social portraits of housing projects in South Africa or London. </p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>190</o:Words> <o:Characters>1086</o:Characters> <o:Company>Storefront for Art and Architecture</o:Company> <o:Lines>9</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1333</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">With a personal take on the Office<i>US</i> Issues &ldquo;Export-Import,&rdquo; &ldquo;Best Practices,&rdquo; &ldquo;Crude Ideals,&rdquo; &ldquo;Global Citizenship,&rdquo;&nbsp;&ldquo;Smart Concrete,&rdquo; &ldquo;Little Americas&rdquo; and &ldquo;Housing Public Good,&rdquo; these seven-minute short films provide both a global reflection of the architectural production of the last fifty years and a view into the vast archive of images produced by one of the most important figures of the architectural visual critical imaginary. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">A projection of the films at Storefront for Art and Architecture Space in New York took place.&nbsp;</p>
OfficeUS Store 20 November 2014 14:22:33 EST http://www.storefrontnews.org/programming/pop-upss?e=675

Wednesday June 4, 2014

<div> <br /> </div> <div> <img src="../images/tinyMCE_upload/Giff_Library/bag_copy.jpg" width="200" height="150" />&nbsp;</div> <div> <b> <br /> </b> </div> <div> <b>OfficeUS American Apparel Tote ($20)</b> </div> <div> <br /> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="JWWF25PR93N2W" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <br /> </form> <div>&nbsp; &nbsp; &nbsp; <img src="../images/tinyMCE_upload/Giff_Library/OfficeUS_Poster-FINAL-r3_copy.jpg" width="200" height="295" /> </div> <div> <br /> </div> <div> <b>OfficeUS Poster ($10)</b> </div> <div> <b> <br /> </b> </div> <div> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <span style="font-size: 11.8181819915771px;">&nbsp;</span> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </div> <div> <br /> </div> <div> <br /> </div> <div>&nbsp;<img src="../images/tinyMCE_upload/Giff_Library/Agenda-copy_3.jpg" width="200" height="193" /> </div> <div> <b> <br /> </b> </div> <div> <b>OfficeUS Agenda ($30)</b> </div> <div> <b> <br /> </b> </div> <div> <b> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="GV2WTL6L5J4PA" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <br /> <br /> </form> <div> <img src="../images/tinyMCE_upload/Giff_Library/Dream-02-This-is-Our-Work.jpg" width="120" height="167" /> <br /> </div> <div> <br /> </div> <div>30th Anniversary 'Dream' Duvet Set ($250)</div> <div> <br /> </div> </b> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="GH7EZSS6ZSQL4" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form>
The VENICE Trip 8 January 2014 13:12:05 EST http://www.storefrontnews.org/programming/eventss?e=596

Tuesday June 3, 2014 – Saturday June 7, 2014

<p> <img src="../images/tinyMCE_upload/unnamed-web.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Storefront for Art and Architecture is pleased to announce a trip for members and patrons to the 14th Venice Architecture Biennale from Tuesday, June 3 - Saturday, June 7, 2014. &nbsp;&nbsp;</p> <p>&nbsp;</p> <p>Limited space. For more information, to express your interest, or to join a mailing list for updates on this trip, contact Kara Meyer at km@storefrontnews.org. &nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: PUBLICATIONS 7 July 2014 13:15:44 EST http://www.storefrontnews.org/programming/projectss?e=632

Sunday June 1, 2014

<p>&nbsp;</p> <p> <b>Office<i>US</i>&nbsp;</b> <b>Agenda</b> </p> <p> <span style="outline-width: 0px; font-size: 12.222222328186035px;">Edited by Eva Franch i Gilabert, Ana Milijački, Ashley Schafer, Amanda Reeser Lawrence</span> </p> <p> <span style="outline-width: 0px; font-size: 12.222222328186035px;">$30.00</span> </p> <p>&nbsp;</p> <p>The&nbsp;<span style="font-size: 12px;">Office</span>US&nbsp;Agenda is the first of four publications to be published as part of the&nbsp;<span style="font-size: 12px;">Office</span>US&nbsp;project and it serves as the catalog for the exhibition. The Agenda weaves together the last hundred years of architecture production through themes and concepts of Modernization, US architectural firms, and their exports through a collection of essays and visual narratives. We have commissioned thirteen essays that include a wide range of viewpoints on the subject by notable scholars such as Barry Bergdoll, Beatriz Colomina, Jorge Otero-Pailos and Keller Easterling. These will be illustrated in part with archival photographs donated by Erica Stoller of Esto. The visual narratives serve as foils to the essays, related, but different and are on the topics of the US Cold War Expo program, Albert Kahn&rsquo;s factories in Russia, the Hilton Hotels and the race to build the world&rsquo;s tallest building.</p> <p>&nbsp;</p> <p> <b>Contributors</b>: Daniel Barber, Barry Bergdoll, Beatriz Colomina, Peggy Deamer, Keller Easterling, Brendan Hookway, Timothy Hyde, Michael Kubo, Ijlal Muzaffar, Jorge Otero-Pailos, Ivan Rupnik, Hilary Sample, Claire Zimmerman</p> <div> <br /> </div> <p>16 x 24 cm, 6 &frac14; &times; 9 &frac12; in</p> <p>272 pages, approx. 640 illustrations, paperback (2014)</p> <p>ISBN 978-3-03778-437-2, e</p> <p>&nbsp;</p> <p>Order Office<i>US</i> Agenda below.</p> <p>&nbsp;</p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="FAYJ7T23CCLL6" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_cart_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <p>&nbsp;</p> <p> <b> <br /> </b> </p> <p> <b> <img src="../images/tinyMCE_upload/agenda1.gif" width="1000" height="750" /> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b> <br /> </b> </p> <p> <b>UPCOMING PUBLICATIONS /&nbsp;</b> </p> <p> <b> <br /> </b> </p> <p> <b>Atlas</b> </p> <p>November 2014</p> <p>The&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;Atlas documents the development of US&nbsp;<span style="font-size: 12px;">architectural offices abroad from 1914 to the present. It collects&nbsp;</span> <span style="font-size: 12px;">the exhibition research in the form of a reader and includes&nbsp;</span> <span style="font-size: 12px;">the featured collection of projects and offices illustrated by over&nbsp;</span> <span style="font-size: 12px;">1,200 photographs and architectural drawings.</span> </p> <p>&nbsp;</p> <p> <b>Manual</b> </p> <p>January 2015</p> <p> <span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;Manual compiles the protocols and strategies&nbsp;<span style="font-size: 12px;">of the architecture office to form a working manual for&nbsp;</span> <span style="font-size: 12px;">Office</span> <span style="font-size: 12px;"> </span> <i>US</i> <span style="font-size: 12px;">. From business models to time-sheets, the&nbsp;</span> <span style="font-size: 12px;">manual examines the conventions that structure practice&nbsp;</span> <span style="font-size: 12px;">to transform the way we think about architectural offices.</span> </p> <p>&nbsp;</p> <p> <b>New World</b> </p> <p>March 2015</p> <p> <span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;New World highlights the work, conversations&nbsp;<span style="font-size: 12px;">and intelligence developed by the fellows and the visitors&nbsp;</span> <span style="font-size: 12px;">throughout the Biennale, to be printed at the close of&nbsp;</span> <span style="font-size: 12px;">the exhibition.</span> </p> <p>&nbsp;</p> <p>&nbsp;</p>
OfficeUS: TOTES 7 July 2014 15:47:13 EST http://www.storefrontnews.org/programming/projectss?e=633

Sunday June 1, 2014

<p>Office<i>US</i> continues to collaborate with many individuals and companies to make each aspect of&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;an act of creative action. The&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;tote bag, produced in collaboration with American Apparel and Pentagram is available to visitors of&nbsp;<span style="font-size: 12px;">Office</span> <i>US</i>&nbsp;in Venice and to Storefront members. If you are a Storefront member and would like to purchase a bag, contact &nbsp; membership@storefrontnews.org. See the process of production of this limited print edition made in Los Angeles for Storefront for Art and Architecture below.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/97612076"> </iframe> </p> <p> <a href="http://vimeo.com/97612076">American Apparel - la Biennale 2014</a> from <a href="http://vimeo.com/peterelliotteaton">Peter Elliott Eaton</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
OfficeUS: WORKING SCHEDULE 8 July 2014 10:09:23 EST http://www.storefrontnews.org/programming/eventss?e=635

Tuesday May 27, 2014

Wwwriting Series: Digital Invisibles 5 May 2014 11:31:20 EST http://www.storefrontnews.org/programming/seriess?e=616

Saturday May 17, 2014 – Saturday May 17, 2014

<p> <b>Wwwriting Series: Digital Invisibles</b> </p> <p> <b>May 17, 2014</b> </p> <p> <b>4pm-7pm</b> </p> <p> <b>Panel 4-5pm</b> </p> <p> <b>Editathon 5-7pm</b> </p> <p>&nbsp;</p> <p> <b>Wwwriting Series: Digital Invisibles</b>&nbsp;focused on exposing the digital gaps in architecture. Architects, movements, ideas or projects that have been dismissed, forgotten, or discriminated against by the discipline of architecture are introduced for discussion and documentation. Organized together with Arielle Assouline-Lichten, a series of presentations by experts who specialize in research on minority-driven movements, women in architecture, African-American practices, and other architectural "invisibles" preceded a Wikipedia editing workshop led by a group of activists who work to give forgotten architecture a presence on Wikipedia.&nbsp;</p> <p>&nbsp;</p> <p>Participants included Arielle Assouline-Lichten, Peggy Deamer, Andrea Jeanne Merrett, Anna Kats, Quilian Riano and Ionna Theocharopoulou, among others.&nbsp;<span style="font-size: 12px;">The audience was encouraged to bring their own laptops to be part of the Wikipedia Editathon.&nbsp;</span> </p> <p>&nbsp;</p> <p> <b>SCHEDULE&nbsp;</b> </p> <p> <span style="text-decoration: underline;">4:00 - 5:00pm: Invisible experts&nbsp;</span> </p> <p>A group of 5 experts give a 7-minute presentation unveiling Architecture Digital Invisibles.&nbsp;</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;">5:00 - 7:00pm : Wikipedia Editathon</span> </p> <p>A group of activists guide and monitor the audiences as they update and edit Wikipedia entries based on topics presented by the participants in the first half of the event. &nbsp;</p> <p>&nbsp;</p> <p> <b>About the Participants</b> </p> <p> <b>Arielle Assouline-Lichten </b>holds a Master of Architecture from the Harvard Graduate School of Design, and a bachelor degree in Critical Theory and Visual Media from New York University. She is the co-founder of Slash Projects, a multi-disciplinary design firm based in Brooklyn, New York. Her work focuses on experience as a driver for new design opportunities between physical and interactive space. Prior to founding Slash Projects, Arielle has worked for BIG, Sn&oslash;hetta, and Kengo Kuma Architects. She recently led a campaign seeking retroactive recognition of Denise Scott Brown by the Pritzker Prize and is passionate about establishing equality for designers through digital activism.</p> <p>&nbsp;</p> <p> <b>Anna Kats</b> is a writer and researcher focusing on architecture and the built environment. She currently serves as &nbsp;Architecture and Design Writer at Artinfo, and regularly contributes to a number of publications, including Modern Painters and Art+Auction. She studied architectural history and Slavic languages at Barnard College of Columbia University, where her research focused on histories of Stalinist utopian architecture and city planning. Anna is also an alumna of the Fulbright program, having studied the influence of national identity narratives on adaptive reuse and landmark designation in Latvia. In her writings on both contemporary and historic design, she treats architecture as a tool for investigating hierarchy between cosmopolitan centers and provincial peripheries.</p> <p> <b> <br /> </b> </p> <p> <b>Andrea J. Merrett</b> is a PhD candidate in architecture at Columbia University, writing her dissertation on the history of feminism in American architecture. She has received support for her work through a Buell Oral History Prize, a Schlesinger Library Oral History Grant, and the Milka Bliznakov Prize from the International Archive of Women in Architecture. Andrea is a graduate of the professional program in architecture at McGill University in Montreal, Canada. Before studying at Columbia, Andrea practiced at the Montreal firms of Marosi + Troy Architects and Atelier TAG, and the Dublin firm Blackwood Associates Architects. She is currently teaching at the Center for Architecture Foundation and working at the Avery Archive as a bibliographic assistant for the Frank Lloyd Wright collection.</p> <p>&nbsp;</p> <p> <b>Quilian Riano</b> is the founder and principal of DSGN AGNC, a collaborative design/research studio exploring political engagement through architecture, urbanism, art &amp; activism. DSGN AGNC&rsquo;s work has been featured at the Venice Biennale, Harvard University, Cornell University, New York&rsquo;s Center for Architecture, The Van Alen Institute, Parsons The Newschool for Design, The Queens Museum of Art, The Austrian Cultural Forum, Boston Society of Architects, etc. Quilian holds a Masters of Architecture from Harvard University's Graduate School of Design and currently teaches design studio at Parsons, The New School for Design and Pratt Institute of Technology. In practice and academia, Quilian works with community groups and trans-disciplinary teams to create comprehensive research that can be used to propose a variety of targeted policies, actions and designs at various scales &mdash; from pamphlets to architectures to landscapes.</p> <p>&nbsp;</p> <p> <b>Ioanna Theocharopoulou</b> trained as an architect at the Architectural Association in London, and received her Ph.D. in Architecture (History &amp; Theory), from Columbia University. She is interested in the social and cultural dimensions of design, in histories of &ldquo;informal&rdquo; cities, as well as the question of sustainability around which she has also curated a number of academic events, most recently a conference called Cities and Citizenship, in collaboration with the Goethe-Institut New York, and Global Design NYU (March 2014). She is an Assistant Professor at Parsons the New School for Design.&nbsp;</p> <div> <br /> </div> <div> <p> <span style="font-size: 12.222222328186035px;">This event was supported in part by the Norwegian Consulate General New York.</span> </p> </div> <div> <span style="font-size: 12.222222328186035px;"> <br /> </span> </div> <div> <span style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/NorwegianMinistryForeign.jpg" width="180" height="104" /> <br /> </span> </div> <div> <br /> </div> <p>------------------------------------------------------------------------------------------------------------</p> <p>Wwwriting Series uses the internet and online platforms as a point of departure for critical discussion surrounding the construction of history and practice in architecture and design.</p>
Winners: WorldWide Storefront 16 May 2014 18:36:50 EST http://www.storefrontnews.org/programming/competitionss?e=620

Friday May 16, 2014 – Sunday November 23, 2014

<p>Storefront for Art and Architecture announces the 10 selected projects that will be part of WorldWide Storefront (&ldquo;WWSf&rdquo;), a new initiative to provide a simultaneous, multi-locus of alternative spaces around the globe and a digital platform for the expression and exchange of latent desires within contemporary art and architecture practices.</p> <p>&nbsp;</p> <p>A jury composed of&nbsp;<span style="font-size: 12px;">Beatrice Galilee, Joseph Grima, Jimenez Lai and</span>&nbsp;<span style="font-size: 12px;">Marina Otero has selected a group of ten proposals around the globe. From the study of different states of abandonment in Athens to the discussion around urban growth in Santo Domingo, from the occupation of a public residual space in the city of Los Angeles to a traveling production space aboard a commercial container carrier, from individuals to collectives across the globe, the ten projects constitute a group of curatorial visions that articulate alternative positions within their particular context.&nbsp;</span> </p> <p>&nbsp;</p> <p>From September 19 to November 21, 2014, all selected entries throughout the world will simultaneously open and have a two-month program of exhibitions and events. All events will be recorded and broadcast through the WorldWide Storefront online platform and presented at the Storefront for Art and Architecture Gallery embedded in the installation WWSf Portal, a collaborative design by Marc Fornes and Jana Winderen.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px; font-family: Arial;"> <i> <b> <span style="font-size: 12px;">&nbsp;WORLDWIDE STOREFRONT SELECTED ENTRIES</span> </b> </i> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">------------------------------------------------------------------ </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px; font-family: Arial; color: #1a1a1a;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Container Art Residency</span> </b> <span style="font-family: Arial;"> / itinerant <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Maayan Strauss</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">An artist residency that will invite artists to travel on board commercial freight ships to worldwide destinations along various shipping routes, addressing questions of isolation and transportation as a way of redefining the contemporary artist studio.<span style="mso-spacerun: yes;">&nbsp; </span> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Gallery Attachment </span> </b> <span style="font-family: Arial;">/ Los Angeles, USA<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Andrew Kovacs,&nbsp;Laurel Consuelo Broughton</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A space designed and constructed by the authors under a bridge in Los Angeles will serve simultaneously as an architectural object and as a container for a series of events, exhibitions and performances. </span> <span style="font-size: 10pt; font-family: Calibri;"> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Host: Natural Histories</span> </b> <span style="font-family: Arial;"> / Los Angeles<span style="color: #1a1a1a;">, USA</span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Mimi Zeiger (</span> <span style="font-family: Arial;">Los Angeles Forum for Architecture and Urban Design),&nbsp; </span>Leonardo Bravo and River Jukes-Hudson (Big City Forum), Sarah Lorenzen (VDL Research House)</span> </p> <p class="MsoNormal"> <span style="font-size: 13px; font-family: Arial;">Located at The Neutra VDL Research Site in the Silverlake district of Los Angeles, the project </span> <span style="color: #1a1a1a;">explores the multivalent meaning of the word &ldquo;host&rdquo;: a talk-show host, a parasitic host body, and host house or city, via an exhibition and series of events.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Microgeographies</span> </b> <span style="font-family: Arial;"> / Athens, Greece<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Hariklia Hari&nbsp;<span style="color: #1a1a1a;"> </span> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">Reacting to the states of abandonment of cities in Greece as a result of personal and social crisis, and reflecting on the gradual reconstruction processes occurring in southern Europe, <i>Microgeographies </i>will present a series micro-exhibitions, actions, installations and performances in public and domestic spaces.</span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Next Station</span> </b> <span style="font-family: Arial;"> / Tel Aviv, Israel <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Onya Collective [Avigail Roubini, Gil Cohen, Robert Ungar, Neta Steingart, Adam Kalderon]</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A series of small interventions in and around the Tel-Aviv Central Bus Station in Neve Shaanan exploring different ways of embedding agriculture and natural ecologies in urban environments. </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">The Portal</span> </b> <span style="font-family: Arial;"> / Toronto, Canada<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Megan Torza</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">The Portal</span> <span style="font-size: 10pt; font-family: Arial;"> <i>&nbsp;</i>will</span> <span style="font-size: 10pt; font-family: Arial;">&nbsp;activate Toronto&rsquo;s under recognized ravine landscape through a series of interventions and discussions occupying the entrance of an architecture studio.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Storefront Marketplace</span> </b> <span style="font-family: Arial;">/ St. Paul, Minnesota, USA, Thessaloniki, 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<w:LsdException Locked="false" Priority="37" Name="Bibliography" /> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading" /> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNoSpacing"> <span style="color: #1a1a1a; font-family: Arial; font-size: 13px;">Storefront Marketplace implements itself into three different market environments in the US and Europe. Starting at a Hmong market in St. Paul, Minnesota, it travels to Thessaloniki, Greece and integrates itself into the city's urban fabric and multi-layered, multi-cultural history. It resumes in Berlin, Germany, in an old restored indoor market. Its interest lies in investigating and experimenting with the marketplace as a space for exchange through performances, food, sound, and objects. An artist run program of films, lectures, performative interventions, radio programs, and culinary events engages and addresses large, central civic constituencies.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">The Spectacle Syndicate</span> </b> <span style="font-family: Arial;"> / itinerant <span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="text-decoration: underline;"> <span style="font-family: Arial;">Circus for Construction [Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke, Benjamin Widger]</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;">Located on the back of a custom-built truck trailer, the Spectacle Syndicate will stop in five cities over the course of two months (Ithaca, Providence, Provincetown, Portland, Buffalo, and Boston) hosting forums, exhibitions and workshops coordinated with local experts. </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;"> <br /> </span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">A to B - Crossing the railway</span>&nbsp;</b> <span style="font-family: Arial;">/ Montreal, Canada<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 12px; text-decoration: underline;"> <span style="font-family: Arial;">Vincent Lalonde-Dupuy, Pierre Horo-Lin, Xavier Coulombe-Hurray, Camille Angibaud</span> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial; color: #1a1a1a;"> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">A cartographic urban project along the Canadian Pacific&rsquo;s Railway, made by citizens and users crossing legally and illegally the railway, will map and discuss the urban landscape and biodiversity of the site.</span> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;">Tropical Ghosts</span> </b> <span style="font-family: Arial;"> / Santo Domingo, Santo Domingo<span style="color: #1a1a1a;"> </span> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;"> <span style="text-decoration: underline;">Laura Castro, Monica de Moya, Engel Leonardo, and&nbsp;</span> </span> <span style="font-size: 12px;"> <span style="text-decoration: underline;">Maurice S&aacute;nchez</span> </span> </p> <!--[if gte mso 9]> <xml> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <span style="font-size: 13px; font-family: Arial;">A series of site-specific urban interventions and meetings in Pol&iacute;gono Central, Santo Domingo will explore issues of growth, identity and systems of sharing in the tropical communities.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;">About the Jury</span> </p> <p class="MsoNormal"> <span style="font-size: 10pt; font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Beatrice Galilee</span> </b> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Beatrice Galilee (*1982, London) is a London-based curator, writer, critic, consultant and lecturer of contemporary architecture and design. Trained in Architecture at Bath University, and in History of Architecture MSc at the Bartlett School of Architecture, UCL, Beatrice specialises in the dissemination of architecture and design through city-wide projects, media, curatorial practice, research, editing and teaching.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Beatrice is the Chief Curator of the 2013 Lisbon Architecture Triennale, Close, Closer. She was co-curator at 2011 Gwangju Design Biennale, 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism, and curator of the experimental performance design projects Hacked and Afrofuture at Milan Design Week. She is the co-founder and director of The Gopher Hole, an exhibition and project space in London, and is associate lecturer at Central Saint Martins.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">From 2006-2009 Beatrice was Architecture Editor for Icon Magazine, one of Europe's leading publications in architecture and design. In 2008 she won the IBP Architectural Journalist of the Year Award.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <!--[if !supportLineBreakNewLine]--> <br /> <!--[endif]--> </span> </p> <p class="MsoNormal"> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Joseph Grima</span> </b> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Since studying architecture at the Architectural Association in London, Joseph Grima has pursued an international career as a curator, essayist, critic and researcher in the fields of architecture, art and design.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> </span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Between 2007 and 2010, he directed Storefront for Art and Architecture, the New York gallery which is globally renowned for its role in supporting experimental practices in architecture and contemporary art. Since April 2011, he has been the editor of Domus. He is also co-curator of the first edition of the Istanbul Design Biennial.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> </span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">As a curator and independent researcher, Grima has designed and planned installations for events and institutions of international significance, including the Venice Architecture Biennial, the Shenzhen/Hong Kong Biennial of Urbanism and Architecture, and the Beijing Museum of Urban Planning. He is the author of several books, including Instant Asia (Skira, Milan, 2007), a critical overview of work by young and emerging architecture students in Asia, and Shift: SANAA and the New Museum (Lars M&uuml;ller, Zurich, 2008); he has also contributed to a range of other books and publications.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </p> <p class="MsoNormal"> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Jimenez Lai</span> </b> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Jimenez Lai (Leader) is an Assistant Professor at University of Illinois at Chicago and Leader of Bureau Spectacular. He graduated with a Master of Architecture from University of Toronto. Previously, Jimenez Lai has lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including OMA. In the past years, Lai has built numerous installations as well as being widely exhibited and published around the world, including the MoMA-collected White Elephant. His first manifesto, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. In 2012, Jimenez Lai has been named a winner to the Architectural League Prize for Young Architects. Lai won the Debut Award at the Lisbon Triennale in 2013. Lai was the curator and designer for the 2014 Taiwan Pavilion at the 14th Venice Architectural Biennale.</span> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> <br /> <!--[endif]--> </span> </p> <p class="MsoNormal"> <b> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Marina Otero</span> </b> </p> <p class="MsoNormal"> <span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Marina Otero is an architect trained in New York (Columbia University), Delft (TU) and Madrid (ESTAM), where she is completing her doctorate in architecture with a focus on contemporary cultures of circulation. In 2013, and as a Fulbright grantee, she graduated from Masters of Science in Critical, Curatorial and Conceptual Practices in Architecture at GSAPP, receiving the Program Award. Her professional and academic work has been published by Domus, Quaderns, Circo, Arquitectura Viva and El Pa&iacute;s, includes collaborations with the New Museum, The Glass House, the Istanbul Design Biennial, and has been awarded in different competitions including Europan. Marina became the director of the Global Network Programming in September 2013.</span> </p>
Speechbuster Residency 7 March 2014 16:18:26 EST http://www.storefrontnews.org/programming/eventss?e=609

Wednesday May 14, 2014 – Wednesday May 14, 2014

<p>Storefront for Art and Architecture presents the Speechbuster Residency, a program which inserts public debate within private spaces and activates public discourse through a series of conversations, screenings and events negotiating between the performativity of the Speechbuster, contemporary issues in art and architecture, and the space it occupies.&nbsp;</p> <p>&nbsp;</p> <p>The Speechbuster makes its first stop at the Exhibition Space at RVA located at Rafael Vi&ntilde;oly&rsquo;s New York downtown office.&nbsp;</p> <p>&nbsp;</p> <p>Its second stop will be in an OfficeUS Outpost Office located at 97 Kenmare as part of the OfficeUS project, the 2014<span style="font-size: 12.222222328186035px; font-family: Arial;">&nbsp;United States Pavilion at the 14th International Architecture Exhibition - la Biennale de Venezia in Venice, Italy.</span> </p> <p> <span style="font-size: 12.222222328186035px; font-family: Arial;"> <br /> </span> </p> <p>&nbsp;</p> <div> <div> <b>About the Speechbuster Residency Program</b> </div> <div>The Speechbuster, commissioned by Storefront with the support of the Rauschenberg Foundation and designed collaboratively by architect Jimenez Lai and artist Grayson Cox, embarks on a journey through a series of stimulating spaces in New York City.&nbsp;<span style="font-size: 12.222222328186035px;">For each residency, the performative, multi-function, multi-layer, Storefront gallery-sized table, inserts public debate within private spaces bringing the Storefront programming Series outside of the galley space.&nbsp;</span> </div> <div>&nbsp;</div> <div>&nbsp;&nbsp;</div> </div> <div> <div> <p>&nbsp;</p> <ul> <li> <b>1ST STOP /&nbsp;</b> <span style="font-size: 12px;"> </span> <b>Exhibition Space at&nbsp;</b> <b>Rafael Vi&ntilde;oly Architects <span style="font-size: 12px;">&nbsp;/ MAY 14th, 2014</span>&nbsp;&nbsp;</b> </li> </ul> <p>&nbsp;</p> <p>Located within the headquarters of Rafael Vi&ntilde;oly Architects at 50 Vandam Street in West SoHo, the exhibition space is a 2,450 square foot multi-function workspace with 25-foot ceilings. It regularly hosts meetings, lectures, workshops, events and temporary exhibitions. &nbsp;<b>About Rafael Vi&ntilde;oly Architects:&nbsp;</b> <span style="font-size: 12px;">Founded in 1983 and based in New York City, Rafael Vi&ntilde;oly Architects is an internationally renowned firm with offices in London and Abu Dhabi. The firm has completed an unusually large number of diverse projects on five continents that range in scale from laboratory casework detailing to master planning. Over the past quarter century, the practice&rsquo;s key trademark is the ability to reinvent institutional typologies and integrate the public realm into civic buildings.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p>&nbsp;</p> <ul> <li> <b>2ND STOP / 97 Kenmare OfficeUS Outpost / JUNE 17th, 2014</b> </li> </ul> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <ul> <li> <b>FUTURE LOCATIONS</b> </li> </ul> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">If you are interested in partnering with Storefront for a SpeechBuster Residency Program, please send an email to info@storefrontnews.org with the Subject Line: Speechbuster Residency.</span> </p> <div> <br /> </div> </div> <div> <br /> <i>The Speechbuster is made possible by the Robert Rauschenberg Foundation's Artistic Innovation and Collaboration Program, which supports fearless and innovative collaborations in the spirit of Robert Rauschenberg. </i> <br /> </div> <div> <br /> </div> <div> <br /> </div> </div>
Launching OfficeUS Issues 7 May 2014 23:17:17 EST http://www.storefrontnews.org/programming/eventss?e=617

Wednesday May 14, 2014 – Wednesday May 14, 2014

<p class="MsoNormal"> <b> <span style="font-family: Arial;"> <img src="../images/tinyMCE_upload/OfficeUS_Issues_SF.gif" width="400" height="400" /> <br /> </span> </b> </p> <p class="MsoNormal"> <b> <span style="font-family: Arial;"> <br /> </span> </b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-family: Arial;">The work of&nbsp;</span> <span style="font-size: 12px; font-family: Arial;">Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial;">is organized around 25</span> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial; font-size: 12px;">Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial;">Issues, a set of narratives that trace and address pressing questions from the last 100 years of architectural thinking and practice to today. The 25&nbsp;</span> <span style="font-family: Arial; font-size: 12px;">Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial;">Issues resonate with the archive of projects and offices of the</span> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial; font-size: 12px;">Office</span> <i>US</i> <span style="font-size: 12px;">&nbsp;</span> <span style="font-family: Arial;">Repository library that contains projects designed by US offices working abroad.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-family: Arial;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-family: Arial;">Individually and collectively, these issues and projects tell multiple, imbricated stories of US architectural firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. Together, the elements of&nbsp;</span> <span style="font-family: Arial; font-size: 12px;">Office</span>US&nbsp;<span style="font-family: Arial;">create an historical record of the contribution of the United States to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption, critique, pessimism, and optimism.</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormalCxSpFirst"> <b> <span style="font-size: 28.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">25 OFFICE</span> </b> <b> <i> <span style="font-size: 28.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US</span> </i> </b> <b> <span style="font-size: 28.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> ISSUES</span> </b> </p> <p class="MsoNormalCxSpMiddle"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">The origin, the place of departure, is often a place of return. In 1893, the Beaux-Arts-trained architect Charles Follen McKim, along with Daniel Burnham and other eminent artists and architects, undertook the establishment of a prize for post-graduate study in Rome&mdash;the ur-place of the classical&mdash;conscious that his journey was one of return. In 1913, four years after his death, and twenty years after the ideological founding of the American Academy in Rome, McKim, Mead &amp; White completed the Academy&rsquo;s American Renaissance style building that still today houses American recipients of the Rome Prize, and brings US citizens back to a certain kind of home. There are no confusions or hesitations in the semiotic journey back to classical Rome, yet the last hundred years have seen far more complex forms, typologies, and forces shaping the architectures of US architects building abroad. An export was an import, was an export, was an import? </span> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">EX-IM</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> examines the circulation of ideas through different spaces, individuals and socio-political conditions that have shaped the collective imaginary of 20th century architecture. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Since its founding in 1913, the Rockefeller Foundation&rsquo;s focus on &ldquo;promoting the well-being of humanity&rdquo; has amounted to an impact of $14 billion current dollars worldwide. The first building it supported on the basis of missionary purposes and scientific philanthropy, the Peking University Medical Center (PUMC), established US medical and health standards around the globe. Coolidge &amp; Shattuck modeled the building after the Johns Hopkins University School of Medicine, disguised in Chinese traditional materials and styles. On September 12, 1921, Rockefeller Jr. wrote to Rockefeller Sr.&nbsp;&ldquo;we are delighted beyond expression at the Peking Union Medical College buildings, which are perfectly adapted to the purposes and a great contribution not only to science but to architecture.&rdquo; What architecture? </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">TROJAN HORSES</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> examines how architecture sneaks in programmatic and ideological agendas into foreign territories in a <i>state of disguise</i>. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Launched in Detroit in 1895, the office of Albert Kahn Associates was influenced by Taylorist models of production. Kahn rose to prominence as the architect of industrial buildings for Ford Motor Company and other Detroit automobile manufacturers. His factory design expertise led to Kahn&rsquo;s appointment by Stalin as the architect of the Soviet Union&rsquo;s industrial landscape, laying the foundation for wartime tank production. Working abroad prepared the office for &ldquo;coordinating experienced experts&rdquo; in the expansion of factories producing war material in the United States. Albert Kahn Associates still operates today from offices in Detroit, Michigan; Birmingham, Alabama; and Sao Paolo, Brazil. Kahn&rsquo;s office has been seen as a paradigm of efficient practice, a precursor of SOM, HOK, and Gensler. If, as HOK&rsquo;s founding partner George Kassabaum suggested in 1961, modern times required systematic procedures, then what might be the pertinent procedures and tools for contemporary networked, crowd-sourced, technologically augmented, and socially progressive practices? What makes a contemporary practice &rdquo;best&rdquo;?</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">BEST PRACTICES</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> examines the effects of organizational structures, business models and tools on the life of a practice, as well as on its architectural products. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">The work of the largest US practices after the 1930s largely followed the path of oil, first in Venezuela, Colombia, and Indonesia, and then in the Middle Eastern Gulf States after World War II. Governmental headquarters and US embassies, vast military cities, new towns for oil workers, airports, banking towers, commercial centers, and luxury hotels signaled the intent of newly wealthy oil states to place themselves on the world stage. While US architects chased the specter of petroleum-fueled development and the speculative finance economy to which it gave rise, often enabled by engineering firms like Bechtel or contracted through federal entities like the US Army Corps of Engineers, the oil-rich clients received some of modernism&rsquo;s most complete and comprehensive ideal forms. The meeting of tabula rasa conditions and oil money allowed the projection of total worlds and ideal cities, perhaps nowhere more clearly than in Brown Daltas's vast King Khalid Military City (1974-87). The next wave of oil-fueled developments occurred with the 1990s boom, resulting in rapid development in the U.A.E., Qatar, Azerbaijan, and other new inheritors of the petroleum ideal. As energy policies move towards nationally self-sustainable models, what will be the scope and source of the next architectures of energy?</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">CRUDE IDEALS </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">examines the energy resource economies as drivers of city form, including contemporary smart cities and off-the-grid settlements. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">The US Consulate in Istanbul, housed in the Palazzo Corpi, was the first US government-owned diplomatic premise in Europe (from 1882-2003) and the first and only one to be acquired in a poker game. Built by Italian architect Giacomo Leoni, the US presence in Istanbul was housed within an architecture devoid of US principles and lifestyles. When SOM was hired to design the Hotel Istanbul in 1952, Conrad Hilton conceived his business model as one in which US politics would be deployed through notions of design and comfort. Under the guise of democracy and freedom, hotels, as spatialized capitalist warfare tools, allowed for business meetings to occur, new products to be consumed, and Western lifestyles to be subtly introduced within the collective imaginary and desire structures of cities around the world. Hotels, but also museums, cinemas, and other spaces of collective forms of leisure have been operating as tools in the spatial dissemination of capitalism and democracy ever since. What democracy?</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">DEMOCRATIZING ACTION </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">examines the role of architecture in the dissemination of political agendas. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Juan Trippe, founder of PanAm (Pan American World Airways) in 1927, launched the InterContinental Hotel chain in 1946, immediately following WWII, building hotels at each of the airline&rsquo;s new destinations. The majority of the buildings were conceived as infrastructural frameworks taking the form of standard concrete, modular cell structures&mdash;the building blocks of modernization. Over 135 InterContinental interiors were designed by in-house architect Neil Prince to include the latest built-in technological and architectural innovations, promising comfort, &ldquo;good life,&rdquo; and an experience of American lifestyle with a regional flair.&nbsp;Meanwhile, InterContinental&rsquo;s rival, Hilton, built &ldquo;little Americas&rdquo; providing similar comforts, such as air conditioning, driven by the motivation to secure democratic outposts in contested territories. While globalization continues to spread US notions of comfort against local ones around the earth, the question is moving into outer space. What&rsquo;s the next frontier of comfort? </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">INTERCONTINENTAL COMFORT</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> examines the historical construction and contemporary forms attached to conceptions of well-being, comfort and leisure around the globe. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Designed by Welton Becket &amp; Associates, Conrad Hilton&rsquo;s modernist &ldquo;Little America&rdquo; in Havana opened in 1958. Less than ten months later, Castro adopted the hotel for his temporary headquarters following the ousting of President Fulgencio Batista. Conrad Hilton&rsquo;s dream &ldquo;to show the countries most exposed to Communism the other side of the coin&mdash;the fruits of the free world,&rdquo; was retroactively and unexpectedly fulfilled in Havana through the communist appropriation of Hilton&rsquo;s built-in comforts, including air conditioning. In its smooth transition between the two dominant political systems, modern architecture came to symbolize the success of both ideologies. In Havana, the communist takeover of Hilton&rsquo;s luxury and comfort, initially intended for the select few, had a distinct ideological function. Though the story of the Havana Hilton may be different from that of Albert Kahn&rsquo;s Soviet factories, which allowed an immediate translation of capitalist efficiencies into socialist war preparedness, or from TAC&rsquo;s parking garage in the city center of Kuwait whose ground-level market was transformed into the Souk Al-Manakh black market stock exchange (famous for its sudden 1982 crash), in all of these cases architecture more than survives the ideological transformations taking place within it, on occasion it even aids them.</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">REPROGRAMMING</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> examines the architectural implications of technological, political and ideological paradigm shifts. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&ldquo;Unfinished Business,&rdquo; the title for the 1958 World&rsquo;s Fair Exhibition in Brussels, developed by the &ldquo;American Idealism in Action&rdquo; group, displayed &ldquo;America&rsquo;s view of the problems it expects to face in the next decade and how we envisage their solution: Education, Integration, Reconstruction of Urban Centers, Maintenance of Individualism.&rdquo; The exhibition was motivated by the idea that &ldquo;not dealing with the Negro problem would backfire badly.&rdquo; And the exhibition did, in fact, frankly display the US racial and social problems of the day. However, the exhibit drew sufficient pressure from US conservative politicians and national press that the US government closed it shortly after it opened. Six years later the Civil Rights Act became law. Today, fifty years later, many of the same issues persist and new ones have emerged, however, an exhibition about the NSA&rsquo;s surveillance architecture, the double standards for gender retribution or acquisition of power, labor practices within construction sites in the US or abroad would hardly upset any politician or make the cover of any printed media unless a business model were attached to it. Historically invisible within western culture, the gay or the elderly are today central figures within the imaginary of the civil society, all accompanied by specific architectures and business plans. Equality and democracy seem to come faster when attached to a business plan.</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">THE INVISIBLES</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> explores the protocols that perpetuate the exclusion of social groups from the decision making table. <span style="mso-spacerun: yes;">&nbsp;</span> <i> </i> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Charles and Ray Eames&rsquo;s film installation &ldquo;Glimpses of the USA&rdquo; depicted a day in the life of a US citizen for the American National Exhibition in Moscow in 1959. Their contribution to this USIA managed event consisted of 2,200 images of people playing, working, shopping, living and loving, flashing across seven screens in a thirteen-minute loop. Repetition of scenes on college campuses, in the suburbs and on the US highways was intended to disarm all potential Soviet arguments about the fabrication of these scenes of life in the US. Though in the case of Eames&rsquo;s &ldquo;Glimpses,&rdquo; the goal was explicitly one of constructing the image of undeniable national prosperity, even superiority, involving thus the media of photography and film in the construction of national identity, architectural photography and film have been instrumental more generally in the production of architectural history and influence. European modernism would not be imaginable without Corbusier&rsquo;s and Gropius&rsquo;s photographs of industrial architecture in the US, early SOM work in the US and abroad can only be imagined through Ezra Stoller&rsquo;s camera angles, Venturi and Scott Brown&rsquo;s videos of the old Las Vegas still seem new, and what would architectural journals print if it were not for Iwan Baan&rsquo;s travels around the globe. Images make architecture and local specificity travel abroad, and though they still occasionally contribute to the construction of recognizable national identities, what might be the medium and the message of contemporary global citizenship? From US (the United States) to us (a collective), what are today&rsquo;s &ldquo;glimpses&rdquo;?</span> </i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">GLOBAL CITIZENSHIP</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> <span style="mso-spacerun: yes;">&nbsp; </span>looks into historical and contemporary practices of representing national and global citizenship in architecture, images, drawings and film.<span style="mso-spacerun: yes;">&nbsp; </span> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Few state representatives embody the invisible power of resources, or possess the ability to mount magical spectacles of national progress, the way Venezuelan &ldquo;modern&rdquo; statesmen did. Even without fantasies induced by abundant oil, which were at the core of what Fernando Coronil called &ldquo;magical states,&rdquo; the production of a nation-state and national mythology have proven to be both intoxicating and especially productive for architecture. As relatively poor third-world countries emerged as new nations from their respective decolonization processes, all of their modernization projects immediately achieved the mythological status of nation building. These processes had the momentary capacity to turn US architecture firms into the magical agents of progress and modernity. Commissions like Louis Kahn&rsquo;s National Assembly Complex in Dhaka or Edward Durell-Stone&rsquo;s National Assembly and Presidential Palace in Islamabad are direct representations of these new states&rsquo; democratic processes. When considered in tandem with the Indian Institute of Management in Ahmedabad and the Pakistan Institute of Nuclear Science and Technology, designed by Kahn and Durell-Stone respectively, this constellation of projects points to these architects&rsquo; long term&mdash;magical&mdash;involvement in the building of the states of Bangladesh, Indian and Pakistan.</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">MAGICAL STATES</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> refers to architecture&rsquo;s participation in the national processes of modernization and in the definition of nationhood, both made more complicated with the involvement of foreign &ldquo;magicians.&rdquo; </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">In 1946, Soviet school children presented a two-foot wooden replica of the Great Seal of the United States to Ambassador Averell Harriman. He hung the seal in his office. On May 26, 1960, Ambassador Henry Cabot Lodge, Jr. presented the same Great Seal to the United Nations, including the embossed bug that had been broadcasting to the Soviets for six years. Four years later, the US State Department announced that more than forty hidden microphones had been found embedded in the walls of the US Embassy in Moscow. As a result of a reciprocal agreement between Washington and Moscow, a new location was granted and the US chose SOM to design the new embassy. During the establishment of the &ldquo;Conditions of Construction,&rdquo; Russians managed to gain control of the production of the building&rsquo;s structure, all under close US supervision. The groundbreaking ceremony was held in October of 1979. In 1985, a routine x-ray test of a structural pillar uncovered anomalies in the concrete superstructure. Further inspection revealed that almost every pillar had been implanted with rudimentary devices creating a passive electrical grid that allowed the building itself to broadcast the conversations it was supposed to protect. Congress approved the demolition of the upper floors of the &ldquo;smart&rdquo; concrete building to rebuild a four-floor, steel superstructure isolated from the structure below. Fifteen hundred containers with raw construction materials were shipped from the US to Moscow with diplomatic security clearance so that they would never leave the sight of US agents. While today&rsquo;s informational space is based in portable devices&mdash;closer to the 1946 seal&mdash;and security threads traverse hackable firewalls, current advances in nanotechnology and situated technologies might make walls do more than listen or speak.</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">SMART CONCRETE&nbsp;</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores advancements in material research and building technology innovation in relation to their economic, technical and social performance. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Following the suicide bombings in Beirut in 1983, security became a critical issue for the Office of Foreign Buildings Operations (FBO). The Inman Report, submitted by the State Department in the aftermath of the bombings, called for the replacement of 126 out of 226 diplomatic posts worldwide. Since the attacks on US embassies continued after the Inman Report was adopted, a number of more stringent security measures were added, culminating with the three scales of the Standard Embassy Plan produced and implemented in over twenty new embassies under the guidance of the new head of Bureau of Overseas Building Operations (OBO), retired General Charles Williams. In response to the criticism of both the US foreign policy and of the new crop of US embassies, the Department of State launched the Design Excellence Program in early 2011, which revived the conversation about openness versus security in embassy design. It is no surprise that the most passionate expressions of both positive and negative sentiment towards the US involve its embassy architecture. Suffering the symptoms of larger political currents these sites and architectures provide a particularly valuable opportunity to set the tone of future international relationships. What if the architect&rsquo;s tools went beyond tall walls and distances to include anticipating historical change?&rdquo;</span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">ANGER-LOVE MANAGEMENT</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> explores the spaces, typologies and protocols of the architectures of diplomacy. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">The London Docklands, the fabled site of the Canary Wharf development, which congregates the world&rsquo;s financial power to a degree matched only by New York&rsquo;s World Trade Center, was developed by the Canadian firm Olympia &amp; York, the same entity that developed its Manhattan counterpart. Initially master-planned by SOM and subsequently by Koetter Kim, Canary Wharf includes tenants like Citigroup, HSBC, Barclays, J.P. Morgan Chase, and Merrill Lynch, and boasts the building that was London&rsquo;s tallest for two decades, Cesar Pelli&rsquo;s One Canada Square. Over the years, Canary Wharf went in and out of financial stability. Olympia &amp; York bought the plan from a previous developer, only to declare bankruptcy as the London commercial property market collapsed in 1992, and then in a slightly different form (as the Canary Wharf Group) they reacquired it again in 1995. In 2007, individual buildings in this part of London, now fully transformed from its derelict dockland life and branded as one of the key financial centers of the world, cost over a billion dollars. The developers are now extending Canary Wharf. Dreaming of financial technology tenants they brought the designer of the Google and Facebook offices, Gensler, to re-envision the interior of the 39th floor of One Canada Square as: &ldquo;Europe&rsquo;s largest Fin/Tech accelerator.&rdquo; At the 2012 Tech Week, Europe proposed that Level39, as the accelerator space is called, &ldquo;will offer Tech City startups a chance to disrupt the financial sector.&rdquo; Ultimately, every aspect of this development, including the mildly revolutionary hopes for &ldquo;disruption,&rdquo; is part of a tax and profit speculation at the scale at which private finance has previously shaped cities only in North America. </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">PROFIT MARGIN</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> explores the economic dimension of the global production of architecture, with the focus on the agents whose financial interest has the capacity to transform entire cities and territories. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;; color: black;">&ldquo;Once upon a time in the West&rdquo;, a 1968 Sergio Leone spaghetti western film, places the imaginary of the west somewhere half way between Europe and America, Italy and the US, somewhere in the middle the dusty desert of otherness, faraway yet so close to the wilderness of the Wild West. When Robert A.M. Stern Architects was asked to produce in 1988 the Hotel Cheyenne for Euro Disney, the wild west seemed an appropriate symbol of the national dimension of the Disney company. </span> </i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;; color: black;">&ldquo;This 1,000-room hotel is organized as a complex of two-story buildings conceived in the image of a nineteenth-century American western town, but filtered through the lens of Hollywood.<span style="mso-spacerun: yes;">&nbsp; </span>While the streets of typical western towns ran in straight lines and opened to endless vistas of prairie and mountains, the streets of Hotel Cheyenne, like those of the "back-lot" western towns built by Hollywood studios, have vistas angled to screen out "backstage" areas from the cameramen and the actors who, in this case, are one and the same--the hotel guests.&rdquo; <i>Be it through the lens of Hollywood or particular architecture depictions of the US, &ldquo;Little Americas,&rdquo; following Conrad Hilton&rsquo;s term of endearment for his hotels, have contributed to a space of total re-representation in which lifestyle magazines, cinematic imaginaries and thematic architectures produce more often than not, a mythical &ldquo;American&rdquo; reality.</i> </span> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;"> Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;; color: black;"> </span> </i> </p> <p class="MsoNormal"> <span style="font-size: 10.0pt; font-family: Times;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">LITTLE AMERICAS</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> explores the changing notions of<span style="mso-spacerun: yes;">&nbsp; </span>&ldquo;Americanism&rdquo; through spatial, programmatic and aesthetic strategies.</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">In 1989, as the Berlin wall fell and the USSR began to collapse, Gunnar Birkerts received a call from the Latvian Architect Association. They had awarded him the commission for the Latvian National Library and Archives. Birkerts, who had fled Latvia in 1948, could now return to his homeland to build the first national landmark for the newly independent country. But the project was mired in political turmoil, an antiquated code system, and construction delays. By the time the building got off the ground in 2008, almost twenty years after its commission, Birkerts and Associates had helped to rewrite the national fire code, create handicap accessibility standards, and introduced full-scale building enclosure mock-ups to Latvian construction companies. In fact, Birkerts was the first to demand these measures as part of the construction process for all new public buildings. When the Library opens in September 2014, it will culminate a twenty-five year endeavor to bring Latvian building standards up to par with international code. </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">CODE UPGRADE </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the history of the US contribution to the writing of building codes and laws that govern the production of cities and buildings internationally, introducing the legal and built protocols that help cultivate a civil society.<span style="mso-spacerun: yes;">&nbsp; </span> <b> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">The Guggenheim Foundation was, in 2014, seeking a curator in urban studies and digital initiatives to launch an international architectural competition for the design of the new Guggenheim Museum in Helsinki as an addition to the Guggenheim global constellation (New York, Bilbao, Abu Dhabi). According to reporting in the Economist from December 2013, a study by AEA Consulting (a New York firm that specializes in cultural projects), two dozen new cultural centers focused on museums, globally branded or not, are currently due to be built in various countries at an estimated cost of $250 billion. In the meantime, the Helsinki project has already prompted protests by the Finns, who express concerns over the global branding of culture. &ldquo;Visitors&rsquo; spending in Bilbao in the first three years after the museum opened raised over &euro;100m in taxes for the regional government, enough to recoup the construction costs and leave something over.&rdquo; As culture, and with it architecture, becomes the new currency for the production of capital, what are the effects on the understanding and production of culture? </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">CULTURE CAPITAL </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the consequences of the monetization of the architectures and networks of culture.<b> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Describing the other-worldly impression of "machine-absolute" buildings like SOM's Chase Manhattan Bank in New York, Peter Smithson wrote that they "arouse the strongest cargo-cult feelings in foreigners, and are truly hints of une architecture autre." His term referred to the shock of Melanesian islanders at the mystical sight of US warplanes during World War II and the cargo that accompanied them, and to the elaborate cult ceremonies they invented after the war to copy the forms of these planes in bamboo and paint, hoping this mimicry would bring the same abundance from the gods. Smithson interpreted the &ldquo;rash of black towers&rdquo; in England as intending to signify the national &ldquo;nearness to the fountain of technological culture.&rdquo; His reading of the emulations of the American tradition of expensive and technologically advanced detail as the wishful ritualistic performance could, at the end of the twentieth century, apply to large swaths of global architectural production. And thus his concluding remarks on American architecture become a caution to the architectural field at large: &ldquo;American architects almost have it made; if they could only stop worrying about architecture.&rdquo; </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">CARGO CULT </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the spaces of technocratic desire, symbolism and architecture&rsquo;s capacity to represent progress, modernization, or success. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US architecture offices have never established expertise in developing spaces of collective inhabitation. The lack of public housing projects in the US has translated into an absence of new models that attempt to understand the typological, social, and spatial transformations of the collective aspirations of a particular society over time. The expertise of US architects has been developed within the constraints of a client, a program, and a private property line. The inability to understand architecture as part of a larger urban and social framework has produced an objectification of the American architectural project. In other words, US architects have consistently been unable to respond to the social and political questions that their European counterparts, fueled by public competitions, have historically addressed. Those US architects who have desired to explore housing typologies have ventured into foreign lands to test the social and spatial implications of the oldest of all typologies.&nbsp;In 1969, for example, Christopher Alexander won the international competition for a housing project in Lima, Peru. The jury praised his project for&nbsp;&ldquo;a freshness of approach, a commitment to the dignity and worth of individual, a recognition and understanding of the complex linkages between the individual, his family, his belongings, his neighbors and the entire community.&rdquo; </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">HOUSING PUBLIC GOOD </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the architectural, social and political prototypes that allow access to affordable housing as a global human right.<span style="mso-spacerun: yes;">&nbsp; </span> <b> <i> </i> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">On February 4, 2002, in the same year that Sorg Architects received the commission to build the embassy compound in Kabul, the CIA used an unmanned Predator drone in a targeted killing for the first time. The strike was in Paktia province, two hundred kilometers south of Kabul, near the city of Khost. The intended target was Osama bin Laden. In 1956, representatives of the United States traveled to Kabul to display national technologies, goods, and pleasures in the Jeshyn International Fair. The design and construction of the US pavilion for that fair, commissioned by Jack Massey, the USIA exhibitions officer, had to be completed in six months. The Geodesic Dome, with patent number US 2,682,235 filed by Buckminster Fuller and awarded in 1954, was the structure chosen by Massey for the cultural display of transportation systems, TV sets, and agricultural techniques. The same structural system has been used over the years around the world as the stage for multiple fairs, civic buildings, art projects, and even direct military operations. In 1967, US antiwar protesters used the US Pavilion in Montreal, the Biosphere, a class 1 frequency 16 </span> </i> <a href="http://en.wikipedia.org/wiki/Icosahedron"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;; color: windowtext; text-decoration: none; text-underline: none;">icosahedron</span> </i> </a> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> of seventy-six meters in diameter, to denounce the bombs being dropped in Vietnam with shirts imprinted with &ldquo;Stop the Bombs&rdquo; and &ldquo;Genocide.&rdquo; Certain Architectures are designed to travel the ideological spectrum participating in different narratives by staying true to their own internal agendas. </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">BULLETS WITH-OUT IDEOLOGY </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the ideological openness of prototypical architecture, which by definition presents solutions in search of a problem. <b> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 10.0pt; font-family: &quot;Times New Roman&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; mso-bidi-font-weight: bold;">The best, for the most for the least, a motto used by the Eames and a principle easily applicable to the project of modernity as a whole, consisted in providing a space of knowledge able to transmit fundamental spatial, formal and material principles to a vast amount of population. Through this process of optimization and expertise development, US architecture firms aimed to produce the best, for the most for the least, giving birth, on the trails of automotive and industrial modes of production and modernization to the corporate architecture office. Over the years, this productive optimism transformed into high expertise, allowing for the proliferation of hyper efficient production models with shorter delivery times and tighter budgets producing a series of protocols of production from detail sets, office manuals to protocols of management that allowed for the easy and efficient transmission of knowledge over peers and through generations producing a space of expertise and specialization able to fulfill and perpetuate particular needs, demands and aspirations. Within this mindset, innovation consisted in going outside of the box by surpassing the existing configurations of the box. The best became the tallest box, the biggest box, the fastest box&hellip; </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> </p> <p class="MsoNormal"> <i> <span style="font-size: 10.0pt; font-family: &quot;Times New Roman&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; mso-bidi-font-weight: bold;">&nbsp;</span> </i> </p> <p class="MsoNormal"> <i> <span style="font-size: 10.0pt; font-family: &quot;Times New Roman&quot;; mso-bidi-font-family: &quot;Times New Roman&quot;; color: black; mso-bidi-font-weight: bold;">&nbsp;</span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">SUPERLATIVES</span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> explores the expertise involved in producing architectures whose specific aim is to operate at the quantifiable limits of a particular technological or operational aim. </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------</span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">By the time the US self-service supermarket model began to travel the trade fare circuits, having debuted at the American Way Supermarket at Rome&rsquo;s Third International Congress of Food Distribution, the Viennese American father of the mall had bean in the US for two decades. Having begun with retail and architecture of department stores Gruen&rsquo;s most lasting contribution involved developing the model of suburban shopping center, which he imagined as nothing less than the civic epicenter of suburbia. He was responsible for over 50 of them in the US before a change of heart, which prompted his return to Europe. Golden era of the supermarket coincided with the rise of the mall, the two retail typologies defining the US landscape in a two-step. When the American Supermarket traveled to Zagreb in 1957 as part of USIA&rsquo;a operations it was full of shiny shopping carts, cash registers and refrigerators filled with US produced food items. The impact of the exhibit was instantaneous in Yugoslavia, exciting both the politicians and the audiences so much that the first Yugoslavian supermarket was opened in Belgrade in 1958, with 70 more following shortly after across the country. In the US the superstore began to displace both the supermarket and the mall already by the 1980s. And though on demand, on line shopping is currently transforming the big box into a mechanized, optimized sorting machine in large portions of the first world economies, producing its supporting logistical landscape and infrastructure, superstores and malls are simultaneously being built by US architects around the world. Old and new retail typologies coexist in the unevenly developed world of global trade. </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">BIG BOX RULES </span> </b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">explores the typologies of trade, the logics that instigate them and the physical landscapes that they in turn enable.<b> </b> </span> </p> <p class="MsoNormal"> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">---------------------------------------------------------------<i> </i> </span> </p> <p class="MsoNormal"> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">On March 20, 1883, five years before the Exposition Universelle of Paris, world leaders who had noticed that inventors did not attend the International Exhibition of Inventions in Vienna for fear that their work would be exploited, proposed creating an international treaty. Known as the Paris Convention, the treaty paved the way for international patent laws and helped to enforce them for the first time. Beginning January 6, 2014, the new Global Patent Prosecution Highway pilot program will operate as a trademark agreement among the established national agencies of its seventeen initial partners, which include Australia, Japan, China, Russia, Spain, and the United States. On January 24, 2013, the US Patent &amp; Trademark Office published Apple's latest registered trademark certificate for Apple's "Distinctive Design &amp; Layout.&rdquo; The text describing the architectural branding of the space says: &ldquo;The mark consists of the design and layout of a retail store. The store features a clear glass storefront surrounded by a paneled fa&ccedil;ade consisting of large, rectangular horizontal panels over the top of the glass front, and two narrower panels stacked on either side of the storefront within the store.&rdquo; In a surreal twist, the patent of the space was granted in both black and white and in color, as if the stores were only an image. Now that architecture patents can be globally enforced by national institutions, we will surely see many rich regional takes on the perception of the &ldquo;Apple Aura&rdquo; that extend just safely beyond the image and form contained within the 4,277,913 and 4,277,914 patent registration numbers. </span> </i> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: Arial;">Office</span> </b> <b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">US </span> </i> </b> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">Issues</span> </b> <i> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;"> </span> </i> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">&nbsp;</span> </b> </p> <p class="MsoNormal"> <b> <span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt; font-family: &quot;Times New Roman&quot;;">NETWORK PATENTS</span> </
Legible Pompei 12 May 2014 09:35:33 EST http://www.storefrontnews.org/programming/starter projectss?e=618

Monday May 12, 2014

<form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <br /> </form> <p> <b>About the Project</b> </p> <p>A global archaeological laboratory, a city half-buried in a mound of lava, a sinkhole for cultural funds, a cipher for Italy&rsquo;s cultural disarray&mdash;Pompeii is all of these things, but it is also a testing ground for preservation theories and practices. Since the Enlightenment, every mission to &lsquo;discover&rsquo; the city has been followed by the invention of techniques to repair and stabilize it.&nbsp;</p> <p>&nbsp;</p> <p>Legible Pompei, an installation at the 14th Venice Architecture Biennale describes and performs the problem of preserving Pompeii. The <span style="text-decoration: underline;">Data Fresco</span> diagrams the history of Pompeiian conservation experiments in order to make the site legible to the visitor again. The <span style="text-decoration: underline;">Souvenir Pile</span> offers ersatz Pompeiian matter, cast in resin blocks, to the Biennale public, as a material record of the site and a souvenir of the Italian cultural experience.</p> <p>Please email a photograph of your block in its new home toLegiblePompeii@gmail.com</p> <p>&nbsp;</p> <p> <b>Authors</b>: Lucia Allais &amp; MOS (Michael Meredith, Hilary Sample)</p> <p> <b>Team</b>: Graphic Design: Multimillion (Katie Andresen, Michael Seitz;</p> <p>Research: Justin Fowler, Clelia Pozzi, Louise Decoppet, Frederik Bruggink; MOS: Griffin Ofiesh; Fabrication: Benas Burdulis &amp; Emil Froege</p> <p> <b>With the support of</b>: Elise Jaffe + Jeffrey Brown, Princeton University School of Architecture, Polytek Development Corp., Anonymous, Princeton University (UCRHSS, SEAS, CACPS, Department of French and Italian, IHum, Digital Humanities Initiative), Kara A. Hailey &amp; Nicola T. Allais, Robert Edsell, Storefront for Art and Architecture, Francesca Orsini</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>Lucia Allais</b> is an architectural historian and theorist who specializes in the material history of exchanges between architecture and political institutions in the modern period, especially in a global context. Her work has appeared in the journals Perspecta, Volume, Log and Grey Room, and the edited volumes Governing by Design, Multiple Signatures, Formless Finder, and Global Design History. She is working on a history of monument survival and international bureaucracy in the 20th Century, tentatively titled Designs of Destruction. She has received fellowships from the Princeton Society of Fellows, the Graham Foundation, the Krupp Foundation, the CASVA, and the Radcliffe Institute. She is an Assistant Professor of Architecture at Princeton University, a member of the Aggregate Architectural History Collaborative, and an editor of Grey Room.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Located in New York City, <b>MOS</b> is an architecture studio known to produce original and recognizable work that challenges the boundaries between architecture, urbanism, art, and technology. MOS has received numerous awards, including a 2013 AIA New York State Citation for Design for the Lali Gurans Orphanage in Kathmandu, Nepal, the Architecture Award given annually by the American Academy of Arts and Letters; was named one of North America&rsquo;s &ldquo;Emerging Voices&rdquo; by the Architectural League of New York as well as &ldquo;Avant Guardian&rdquo; by Surface Magazine. The firm has been featured by The Creator&rsquo;s Project and in exhibitions at the Museum of Modern Art, the Venice Architectural Biennale, the Wexner Center, the Cooper-Hewitt Museum, the Shenzen Architectural Biennale, Institute of Contemporary Art in Boston, and the Art Institute in Chicago. In 2012 Everything All at Once: The Software, Video, and Architecture of MOS was published by the Princeton Architectural Press.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="outline-width: 0px; font-size: 12px;">-------------------------------------------------------------------</span> </p> <p> <span style="font-size: 12px;"> </span> </p> <p>Legible Pompei is part of the Storefront Starter initiative. Funding for this project was completed in May 2014.</p> <p> <img src="../images/tinyMCE_upload/storefront_starter.jpg" width="100" height="100" /> </p> <p>Storefront Starter is an initiative of Storefront for Art and Architecture that supports innovative and entrepreneurial projects in art and architecture. Storefront Starter is a digital platform of exposure for innovative art and architecture projects that aim to radically transform the built environment. The platform allows and facilitates visionary individuals or groups to financially support innovative ideas. For more information go&nbsp;<a href="../programming/events?preview=true&amp;e=496">here</a>.&nbsp;</p> <div> <br /> </div> <p>&nbsp;</p>
Letters to the Mayor 26 March 2014 14:55:29 EST http://www.storefrontnews.org/programming/exhibitionss?e=612

Wednesday April 30, 2014 – Saturday May 24, 2014

<p> <b>Letters to the Mayor</b> </p> <p> <b>April 30 - May 24, 2014</b> </p> <p> <b>Opening: April 29, 7pm</b> </p> <p>&nbsp;</p> <p>As a civic figure, the architect has the privilege and responsibility to articulate and translate the collective aspirations of society, and specifically of those not able to sit at the decision-making tables.&nbsp;</p> <p>&nbsp;</p> <p>Throughout history, architects have engaged with this responsibility and the structures of economic, political and cultural power in different ways and with varying degrees of success. With the rise of globalization and the homogenization of the contemporary city, the role of the architect in the political arena has often been relegated to answering questions that others have asked. While designing the next economically driven cultural-iconic-touristic object, an increasing amount of both architects and with them, politicians, have forgotten the ethics that should be associated with architectural practice and the potential of design in the construction of public life.&nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor</i> presents fifty letters written by international architects to the political leaders of more than 20 cities around the world. Each letter provides a space of reflection for the architect to present ideas and methodologies and express some of the concerns and desires that might contribute to action within political spheres.&nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor</i> also presents the <a href="../archive/2010?c=&amp;p=&amp;e=602">eighteen finalists</a> of the <a href="../programming/events?preview=true&amp;e=520">Competition of Competitions</a>, a project launched in 2013 that invited interdisciplinary teams of architects, artists, economists, philosophers, writers, and citizens at large to formulate their visions of the future of architecture and cities in the form of a competition brief. With the intention to provoke long-standing conventions of the architecture competition, the first edition of the <a href="../programming/events?preview=true&amp;e=520">Competition of Competitions</a> drew more than 100 entries, which were reviewed by a jury of professionals and visionaries including <b>Amale Andraos </b>(Architect, Work AC), <b>Paola Antonelli </b>(Architecture Curator, MoMA), and <b>Michael Sorkin</b> (Architect and architecture critic). &nbsp;</p> <p>&nbsp;</p> <p> <i>Letters to the Mayor </i>is thus a compilation of briefs, facts, desires and dreams for the construction of our cities foundations and horizons. All competition briefs and letters will be sent to each respective City Mayor after being presented at the Storefront gallery. &nbsp;</p> <p> <span style="font-size: 12px;"> <b> <span style="text-decoration: underline;"> <br /> </span> </b> </span> </p> <p> <span style="font-size: 12px;"> <a href="../programming/competitions?c=&amp;p=&amp;e=615"> <b> <span style="text-decoration: underline;">The winners of the Competition of Competitions were announced at the public opening of the exhibition on April 29 at 7pm. Click here.</span> </b> </a> </span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>Participating Architects</b> </p> <p>Ellie Abrons, Emily Abruzzo, Nora Akawi, Azra Ak&scaron;amija, Zahra Ali Baba, Suad Amiry, Arielle Assouline-Lichten, Ana Dana Beros, Bronwyn Breitner, Alessandra Cianchetta, Odile Decq, Sonja Duempelmann, Keller Easterling, Pia Ednie-Brown, Frida Escobedo, Daniela Fabricius, Yvonne Farrell, Daisy Froud, Rosalie Genevro, Cristina Goberna, Selva G&uuml;rdoğan, Greta Hansen, Roisin Heneghan, Joyce Hwang, Catherine Ingraham, Julia King, Mar&iacute;a Langarita, Alexandra Lange, Ana Mar&iacute;a Le&oacute;n Crespo, Ariane Lourie Harrison, Jing Liu, Yeoryia Manolopoulou, Mpho Matsipa, Mitch McEwen, Shelley McNamara, Meredith Miller, Sissil Morseth Gromholt, Elizabeth O'Donnell, Marina Otero, Mariana Pestana, Roc&iacute;o Pina, Anna Puigjaner, Danielle Rago, Suchi Reddy, Dagmar Richter, Florencia Rodr&iacute;guez, Saskia Sassen, Deborah Schneiderman and Scott Lizama, Annabelle Selldorf, Maria Smith, Michael Sorkin, Esther Sperber, Benedetta Tagliabue, Martha Thorne, Nathalie de Vries, Marion Weiss, Sarah Whiting, Mabel Wilson, Kim Yao, Marisa Yiu, Alejandro Zaera Polo, Mimi Zeiger, Zoka Zola, and more.</p> <div> <br /> </div> <p>&nbsp;</p> <p> <b> <a href="../archive/2010?c=&amp;p=&amp;e=602">Competition of Competitions Finalists</a> </b> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/qm6oli3zzydewfg/10070.%20compettion%20of%20competitions_PR_PD2.pdf">ReDesign the Discipline of Architecture</a>&nbsp;</p> <p> <i>The Architecture Lobby</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/4rrhi0023pkpi9r/10022%20Boot-Trunk.pdf">Open Source Open Space: Hacking the Built Environment&nbsp;</a> </p> <p> <i>Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/9qlszzfarsg6pqd/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office&nbsp;</a> </p> <p> <i>Min Chen &amp; Kristin Enright</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/xe5lz3qb9tjaig2/10047.%20Amazonia%202015.pdf">Amazonia 2020&nbsp;</a> </p> <p> <i>Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/aa4ozgzaadgsmh9/10042.%20team%2010042_finalcompetition.pdf">Deploy Yourself, Not Your Designs&nbsp;</a> </p> <p> <i>The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/mu8pbdp9wp47cvu/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature&nbsp;</a> </p> <p> <i>El Corbusier</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/5ra7w1arcrvdsey/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City.&nbsp;</a> </p> <p> <i>FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/9x800f1ubx1skpm/10062.%20Entry%2010062_Labyrinth.pdf">Labyrinth</a> </p> <p> <i>grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/249h9bayiun5e63/10030.%20GroundLAB_notitles_08.13.2013.pdf">NO TITLES, A Campaign for Illegal Architecture&nbsp;</a> </p> <p> <i>GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/lelcmqzrpq5tqmp/10016.%20_TBD.pdf">Taking Buildings Down</a> </p> <p> <i>INC_A</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/6w91cf3rz057qcn/10019.%20THE%20DISCREET%20ARCHITECT.pdf">The Discreet Architect</a> </p> <p> <i>Local Provision Studio [Valeria Federighi, Janet Yoon]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/tljed6di684xb0s/10035.%20CofC%2010035.pdf">Nature, Error, Babies&nbsp;</a> </p> <p> <i>Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/2lqd4s5phfiwdk0/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space&nbsp;</a> </p> <p> <i>Mitnick-Roddier [Mireille Roddier, Keith Mitnick]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/qp5t33pyumkeni8/10069.%20CoC_10069.pdf">Rezoning the 5th Fa&ccedil;ade: Redefining New York's City Roof Scape&nbsp;</a> </p> <p> <i>normaldesign [Matthias Neumann in collaboration with Shane T. Umman]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/7ljlkhgljfl9igy/10074.pdf">The Next Suburb</a> </p> <p> <i>The Thirteenth Hour</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/tr65i3ys7nf8xgw/10066.%20FF-FINAL2.pdf">Future Factory</a> </p> <p> <i>Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/36xzw7e2trovr1q/10063.%20BLISS.pdf">BLISS: Better Living through Intuitive Soft Surveillance&nbsp;</a> </p> <p> <i>Yeadon Space Agency</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/a8o2a0f0illx0fe/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </p> <p> <i>Zooburbia [Felipe Orensanz, Rodrigo Duran]</i> </p> <p> <i> <br /> </i> </p> <p> <b>Credits</b> </p> <p>Storefront x Voutsa collaboration wallpaper</p> <p> <span style="font-size: 12.222222328186035px;">Dissolvable furniture installation by Piotr Chizinski</span> </p> <p> <span style="font-size: 12.222222328186035px;">Newsprint design by Lauren Francescone</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <i>The wallpaper installation by George Vousta is as an investigation into the language of power, mirroring the activities commonly associated with The Mayor. Shovels, ties, microphones, bows, ribbon ceremonies and handshakes construct a pattern that in digital repeat, creates a chaotic background noise, rhythmically echoing the letters across the room.&nbsp;</i> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <b>About Voutsa</b> </span> </p> <p> <b> <span style="font-size: 12.222222328186035px;"> </span> </b> </p> <p>Voutsa is a New York-based lifestyle and interiors brand that specializes in signature hand-illustrated and digitally reworked wallpapers, custom murals and wall installations. &nbsp;In addition to special collaborative projects such as the &ldquo;Letters to the Mayor&rdquo; piece designed for Storefront for Art and Architecture, Voutsa produces seasonal collections of digitally printed wallpapers as well as custom textiles and objet, available online and in showrooms around the country. &nbsp;George Venson, a Texas native and the founder of Voutsa, lives and works in Chinatown, New York. &nbsp;Pronounced voo-tsa, its origins date back to Greece; George&rsquo;s grandparents immigrated to the US through Ellis Island, changing their name in the process to Venson. In an effort to usurp this transition, George formed Voutsa LLC in their honor and in honor of the American Dream. &nbsp;George holds degrees from Rice University in Economics and Visual Arts.</p> <div> <br /> </div> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;">This exhibition is supported in part by the Norwegian Consulate General New York.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;"> <img src="../images/tinyMCE_upload/English_ConsGen_logo_level_2newyork_copy.jpg" width="250" height="86" /> <br /> </span> </p> <div> <br /> </div> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/Lettersto-the-mayor_giff_smallsmall.gif" width="500" height="500" /> <br /> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <div> <br /> </div>
Winners: Competition of Competitions 30 April 2014 09:03:56 EST http://www.storefrontnews.org/programming/competitionss?e=615

Tuesday April 29, 2014 – Tuesday April 29, 2014

<p>With more than 100 entries and 18 finalists, Storefront is pleased to announce the winners of the Competition of Competitions.</p> <p>&nbsp;</p> <p> <b>1st PRIZE&nbsp;</b> </p> <p> <a href="https://www.dropbox.com/s/atjv3endl11utgg/team10042_competitionsummary.docx">Deploy Yourself, Not Your Designs</a> </p> <p>The Coalition for the Improvement of Refugee Camps&nbsp;</p> <p>[Marcy Monroe, Lee Dykxhoorn]</p> <p> <b> <br /> </b> </p> <p> <b>2nd PRIZE</b> </p> <p> <a href="https://www.dropbox.com/s/b9oevzj3jlo5ert/labyrinth.pdf">Labyrinth</a> </p> <p>grey_matter(s)&nbsp;</p> <p>[Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</p> <p>&nbsp;</p> <p> <b>3rd PRIZE</b> </p> <p> <a href="https://www.dropbox.com/s/b5bzqqv1k88d5ix/10047.%20Amazonia%202015.pdf">Amazonia 2020</a>&nbsp;</p> <p> <i>Civic Projects&nbsp;</i> </p> <p> <i>[Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <div> <i> <br /> </i> </div> <p>&nbsp;</p> <p>&nbsp;and</p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/rjgg7z992x7zpn2/Open%20Source%20Open%20Space%20-%20BOOT%20TRUNK.doc">Open Source Open Space: Hacking the Built Environment</a> </p> <p>Boot/Trunk</p> <p>[Nicole Lindahl, Louise Mackie and Samantha Senn]</p> <p>&nbsp;</p> <p> <b>HONORABLE MENTIONS</b> </p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/5ra7w1arcrvdsey/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City</a> </span> </p> <p>FormFictionFormat&nbsp;</p> <p>[Elena Palacios Carral, Manijeh Verghese]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/9qlszzfarsg6pqd/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office</a> </span> </p> <p>Min Chen &amp; Kristin Enright</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/2lqd4s5phfiwdk0/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space</a> </span> </p> <p>Mitnick-Roddier&nbsp;</p> <p>[Mireille Roddier, Keith Mitnick]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/tr65i3ys7nf8xgw/10066.%20FF-FINAL2.pdf">Future Factory</a> </span> </p> <p>Gretchen Wilkins&nbsp;</p> <p>[with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/qp5t33pyumkeni8/10069.%20CoC_10069.pdf">Rezoning the 5th Facade: Redefining New York's City Roof Scape</a> </span> </p> <p>normaldesign&nbsp;</p> <p>[Matthias Neumann in collaboration with Shane T. Umman]</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/mu8pbdp9wp47cvu/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature</a> </span> </p> <p>El Corbusier</p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/a8o2a0f0illx0fe/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </span> </p> <p>Zooburbia&nbsp;</p> <p>[Felipe Orensanz, Rodrigo Duran]&nbsp;</p> <p>&nbsp;</p> <p> <b>STOREFRONT SPECIAL PRIZE</b> </p> <p>&nbsp;</p> <p> <span style="text-decoration: underline;"> <a href="https://www.dropbox.com/s/lelcmqzrpq5tqmp/10016.%20_TBD.pdf">Taking Buildings Down</a> </span> </p> <p>INC_A</p>
OfficeUS: CALL FOR OUTPOSTS 21 April 2014 12:05:10 EST http://www.storefrontnews.org/programming/projectss?e=614

Monday April 21, 2014 – Saturday May 31, 2014

<p> <img src="../images/tinyMCE_upload/officeUs_call-for-outposts.gif" width="600" height="600" /> </p> <p>&nbsp;</p> <p>OfficeUS is inviting 90 architects worldwide to participate in the activities of a global architectural office. Members contribute their voices, expertise and skills to OfficeUS on a regular basis at a level of engagement they specify--from full time to a few hours a week.&nbsp;</p> <div> <br /> </div> <p> <span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;is an architecture collective that aims to redefine the terms of design and production of architecture on the global scale. Participation in&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;is an act of architectural generosity towards the production of ideas and projects beyond current social, economical, pedagogical and disciplinary constraints.</p> <p>&nbsp;</p> <p>Eligible applicants are highly skilled, speculative and visionary architects. Applicants must have a professional degree in architecture or a demonstrated ability within the field of architecture, design, urban planning, engineering and/or city planning. They could be working within corporate offices, small firms, government agencies, universities or independently.</p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Outpost Architects will participate from their local base in the development and implementation of 25 projects in collaboration with the 6&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Partners in residence at the&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Headquarters in the US Pavilion at the 2014 Venice Architecture Biennale.</p> <p>&nbsp;</p> <p>Throughout the 25 weeks of the Venice Architecture Biennale, a series of 25&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Issues (ranging from Public Housing to Smart Materials) will provide the framework of&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US&nbsp;</i>inquiry.</p> <p>&nbsp;</p> <p>Powered by an on line platform, and under the direction of&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US</i>&nbsp;Partners, the&nbsp;<span style="font-size: 12.222222328186035px;">Office</span> <i>US&nbsp;</i>Outpost Architects will provide key expertise, skills, production capabilities and strategic local knowledge for the development of projects during the Venice Biennale. The projects will be ultimately compiled in the OfficeUS New World book and exhibit in the spring of 2015 at the Storefront for Art and Architecture in New York.</p> <p>&nbsp;</p> <p>The network will be organized and managed by Therrien-Barley working under the guidance of Storefront for Art and Architecture and curators Eva Franch i Gilabert, Ana Miljacki and Ashley Schafer.</p> <p>&nbsp;</p> <p>Applications will be accepted on a rolling basis until all positions are filled. The application fee is $15.</p> <p>&nbsp;</p>
Behind Tough Love: Member's Studio Visit with Sebastian Errazuriz 26 March 2014 10:18:16 EST http://www.storefrontnews.org/programming/eventss?e=611

Wednesday April 16, 2014 – Wednesday April 16, 2014

<p> <b> <span style="font-size: 12px;">Behind <i>Tough Love</i>:&nbsp;</span> </b> </p> <p> <b> <span style="font-size: 12px;">Member's Studio Visit with Sebastian Errazuriz</span> </b> </p> <p> <b> <span style="font-size: 12px;">April 16, 2014</span> </b> </p> <p> <b> <span style="font-size: 12px;">6:30pm</span> </b> </p> <p> <b> <span style="font-size: 12px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 12px;">Storefront for Art and Architecture is pleased to offer <a href="../info/supporters">Storefront Members</a> a private and casual tour of artist-designer Sebastian Errazuriz's studio in Brooklyn, New York on April 16th.</span> </b> </p> <p>&nbsp;</p> <p> <a href="../programming/events?preview=true&amp;e=600"> <i>Tough Love</i> </a>, Storefront's current exhibition, is a solo exhibition by Sebastian Errazuriz and will close just days before this tour. The exhibition addresses some of the most pressing issues being faced in the United States today.&nbsp;</p> <p>&nbsp;</p> <p>The tour will begin at 6:30pm and refreshments, snacks and conversations on the role of the artist in contemporary culture will be offered.&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>This tour is free for Storefront Members and a guest</b>. If you are a Storefront Member and would like to attend, please send your RSVP to membership@storefrontnews.org. If you are interested in attending by becoming a member, <a href="../get_involved/membership">click here</a>.</i> </p> <p>&nbsp;</p> <p>I<span style="font-size: 12.222222328186035px;">f you have any questions, please email membership@storefrontnews.org.&nbsp;</span> </p> <div> <br /> </div>
Definitions Series: Risk 7 February 2014 15:19:51 EST http://www.storefrontnews.org/programming/seriess?e=603

Tuesday April 8, 2014 – Tuesday April 8, 2014

<p> <b>Definitions Series: Risk</b> </p> <p> <b>April 8, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <b>Definitions Series: Risk</b> with Thom Mayne, Eric Owen Moss, Stephen Phillips and Eva Franch i Gilabert presented a discussion on the &ldquo;institutionalization&rdquo; of &ldquo;experimentation&rdquo; and cultural politics and power of TAKING RISKS.</p> <p>&nbsp;</p> <p>This event was open to all with reserved seats available to Storefront members. If you are interested in&nbsp;becoming a Storefront member,&nbsp;<a href="http://www.storefrontnews.org/support">click here</a>.&nbsp;</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b>Thom Mayne</b> </p> <p>Thom Mayne founded Morphosis as an interdisciplinary, collective practice involved in experimental design and research in 1972. &nbsp;He is co-founder of the Southern California Institute of Architecture and Distinguished Professor at UCLA Architecture and Urban Design. &nbsp;Mayne's distinguished honors include the Pritzker Prize (2005) and the AIA Gold Medal (2013). &nbsp;</p> <p>&nbsp;</p> <p> <b>Eric Owen Moss</b> </p> <p>Eric Moss, FAIA, received a Bachelor of Arts from UCLA in 1965, his Masters of Architecture from UC Berkeley in 1968 and a second Masters of Architecture from Harvard in 1972. EOMA has been the recipient of over 100 local, national, and international design awards. Eric Owen Moss has held teaching positions at major universities around the world including Harvard, Yale, Columbia, University of Applied Arts in Vienna, and the Royal Academy in Copenhagen. Moss has been a longtime professor at the Southern California Institute of Architecture (SCI-Arc), and has served as its director since 2003.</p> <p>&nbsp;</p> <p> <b>Stephen Phillips</b> </p> <p>Stephen Phillips, AIA, Ph.D. is Associate Professor and Director of the Cal Poly Los Angeles Metropolitan Program in Architecture and Urban Design, and Visiting Faculty at SCI-Arc. He is Principal in the award-wining firm Stephen Phillips Architects (SPARCHS). As a graduate of Yale, Penn, and Princeton, he has received fellowships, grants, and awards from the Getty Research Institute, the Smithsonian American Art Museum, the Graham Foundation, the Bruno Zevi Foundation, the Canadian Center for Architecture, the AIA, and the ACSA, among many others.&nbsp;</p> <p> <b> <br /> </b> </p> <p> <b>About the book</b>&nbsp;</p> <p> <b>LA [Ten]: Interviews on Los Angeles Architecture, 1970s-1990s</b> </p> <p> <b>Stephen Phillips</b> </p> <p> <b>Published by Lars M&uuml;ller, 2013</b> </p> <p>With contributions by Neil Denari, Thom Mayne, Franklin Israel, Eric Owen Moss, Michael Rotondi, Craig Hodgetts, Wes Jones, Frederick Fisher, Coy Howard, Hsinming Fung</p> <p> <br />Catapulted to fame by the international media in and around the 1980s, a loosely affiliated cadre of experimental architects, the so-called L.A. Ten, emerged to define the future of Los Angeles architecture.</p> <p>&nbsp;</p> <p>In the new book L.A. [Ten]: Interviews on Los Angeles Architecture 1970s-1990s by author/editor Stephen Phillips of the Cal Poly L.A. Metro Program&mdash;architects Neil Denari, Frederick Fisher, Ming Fung, Craig Hodgetts, Coy Howard, Wes Jones, Thom Mayne, Eric Owen Moss, Michael Rotondi, and former associates of the late Franklin Israel offer a casual, witty, and approachable retrospective on the characters, environment, and cultural history of L.A. architecture as they remember it.</p> <p>&nbsp;</p> <p>------------------------------------------------------------------------------------------------------------</p> <p>The Definitions Series invites a series of individuals to construct, propose and articulate definitions of a specified term.</p> <p>&nbsp;</p> <p>Special thanks to Cal Poly, HMC Architects and Morphosis Architects for sponsoring this event.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/HMC_Architects_Color.jpg" width="250" height="42" />&nbsp;&nbsp;&nbsp;<img src="../images/tinyMCE_upload/calpoly_logo_new.jpg" width="200" height="61" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/morphosis-logo-2in_new_forweb.jpg" width="200" height="49" /> </p>
OfficeUS: PARTNERS 7 July 2014 11:39:10 EST http://www.storefrontnews.org/programming/projectss?e=630

Tuesday April 1, 2014

<p>Office<i>US</i>, the U.S. Presentation at the 14th International Architecture Exhibition&thinsp;&mdash;&thinsp;la Biennale di Venezia, announced today the Partners of OfficeUS: Arielle Assouline-Lichten, Curtis Roth, Cooking Sections: Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe, Manuel Shvartzberg Carri&oacute;, Matteo Ghidoni, and M-A-U-S-E-R: Mona Mahall &amp; Asli Serbest.</p> <p>&nbsp;</p> <p>The Office<i>US</i> Partners were selected from an international open call hosted by Storefront for Art and Architecture in Fall 2013. Eva Franch i Gilabert, Ana Miljački and Ashley Schafer, curators of the U.S. Pavilion project, Office<i>US</i>, selected the partners.&nbsp;</p> <p>&nbsp;</p> <p>Over the twenty-five weeks of the Biennale, these eight architects, who include two collaborative pairs, will work in conversation with visiting experts and various outpost offices around the world to reconsider the projects exhibited in the pavilion and to construct an agenda for the future production of architecture.&nbsp;</p> <p>&nbsp;</p> <p>Office<i>US</i> is still accepting applications for outpost offices as part of the project. Application materials can be found at http://officeus.org/apply/.</p> <p>&nbsp;</p> <p> <b>About the Partners</b> </p> <p>&nbsp;</p> <p> <b>Arielle Assouline-Lichten</b> </p> <p>Arielle holds a Master of Architecture from the Harvard Graduate School of Design, and a bachelor degree in Critical Theory and Visual Media from New York University. She is the co-founder of Slash Projects, a multi-disciplinary design firm based in Brooklyn, New York. Her work focuses on experience as a driver for new design opportunities between physical and interactive space. Prior to founding Slash Projects, Arielle has worked for BIG, Sn&oslash;hetta, and Kengo Kuma Architects. She recently led a campaign seeking retroactive recognition of Denise Scott Brown by the Pritzker Prize and is passionate about establishing equality for designers through digital activism.</p> <p>&nbsp;</p> <p>As Partner of Office<i>US</i>, Arielle investigates the secondary figures in US architecture and new modes of operation for empowerment.&nbsp;</p> <p>&nbsp;</p> <p> <b>Curtis Roth</b> </p> <p>Curtis is a recent graduate of the Massachusetts Institute of Technology where he earned his Master of Architecture degree with a concentration on post-war histories and theories of architecture. While at MIT Curtis was awarded the AIA Henry Adams Medal, as well as the Ralph Adams Cram Thesis Prize. Curtis was most recently the 2013-2014 Howard E. LeFevre &rsquo;29 Emerging Practitioner Fellow at the Knowlton School of Architecture at the Ohio State University where he curated a retrospective exhibition of the work of the fictional neo-avant-garde group Superimpossible. Prior to his appointment as the LeFevre Fellow, Curtis served as the Knowlton School of Architecture&rsquo;s Richard W. Trott &rsquo;61 Distinguished Visiting Professor where he taught both studios and history seminars in the Architecture and Landscape Architecture departments. He has worked professionally for Howeler + Yoon Architecture and Opsys Landscape Infrastructure Lab, both located in Boston.</p> <p>&nbsp;</p> <p>As Partner of Office<i>US</i>, Curtis is the office&rsquo;s Confabulist of Archival Comedies (CAC), a role which entails simulating new collective architectural memories by repurposing the affective magic of comedy as a device for re-wiring architectural history.&nbsp;</p> <p>&nbsp;</p> <p> <b>Daniel Fern&aacute;ndez Pascual &amp; Alon Schwabe</b> </p> <p>Based in London, Daniel Fern&aacute;ndez Pascual and Alon Schwabe create new critical methods of mapping territories and urbanism through their trajectory of geopolitical cooking performances. After meeting at the Centre for Research Architecture, Goldsmiths, University of London, they founded Cooking Sections: a research-practice that cooks site-specific edible maps of boundaries, thresholds, events, buildings, architectures, landscapes, oddities and anomalies. Past performances have taken place at Storefront for Art and Architecture, New York; The Bartlett, London; Institut F&uuml;r Raumexperimente, Berlin; dOCUMENTA(13); TEDx Talks, Madrid; Halle14, Leipzig; Polytechnic Architecture School ETSAM, Madrid; Fiorucci Art Trust, London amongst others. They have been associate residents participating in The Politics of Food program, at Delfina Foundation, London.</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partners, Cooking Sections speculate on US architectural exports by looking at the spaces of production and consumption of food. During the course of the project, they will develop a cookbook drawing from OfficeUS Repository and realize their recipes publicly.</p> <p>&nbsp;</p> <p> <b>Manuel Shvartzberg Carri&oacute;</b> </p> <p>Originally from Spain and Argentina, Manuel studied at the Bartlett School of Architecture and holds an MA in Aesthetics and Politics from CalArts. Among others, he has worked for OMA&thinsp;/Rem Koolhaas and was project architect for David Chipperfield Architects from 2006 to 2012. Manuel is a co-founder of the experimental practice Hunter &amp; Gatherer, dedicated to developing speculative projects on contemporary art, architecture and culture, and is a founding partner of Matterberg Architects, based in London and New York City. He has published and exhibited his work internationally and has taught at various institutions, including CalArts and the University of Southern California. Currently he is based in New York City where he is enrolled in the PhD in Architecture program at Columbia University and is a graduate fellow of the Institute for Comparative Literature and Society.</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partner, Manuel is interested in how to re-design &ldquo;architecture&rdquo; as a particular set of socio-technical practices connected to economic and political imaginaries. How do the theatrics of economization affect the architecture profession, and vice-versa? Are we doomed to be global financial capitalism&rsquo;s window dressers? Can we think of other political capacities for architecture?</p> <p>&nbsp;</p> <p> <b>Matteo Ghidoni</b> </p> <p>Matteo is an architect, editor and publisher based in Milan. He has been guest professor at the Istituto Universitario d&rsquo;Architettura di Venezia, the Politecnico in Milan, the Royal Danish Academy of Arts in Copenhagen and the Pontificia Universidad Javeriana in Bogot&agrave;. As founding partner of the research agency Multiplicity, his work has been exhibited at Kunstwerke in Berlin (2003), the Venice Biennale (2003), the Mus&eacute;e d&rsquo;art moderne in Paris (2003), the ZKM in Karlsruhe (2004) and the Beijing Biennial (2004). In 2005, he founded the architectural office Salottobuono, which has served as editor of the Instructions and Manuals section of Abitare magazine (2007-10) and as creative director of Domus magazine (2011, 2012). The office has taken part in the Venice Biennale (2008, 2012), published the Manual of Decolonization (2010) and designed the Italian Pavilion in 2010. Matteo is co-founder and Editor-in-Chief of San Rocco magazine, an independent international publication about architecture. San Rocco was awarded the Icon Award as best emerging architecture practice (2012) and the Graham Foundation Grant for Advanced Studies in the Fine Arts (2013).&nbsp;</p> <p>&nbsp;</p> <p>As Office<i>US</i> Partner, Matteo Ghidoni is the Head of the Department of Radical Realism. Matteo deals with issues of extreme professional pragmatism and the logic of proper exploitation of given conditions as possible ways toward a truly genuine architecture for the city. Rather than focusing on singularity of buildings and the romantic figure of the architect, the department contributes to the construction of a shareable and manipulable knowledge of architecture.&nbsp;</p> <p>&nbsp;</p> <p> <b>Mona Mahall &amp; Asli Serbest</b> </p> <p>Based in Stuttgart and Istanbul, Mona Mahall and Asli Serbest, M-A-U-S-E-R, represent the practice and research of the Micro Architecture Unit Star Energy Ray. As an undisciplined, collaborative studio they reflect and produce architecture in and through different media. Their only, quasi-universal, principle is that ideas&thinsp;&ndash;&thinsp;although being shaped by certain linguistic, social, political, technological, and interpretative conditions&thinsp;&ndash;&thinsp;dominate their strategies, procedures, and objects. Therefore, M-A-U-S-E-R&rsquo;s work can come as building, installation, video, graphic, sound, text, etc.&thinsp;&ndash;&thinsp;depending on the idea behind. It can use existing forms or develop anti-forms. It is shown in their self-published magazine Junk Jet, in their texts for e-flux journal, Perspecta, etc., and in their exhibitions at K&uuml;nst&ndash;lerhaus Stuttgart, General Public, Berlin, Storefront for Art and Architecture, New York, etc. Mona and Asli each completed a PhD on a critical reflection of modern speculative architecture. Currently, M-A-U-S-E-R holds the chair of fundamentals of design at the Stuttgart State Academy of Art.</p> <p>&nbsp;</p> <p>As Partners of Office<i>US</i>, Mona and Asli integrate what is usually separate. Depending on the moment, they become webmasters, existentialist philosophers, Palm Jockeys, members of the cabin crew, or architects that from a long way off look like flies.&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p>
Manifesto Series: On Monumentality 26 February 2014 13:51:32 EST http://www.storefrontnews.org/programming/seriess?e=607

Tuesday March 18, 2014 – Tuesday March 18, 2014

<p> <b>March 18, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p>Political and ideological beliefs are at the core of discussions on monumentality, from the CIAM conferences and conversations in the aftermath of WWII, to more recent investigations of loss, mourning and memory.</p> <p>&nbsp;</p> <p> <b>On Monumentality</b> presented 11 contemporary manifestations of the ideas, forms and spaces that represent and signify collective aspiration today.</p> <p>&nbsp;</p> <p>The event, organized in collaboration with the "Monument to Cold War Victory" competition, examined through varying notions of monumentality the enduring genre of war monuments, memorials, and institutionally framed and commissioned artworks. &nbsp;</p> <p>&nbsp;</p> <p>With Constantin Boym, Mary Ellen Carroll, Sasha Chavchavadze, Adeola Enigbokan, Yeveniy Fiks, Lillian Gerson, Peter Goin, Stamatina Gregory, Justin Jampol, Vitaly Komar, Lisi Raskin, Dread Scott, and Srdjan Jovanovic Weiss.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">This event was open to all. Seat reservations at Storefront Series events are available to Storefront members. If you are interested in becoming a Storefront member, <a href="../get_involved/membership">click here</a>.&nbsp;</span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b> </b> </p> <p> <b>Constantin Boym </b>is a New York-based artist, designer, and a founder of Boym projects.</p> <p>&nbsp;</p> <p> <b>Mary Ellen Carroll </b>is a conceptual artist living and working in Houston, Texas and New York City. She is the recipient of numerous grants and honors, including a Guggenheim Fellowship, a Rockefeller Fellowship, a MacDowell Colony Fellowship and a Pollack/Krasner Award. She was awarded a fellowship from the Pennies from Heaven Fund, for her contribution to New York City as a visual artist for work that is advanced, experimental, and socially visionary. Carroll teaches architecture at Rice University in Houston, Texas, where in 2009 she realized Project Prototype 180, a work of art that aimed to make architecture performative by inverting an acre of land and the domestic structure that is on it 180 degrees. Her work has been exhibited at numerous galleries and institutions around the world, including the Whitney Museum of American Art, New York; the ICA, London; Museum fur Volkerkunde, Munich; the ICA, Philadelphia; MOMUK, Vienna; and the Renaissance Society, Chicago.</p> <p>&nbsp;</p> <p> <b>Sasha Chavchavadze</b> is an artist who has exhibited her paintings, drawings and installations internationally for twenty-five years. Her interdisciplinary Cold War project, Museum of Matches(www.museumofmatches.com), was presented in exhibitions at Kentler International Drawing Space and the Rotunda Gallery in Brooklyn; as a &ldquo;one-room Cold War museum&rdquo; at Proteus Gowanus; as excerpts in the magazines Cabinet, Bomb and NYFA Current; and as a book by Proteotypes in 2011. Chavchavadze is the founder and co-creative director of Proteus Gowanus Interdisciplinary Gallery in Brooklyn where she has for ten years creatively developed numerous exhibitions and projects, including the Berlin Tunnel Project and Battle Pass, which she recently presented at the Museum of Modern Art.</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <b>Adeola Enigbokan</b> is an artist, teacher, and environmental psychologist practicing urban interventions in New York City.</p> <p>&nbsp;</p> <p> <b>Yevgeniy Fiks&nbsp;</b> <span style="font-size: 12.222222328186035px;">was born in Moscow in 1972 and has been living and working in New York since 1994. Fiks has produced many projects on the subject of the Post-Soviet dialog in the West, among them the exhibition and book project &ldquo;Lenin for Your Library?&rdquo; and &ldquo;Communist Guide to the Museum of Modern Art."</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p> <span style="font-size: 12.222222328186035px;"> <span style="color: #222222; line-height: normal; background-color: #ffffff; font-size: 12px; font-family: Arial;"> <b>Lillian Gerson</b>'s&nbsp;</span> <span style="color: #222222; line-height: normal; background-color: #ffffff; font-family: Helvetica; font-size: 12px;">playfully intricate architectural installations challenge traditional narratives and established notions of truth, while inciting reactions of curiosity and wonder. Past projects include a temporary travel agency installed in an empty Italian Ice shop in Williamsburg, a mock park ranger booth at Socrates Sculpture Park, a miniature museum on Governors Island, and an immersive recreation of Far Rockaway post-Hurricane Sandy.</span> </span> </p> <p>&nbsp;</p> <p> <b>Peter Goin</b> is an American photographer best known for his work within the altered landscape, specifically his photographs published in the book Nuclear Landscapes. His work has been shown in over fifty museums nationally and internationally and he is the recipient of two National Endowment for the Arts Fellowships. Goin is currently a Foundation Professor of Art in Photography and Videography at the University of Nevada, Reno. He has also done extensive rephotography work in the Lake Tahoe region. Peter's photographs have been exhibited in more than fifty museums nationally and internationally, and he is the recipient of two National Endowment for the Arts Fellowships. He lives in Reno, Nevada.</p> <p>&nbsp;</p> <p> <b>Stamatina Gregory </b>is an independent curator and critic based in New York. She has recently organized projects for the Institute of Contemporary Art at the University of Pennsylvania, The Austrian Cultural Forum in New York, and the Venice Biennale. She is the Associate Dean at the School of Art at the Cooper Union.</p> <p>&nbsp;</p> <p> <b>Justin Jampol</b> is the Executive Director and Founder of The Wende Museum and Archive of the Cold War in Culver City, CA.&nbsp;</p> <p>&nbsp;</p> <p> <b>Vitaly Komar</b> is a Russian-born painter and performance artist, based in New York.</p> <p>&nbsp;</p> <p>Since 1998, Brooklyn-based artist <b>Lisi Raskin</b> has traveled to the Arctic Circle, former East German and Yugoslav Atomic bunkers, and through the American west exploring the intersection of nuclear-age fears and utopian mythologies as they manifest in oral histories and the architectures of the Cold War. Raskin&rsquo;s on-site research has informed the making of paintings, drawings, objects, videos, and large, constructed environments that she has exhibited internationally. In 2013, Raskin was the recipient of a Creative Time Global Residency grant that she used to explore Soviet infrastructural projects, war museums, and monuments in Kabul and Herat in Afghanistan.This research will be the subject of two upcoming solo shows that open in April at Churner and Churner and Art in General in New York.</p> <p>&nbsp;</p> <p> <b>Dread Scott</b> makes revolutionary art to propel history forward.&nbsp;</p> <p>&nbsp;</p> <p> <b>Srdjan Jovanovic Weiss</b> is a Harvard educated architect, studying the spatial appearance of post-communist ideologies.</p> <div> <br /> </div> <div> <br /> </div> <p>&nbsp;</p> <p>&nbsp;</p>
FUN-DA-MENTALS: 2014 Spring Benefit After Party 7 March 2014 09:07:09 EST http://www.storefrontnews.org/programming/eventss?e=608

Tuesday March 11, 2014 – Tuesday March 11, 2014

<p> <img src="../images/tinyMCE_upload/BENEFIT-2014_e_low.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p> <b>FUN-DA-MENTALS</b> </p> <p> <b>THE AFTER PARTY</b> </p> <p>&nbsp;</p> <p> <b>Storefront's 2014 Spring Benefit</b> </p> <p> <b>March 11, 2014</b> </p> <p> <b>Capitale, New York</b> </p> <p> <b>130 Bowery</b> </p> <p> <b>9:00-11:30pm</b> </p> <p> <b> <br /> </b> </p> <p> <b>FUN-DA-MENTAL I: Open bar&nbsp;</b> </p> <p> <b>FUN-DA-MENTAL II: MUSIC BY DJ Jon Santos, commonspace</b> </p> <p> <b>FUN-DA-MENTAL III: YOU</b> </p> <p> <b>FUN-DA-MENTAL IV: VENETIAN CHINA TOWN BANKING CHIC DRESS CODE</b> </p> <p>&nbsp;</p> <p> <i>Storefront's 2014 Spring Benefit took place at Capitale in New York from 6:30-9:00pm. The event honored radical visionaries Meredith Monk &amp; Olafur Eliasson and celebrated the selection of Storefront as the Commissioner of the US Pavilion at the 2014 Venice Architecture Biennale.&nbsp;</i> </p> <div> <br /> </div> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/afterparty2.gif" width="300" height="300" /> <br /> </div> <p>&nbsp;</p>
2014 Spring Benefit: On the Fringe (of Fundamentals) 14 January 2014 16:13:19 EST http://www.storefrontnews.org/programming/eventss?e=599

Tuesday March 11, 2014 – Tuesday March 11, 2014

<p> <b> <span style="font-size: 14px;"> 2014 STOREFRONT SPRING BENEFIT</span> </b> </p> <p> <b> <span style="font-size: 20px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 26px;">ON THE FRINGE (OF FUNDAMENTALS)</span> </b> </p> <p> <b> <span style="font-size: 26px;"> <br /> </span> </b> </p> <p> <b> <span style="font-size: 26px;"> MARCH 11, 2014</span> </b> </p> <p> <b>Honoring&nbsp;</b> </p> <p> <b> <span style="font-size: 20px;">Meredith Monk and Olafur Eliasson</span> </b> </p> <p> <b>Cocktails, Hors D'Oeuvres and a Silent Art Auction</b> </p> <p> <b>Capitale, New York</b> </p> <p> <b>130 Bowery</b> </p> <p> <b>6:30 - 9:00PM</b> </p> <p>&nbsp;</p> <p>Storefront for Art and Architecture&rsquo;s <b>2014 Spring Benefit: On the Fringe (of Fundamentals)</b>&nbsp;was a toast to&nbsp;Storefront&rsquo;s appointment as the Commissioner of the U.S. Pavilion at the 2014 Venice Architecture Biennale.&nbsp;</p> <p>&nbsp;</p> <p>In response to &ldquo;Fundamentals: Absorbing Modernity,&rdquo; Rem Koolhaas&rsquo; theme for this year&rsquo;s Venice Architecture Biennale Storefront presented Office<i>US</i>, an experimental project that investigates the contributions of US architecture offices over the last 100 years. On March11. 2014 we will celebrate the launch of this project and Storefront&rsquo;s commitment to fearless work that reflects on fundamentals in art and architecture through the support of alternative practices. The event will take place at Capitale, the old Savings Bank headquarters on the Bowery designed by Stanford White, of McKim, Mead, and White, and built in 1893 in a Roman Classical Style. That night, On the Fringe will honor two fundamental figures for Storefront: <b>Meredith Monk</b> and <b>Olafur Eliasson</b>.</p> <p>&nbsp;</p> <p> <b>Silent auction featuring works by artists and architects including</b> </p> <p> <b>Vito Acconci / Arktura LLC / Daniel Arsham / Atelier Van Lieshout / Erieta Attali / Brett Beyer / BroLab / James Carpenter / Mary Ellen Carroll / Todd Eberle / Sebastian Errazuriz / Terence Gower / Alexandra Grant / Ann Hamilton / Rachel Harrison / Virva Hinnemo / Steven Holl / Alfredo Jaar / Andr&eacute;s Jaque / Natalie Jeremijenko / Louis I. Kahn / Jane Kaplowitz / Lisa Kereszi / Jon Kessler / Rem Koolhaas / Arcady Kotler / Sze Tsung Leong / David Levinthal / Christina McPhee / Paul Miller / Robert Montgomery / Shirin Neshat / Sarah Oppenheimer / Manfred Pernice / Tobias Putrih / Jon Pylypchuk / Pedro Reyes / Mark Robbins / Peter Scott / Denise Scott Brown / Kiki Smith / Jing Liu and Florian Idenburg/SO-IL / Mikhael Subotzky / Do-Ho Suh / Studio Drift / Stephen Talasnik / Zefrey Throwell / Janaina Tschape / Bernard Tschumi / Meyer Vaisman / Karin Waisman / Lawrence Weiner / Dustin Yellin / Andrea Zittel</b> </p> <p> <b> <br /> </b> </p> <p> <b>Storefront thanks the&nbsp;</b> </p> <p> <b> <span style="font-size: 26px;"> Benefit Committee</span> </b> </p> <p>&nbsp;</p> <p> <b>Storefront Circle</b> </p> <p>Todd DeGarmo</p> <p>Lauren Kogod and David Smiley</p> <p>Robert M. Rubin and St&eacute;phane Samuel</p> <p>&nbsp;</p> <p> <b>Storefront Council</b> </p> <p>Bloomberg</p> <p>Elise Jaffe + Jeffrey Brown</p> <p>Diller Scofidio + Renfro</p> <p>EvensonBest</p> <p>Kohn Pedersen Fox Associates (KPF)&nbsp;</p> <p>Artur Walther</p> <p>&nbsp;</p> <p> <b>Benefactor</b> </p> <p>Arup</p> <p>Carlos Brillembourg and Karin Waisman</p> <p>Gensler</p> <p>Michael A. Manfredi &amp; Marion Weiss</p> <p>Sara P. Meltzer</p> <p>Miller Blaker</p> <p>NRI</p> <p>Sylvia Smith</p> <p>Turner Construction Company&nbsp;</p> <p>&nbsp;</p> <p> <b>Patron</b> </p> <p>1100 Architect, David Piscuskas + Juergen Riehm</p> <p>Artek USA Inc.</p> <p>Mahnaz and Adam Bartos</p> <p>Bernsohn &amp; Fetner LLC</p> <p>Enrique Norten Architecture PC</p> <p>Belmont Freeman</p> <p>FXFOWLE Architects, LLP</p> <p>Edmund Hollander</p> <p>HWKN (HollwichKushner)</p> <p>Marvel Architects</p> <p>Perkins Eastman</p> <p>William Prince / PARC Office</p> <p>Reddymade Design</p> <p>Douglass Rice</p> <p>Sn&oslash;hetta</p> <p>Barbara Wilks</p> <p>&nbsp;</p> <p> <b>Sponsor</b> </p> <p>Michelle Addington</p> <p>Alexander Gorlin Architects</p> <p>Amale Andraos and Dan Wood</p> <p>Amanda Angelini</p> <p>Anonymous</p> <p>Paola Antonelli</p> <p>The Architect's Newspaper</p> <p>Andrew Bartle</p> <p>Laurie Beckelman</p> <p>Nils and Maddy Burke-Vigeland</p> <p>Susan Chin and Charles McKinney</p> <p>Beatriz Colomina</p> <p>Jane + John Comfort</p> <p>Control Group</p> <p>Cooper Joseph Studio</p> <p>James Dart</p> <p>Christina R. Davis</p> <p>Kyle DeWoody</p> <p>Keller Easterling</p> <p>Karen Fairbanks and Scott Marble</p> <p>Richard Flood</p> <p>Hal Foster</p> <p>Alexander Gal&aacute;n</p> <p>Charles Gepp</p> <p>Jeanne Giordano + Bob Frasca&nbsp;</p> <p>Richard Gluckman</p> <p>Claudia Gould</p> <p>Terence Gower</p> <p>Cristina Grajales</p> <p>Lisa J. Green</p> <p>Peter Guggenheimer</p> <p>Michael Haverland</p> <p>Roya Khadjavi Heidari&nbsp;</p> <p>Steven Holl</p> <p>Barbara Jakobson</p> <p>Steven Incontro and David Joselit</p> <p>Natalie Kovacs</p> <p>Lydia Kallipoliti&nbsp;</p> <p>Andrew Laing</p> <p>MADE Architecture</p> <p>Margaret Sullivan Studio</p> <p>Marian Goodman Gallery</p> <p>Jennifer Marmon</p> <p>Melissa Marsh</p> <p>Mercedes A. Mestre</p> <p>Edwin Meulensteen</p> <p>Toshiko Mori</p> <p>Musica Sacra</p> <p>P.P.O.W</p> <p>Spyros Papapetros</p> <p>Margery Perlmutter</p> <p>Lisa Phillips</p> <p>Barbara G. Pine</p> <p>Sandro Marpillero and Linda Pollak</p> <p>Peter Reed</p> <p>Charles Renfro</p> <p>Anne Rieselbach and Grant Marani</p> <p>Ronnette Riley</p> <p>Fernando Romero</p> <p>Jesse Reiser and Nanako Umemoto, RUR Architecture PC</p> <p>Joel Sanders</p> <p>Annabelle Selldorf</p> <p>SO-IL</p> <p>Galia Solomonoff</p> <p>Betsy Sussler</p> <p>Lybess Sweezy</p> <p>Frederieke Taylor</p> <p>Suzan Tillotson</p> <p>Amanda Topaz</p> <p>Bernard Tschumi and Kate Linker</p> <p>Wayne Turett</p> <p>Henry Urbach</p> <p>Carol A. Willis</p> <p>Mabel &nbsp;Wilson</p> <p>Karen Wong</p> <p>WXY Architecture</p> <p>ZERZA Architects</p> <p>&nbsp;</p> <p> <span style="font-size: 26px;"> </span> </p> <div style="width: 100%; text-align: left;"> </div> <div style="width: 100%; text-align: left;"> <div style="padding: 5px 0px; margin: 2px; width: 100%; text-align: left;"> <div style="padding-top: 5px; padding-bottom: 5px; margin: 2px; width: 100%;"> <span style="font-size: xx-small; font-family: Helvetica,Arial;">If you were unable to attend the event and would like to make a contribution to Storefront's 2014 Spring Benefit, please click below:</span> </div> </div> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input name="cmd" type="hidden" value="_s-xclick" /> <input name="hosted_button_id" type="hidden" value="XSLDWYJJHUUQN" /> <input alt="PayPal - The safer, easier way to pay online!" name="submit" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" type="image" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> <br /> <br /> <img src="../images/tinyMCE_upload/BENEFIT-2014_e_low.gif" width="500" height="500" /> </form> <p>&nbsp;</p>
Screening Series: Visiting Splitting 10 February 2014 09:54:54 EST http://www.storefrontnews.org/programming/filmss?e=605

Thursday March 6, 2014 – Thursday March 6, 2014

<p> <b>Screening Series: Visiting Splitting</b> </p> <p> <b>March 6, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <i>Screening Series: Visiting Splitting</i>&nbsp;was a film screening and discussion with Kelly Baum, Liza B&eacute;ar, Jessamyn Fiore, GH Hovagimyan, Mark Wigley and Marcelo L&oacute;pez-Dinardi. The event included a screening of Gordon Matta-Clark's renowned <i>Splitting</i> as well as the film <i>Visit to Humphrey Street</i>, which had never been presented publicly and has no declared author. &nbsp;</p> <p>&nbsp;</p> <p>In 1974, artist Gordon Matta-Clark explicitly asked the gallerist Holly Solomon for a house. He was in the search of a place for his next building cut. The Solomons offered him a house that was later known under the name <i>Splitting</i>, and later become one of Matta-Clark's canonical works. The film <i>Visit to Humphrey Street House</i> (34:59) &ndash;&ndash;which has never been presented publicly and has no declared author&ndash;&ndash; records the famous bus trip that Solomon organized to take a group of artists to visit the house located at the 322 of Humphrey Street in Englewood, New Jersey.&nbsp;</p> <p>&nbsp;</p> <p>This event was open to all.&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/88538593"> </iframe> </p> <div> <span style="font-size: 12px;"> <div style="font-size: 12px;"> <b> <br /> </b> </div> <div style="font-size: 12px;"> <b>About the participants</b> </div> <div style="font-size: 12px;"> <b>Kelly Baum</b> </div> <div style="font-size: 12px;">Kelly Baum has been working as a curator and scholar for almost fifteen years. Prior to her arrival at Princeton in 2008, she held curatorial positions at the Museum of Fine Arts, Houston, and the Blanton Museum of Art at the University of Texas at Austin. Kelly has organized several exhibitions, including Carol Bove; Jedediah Caesar; The Sirens&rsquo; Song; Transactions; Nobody's Property: Art, Land, Space, 2000&ndash;2010; Doug Aitken: migration (empire); Felix Gonzalez-Torres: &ldquo;Untitled&rdquo;; and New Jersey as Non-Site, for which she received a Warhol Curatorial Research Fellowship. Kelly also has published dozens of essays on subjects ranging from Ana Mendieta and Santiago Sierra to Mich&egrave;le Bernstein and the Situationist International in such journals as October, Art Journal, TDR: The Drama Review, and the Princeton University Art Museum's Record. In addition to overseeing the museum&rsquo;s Sarah Lee Elson, Class of 1984, International Artist in Residence Program and serving as a curatorial adviser to the University&rsquo;s campus art committee, she is currently researching the exhibition Beckett&rsquo;s Decade, to open in spring 2017.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Jessamyn Fiore</b> </div> <div style="font-size: 12px;">Jessamyn Fiore is a New York based independent curator and writer. She was the Director of Thisisnotashop, a not for profit gallery space in Dublin, Ireland, from 2007-2010. She co-founded The Writing Workshop in 2007 with Jessica Foley, which functioned as a collaborative forum for writers and artists. Fiore is co-director of the Estate of Gordon Matta-Clark with her mother, Jane Crawford, Matta-Clark&rsquo;s widow. She curated 112 Greene Street: The Early Years (1970&ndash;1974) at David Zwirner in New York (2011), which led to the critically acclaimed, eponymous catalogue, published by David Zwirner and Radius Books (2012). She curated a second exhibition for David Zwirner in New York titled Gordon Matta-Clark: Above and Below(2013). Currently she has curated two exhibitions both on now: a solo exhibition by Clive Murphy titled Post Neo Proto Demoat Magnan Metz Gallery in Chelsea, New York until April 12 and The Balloon, a group exhibition inspired by Donald Barthelme&rsquo;s short story &ldquo;The Balloon&rdquo; including the work of six artists from New York, Iceland, and Ireland and featuring Gordon Matta-Clark&rsquo;s &ldquo;Sky Hook/Drawing for a Balloon Building&rdquo; series, at Rawson Projects in Greenpoint, Brooklyn until March 23rd. Her original one-act play Blast from The Past, based on the writings of Robert Smithson and Gordon Matta-Clark, is soon to be published by the Bureau for Open Culture.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <span style="font-size: 12.222222328186035px;"> <b>GH&nbsp;</b> </span> <b>Hovagimyan</b> </div> <div style="font-size: 12px;"> <span style="font-size: 12.222222328186035px;">GH Hovagimyan</span> <span style="font-size: 12.222222328186035px;">is an experimental artist working in a variety of forms. An Internet and new media pioneer, his works ranges from hypertext works to digital performance art, interactive installations and HD video.</span> </div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">His works have been exhibited at MoMA, Mass MoCA, The Whitney Museum, The New Museum, The Walker Art Center, Jeu De Paume, MAC Marseille, MAC Lyon, Pompidou Center, Lincoln Center, ICA The Clocktower, The Kitchen, The Alternative Museum, Eyebeam Art &amp; Technology, List Visual Arts Center, La Gaite Du Lyrique, Stuttgart Kunstverein, Steim Institute, the Moscow Center for Contemporary Art, Postmasters Gallery, Pace Digital Gallery</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">He has also exhibited works in major festivals and art fairs including; Art Basel Miami, Pulse Miami, Art Cologne, Split Film Festival, Conflux Festival, Video Dumbo, Scope Art Fair, Frieze Art Fair, Avignon Numerique, The Documenta, Interferences 2nd International Festival of Urban Multimedia Arts, Les Musiques, Marseille and Prix Ars Electronica 98 where he won an award for his collaborative work with Peter Sinclair. &nbsp;</div> <div style="font-size: 12px;"> <b> <br /> </b> </div> <div style="font-size: 12px;"> <b>Liza B&eacute;ar</b> </div> <div style="font-size: 12px;">Since the mid 1970s Liza Bear has created an intriguing body of work that consistently focuses attention on communications issues-specifically the use of media by the press and the disempowered role of the public in communications policy. Central to Bear's work is a desire to tie the means of production (technology) to the reasons for production (capitalistic advantage, national ideology, etc.). While Bear's concerns are global, her approach is always personal and experimental-collapsing the norms of narrative and documentary, subjective authorship and objective document.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Mark Wigley</b> </div> <div style="font-size: 12px;">An accomplished scholar and design teacher, Mark Wigley has written extensively on the theory and practice of architecture and is the author of Constant&rsquo;s New Babylon: The Hyper-Architecture of Desire (1998); White Walls, Designer Dresses: The Fashioning of Modern Architecture (1995); and The Architecture of Deconstruction: Derrida&rsquo;s Haunt (1993). He co-edited The Activist Drawing: Retracing Situationalist Architectures from Constant&rsquo;s New Babylon to Beyond (2001). Wigley has served as curator for widely attended exhibitions at the Museum of Modern Art, New York; The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Museum, Rotterdam. He received both his Bachelor of Architecture (1979) and his Ph.D. (1987) from the University of Auckland, New Zealand.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;"> <b>Marcelo L&oacute;pez-Dinardi</b> </div> <div style="font-size: 12px;">A researcher, educator and trained architect, studied his first year of architecture in his native Chile, and obtained his BArch from the School of Architecture of the Polytechnic University of Puerto Rico (PUPR), Cum Laude. Co-founded the research group CIUDADLAB in 2004, has been Assistant Professor of design studio, research and representation at the PUPR, where he directed the 2009-2010 Lectures Series Sense Recession: What Comes Next?, and also directed the Roundtable Series for four years. From 2008-2011 edited the journal Polimorfo, which he also co-founded. Has written for Entorno, Domus, Planning Perspectives, CCGSAPP, invited juror at the UPR, GSAPP, Barnard + Columbia College, Pratt Institute, Parsons, and NJIT, lectured at Cooper Union, exhibited his drawings in San Juan and Berlin, and his architectural design work has been awarded several times. After relocating to New York, where he currently lives, He developed the thesis Destructive Knowledge: Tools for Learning to Un-Dō around the work of the artist Gordon Matta-Clark, obtaining an MS in Critical, Curatorial and Conceptual Practices in Architecture of the GSAPP at Columbia University. He is a partner of A(n) Office, based in New York and an Adjunct Faculty at the School of Architecture of the New Jersey Institute of Technology and the Architecture Department at Barnard + Columbia College.</div> <div style="font-size: 12px;"> <br /> </div> <div style="font-size: 12px;">&nbsp;</div> </span> </div>
Definitions Series: R. Buckminster Fuller: World Man 20 February 2014 10:05:35 EST http://www.storefrontnews.org/programming/seriess?e=606

Tuesday February 25, 2014 – Tuesday February 25, 2014

<p> <b>Definitions Series: R. Buckminster Fuller: World Man</b> </p> <p> <b>February 25, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p>Storefront presented&nbsp;<i>Definitions Series: R. Buckminster Fuller: World Man </i>with Stan Allen, Alejandro Zaera-Polo, and Daniel L&oacute;pez-P&eacute;rez for&nbsp;a conversation about some of the key terms that constitute the body of Fuller&rsquo;s "World Man" lecture and book. &ldquo;Prime Design, Automation, Law of Conservation of Energy, Wealth, Universe, System, Total Challenge&hellip;&rdquo; are amongst a few of the terms and definitions that are put forth providing an abstract but suggestive outline of Fuller&rsquo;s &ldquo;geometry of thinking.&rdquo;</p> <p>&nbsp;</p> <p>For R. Buckminster Fuller, words and concepts were intimately related. &ldquo;[T]he Number of the words in the dictionary grow,&rdquo; he asserted in his &ldquo;World Man&rdquo; lecture, &ldquo;because we have more aspects of subjects to consider.&rdquo; Fuller saw language as an invaluable resource &ndash; as a tool to be used not only for sharing ideas with others but also for developing ideas. Language was not an end in itself but rather a discursive process, through which he created and explored new concepts. Iterative and evolving, like his models of nature&rsquo;s laws, Fuller&rsquo;s terminology never becomes static, his words and concepts move and extend from one area of relevance to another; from the scale of the human body, to that of the universe.</p> <p>&nbsp;</p> <p>This event was open to all.&nbsp;</p> <p>&nbsp;</p> <p> <b>About the Book</b> </p> <p> <i>R. Buckminster Fuller: World Man</i> presents the original typescript of Fuller&rsquo;s never-before-published Kenneth Stone Kassler memorial Lecture. Delivered at the Princeton university school of Architecture in 1966 &ndash; a year before his masterwork took shape at Expo &rsquo;67 in Montreal &ndash; the lecture encapsulates his radical thinking at the height of his career. Reflecting on the severe challenges facing the global ecology, Fuller delivers an impassioned rallying cry to architects to shape their universe by responding to its underlying principles &ndash; a cry as relevant today as it was in the visionary designer&rsquo;s own time.</p> <p> <b> <br /> </b> </p> <p> <b>About the participants</b> </p> <p> <b>Stan Allen</b> is an architect and George Dutton &rsquo;27 Professor of architectural Design at the Princeton University School of Architecture, where he served as dean from 2002 to 2012. His practice, SAA/Stan Allen Architect, has realized buildings and projects from single family houses to urban master plans, in the United States and abroad. The extensive catalog of architectural and urban strategies he developed to respond to the complexity of the modern city is presented in Points and Lines: Diagrams and Projects for the City (1999), and his essays are collected in Practice: architecture, technique and representation (2009). His most recent book is Landform Building: Architecture&rsquo;s New Terrain (2011).</p> <p> <b>&nbsp;</b> </p> <p> <b>Alejandro Zaera-Polo</b> is Dean of the Princeton University School of Architecture. The internationally renowned architect and scholar previously served as dean of the Berlage institute in Rotterdam, occupied the Berlage Chair at the Delft University of Technology in the Netherlands, and held the Norman R. Foster Visiting Professorship of Architectural Design at Yale University. Widely published in leading journals, such as El Croquis, Quaderns, and A+U, his essays are collected in The Sniper&rsquo;s Log: An Architectural Perspective of Generation &ndash; X (2012). The award-winning work of Zaera-Polo&rsquo;s firm, AZPA, includes the Yokohama International Port Terminal in Japan, distinguished by its dramatic form and innovative use of materials.</p> <p>&nbsp;</p> <p> <b>Daniel L&oacute;pez-P&eacute;rez</b> is an Assistant Professor of Architectural Design and a founding faculty member of the Architecture Program at the University of San Diego. L&oacute;pez-P&eacute;rez received a Ph.D. in the History and Theory of Architecture at Princeton University, a Master of Science in Advanced Architectural Design (with Honors) from Columbia University, and an AA Diploma from the Architectural Association. A Fuller Scholar, L&oacute;pez-P&eacute;rez is currently completing the manuscript of a book entitled From Spheres to Atmospheres, R. Buckminster Fuller&rsquo;s Spherical Atlas, 1944&ndash;1980.</p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87709387"> </iframe> </p>
Reading Images Series: Environments of Extraction 10 February 2014 09:09:20 EST http://www.storefrontnews.org/programming/seriess?e=604

Friday February 21, 2014 – Friday February 21, 2014

<p> <b>Reading Images Series: Environments of Extraction</b> </p> <p> <b>February 21, 2014</b> </p> <p> <b>7pm</b> </p> <p>&nbsp;</p> <p> <i>Reading Images Series: Environments of Extractio</i>n included a discussion&nbsp;with Neeraj Bhatia, Dr. Paul Fennelly, Rob Holmes, and Justin Fowler on the occasion of the launch of <i>The Petropolis of Tomorrow</i>.&nbsp;</p> <p>&nbsp;</p> <p>Resource extraction and urbanism have always had an intimate love/hate relationship. In the past fifty years, we have witness this relationship yield a series of global infrastructures and cities that are increasingly impacting and influencing all aspects of the globe. As these infrastructures, landscapes and territories become inadvertently integrated into the contemporary city, how can they be reconceived to address issues of urbanism that sit outside the logistics of resource extraction? During this panel discussion, we will examine the role of resource extraction on urbanism and question how design can hybridize these infrastructures with the competing forces of economics, geopolitics, cultural values, and ecologies.&nbsp;</p> <p>&nbsp;</p> <p>Limited copies were available for purchase at the event.</p> <p>&nbsp;</p> <p> <b>About the participants</b> </p> <p> <b>Neeraj Bhatia</b> </p> <p> <b>Research Director &mdash; The Petropolis of Tomorrow, Principal &mdash; The Open Workshop</b> </p> <p>Neeraj Bhatia is an Urban Designer and Licensed Architect whose work resides at the intersection of politics, infrastructure and urbanism. He is a co-director of the non-profit research collective, InfraNet Lab, founder of the design practice, The Open Workshop, and Assistant Professor of Architecture at The California College of the Arts where he is co-coordinator of The Urban Agency. He is co-editor of The Petropolis of Tomorrow, Bracket [Goes Soft], &mdash;Arium: Weather + Architecture and co-author of Pamphlet Architecture 30: Coupling - Strategies for Infrastructural Opportunism.</p> <p>&nbsp;</p> <p> <b>Dr. Paul Fennelly</b> </p> <p> <b>Senior Vice President, Global Director, Sales and Marketing &mdash; AECOM Global Environment Business Line</b> </p> <p> <span style="font-size: 12px;">Dr. Paul Fennelly is Senior Vice President, Global Director of Sales and Marketing for AECOM&rsquo;s Global Environment Business Line. Dr. Fennelly oversees strategic planning, sales, marketing, client relations and business development serving clients in worldwide industrial market sectors of Oil &amp; Gas, Power/Energy, Manufacturing, Chemical/Pharmaceutical, Mining and Minerals, Transportation as well as government organizations. The author of 50 scientific articles and presentations, Dr. Fennelly holds a Ph.D. in Chemistry from Brandeis University and a BS in Chemistry from Villanova University.</span> </p> <p>&nbsp;</p> <p> <b>Rob Holmes</b> </p> <p> <b>Landscape Architect, Professor of Virginia Tech's National Capital Region Master of Landscape Architecture, Co-founder of Dredgefest Research Collaborative, Co-Founder of Mammoth</b> </p> <p>Rob Holmes teaches and practices landscape architecture in Virginia. He recently held visiting positions at The Ohio State University and Louisiana State University. His work explores new modes of design in the context of contemporary urbanization, industrial networks, and large-scale anthropogenic landscape change. He is co-founder of Mammoth, a blog about infrastructures, logistics, landscapes, and architectural possibilities, and the Dredge Research Collaborative, which studies human sediment handling practices in the Anthropocene and organizes the DredgeFest event series.&nbsp;</p> <p>&nbsp;</p> <p> <b>Justin Fowler, Princeton University, Founding Editor of Manifest</b> </p> <p>Justin Fowler is a PhD candidate at the Princeton School of Architecture and a founding editor of Manifest, a journal of American architecture and urbanism. He received his Master of Architecture at the Harvard University Graduate School of Design and previously studied Government and the History of Art and Architecture at the College of William and Mary. He has worked as a designer for Dick van Gameren Architecten in Amsterdam, Somatic Collaborative in Cambridge, and managed research and editorial projects at the Columbia University Lab for Architectural Broadcasting (C-Lab) in New York.</p> <p>&nbsp;</p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87405907"> </iframe> </p> <p>&nbsp;</p> <p> <b>About the book</b> </p> <p> <i>The Petropolis of Tomorrow</i> </p> <p> Neeraj Bhatia &amp; Mary Casper </p> <p>Format: Hardcover, 576 Pages</p> <p>Publisher: Actar / Architecture at Rice</p> <p> <a href="http://www.amazon.ca/Petropolis-Tomorrow-Neeraj-Bhatia/dp/0989331784/ref=sr_1_1?ie=UTF8&amp;qid=1386175132&amp;sr=8-1&amp;keywords=petropolis+of+tomorrow">Buy online</a> </p> <p>&nbsp;</p> <p>In recent years, Brazil has discovered vast quantities of petroleum deep within its territorial waters, inciting the construction of a series of cities along its coast and in the ocean. We could term these developments as Petropolises, or cities formed from resource extraction. The Petropolis of Tomorrow is a design and research project, originally undertaken at Rice University that examines the relationship between resource extraction and urban development in order to extract new templates for sustainable urbanism. Organized into three sections: Archipelago Urbanism, Harvesting Urbanism, and Logistical Urbanism, which consist of theoretical, technical, and photo articles as well as design proposals, The Petropolis of Tomorrow elucidates not only a vision for water-based urbanism of the floating frontier city, it also speculates on new methodologies for integrating infrastructure, landscape, urbanism and architecture within the larger spheres of economics, politics, and culture that implicate these disciplines.&nbsp;</p> <p>&nbsp;</p> <p>Articles by: Neeraj Bhatia, Luis Callejas, Mary Casper, Felipe Correa, Brian Davis, Far&egrave;s el-Dahdah, Rania Ghosn, Carola Hein, B&aacute;rbara Loureiro, Clare Lyster, Geoff Manaugh, Alida C. Metcalf, Juliana Moura, Koen Olthuis, Albert Pope, Maya Przybylski, Rafico Ruiz, Mason White, Sarah Whiting</p> <p>&nbsp;</p> <p>Photo Essays by: Garth Lenz, Peter Mettler, Alex Webb</p> <p>&nbsp;</p> <p>Research/ Design Team: Alex Gregor, Joshua Herzstein, Libo Li, Joanna Luo, Bomin Park, Weijia Song, Peter Stone, Laura Williams, Alex Yuen</p> <p>&nbsp;</p>
Tough Love 19 January 2014 06:07:14 EST http://www.storefrontnews.org/programming/exhibitionss?e=600

Friday February 14, 2014 – Saturday April 12, 2014

<p> <b>TOUGH LOVE</b> </p> <p> <b>February 15 - April 12, 2014</b> </p> <p> <b>Opening: February 14, 7pm</b> </p> <p>&nbsp;</p> <p>Courts have one sole task: to fulfill the demands of justice. Cultural institutions have over time adopted more than one task. The question this exhibition poses is: What is the task of cultural institutions today?</p> <p>&nbsp;</p> <p>In this exhibition, culture, in the form of art and design objects, operates as a place to test society&rsquo;s deeds. This exhibition calls into question citizenship, art and design as acts of passive observance by inserting active forces within the viewer, the buyer or the cultural consumer with consequences beyond the gallery walls.</p> <p>&nbsp;</p> <p>Tough Love unloads a series of objects, from clothing to paintings, and traces social burdens that each of us carry. The exhibition reminds us that justice and evil are not things that are witnessed but exercised by acts of difference and indifference. Tough Love reminds us that too often we limit ourselves to just being humans, forgetting the responsibility we have to act as citizens, and conversely, that as citizens of narrow ideological lands, we often forget our humanity.</p> <p>&nbsp;</p> <p>The work of Sebastian Errazuriz collapses product design and artistic practice with socially engaged positions. The works in this exhibition unveil questions of inequality, violence, fear or terror through a series of pieces that dwell on spaces of familiarity and uncanniness, simultaneously appealing and atrocious. Taking as context an over-informed society, the works presented force us not only to look and reflect on what is happening, but to reconsider our responsibilities as citizens.</p> <p>&nbsp;</p> <p> <b>About the artist</b> </p> <p>Sebastian Errazuriz, born in Santiago, Chile in 1977, was raised in London. Errazuriz took art classes in Washington, film courses in Edinburgh, and earned a design degree in Santiago. He later received his Master&rsquo;s in Fine Arts from New York University. At age 28, Sebastian became the second living South American artist to have work auctioned at Sotheby&rsquo;s Important Twentieth Century Design Auction.</p> <p>&nbsp;</p> <p>Errazuriz was selected as one of the top emerging designers by I.D. Magazine in 2007, and received the title of Chilean Designer of the Year in 2010. His large-scale, public artwork has received critical acclaim, and his furniture pieces are incorporated in over forty international exhibitions in cities such as Tokyo, New York, Paris and Barcelona. His design work has been incorporated in exhibitions and pop up shows at the Copper Hewitt, National Museum of Design in New York, The Vitra Museum in Weil AM Rheim in Germany, and the National Museum of Fine Arts in Santiago, Chile. Sebastian&rsquo;s work is a part of the permanent collection of Coorning Museum of Glass and several important international private collections. Sebastian&rsquo;s design, fashion, and public artwork have been featured on CNN, Good Morning America, and NY1.&nbsp;</p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Errazuriz lives and works in New York, with offices and workshops in Santiago, Chile.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">Errazuriz has a particular hability in reinventing himself and his work.&nbsp;</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <i>Every week, Storefront will release images and short texts explaining and contextualizing the works on display. Follow @storefrontnyc on Twitter and Instagram for updates.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i> <br /> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>"Art is a matter of Life or Death"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> Sebastian Errazuriz, 2011
</span> </i> </p> <p> <i> <span style="font-size: 14px;"> Oil paint and tape over stainless steel extinguisher&nbsp;</span> </i> </p> <p> <i> <span style="font-size: 14px;"> Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Statistics show a direct correlation between the existence of properly maintained fire extinguishers and a decrease in large fire hazards inside the home.
This sculpture might save your life (and your home) one day.</p> <p>&nbsp;</p> <p>#lifedeath</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Life_Death_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>"Rapist"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Modified Varsity Jacket</span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p>According to statistics one in five women on a given college campus will be raped; 85 percent of those women will know their attackers; and 90 percent of those rapes will go unreported. The male student athletes accused of rape often receive support from the schools while the girls tend to suffer public shame until silenced.</p> <p>&nbsp;</p> <p>According to legal reports, athletes represent a disproportionately high percentage of sexual attackers. School administrations, coaches and even the community tend to defend them because they represent the values of the school and because of the power and ultimately, money involved. Considering the NCAA estimates college sports generate about $6 billion in revenue a year, one could infer that money often stands in the way of justice.</p> <p>&nbsp;</p> <p>The jacket and its potential sale will help fund the legal defense of a future victim of college rape and provide a broader public awareness and discussion of the issue.</p> <p>&nbsp;</p> <p>#rapistjacket</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 14px;"> <img src="../images/tinyMCE_upload/Rapist-low-2-short.jpg" width="500" height="500" /> <br /> </span> </i> </p> <p> <i>&nbsp;</i> </p> <p>&nbsp;</p> <p> <i> <img src="../images/tinyMCE_upload/Rapist-low-1-short.jpg" width="500" height="500" /> <br /> </i> </p> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/Rapist-low-2-short.jpg" width="500" height="500" /> <br /> </i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <div> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;United States of Mexico&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Graphic logo and adhesive applications on construction safety helmets</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Recent statistics show that in some states almost 50% of construction workers are undocumented. This information suggests that many sectors of the U.S. economy are dependent on immigrant labor.</p> <p>&nbsp;</p> <p>Unfortunately current federal immigration policy denies them the right to work legally, forcing them into an underground economy where low pay, dangerous working conditions, and abusive practices are common.</p> <p>&nbsp;</p> <p>The &ldquo;United States of Mexico&rdquo; logo symbolizes the biggest undocumented group (over 50% of illegal immigrants are Mexican).</p> <p>&nbsp;</p> <p>#unitedstatesmexico</p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-forweb.jpg" width="500" height="500" /> <br /> </span> </i> </p> <p> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-3-forweb.jpg" width="500" height="500" /> </p> <p> <img src="../images/tinyMCE_upload/United-States-of-Mexico-low-2-forweb.jpg" width="500" height="500" /> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>"Doomed"</b> </span> </i> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 14px;">Inkjet on paper face mounted on acrylic</span> </i> </p> <p> <i> <span style="font-size: 14px;">78 3/4 x 70</span> </i> </p> <p>&nbsp;</p> <p>Violence, tragedy and truth telling are the three elements that photographers, editors, producers, curators or artists address through ethic-related questions.</p> <p>&nbsp;</p> <p>&ldquo;During the U.S.-led war in Iraq, news managers have been faced with many controversial images: the bullet-riddled bodies of Saddam Hussein&rsquo;s sons (Romano, 2003), the charred re-mains of four U.S. contractors hanging from a bridge in Fallujah (Crain, 2004; Perlmutter &amp; Major, 2004), nude Iraqi prisoners being humiliated at Abu Ghraib prison (Hersh, 2004), and the retaliatory beheading of U.S. contractor Nick Berg (Walt, 2004).</p> <p>&nbsp;</p> <p>Even images that some viewed as patriotic became controversial. Questions were raised about the impression given by images widely used in U.S. media (Schwalbe, Keith, &amp; Silcock, 2003) that seemed to show a mass of Baghdad residents hailing U.S. troops after the toppling of a statue of Saddam Hussein on April 9, 2003, when wider angle versions published abroad and on the Internet showed that the crowd was far smaller (Fahmy, 2004).</p> <p>&nbsp;</p> <p>Beyond Iraq, the March 2004 bomb attack on four commuter trains in Madrid resulted in a powerful image by El Pa&iacute;s photographer Pablo Torres Guerrero&mdash;and a difficult choice for editors. Should they&nbsp;<span style="font-size: 12.222222328186035px;">show news that included a bloody femur, crop the photo, digitally re-move the body part, or not use a photograph that left no doubt about the horror of the attack (Day, 2004; Irby, 2004)?</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <br /> </span> </p> <p>In September 2004, still and video images depicted the bloodied bodies of Russian children, victims of a commando raid on hostage takers who killed more than 300 at a school in Beslan (Rivard, 2004).</p> <p>&nbsp;</p> <p>The December 2004 tsunami in Asia brought more images of tragedy and destruction (Winslow, 2005), as did bombings of three Underground trains and a bus that killed more than 50 people in London on July 7, 2005.</p> <p>&nbsp;</p> <p>Questions were raised about whether news media outlets acted responsibly in airing leaked images of unexploded bombs seized in investigations of the London attacks (Associated Press, 2005) and in publishing camera phone photographs made by survivors of the London blasts and the crash landing of AirFrance Flight 358 in Toronto on August 2, 2005 (Madore &amp; Phan, 2005; Memmott, Levin, &amp; Livadas, 2005).</p> <p>&nbsp;</p> <p>Later in 2005, tragic images of victims of Hurricane Katrina, which killed more than 1,300 (Weeks, 2006), became icons of &ldquo;all that went so tragically wrong&rdquo; (Lawrence, 2005, p. 1A; Filosa, 2005). Editors and producers were forced to decide whether images of the dead, such as The Toronto Star&rsquo;s photograph of a body crushed beneath the rubble of a motel in Biloxi, Mississippi, should be published because they captured &lsquo;the true dimensions of the tragedy&rsquo;(Burnside, 2005, p.F6) or should be withheld because they might be disrespectful to the storm&rsquo;s victims or offend readers. How well are the ethics guidelines given to visual journalists and those who work with them keeping up with these challenges?&rdquo;</p> <p>&nbsp;</p> <p>Susan Keith
Department of Journalism and Media Studies School of Communication, Images in Ethics Codes in an Era of Violence and Tragedy.</p> <p>&nbsp;</p> <p>#doomed</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Doomed_Poster_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>"Portrait of US"</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Acrylic paint, ink and natural dyes on cotton</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>2 Framed sweaters</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>48 x 80 x 2 each frame</i> </span> </p> <p>&nbsp;</p> <p>&ldquo;Portrait of US&rdquo; presents two framed reproductions of the hoodie and sweatshirt that Trayvon Martin was wearing the day he was killed.</p> <p>&nbsp;</p> <p>Newspapers announced that George Zimmerman was found not guilty of murdering unarmed black teenager on July 13, 2013. Civil rights leaders argued that Zimmerman had probably targeted Martin because he was black. Statistics prove that white people who kill black people in &lsquo;Stand Your Ground&rsquo; states are 354% more likely to be cleared of murder.</p> <p>&nbsp;</p> <p>The images depicting the framed hoodie were presented to the court during of the Zimmerman trial in a similar manner as paintings are presented at auctions to the scrutinizing public. They constituted not only evidence of Trayvon&rsquo;s death but also a portrait of our society.</p> <p>&nbsp;</p> <p>Complementing the replicas, a series of altered hoodies are available for sale. They are fashion garments of anger and protest one can dare to wear. With &ldquo;Portrait of US,&rdquo; aesthetics and politics come together to create a movement that has the potential to become a social force for the much-needed modifications to the &ldquo;Stand Your Ground&rdquo; law and other discriminating racial laws.</p> <p>&nbsp;</p> <p>100% of the proceeds from the sale of altered hoodies will be donated to the Trayvon Martin Foundation.</p> <p>&nbsp;</p> <p>&nbsp;#portraitusa</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Portrait_of_US_-_Errazuriz.jpg" width="500" height="315" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Captured&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Oil paint on particle board, gilded antique frame</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>54 1/2 x 82 1/2 x 3 1/2</i> </span> </p> <p>&nbsp;</p> <p>Painters like Goya, Caravaggio or Rembrandt have historically constructed martyrdom by using aesthetics to manufacture empathy.</p> <p>&nbsp;</p> <p>Sgt Sean Murphy, a photographer for the Massachusetts State Police pictured the alleged Boston bomber Dzhokhar Tsarnaev on April 19, 2013 in a dry-docked boat in Watertown, just outside Boston during his capture by special police forces. On July 18, 2013, Sgt Sean Murphy published the image above in Boston Magazine as a response to the image portrayed of Tsarnaev in The Rolling Stone August issue.</p> <p>&nbsp;</p> <p>Hours before this image was taken, Tsarnaev witnessed the death of his brother. Friends and colleagues of Tsarnaev still do not understand what happened to their neighbor.</p> <p>&nbsp;</p> <p>Dzhokhar Tsarnaev faces a probable death sentence based on large amounts of evidence that allegedly will prove him guilty of an attack that killed three and injured hundreds.</p> <p>&nbsp;</p> <p>#captured</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Captured_3_-_Errazuriz.jpg" width="500" height="375" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Shredded&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz and Carlton DeWoody, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Office printer, shredder, news clips and video projection</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>In the United States, authorities do not maintain a record of civilians permitted to acquire, possess, carry, sell or transfer a firearm or ammunition. Privately owned guns in the U.S. are estimated to be approximately 310,000,000. With an average of approximately 30,000 deaths a year caused by firearms, one would expect strong government control.</p> <p>&nbsp;</p> <p>The printer reproduces a selection of past newspaper articles announcing different gun massacres that have happened in the United States. The non-stop roll of terrifying articles manages to exist for barely enough time to be read by the viewer, before they are destroyed and forgotten by the shredder.</p> <p>&nbsp;</p> <p>Each shredded news clip of gun massacres over the past 10 years is framed and available for sale. This artwork will continue to evolve and will only be completed by the artist when a comprehensive gun law is passed in the United States.</p> <p>&nbsp;</p> <p>#shredded</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Shredded_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Justice&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Acrylic and oil paint over wooden baseball bats</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>According to the U.S. Justice Department, 25% of women polled admitted having experienced domestic violence.</p> <p>&nbsp;</p> <p>There are approximately 1 million domestic violence incidents each year.
On average, 3 females and 1 male are murdered by their partners each day in the United States.</p> <p>&nbsp;</p> <p>The public is invited to download the stencils and create their own Justice bats and share their personal stories.</p> <p>&nbsp;</p> <p>#justicebats</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Justice_-_Errazuriz.jpg" width="500" height="650" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Doomed&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Oil paint over welding mask</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Statistics indicate that manufacturing jobs in the U.S. have hit a 60 year low.</p> <p>&nbsp;</p> <p>Despite the harrowing conditions in which many of the workers endure on a daily basis, both the workers and the industry know that without policy changes, their jobs are dooming.</p> <p>&nbsp;</p> <p>Metal fume fever is the most common acute respiratory illness experienced by welders. Chronic Manganese poisoning can cause Parkinson&rsquo;s-like disease and other respiratory illness.</p> <p>&nbsp;</p> <p>The color of Manganese is pink.&nbsp;</p> <p>&nbsp;</p> <p>#doomedhelmet</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Doomed_helmet_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Fuck BP&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2011</span> </i> </p> <p> <i> <span style="font-size: 14px;">Acrylic paint on oil cans, custom safety pins and industrial grade elastics</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Conceived during the reckless procedures of British Petroleum in the Gulf of Mexico in 2010, &ldquo;Fuck BP&rdquo; embodies the public&rsquo;s anger after irreversible natural disasters produced by multinational oil companies.</p> <p>&nbsp;</p> <p>#oilgrenade</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Fuck_BP_3_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Occupy Chairs&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2011</span> </i> </p> <p> <i> <span style="font-size: 14px;">Acrylic paint on wood</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Originally designed as foldable chairs/signs for the protesters of Occupy Wall Street, &ldquo;Occupy Chairs&rdquo; provide the users a sign to protest during the day and a fold out chair to gather together next to their tents at night.</p> <p>&nbsp;</p> <p>The second part of the project consisted of creating a refined version of the chair enhanced to emulate commercial pop art in an attempt to attract the rich collectors of the 1% to buy the complaints of the 99% and take them home like a Trojan horse.</p> <p>&nbsp;</p> <p>The third and final step of the project consisted of a declaration to the press of fabricated doubts about how much of the profits obtained from the sale of the chairs would be donated to the 99% movement.</p> <p>&nbsp;</p> <p>The purposely ambiguous and ironic gesture sacrificed what was previously a &ldquo;politically correct&rdquo; artwork to question how our own position towards social inequality changes depending on what position on the income bracket we hold at any given time.</p> <p>&nbsp;</p> <p>The &ldquo;Occupy Chairs&rdquo; were first presented at the NY Armory Show, where 99% of attendees tend to constitute the 1%.</p> <p>&nbsp;</p> <p>#occupychairs</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Occupy_5_-_Errazuriz.jpg" width="500" height="334" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Trapped&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2013</span> </i> </p> <p> <i> <span style="font-size: 14px;">Oil paint over axes</span> </i> </p> <p> <i> <span style="font-size: 14px;">Dimensions variable</span> </i> </p> <p>&nbsp;</p> <p>Axes were incorporated into public institutions as a safety measure should fire victims find themselves in a position where they needed to cut themselves out of an exit.</p> <p>&nbsp;</p> <p>#trapped</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Trapped_-_Errazuriz.jpg" width="500" height="312" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Homeless&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2012</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Embroidered wool hat and photograph</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>An embroidered hat</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Dimensions variable</i> </span> </p> <p>&nbsp;</p> <p>New York has over 50,000 homeless people in municipal shelters. 22,000 are children.</p> <p>Recent statistics show that homelessness has already increased 13 percent more in 2013 than in previous years.</p> <p>&nbsp;</p> <p>#homelesshat</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <br /> <img src="../images/tinyMCE_upload/Homeless_-_Errazuriz.jpg" width="500" height="749" /> </p> <p>&nbsp;</p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b> <br /> </b> </span> </i> </p> <p> <i> <span style="font-size: 24px;"> <b>&ldquo;Tatianna&rdquo;</b> </span> </i> </p> <p> <i> <span style="font-size: 14px;"> <br /> </span> </i> </p> <p> <i> <span style="font-size: 14px;">Sebastian Errazuriz, 2014</span> </i> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Inkjet on canvas, resin</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>Blow up of a police poster for a missing child</i> </span> </p> <p> <span style="font-size: 14.44444465637207px;"> <i>78 3/4 x 55</i> </span> </p> <p>&nbsp;</p> <p>Tatianna Lindo was reported missing exactly a year and one day from the opening of this exhibition.</p> <p>&nbsp;</p> <p>Her portrait, like many other missing children has been widely circulated online and posted around the city.</p> <p>&nbsp;</p> <p>800,000 children are reported missing each year in the United States.&nbsp;</p> <p>&nbsp;</p> <p>#tatianna</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Tatianna_-_Errazuriz.jpg" width="500" height="706" /> </p> <p>&nbsp;</p> </div>
Reading Series: MANIFESTO ARCHITECTURE 23 January 2014 14:25:58 EST http://www.storefrontnews.org/programming/seriess?e=601

Saturday February 8, 2014 – Saturday February 8, 2014

<p> <b>February 8, 2014</b> </p> <p> <b>7-9pm</b> </p> <p>&nbsp;</p> <p>On the occasion of the launch of&nbsp;<b>Manifesto Architecture: The Ghost of Mies</b> by Beatriz Colomina, Storefront presented the inauguration of the Reading Series.</p> <p>&nbsp;</p> <p>For this event, Giuliana Bruno, Craig Buckley, Beatriz Colomina, Nikolaus Hirsch and Mark Wasiuta presented excerpts of the book and other readings followed by a discussion on the topics and questions at hand moderated by Eva Franch.</p> <p>&nbsp;</p> <p> <b>Manifesto Architecture: The Ghost of Mies</b> is the third volume of the series Critical Spatial Practice edited by Nikoalus Hirsch and Markus Miessen.</p> <p>&nbsp;</p> <p>Storefront Series events are open to the public.</p> <p>&nbsp;</p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/87279870"> </iframe> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b>About the book</b> </p> <p>Beatriz Colomina</p> <p>Critical Spatial Practice 3&nbsp;</p> <p> <b>Manifesto Architecture: The Ghost of Mies</b> </p> <p>&nbsp;</p> <p>Edited by Nikolaus Hirsch, Markus Miessen&nbsp;</p> <p>Featuring artwork by Dan Graham&nbsp;</p> <p>&nbsp;</p> <p>February 2014, English</p> <p>10.5 x 15 cm, 110 pages, 39 color and 70 b/w ills., softcover with dust jacket</p> <p>ISBN 978-3-95679-000-3</p> <p>&nbsp;</p> <p>Read more <a href="http://www.sternberg-press.com/index.php?pageId=1481&amp;l=en&amp;bookId=375&amp;sort=year">here</a>.&nbsp;</p>
Competition of Competitions: Finalists 31 January 2014 16:35:01 EST http://www.storefrontnews.org/programming/competitionss?e=602

Friday January 31, 2014 – Friday January 31, 2014

<p> <b>With more than 100 entries and a long process of selection, Storefront presents the 18 finalists of the Competition of Competitions.</b> </p> <p>&nbsp;</p> <p>The finalists' submissions were exhibited as part of&nbsp;<i>Letters to the Mayor</i>, an exhibition focusing on the relationship between architecture and politics.</p> <p>&nbsp;</p> <p>Learn more about the competition <a href="../programming/events?preview=true&amp;e=520">here</a>.</p> <p>&nbsp;</p> <p>THE WINNERS OF THE COMPETITION OF COMPETITIONS CAN BE VIEWED <a href="../programming/competitions?c=&amp;p=&amp;e=615">HERE</a>.</p> <p>&nbsp;</p> <p> <b>The 18 Finalists of the Competition of Competitions are:</b> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/f93kvrlmydjyh1g/10070.%20compettion%20of%20competitions_PR_PD2.pdf">ReDesign the Discipline of Architecture</a>&nbsp;</p> <p> <i>The Architecture Lobby</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/0y8s8qzq6uk9dev/10022%20Boot-Trunk.pdf">Open Source Open Space: Hacking the Built Environment</a>&nbsp;</p> <p> <i>Boot/Trunk [Nicole Lindahl, Louise Mackie and Samantha Senn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/kpp1pyvh1telxxn/10043_depolitisign.pdf">dePOLITIsign: An open call for the redesign of a USCIS office</a>&nbsp;</p> <p> <i>Min Chen &amp; Kristin Enright</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/tz2au66dphiptp3/10047.%20Amazonia%202015.pdf">Amazonia 2020</a>&nbsp;</p> <p> <i>Civic Projects [Kati Rubinyi, Deborah Richmond , Michael Powell, Ewan E. Branda]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/nijql4r09p8kju4/10042.%20team%2010042_finalcompetition.pdf">Deploy Yourself, Not Your Designs</a>&nbsp;</p> <p> <i>The Coalition for the Improvement of Refugee Camps [Marcy Monroe, Lee Dykxhoorn]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/haqrpddrdd2opys/10072.%20el_corbusier_comp_of_comp.pdf">Second Nature</a>&nbsp;</p> <p> <i>El Corbusier</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/isa2iuf7zj173nz/10026_COCFinalSubmission.pdf">The City is The Room. The Room is The City.</a>&nbsp;</p> <p> <i>FormFictionFormat [Elena Palacios Carral, Manijeh Verghese]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/hetsek99tv3zzsi/10062.%20Entry%2010062_Labyrinth.pdf">Labyrinth</a> </p> <p> <i>grey_matter(s) [Annie Charleston, William McCommon, Megan McDonough, Shota Vashakmadze]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/69kmrjmq6m2e6nr/10030.%20GroundLAB_notitles_08.13.2013.pdf">NO TITLES, A Campaign for Illegal Architecture</a>&nbsp;</p> <p> <i>GroundLAB [Sean Billy Kizy, Sara Lum, Rakia Seaborn, Nicholas Sharma]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/0jezz38rzyy44c2/10016.%20_TBD.pdf">Taking Buildings Down</a> </p> <p> <i>INC_A</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/nd8tc86epb8aef9/10019.%20THE%20DISCREET%20ARCHITECT.pdf">The Discreet Architect</a> </p> <p> <i>Local Provision Studio [Valeria Federighi, Janet Yoon]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/bpzizq8j9512x73/10035.%20CofC%2010035.pdf">Nature, Error, Babies</a>&nbsp;</p> <p> <i>Metonymy's Architecture [Tom Nurmi, Jeffrey Dunn, Meagan Lehr, Erika Wilder]</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/s8ubopjk0ecohid/10057_COC.pdf">Off-the-Radar: The Architecture of Non-Existing Space</a>&nbsp;</p> <p> <i>Mitnick-Roddier [Mireille Roddier, Keith Mitnick]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/rktwzr2q99eiyyi/10069.%20CoC_10069.pdf">Rezoning the 5th Fa&ccedil;ade: Redefining New York's City Roof Scape</a>&nbsp;</p> <p> <i>normaldesign [Matthias Neumann in collaboration with Shane T. Umman]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/c9yp5xgycirpafj/10074.pdf">The Next Suburb</a> </p> <p> <i>The Thirteenth Hour</i> </p> <p> <i> <br /> </i> </p> <p> <a href="https://www.dropbox.com/s/fb7a6jewulg4s1g/10066.%20FF-FINAL2.pdf">Future Factory</a> </p> <p> <i>Gretchen Wilkins [with Ian Nazareth and students Matthew Ellis, Ken Yip Lai, Sarah Moussa, Francisca Rodriguez, Nicholas Stathopoulos]</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/idhnmg23whkl5e4/10063.%20BLISS.pdf">BLISS: Better Living through Intuitive Soft Surveillance</a>&nbsp;</p> <p> <i>Yeadon Space Agency</i> </p> <p>&nbsp;</p> <p> <a href="https://www.dropbox.com/s/tmvbp0nwlvkqync/10073.%20Into%20the%20Void.pdf">Into the Void: An Architectural Competition on Emptiness</a> </p> <p> <i>Zooburbia [Felipe Orensanz, Rodrigo Duran]</i> </p>
Lauren Thorson: Station Model: 10012 13 January 2014 12:07:25 EST http://www.storefrontnews.org/programming/pop-upss?e=597

Tuesday January 14, 2014 – Saturday January 18, 2014

<p> <img src="../images/tinyMCE_upload/Thorson_gif_500.gif" width="500" height="472" /> </p> <p>&nbsp;</p> <p>Week 12 / Jan 14 - 18, 2014</p> <p>Station Model: 10012</p> <p>Lauren Thorson</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p>Station Model: 10012 will serve as a live weather reporting station and archive based upon digital and analog collection of meteorological observations for zip code 10012.</p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;">For live weather plotting updates,&nbsp;</span> <a href="http://station-model.tumblr.com/">click here</a> <span style="font-size: 12.222222328186035px;">.</span> </p> <p>&nbsp;</p> <p> <span style="font-size: 12.222222328186035px;"> <b>About the artist</b> </span> </p> <p>Born in Des Moines, Iowa, Lauren Thorson received her MFA from the Minneapolis College of Art &amp; Design. She is a fifty-percent of the design studio, Studio Set and currently a Designer-In-Residence, Visiting Faculty at Virginia Commonwealth University. She has exhibited and lectured nationally; worked as a designer and has been published internationally, recently being named one of The Walker Art Center's &ldquo;Ten Artists to Watch in 2013.&rdquo; She has served as co-chair for the IEEE VIS Arts Program for the past two years, while actively pursuing research in data visualization with the University of Minnesota's Interactive Visualization Lab since 2011.</p> <div> <br /> </div> <p>For regular updates, please visit&nbsp;<a href="https://www.facebook.com/storefront?ref=hl">Facebook</a>&nbsp;and/or&nbsp;<a href="https://twitter.com/storefrontnyc">Twitter</a>&nbsp;and/or&nbsp;<a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @lauren_thorson</p>
Andrew Kovacs: Architectural Cliff 6 January 2014 15:18:25 EST http://www.storefrontnews.org/programming/pop-upss?e=594

Tuesday January 7, 2014 – Saturday January 11, 2014

<p>Week 11 / Jan 7 - 11, 2014</p> <p>Architectural Cliff</p> <p>Andrew Kovacs</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>The ambition for the Storefront Residency is to install a &lsquo;Architectural Cliff&rsquo; in the narrowest part of the gallery. &lsquo;Architectural Cliff&rsquo; is a vertical architectural model that will exploit part to part relationships, formal contiguities, the everyday, and the architectural. Oscillating between a collection and a hoard, &lsquo;Architectural Cliff&rsquo; is composed of everyday objects that have architectural qualities as well as architectural models. This collision and compaction of objects forms a 3-dimensional spatial coalition that is a proposal for a space of architectural mountaineering. Each piece of &lsquo;Architectural Cliff&rsquo; will be documented and cataloged by their inherent architectural qualities such as form, color, size, mass, etc., before being placed into the organized spatial hoard. This grotesque vertical beast will grow and evolve over the 5 day residency period until it fully fills and occupies the narrowest space at Storefront.&nbsp;</i> </p> <div>-Andrew Kovacs</div> <div> <br /> </div> <div> <b>About the artist</b> </div> <div>Andrew Kovacs was born in Chicago, Illinois. He has worked for RE X in New York City, OMA/Rem Koolhaas in Rotterdam and Atelier Bow-Wow in Tokyo. &nbsp;In 2011 Kovacs received a Howard Crosby Butler Traveling Fellowship in Architecture from Princeton University for his proposal A Tale of Two Masterplans to study the architecture and urbanism of the two major cities in Kazakhstan &ndash; Astana and Almaty. His written work on architecture and urbanism has been published in journals such as PIDGIN, PROJECT, and CLOG.&nbsp;</div> <div> <br /> </div> <div> <p>For regular updates, please visit&nbsp;<a href="https://www.facebook.com/storefront?ref=hl">Facebook</a>&nbsp;and/or&nbsp;<a href="https://twitter.com/storefrontnyc">Twitter</a>&nbsp;and/or&nbsp;<a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @afkovacs</p> </div>
GIF Library 14 January 2014 15:41:19 EST http://www.storefrontnews.org/programming/projectss?e=598

Wednesday January 1, 2014

<p> <img src="../images/tinyMCE_upload/Giving-Tuesday_4.gif" width="450" height="450" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_2014_F.gif" width="600" height="600" /> </p> <p> <img src="../images/tinyMCE_upload/Giff_Library/BookEblast.gif" width="620" height="620" /> </p> <p> <img src="../images/tinyMCE_upload/Giff_Library/IRELLEVANCE_GIF6.gif" width="600" height="600" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Giff_Library/IRRELEVANCE_HALLOWEEN-2014_1000.gif" width="1000" height="1000" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/WWSF_06.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_01.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_02.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_03.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_04.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/WWSF_05.gif" width="640" height="360" /> <img src="../images/tinyMCE_upload/Giff_Library/BEING-YOUNGER-THAN-STOREFRONT-GIF.gif" width="2560" height="1600" /> </p> <p> <img src="../images/tinyMCE_upload/Giff_Library/baltic-triangle-animation-low.gif" width="709" height="234" /> </p> <p> <img src="../images/tinyMCE_upload/guggenheim-landscape-big.gif" width="960" height="720" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/FULLER_NETWORK-PATENTS.gif" width="1000" height="286" /> </p> <p> <img src="../images/tinyMCE_upload/website-archive_repository22.gif" width="2560" height="1368" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/website-archive_repository.gif" width="2560" height="1368" /> </p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus3.gif" width="2211" height="1189" /> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus2.gif" width="1000" height="538" /> </p> <p> <img src="../images/tinyMCE_upload/websitegif-officeus.gif" width="2211" height="1189" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/issues_gif_jeffrey.gif" width="1950" height="1950" /> </p> <p> <img src="../images/tinyMCE_upload/agenda1.gif" width="1000" height="750" /> </p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/OfficeUS_Issues_LAUNCH2.gif" width="1950" height="1950" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/cocktail_final_partial.gif" width="2000" height="1216" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/0418_save_the_date.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/20140421_outpost-gif_final.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/20140421_outpost-gif.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/Save-the-Date-OPENING.gif" width="800" height="800" /> </p> <p> <img src="../images/tinyMCE_upload/officeUs_call-for-outposts.gif" width="600" height="600" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Lettersto-the-mayor_giff_smallsmall.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/palace-of-the-soviets.gif" width="800" height="800" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/afterparty2.gif" width="300" height="300" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Gif2.gif" width="567" height="567" /> </p> <p> <img src="../images/tinyMCE_upload/Benefit_Gif1.gif" width="500" height="360" /> </p> <p> <img src="../images/tinyMCE_upload/manifesto-architecture.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/being-closing---low.gif" width="500" height="281" /> </p> <p> <img src="../images/tinyMCE_upload/BENEFIT-2014_e.gif" width="800" height="800" /> </p>
$UPPORT / from drama$ to dream$ 23 December 2013 09:15:07 EST http://www.storefrontnews.org/programming/eventss?e=593

Monday December 23, 2013

<p> <img src="../images/tinyMCE_upload/support.gif" width="500" height="500" /> </p> <p>&nbsp;</p> <p> <b> <br /> </b> </p> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <p> <br /> <b>Make a 100% tax-deductible contribution before Dec 31st to Storefront for Art and Architecture's annual fund.</b> <br /> <br />Click the DONATE button below.<br />&nbsp;<br /> OR SEND US A CHECK&nbsp;<br /> <br />STOREFRONT FOR ART AND ARCHITECTURE<br />97 KENMARE</p> <p>10012 NEW YORK, NY</p> </form> <p> <b> <br /> </b> </p> <p> <b>Feeling generous? Want to become a member or give a friend a Sf gift?</b> </p> <p>&nbsp;</p> <p>Here are some options:</p> <p>&nbsp;</p> <p>- A one year <a href="../support">Storefront Membership</a>. From $100 to $5,000.</p> <p>&nbsp;</p> <p>- A <a href="../books/store">Storefront Manifesto Series Book</a>. At $20 + shipping.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/2013.12.09-Manifesto-Series-medium.gif" width="120" height="89" /> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>- A Dream Duvet cover with 30 years of unfulfilled Storefront dreams. Limited edition of 10. At $250 + shipping. Email membership@storefrontnews.org for details.&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/Dream_05.jpg" width="204" height="153" /> </p> <p>For inquiries, please write to membership@storefrontnews.org.</p> <p>&nbsp;</p> <p>See you in 2014.&nbsp;</p> <p>&nbsp;</p> <div> <br /> </div> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input type="hidden" name="cmd" value="_s-xclick" /> <input type="hidden" name="hosted_button_id" value="YZLXAHXCEDX2Y" /> <input type="image" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" name="submit" alt="PayPal - The safer, easier way to pay online!" /> <img src="https://www.paypalobjects.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <br /> </form>
studio nāv and Nick Axel: Itinerary 20 December 2013 08:32:36 EST http://www.storefrontnews.org/programming/eventss?e=590

Saturday December 21, 2013 – Saturday December 21, 2013

<p class="MsoNormal"> <b>December 21, 2013</b> </p> <p class="MsoNormal"> <b>4pm-5pm</b> </p> <p class="MsoNormal"> <b> <span> <span class="fsl"> <span> <span class="fsl"> <span class="text_exposed_show">By studio nāv and </span> </span> </span> </span> </span> </b> <span> <b> </b> <span class="fsl"> <b> </b> <span> <b> </b> <span class="fsl"> <b> <span class="text_exposed_show">nick axel</span> </b> </span> </span> </span> </span> </p> <p>&nbsp;</p> <p>To round off a 5-day residency for "Younger than Storefront" at Storefront for Art and Architecture and as part of the exhibition <i>BEING</i>, we invite you to take part in a final event hosted by the artists. A gathering centered around a rock and a text that records the journey across an ocean, through a city, and into an institution. Investigating movement and presence in the form of a spatial installation, a sound intervention, and a word performance.</p> <p>&nbsp;</p> <p>Please join us for drinks and conversation.</p> <p>&nbsp;</p> <p>Free and open to the public.&nbsp;</p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <span style="font-size: 12.222222328186035px;">----------------------------------------------------------------------------------------------------------------</span> </p> <p> <span style="font-size: 12.222222328186035px;"> <span class="text_exposed_show" style="font-size: 12.222222328186035px;"> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> <b> <a href="../programming/projects?c=&amp;p=&amp;e=588"> studio nāv : "anachronistic drift"</a> </b> <br /> (1)5 days<br /> the Atlantic Ocean, traversed in a cargo vessel. in-between: a deviant time-space.<br /> the city of New York, an encounter. wandering. <br /> a quarried rock, taken from its origin to another.<br /> an error. a deviance. a weight.<br /> a vessel of deep time. a resistance.<br /> an acceptance. a bearing of indifference. a new instrument.<br /> <br /> <b> <a href="../programming/projects?c=&amp;p=&amp;e=589">Nick Axel : &ldquo;MAKING BEING DOING&rdquo;</a> <br /> </b> A residency. <br /> To spend time in a place. To reside. To be, somewhere. <br /> An intention. An invitation. A promise. A responsibility.<br /> <br /> On the conditions of being and the subject of the institution.<br /> A five part tale about the traversal of territorialized space.<br /> Where does this journey get us? Will we ever get there? What is to be done along the way?</span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show">----------------------------------------------------------------------------------------------------------------</span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> </span> </span> </span> </p> <p> <span> <span class="fsl"> <span class="text_exposed_show"> <br /> </span> </span> </span> </p> <p> <i> <span> <span class="fsl"> <span class="text_exposed_show">This event is generously supported by the</span> </span> </span> Royal Norwegian Consulate General.</i> </p> <p> <i> <br /> </i> </p> <p> <i> <img src="../images/tinyMCE_upload/English_ConsGen_logo_level_2newyorklrgBW.jpg" width="200" height="69" /> <br /> </i> </p>
studio nāv: "anachronistic drift" 16 December 2013 07:47:18 EST http://www.storefrontnews.org/programming/pop-upss?e=588

Tuesday December 17, 2013 – Saturday December 21, 2013

<p> <span style="font-size: 12px; line-height: 16px;">Week 10 / Dec 17 - 21</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">"anachronistic drift"</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">studio nāv</span> <span style="font-size: 12px; line-height: 16px;">&nbsp;</span> </p> <p> <b> <br /> </b> </p> <p> <b>About the project</b> </p> <p> <i>A space comes into existence when vectors of direction, velocities and time are set in motion. Most&nbsp;</i> <i>spaces are defined by the meeting of numerous programs and desires; few more than the metropolis.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Following the ten day traversal of the atlantic ocean; the vast &ldquo;in-between&rdquo; separating our&nbsp;</i> </p> <p> <i>continental frontiers (Europe and America) - we seek to examine how (deviant) time-space could shape&nbsp;</i> <i>and re-imagine our encounter with the city of New York. As such diffusing the borders between real, i</i> <i>maginary, unproductive and (ana)chronistic space.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Storefront offers a rare physical manifestation of encouraged interactivity and unanticipated encounters&nbsp;</i> <i>purveying the urban environment. We believe this disclosure can lower the threshold and allow for a broader audience to approach us;&nbsp;</i> <i>not only to inform themselves, but expand our own understanding of the context we have immersed</i> <i>&nbsp;ourselves within.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>Emphasising the potential of this space we hope to create an experience raising questions around being, time and participation.</i> </p> <p>-studio nāv</p> <p>&nbsp;</p> <p> <b>About the artists</b> </p> <p>studio nāv consists of Carl Fransson and Thomas Paltiel, two architects and thinkers currently based in Stockholm and Trondheim. While educated primarily at Edinburgh College of Art where they both received their degrees in Architecture, their professional and educational experience has been more widespread: from Ecole Nationale Superieure d&rsquo;architecture de Paris Belleville to Charles Pictet Architects and Fantastic Norway. Most recently the studio took part in the 2013 Lisbon Architecture Triennale.</p> <p>&nbsp;</p> <p>Exploring emotive as well as intellectual reflection, their work locates itself somewhere between socio-political constructs and abstract expressionism. Whether it is architectures of temporality or permanence, the underlying ambition is to create or make visible the potential and/or particularity of a given context. Contrary to explicating answers their projects communicate a desire to initiate a process of questions, meetings and change; corralling attention to the manifold ideas about the forces and sensibilities of living.</p> <p>&nbsp;</p> <p> <i>This artist in residency is sponsored in by the Norwegian Ministry of Affairs and by Norsk Form, the Foundation for Design and Architecture in Norway.&nbsp;</i> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <img src="../images/tinyMCE_upload/NorwegianMinistryForeign.jpg" width="180" height="104" />&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img src="../images/tinyMCE_upload/NORSK_FORM_copy.jpg" width="300" height="66" /> </p> <p>&nbsp;</p>
NICK AXEL: MAKING BEING DOING 16 December 2013 07:55:05 EST http://www.storefrontnews.org/programming/pop-upss?e=589

Tuesday December 17, 2013 – Saturday December 21, 2013

<p> Week 10 / Dec 17 - 21 </p> <p> MAKING BEING DOING </p> <p> Nick Axel </p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>What is a residency for? What does one do during a residency? One works. But what is work? In this particular sense work is a verb, but an empty verb at that. Apparently ambivalent, an economic form of the market teaches us that work is anything but neutral. Instead, work is highly prejudicial not only towards what fills its emptiness, but how it digests and what it excretes.</i> </p> <p> <i> <br /> </i> </p> <p> <i>Work is also a noun, and a proper noun if you will. We are used to having various metrics such as efficiency, operativity, or the somewhat-mystical affinity, being used to judge whether something is Work, or if it&rsquo;s just something that was done. Be it economic or otherwise, we could therefore deduce that the basic condition for work is its potential for being judged as such.</i> </p> <p> <i> <br /> </i> </p> <p> <i>This residency seeks to reveal the limits of work by performatively radicalizing a Duchampesque critique of the cultural institution and its centralization of discursive power. Within the milieu of Storefront, technically speaking, everything regarding my spatiotemporal presence, from the food I eat to the movements I make to the thoughts I think, can become work. The task at hand is therefore to exhaust my presence to its utmost capacities. Every thought, every action, every emotion, every sensation is to become manifest. I do not seek to make work per se; I merely seek to do that which can be called work.</i> </p> <p>-Nick Axel</p> <p>&nbsp;</p> <p> <b>About the artist</b> </p> <p>Nick Axel is an architect, critic, and theorist, currently studying at the Centre for Research Architecture at Goldsmiths. His work seeks to meditate on the uniquely architectural instantiation of power as both a problem and a solution, both a question and an answer, both impossible and inevitable. He is currently researching the potential role and opportunity for architecture to act critically within the contemporary logics of oil-based urbanization in North America.&nbsp;</p> <p>&nbsp;</p> <p>Below are works produced by the artist throughout his residency.</p> <p>&nbsp;</p> <p> <b>On the conditions of being and the subject of the institution</b> </p> <p> <i>A five-part tale about the traversal of territorialized space.</i> </p> <p>&nbsp;</p> <p> <i> <b>Part One</b> </i> </p> <p>The institution institutions, as Heidegger would have said.</p> <p>The institution does something.</p> <p>But the institution is a noun. Then, we can ask, what is it?</p> <p>The institution is the institution.</p> <p>It is something. It is not something else; the institution is not a duck. Otherwise it would not be the institution - it would be a duck.&nbsp;</p> <p>The institution is surrounded by everything it is not.</p> <p>The institution is everything except for everything else.</p> <p>The institution is that. Being in the presence of that line. The binding of place.</p> <p>&ldquo;Ladies and gentleman, I begin by drawing a line&rdquo;</p> <p>The institution marks territory; it demarcates space.</p> <p>The institution is registered by bodies as the bodies recognize themselves as being in the institution&rsquo;s space. The institution registers bodies in its space.</p> <p>The institution is not the body is not space.</p> <p>But then something ontological happened. Discourse happened.</p> <p>The institution became debatably not not the space became debatably not not the body.</p> <p>Yes or no became maybe became yes and no.</p> <p>Together with plausible doubt came zealous conviction.</p> <p>Collapse happened. Not of space, but vision.</p> <p>The institution is not discourse. The institution is the place of discourse.</p> <p>The institution became discourse. Discourse became an institution.</p> <p>But this does not mean the institution stopped institutioning; it can do nothing else.</p> <p>Lines did not disappear; instead they multiplied, proliferated, procreated.</p> <p>The state of matter became relative.</p> <p>As it became more difficult to determine which side of the line one laid on, it became less important.&nbsp;</p> <p>As the institution became regarded solely for the marks it makes, they themselves became neutralized.</p> <p>If the drawing of a line became itself the constitution of an institution, what became of the institution? And the body? Space?</p> <p>And also, how are lines drawn anyway?</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <b> <i>Part Two</i> </b> </p> <p>
The institution does not simply exist. But yet, somehow, institutions exist.</p> <p> <span style="font-size: 12px;">The institution exists somewhere, in the territory.</span> </p> <p> <span style="font-size: 12px;">We can try to look at the territory, but when we focus our sight, we find that there is something else there than what and where we thought the territory was.</span> </p> <p> <span style="font-size: 12px;">We cannot say what it is we see, but we can say that we see things. These things, not others.</span> </p> <p> <span style="font-size: 12px;">Our sight is impressed with the image of shapely forms. Presences are suggested as intuition.</span> </p> <p> <span style="font-size: 12px;">We can say that we see many things, though bound together, united by their being seen.</span> </p> <p> <span style="font-size: 12px;">When we look we do not see what there is to be seen, but merely what it is we see.</span> </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Looked at or not, every thing is to be seen. Yet not every thing can be looked at nor seen.</p> <p> <span style="font-size: 12px;">Seeing is not the seeing of something, but instead the not seeing of everything else.</span> </p> <p> <span style="font-size: 12px;">It is in this act of framing that the body and the institution are joined in difference.</span> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <p> <span style="font-size: 12px;">The body is a space. It is a line.&nbsp;</span> <span style="font-size: 12px;">The institution wants a space, needs lines to make one.</span> </p> <p> <span style="font-size: 12px;">The institution lives when its lines are recognized as constituting a space.</span> </p> <p> <span style="font-size: 12px;">The lines of the institution are distinct from the line of the body.</span> </p> <p> <span style="font-size: 12px;">The body is a line that can draw lines.</span> </p> <p> <span style="font-size: 12px;">The institution hopes these marks will remain.</span> </p> <p> <span style="font-size: 12px;">The institution is a temporal technology that works on the psychic register.</span> </p> <p> <span style="font-size: 12px;">The institution is a result of the body projecting outside of itself, but the institution is not the projected body.</span> </p> <p> <span style="font-size: 12px;">Lines bodies draw are lines of institution.</span> </p> <p> <span style="font-size: 12px;">The body inscribes the territory with the markings of that which is not there in the face of what is.</span> </p> <p> <span style="font-size: 12px;">We draw because we want. But do we want to draw? Do we want to want?</span> </p> <p> <span style="font-size: 12px;">What is wanted wants to be wanted, or else it would not be.</span> </p> <p> <span style="font-size: 12px;">The institution is that which makes bodies draw lines for it, to want it.</span> </p> <p> <span style="font-size: 12px;">The institution is vicarious.</span> </p> <p> <span style="font-size: 12px;">The institution makes the body an instrument.</span> </p> <p> <span style="font-size: 12px;">The body &lsquo;becomes&rsquo; institutional.</span> </p> <p> <span style="font-size: 12px;">The institution is parasitic, a livelihood which depends on its allure of bodies.</span> </p> <p> <span style="font-size: 12px;">The institution is not a hungry body, but a hunger.</span> </p> <p> <span style="font-size: 12px;">The institution is a ghost that never had a body, a presence that wants nothing other than to be&nbsp;</span> </p> <p>present, than to haunt.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>Part Three</b> </i> </p> <p>Both the body and the institution must survive. They are alive.</p> <p>Time destroys everything, caught between entropy and decay.</p> <p>The space of what is lost stands to be refilled; what falls into disorder, to be ordered once again.</p> <p>&nbsp;</p> <p>The institution is a bodies&rsquo; desire.</p> <p>Bodies share amongst each other within the affinity of their desire.</p> <p>The institution is a product of the imagination, an idea.</p> <p>The institution is the place where desire lives.</p> <p>The institution is a sign pointing towards the beyond. It makes claims of other life.</p> <p>The institution is a promise, a signifying chain. It says, &ldquo;your desire is here&rdquo;.</p> <p>The institution is a lie that we want to believe in but never be confirmed of.</p> <p>The institution is an eternal questioning.</p> <p>The body is an answer that can never suffice.</p> <p>&nbsp;</p> <p>The institution establishes expectation, yet the locus of failure lays within the body.</p> <p>The institution needs us to yearn for it, yet we yearn regardlessly. It needs us to want it, but we just need.</p> <p>Strife wed the two.</p> <p>Another institution draws the line of judgement, yet it is not that institution that is judged.</p> <p>It is not that institution towards which our discontent grows, but instead that which lied.</p> <p>The institution and the body become the object of discontent, even more for that they both are and continue to be.</p> <p>Presence becomes the problem for its appearance as the solution.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p> <i> <b>Part Four</b> </i> </p> <p>The institution does not determine what belongs to it.</p> <p>The body determines whether it relates to the institution.</p> <p>The body determines how it relates to the institution.</p> <p>The institution merely determines the appearance of what is belonged to.</p> <p>The institution is representational.</p> <p>The institution makes claims about what lays within its space.</p> <p>The institution determines the truth value of its speech.</p> <p>The institution creates a space called desire, but not desire.</p> <p>The institution maintains a persistence of desire.</p> <p>The space of the institution and its contents bear no necessary relation.</p> <p>Dissonance is a form of expression.</p> <p>Dissonance speaks nothing of that which produces it. It does not touch the dissonant elements.</p> <p>Dissonance is not oriented towards incongruency, but the calling of whatever congruency incongruent.</p> <p>Dissonance registers on the production of desire.&nbsp;</p> <p>Dissonance effects not whether or not the results of congruency are desired, but whether the act of congruence itself is desired.</p> <p>What is the desire, or fear, of dissonance?</p> <p>Why should the institution fear a dissonant presence of the body, or the body a dissonant presence in the institution?</p> <p>To fear dissonance is to act as an agent of that other institution from which discontent originates.</p> <p>But dissonance is not merely incongruency.</p> <p>Discourse makes dissonance a projective act.</p> <p>The dissonant act interprets the relation between expectation and demand, between desire and need.</p> <p>Dissonance predicts the location and appropriates the position of judgement to judge otherwise.</p> <p>Dissonance is an act, trick. It creates conviction only in order to mislead it, to use it towards other ends.&nbsp;</p> <p>Dissonance aspires to be the biggest lie, that which we hold to be most true.</p> <p>The dissonant puts their themselves &nbsp;at risk, the risk of being swept away and losing ones self.</p> <p>Dissonance demands a fanatic dedication to a schizophrenic sincerity.</p> <p>&nbsp;</p> <div> <br /> </div> <div> <b> <i>Part Five</i> </b> </div> <div> <div>Dissonance is not satisfying.</div> <div>Dissonance reveals the impossibility of satisfaction.</div> <div>Dissonance does something.</div> <div>Without dissonance, we will forever be condemned to being the object of discontent.</div> <div>Contention is a tool, a weapon.</div> <div>Being is to be at war.</div> <div>We do not choose whether we fight, nor whether fighting happens..&nbsp;</div> <div>Can war be fought against?</div> <div>The illusion of peace is sustained by a continuous exchange.</div> <div>A desire to exchange desire.</div> <div>Desire must persist for it to be exchanged.&nbsp;</div> <div>The institution is the medium for exchange.</div> <div>The institution cannot be exchanged.</div> <div>The institution represents the desire of its space.</div> <div>Desire is an idea.</div> <div>An idea is desire.</div> <div>An idea is always true.</div> <div>Truth is the weapon.</div> <div>Truth must be believed in.</div> <div>Desire must be sought after.</div> <div>We are made to act.&nbsp;</div> <div>If action is made, we can make action.</div> <div>Yet all we can do is do. All we can do is act.</div> <div>We do because we desire.</div> <div>What we do represents that desire.</div> <div>Bodies speak, but actions are speech.</div> <div>We ourselves cannot convince. We ourselves cannot be imitated. Only what we do can.</div> <div>Imitation can only be of actions.</div> <div> <br /> </div> <div>Act rhetorically. Do to persuade</div> <div>Action happens.&nbsp;</div> <div>Persuasive forces are at work and at play.</div> <div>To not do is not to not be embattled in war.</div> <div>In conflict is agency.</div> <div>The dissonant acts in the context of harmony&rsquo;s illusion.</div> <div>Dissonance reveals the conditions of war that constitutes place.</div> <div>Dissonance lays bare the territory for it to be inhabited consciously.</div> </div>
Miryana Todorova: Expanded Objects for Shared Living 5 December 2013 08:31:50 EST http://www.storefrontnews.org/programming/pop-upss?e=587

Tuesday December 10, 2013 – Saturday December 14, 2013

<p>Week 09 / Dec 10 - 14</p> <p> <span style="font-size: 12.222222328186035px;">"Expanded Objects for Shared Living"</span> </p> <p>Miryana Todorova</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>My project is about collapsible and expandable structures that can flip from enclosures to extensions of body and existing architecture. Movables, hybrids, clusters, skins, shells, dwellings and parasites become the trigger for performative encounters and collaborative situations in public space. These objects open up a space for discourse about spontaneous community, coming out as a result of a struggle with a structure, and challenge the boundaries of what can be shared, negotiated or exchanged.</i> </p> <p> <i> <br /> </i> </p> <p> <i>The project focuses on utopian visionary ideas of enabling more spontaneity and risk-taking in public space, provoking solidarity patterns of behavior and interdependency that can empower people to claim and inhabit space differently. Part of Storefront will become a temporary open lab station for generating new forms, strategies and possibilities that combine architecture, fashion, product design, body politics, social mobility and hybridization.</i> </p> <p>-Miryana Todorova</p> <div> <br /> </div> <div> <b>About the artist</b> </div> <div> <div>Miryana Todorova (b.1984 Sofia, Bulgaria) is a visual artist who lives and works between Sofia and NY. The major concern in her work is questioning the politics of public space and how people occupy it. Her projects combine painting, performance, video and public interventions to examine the body in relation to temporary structures &nbsp;and potential collapse. Miryana holds a MFA Fine Arts degree from the School of Visual Arts, NY. She has participated in numerous exhibitions both in Europe and the US including <i>Dissident Desire: Exercises of Critical Body Building</i> at District Kunst- und Kulturf&ouml;rderung, Berlin, <i>SpaceLab</i> at the Spinnerei, Leipzig, <i>Movables</i> at Frosch&amp;Portmann gallery, NY, <i>New York Temporary</i> at the Center of Photography and the Moving Image, NY, <i>Geometry of Time</i> at the Regional History Museum, Plovdiv, <i>The Bulgarian Pavilion</i> at Credo Bonum gallery, Sofia, <i>Temporary Status</i> at Immigrant Movement International, NY, Dwelling-In-Travel part of the 16th Week of Contemporary Art, Plovdiv, <i>Object Not Found</i> at Parlour, Venice, <i>Art in Odd Places</i> Public Art festival <i>Pedestrian</i>, NY, and <i>Making It</i> at the Deutsche Bank gallery, NY. Miryana is the recipient of the Gaudenz B. Ruf Award for New Bulgarian Art, category Young Artist (2011) and was a participant and fellow at the Skowhegan School of Painting and Sculpture (2012) and ZK/U-Center for Art and Urbanistics Berlin (2013).&nbsp;</div> </div> <div> <br /> </div> <div> <br /> </div>
HAPPY BIRTHDAY LINA BO BARDI 26 November 2013 07:50:38 EST http://www.storefrontnews.org/programming/seriess?e=586

Thursday December 5, 2013 – Thursday December 5, 2013

<p> <b>December 5, 2013</b> </p> <p> <b>7 -9pm</b> </p> <p>&nbsp;</p> <p>Storefront for Art and Architecture and PIN-UP Magazine cordially presented&nbsp;<b>LINA BO BARDI'S 99TH BIRTHDAY PARTY</b>, celebrating<span style="font-size: 12px;">&nbsp;the 99th birthday of our favorite Italian-Brazilian architect and Modernist iconoclast.&nbsp;</span> </p> <p>&nbsp;</p> <p>To honor the occasion, we presented: THE NEW WORLD OF LINA BO BARDI, a video of Bo Bardi's work created by Ouida Angelica Biddle and Nicolau Vergueiro with live musical accompaniment by HISHAM BHAROOCHA. With personal messages<span style="font-size: 12px;">&nbsp;to Lina broadcasted at the Storefront TV Studio.</span> </p> <p> <b> </b> </p> <p>&nbsp;</p> <p> <b> <img src="../images/tinyMCE_upload/Lina-99-05.gif" width="450" height="394" /> <br /> </b> </p> <p> <b> <br /> </b> </p> <p>&nbsp;</p>
SILVERSHED_ZELLNERPLUS 18 November 2013 07:41:06 EST http://www.storefrontnews.org/programming/pop-upss?e=585

Tuesday November 19, 2013 – Saturday November 23, 2013

<p>Week 06 /&nbsp;<span style="font-size: 12px; line-height: 16px;">Nov 19 - 23, 2013</span> </p> <p>SILVERSHED_ZELLNERPLUS</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p> <i>What is the relationship between art, architecture and the city? Where do we draw the lines? Where do they blur? How can these terms be productively engaged to yield new ways of seeing how we inhabit our roles as artists, architects, urbanists, writers and curators.</i> </p> <p> <i>
We are two artists, one artist run space and one architect working collaboratively across our fields (art, architecture and urbanism) and across the country, in Los Angeles and New York City.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>
Combining our work backgrounds and studies in art, architecture, landscape architecture and critical theory, we intend to produce a series of events, objects and writings that will raise questions around the status of art, architecture and the city.&nbsp;</i> </p> <p> <i> <br /> </i> </p> <p> <i>During the residency we intend to produce, on a daily basis, the following artifacts, writings, and performances: &nbsp;
</i> </p> <p> <i>A. Artifacts: constructions, drawings, maquettes, and sculptures.</i> </p> <p>&nbsp;</p> <p> <i>B. Writings: Manifestos, essays, poems, stories, and interviews. &nbsp; 
</i> </p> <p> <i>C. Performances: Talks, group discussions, lectures, a closing event.</i> </p> <p> <span style="font-size: 12px;">&nbsp;</span> </p> <p> <b> <i>Events</i> </b> </p> <p> <b>Wednesday, November 20</b> </p> <p> <b>4-5pm</b> </p> <p class="MsoNormal"> <b>Lecture: Peter Zellner</b> </p> <p class="MsoNormal"> <b>Silvereconomies</b> </p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>104</o:Words> <o:Characters>597</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>4</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>700</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves /> <w:TrackFormatting /> <w:PunctuationKerning /> <w:ValidateAgainstSchemas /> 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mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <i>As part of Silvershed's residency at Storefront for Art and Architecture, Peter Zellner will present three recent projects.&nbsp;&nbsp;Zellner will use the lecture to explore linking ordinary things &ldquo;as they are&rdquo; to a series of architectural causes.&nbsp;&nbsp;&nbsp;In this case the things are a free standing gallery building, a series of almost temporary art structures and a family house.&nbsp;&nbsp;The causes are an ordinary strip of commercial structures, a large industrial warehouse and a hillside property. The lecture will be conducted outside of Storefront and Zellner will attempt his first outdoor evening lecture, come attired appropriately as it will be cold.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>Wednesday, November 20</b> </p> <p class="MsoNormal"> <b>5-7pm</b> </p> <p class="MsoNormal"> <b>Silvershed Reader #2 Launch</b> </p> <p class="MsoNormal"> <i>Silvershed Reader #2 Launch 

As part of Silvershed's residency at Storefront for Art and Architecture, we'd like to invite you to celebrate the launch of the newest installment of the Silvershed Reader with us this Wednesday, November 20th.&nbsp;</i> </p> <p class="MsoNormal"> <i>
&ldquo;Silvershed Reader #2 presents three artist-organized essays examining a selection of themes observable in contemporary art today.&nbsp;</i> </p> <p class="MsoNormal"> <i>&nbsp;</i> </p> <p class="MsoNormal"> <i> </i> </p> <p class="MsoNormal"> <i>Silvershed collaboratively wrote Pro Fem, Yes Wave, and the intro and outro texts from 2011-2013. Christopher K. Ho first published The Clinton Crew online and in print as a part of his 2012 show Privileged White People at Forever &amp; Today. 

Pro Fem both perceives and proposes a radical re-thinking of how femininity may be ethically imaged; Yes Wave examines philosophical text-based art that communicates personal truths within a larger struggle of information management; The Clinton Crew explores a sentiment sourced in so-called &lsquo;provisional&rsquo; painting and sculpture that speaks both to privilege and ethics in the post-Clinton age; and Hashtagging outlines an ethics of collaborative labeling, sorting, and sharing, and investigates how the algorithmic juxtaposition of decontextualized pictures on the net produce both misunderstanding and new meaning.</i> </p> <p> <span style="font-size: 12px;"> <br /> </span> </p> <div> <b>About the artists</b> </div> <div> <div> <b>Yunhee Min</b> is an artist based in Los Angeles. She is interested in painting as foremost a studio practice, where hands-on engagement with the material and the activity of making take priority. As she continues to explore spatiality ranging from the ephemeral spaces of painting to built environments, abstraction continues to be her fundamental approach both in her painting and site-projects. Rather than subscribing to the myth of abstraction as an aesthetic style of reduction, she is interested in approaching abstraction as an operation, as an ongoing process of making new relations and connections through material engagement. &nbsp;</div> <div> <br /> </div> <div> <b>Patrick Meagher</b> creates personal-history driven work about architecture, technology and economics revolving around the Internet at the turn of the millennium. His work explores transitions within the new economy concerning globalization, informatization and intercultural communication, and how digital technology affects understandings of the spiritual.</div> <div> <br /> </div> <div> <b>Peter Zellner</b> established the award winning firm ZELLNERPLUS in 2004. &nbsp;Based in Venice, California the firm&rsquo;s projects include public and private art galleries, residences, and work spaces in Los Angeles, San Francisco, Mexico and New York. &nbsp;Peter Zellner is a Faculty member at SCI-Arc where he coordinates the Future Initiatives program.&nbsp;</div> <div> <br /> </div> <div>For regular updates, visit us on <a href="https://www.facebook.com/storefront">Facebook</a> or follow us on <a href="http://www.twitter.com/storefrontnyc">Twitter</a>.</div> <div>@storefrontnyc</div> <div> <br /> </div> </div>
Weather (Un)Control 4 November 2013 10:51:13 EST http://www.storefrontnews.org/programming/projectss?e=580

Tuesday November 12, 2013 – Saturday November 16, 2013

<p class="MsoNormal"> <b> <i>Weather (Un)Control</i> </b> </p> <p class="MsoNormal"> <b>November 12 &ndash; 16, 2013 </b> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">By MODU</span> </p> <p class="MsoNormal">Opening Reception: November 13, 7pm</p> <p class="MsoNormal">At The Old School (233 Mott Street) Room 2.2&nbsp;</p> <p class="MsoNormal">Open 12pm - 6pm</p> <!--EndFragment--> <p class="MsoNormal">Presented as part of Marfa Dialogues/NY</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Ten percent of New York City buildings sustained storm damage during Hurricane Sandy. While billions of dollars have been spent on the recovery effort, the storm&rsquo;s invisible effects still linger in the air. Health risks in the indoor air of buildings&mdash;in the form of mold and dust&mdash;are beyond the reach of health officials. After Hurricane Sandy, neither the federal nor the city governments monitored indoor air quality, relying mostly on air quality monitors on building rooftops, where the air is usually clearer.&nbsp;</p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Weather (Un)Control </i>refocuses attention on indoor air contaminants, particularly dust. The dust in these buildings&mdash;including asbestos, silica, and gypsum&mdash;was caused by the storm damage but substantially more by the rebuilding efforts that followed. The installation includes an indoor weather system generated by two forms of air contamination: dust and static electricity. <i>Weather (Un)Control</i> combines an artificial dust with static electricity to create a &ldquo;dust wall&rdquo;. Dust is charged with static electricity and creates drawings on a paper wall, highlighting a hidden risk of post-Sandy rebuilding: the more you &ldquo;clean up&rdquo;, the dustier it can become.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Since there are no government agencies monitoring indoor air quality, oversight has been left to the individual policies of insurance companies. Rather than conduct air quality tests, the insurance industry relies on visual inspection to determine contamination of the air as well as potential insurance risk. <i>Weather (Un)Control</i> highlights the inefficiency of visual inspection with &ldquo;dust wall&rdquo; drawings that remain invisible unless lit with ultraviolet light. The drawings are based on the air quality&mdash;both composition and particle count&mdash;of the displayed air samples. The captured air is from the Environmental Protection Agency&rsquo;s post-Sandy monitor locations, including both outdoor locations and indoor air from nearby buildings. The air quality from the indoor samples has high levels of asbestos, silica, or gy&shy;psum, which is the basis for the &ldquo;dust wall&rdquo; drawings. One side of the wall uses positive ions that attract dust to create the indoor air drawings; the other uses negative ions that repel dust to clean the wall. However, the negative ions in the &ldquo;clean room&rdquo; pass through the paper wall, causing even more dust to gather on the &ldquo;dirty room&rdquo; side. <i>Weather (Un)Control</i> reveals the cyclical and invisible nature of air contamination after extreme weather events, unseen and overlooked by insurance companies.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12px; font-style: italic;">-------------------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; font-style: italic;"> <br /> </span> </p> <p class="MsoNormal"> <b>About MODU</b> </p> <p class="MsoNormal">MODU is an interdisciplinary architecture practice specializing in smart design that connects people. Based in New York with an associate office in London, MODU has completed projects in New York, Miami, Beijing, London, and Athens. Co-directed by Phu Hoang and Rachely Rotem, the practice has won international design competitions and awards sponsored by the Beijing Architecture Biennial, Dumbo Arts Festival, Core77, Creative Time, Art Basel, and the Architectural League of New York. MODU was recently awarded a commendation in the 2013 &ldquo;21 for 21,&rdquo; an international award that recognizes architects who will &ldquo;lead the next generation of architects in the 21st&nbsp;century.&rdquo; MODU has also received research grants from the Robert Rauschenberg Foundation and the New York State Council on the Arts. Projects designed by MODU have been widely publicized in publications including the Financial Times, the Huffington Post, the Boston Globe, Domus, and Interior Design. MODU&rsquo;s interdisciplinary approach has led to projects that bridge several disciplines of the built environment, from architecture to interiors to public installations.<span style="font-size: 12px;">&nbsp;&nbsp;</span>Contact MODU at&nbsp;<span style="font-size: 12px;">212-343-4203</span>&nbsp;or&nbsp;<span style="font-size: 12px;">info@MODUarchitecture.com</span>.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;<span style="font-size: 12px;">Contact MODU at&nbsp;</span> <span style="font-size: 12px;"> </span> <a href="file://localhost/tel/212-343-4203"> <span style="color: windowtext; text-decoration: none; text-underline: none;">212-343-4203</span> </a> <span style="font-size: 12px;"> </span> <span style="font-size: 12px;">&nbsp;or </span> <span style="font-size: 12px;"> </span> <a href="mailto:info@MODUarchitecture.com"> <span style="color: windowtext; text-decoration: none; text-underline: none;">info@MODUarchitecture.com</span> </a> <span style="font-size: 12px;"> </span> <span style="font-size: 12px;">.</span> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>24</o:Words> <o:Characters>138</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>169</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>-------------------------------------------------------------------------------------------------------------------</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>This installation is part of Marfa Dialogues NY.<span style="mso-spacerun: yes;">&nbsp; </span>For more information visit <a href="http://www.marfadialogues.org"> <span style="color: windowtext; text-decoration: none; text-underline: none;">www.marfadialogues.org</span> </a>.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Weather (Un)Control has been generously supported by the Robert Rauschenberg Founda&shy;&shy;&shy;tion and the New York State Council on the Arts.&nbsp;</i> <i>Engineering for Weather (Un)Control has been developed by Amanda Parkes/Skinteractive Studio</i> </p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>13</o:Words> <o:Characters>77</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>94</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p>&nbsp;</p> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>30</o:Words> <o:Characters>173</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>212</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <p> <img src="../images/tinyMCE_upload/Marfa_Dialogues_NY_Partnerships04.png" width="500" height="59" /> </p> <p class="MsoNormal"> <!--[if !mso]> <mce:style> <! v:* {behavior:url(#default#VML);} o:* {behavior:url(#default#VML);} w:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>552</o:Words> <o:Characters>2597</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>70</o:Lines> <o:Paragraphs>40</o:Paragraphs> <o:CharactersWithSpaces>3867</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! 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Dolan Morgan and Cameron Blaylock: The Weathermen Turn Themselves In 8 November 2013 12:54:41 EST http://www.storefrontnews.org/programming/pop-upss?e=584

Monday November 11, 2013 – Saturday November 16, 2013

<p>Week 05 / Nov 12-16</p> <p>The Weathermen Turn Themselves In</p> <p>Dolan Morgan and Cameron Blaylock</p> <p>&nbsp;</p> <p> <b>About the project</b> </p> <p>The Weathermen Turn Themselves In charts a world where families are raised not in houses but hurricanes; where duplex apartments don&rsquo;t sit on the street but pelt us from the sky; where finance companies operate not in skyscrapers but from the top floor of a tornado. &nbsp;The Weathermen Turn Themselves In finally asks the absurd question: what if architecture and weather switched positions? By reversing the natural world with our constructed environment, we examine not only the boundaries, limitations and correlations between the two &ndash; but also between that which we can control and that which we cannot. The afternoon forecast is a 90% chance of condo squalls, and we&rsquo;re advised to stay inside the comfort of our storms. Now, quick: what is an umbrella.</p> <p>&nbsp;</p> <p> <b>About the artists</b> </p> <p>Dolan Morgan is the author of That&rsquo;s When the Knives Come Down, a short story collection forthcoming in 2014. He lives in Brooklyn and edits The Atlas Review. His work can be found in The Believer, Field, Pank, Armchair/Shotgun, The Collagist and elsewhere.&nbsp;</p> <p>&nbsp;</p> <p>Cameron Blaylock is a Brooklyn-based photographer and artist. Cameron's recent projects include Visions, a collaboration with writer Dolan Morgan; An Apple A Day&hellip;, an art-making-on-consecutive-days project shown in conjunction with New York poetry series The Highwaymen NYC; and Typecast, an investigation into the "towers-in-the-parks" typology that was presented at the New Museum's 2013 Ideas City StreetFest. In 2010, Cameron received a European diploma in fine arts from Bauhaus-University.</p> <p>&nbsp;</p> <p>For regular updates, please visit <a href="https://www.facebook.com/storefront?ref=hl">Facebook</a> and/or <a href="https://twitter.com/storefrontnyc">Twitter</a> and/or <a href="http://instagram.com/storefrontnyc">Instagram</a>.&nbsp;</p> <p>&nbsp;</p> <p>@storefrontnyc @dolanmorgan @cameronblaylock @weathersale</p> <div> <br /> </div>
The great and the secret show / The look out gallery 4 November 2013 11:09:30 EST http://www.storefrontnews.org/programming/filmss?e=581

Friday November 8, 2013 – Sunday November 17, 2013

<p> <i> <b>The great and the secret show / The look out gallery</b> </i> </p> <p class="MsoNormal">By Katarzyna Krakowiak</p> <p class="MsoNormal">November 8 &ndash; 17, 2013 </p> <p class="MsoNormal">At The Penn Station Post Office</p> <p class="MsoNormal">Corridors Open 12pm &ndash; 6pm</p> <p class="MsoNormal">Sound Installation Open 24 hours</p> <p class="MsoNormal">Presented as part of Performa13</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> Opening + artist walkthrough: November 8, 6pm </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>&ldquo;In perceiving, our whole body vibrates in unison with the stimulus (&hellip;) Hearing is, like all sense perception, a way of seizing reality with all our body, including our bones and viscera&rdquo; &nbsp;</i> <i>-Gonzalez-Crussi</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/78841485"> </iframe> </p> <p> <a href="http://vimeo.com/78841485">The great and the secret show / The look out gallery by Katarzyna Krakowiak</a> from <a href="http://vimeo.com/user1877785">Storefront for Art&amp;Architecture</a> on <a href="https://vimeo.com">Vimeo</a>.</p> <p class="MsoNormal"> <i> <span style="font-family: FilosofiaRegular;">&nbsp;</span> </i> </p> <p class="MsoNormal">The historic James A. Farley Post Office is today one of the biggest empty building in Manhattan.<span style="mso-spacerun: yes;">&nbsp; </span>While in the mid-twentieth century more than 16,000 workers inhabited the building, today, less than 200 workers occupy the space during busy periods, leaving many rooms, corridors, vaults, chambers and storage spaces vacant. While the role of the post office is currently undergoing massive transformation, the building itself is under a great urban and architectural interrogation. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>The great and the secret show / The look out gallery </i>considers sound as an archeology depicting the temporality, materiality, speed or intensity of bodies, objects and systems. The installation guides visitors through a typically closed route of empty rooms and corridors across the building where past and present sounds of the postal service mechanisms and processes are performed, revealing the fascinating history of the spaces, and reflecting on the vast urban scale of the building. The sound and resonating performance transform the walls of the hallway into a vibrating membrane, producing an intimate experience that synthesizes the past and the present of the Post Office.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Katarzyna Krakowiak takes what the workers call &ldquo;the look out gallery&rdquo; as a starting point for her installation. The look out gallery takes its name from a system of secret corridors that connect the thousands of rooms of the old Post Office building and allow surveillance of the work environment. In its heyday, small eyeholes allow assigned postal policeman to control the working environment through an analogue CCTV. Using a pre-recorded collection of sounds of closing doors, cards being discarded, stamping postcards, and other past and present Post Office activities, the performance raises questions of labor, public services, and hierarchy in the most visited urban space of years past.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>41</o:Words> <o:Characters>195</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>5</o:Lines> <o:Paragraphs>3</o:Paragraphs> <o:CharactersWithSpaces>290</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-fareast-font-family:Cambria; mso-hansi-font-family:Cambria; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Krakowiak&rsquo;s installation reminds us that our bodies and memories are made also through sounds. Her sound archeology depicts &ndash;perhaps better than an image or a text- the temporality, materiality, speed and intensity of bodies, objects and systems.</p> <p class="MsoNormal">&nbsp;</p> <p> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>450</o:Words> <o:Characters>2119</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>57</o:Lines> <o:Paragraphs>33</o:Paragraphs> <o:CharactersWithSpaces>3155</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas /> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables /> <w:DontGrowAutofit /> <w:DontAutofitConstrainedTables /> <w:DontVertAlignInTxbx /> <w:UseFELayout /> </w:Compatibility> </w:WordDocument> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-fareast-font-family:Cambria; mso-hansi-font-family:Cambria; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal">Visitors can access the installation in two forms and temporalities. From 12pm to 6pm by walking through the path of corridors and rooms specially open for the performance, or any time (24 hours a day) during normal Postal Service office hours, where the visitor can experience the echo of the installation through the vibration of the walls and windows that connect the public spaces of the building with the installation rooms. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">This exhibition is presented as part of Performa13. &nbsp;For more information visit&nbsp;<a title="Performa" href="http://13.performa-arts.org/">http://13.performa-arts.org/.</a>&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/130402_Performa_Logo_185u1.jpg" width="450" height="41" /> </i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">----------------------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <b>About the Artist</b> </p> <p class="MsoNormal">Katarzyna Krakowiak (b. 1980) is a sculptor working mostly with immaterial phenomena in architecture and arts. In 2006 Krakowiak graduated from the Sculpture Transplantation Studio at the Academy of Fine Arts in Poznań, under Miros<span style="font-family: &quot;Lucida Grande&quot;; mso-bidi-font-family: &quot;Lucida Grande&quot;;">⌅</span>aw Ba<span style="font-family: &quot;Lucida Grande&quot;; mso-bidi-font-family: &quot;Lucida Grande&quot;;">⌅</span>ka. Significant exhibitions include Who Owns the Air? at Galeria Foksal (Warsaw), Game and Theory, South London Gallery (London). Her works were presented in group exhibitions at, among others, KUMU Museum (Tallinn) and HMKV (Dortmund), 13th Venice Architecture Biennale, G&ouml;teborg Biennale and most recently Lisbon Architecture Triennale. She holds PhD in New Media Arts from Academy of Fine Arts in Warsaw. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Since 2012 Krakowiak has conceived a series of large-scale sound installations that investigate sound and social organization imposed by architecture. Krakowiak made her debut on the international art scene with a radical and uncompromising gesture at the Polish Pavilion where she <span style="mso-spacerun: yes;">&nbsp;</span>emptied out the entire building and transformed the space into a vibrating structure of sound generated by neighboring pavilions. Visitors could eavesdrop on all the different noises emitted from these other pavilions as evidence of the typical workings of the building and the human activities occurring within, which usually remain unnoticed.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About Performa</b> </p> <p class="MsoNormal">Founded in 2004 by art historian and curator RoseLee Goldberg, Performa is the leading organization dedicated to exploring the critical role of live performance in the history of twentieth-century art and to encouraging new directions in performance for the twenty-first century.&nbsp;Its biennial is the only one dedicated to commissioning, presenting and exploring new visual art performance across disciplines. For three weeks,&nbsp;November 1 &ndash; 24, 2013, Performa and a consortium of innovative organizations will band together to transform New York City into an international platform for celebrating live art. More than 100 separate events presented at over 40 venues will showcase new work in an innovative program, breaking down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design, and the culinary arts.</p> <p> <span style="font-size: 12px;">---------------------------------------------------------------------------------------------------------------------------</span>&nbsp;</p> <p>&nbsp;</p> <p class="MsoNormal"> <i>This project has been made possible with the support of the Adam Mickiewicz Institute, <a href="http://culture.pl"> <span style="color: windowtext; text-decoration: none; text-underline: none;">culture.pl</span> </a> and is presented in partnership with Performa.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <b>About The Adam Mickiewicz Institute</b> </p> <p class="MsoNormal"> <i>The Adam Mickiewicz Institute is a state cultural institution which aims to promote Polish culture around the world and actively participate in international cultural exchange. The Adam Mickiewicz Institute has successfully launched its projects across 26 countries including Great Britain, Russia, Israel, Benelux countries, Spain, Austria, Sweden, France, Germany, Ukraine, Lithuania, Algeria, Morocco, India, Japan and China. As part of these projects IAM has organized over 4,000 cultural events which gathered an audience of 40 million people across three continents.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i> <img src="../images/tinyMCE_upload/english_color_01.png" width="200" height="44" /> <br /> </i> </p>
ARCHITECTURE or CAPITALISM / ARCHITECTURE and CAPITALISM 24 October 2013 08:34:55 EST http://www.storefrontnews.org/programming/seriess?e=578

Tuesday November 5, 2013 – Tuesday November 5, 2013

<p class="MsoNormal"> <b>ARCHITECTURE OR CAPITALISM / ARCHITECTURE AND CAPITALISM</b> </p> <p class="MsoNormal">November 5, 2013</p> <p class="MsoNormal">7pm</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i> Let me tell you a wonderful, old joke from Communist times. A guy was sent from East Germany to work in Siberia. He knew his mail would be read by censors, so he told his friends: &ldquo;Let&rsquo;s establish a code. If a letter you get from me is written in blue ink, it is true what I say. If it is written in red ink, it is false.&rdquo; After a month, his friends get the first letter. Everything is in blue. It says, this letter: &ldquo;Everything is wonderful here. Stores are full of good food. Movie theatres show good films from the west. Apartments are large and luxurious. The only thing you cannot buy is red ink.&rdquo; This is how we live. We have all the freedoms we want. But what we are missing is red ink: the language to articulate our non-freedom. The way we are taught to speak about freedom&mdash; war on terror and so on&mdash;falsifies freedom. And this is what you are doing here. You are giving all of us red ink. &nbsp; - Slavoj Žižek,&nbsp;</i> <i>Sept 17, 2010, Liberty Square, New York</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Over the last few decades, capitalism has entered every single aspect of culture. If we fantasized about postmodernism being the end of capitalism in its lateness, it seems that today, on the contrary, capitalism is as agile as ever. As&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">Žižek</span> <span style="font-size: 12px; line-height: 16px;">&nbsp;argues in his joke about the Red Ink, we do not have the tools to start imagining alternatives.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Faced with this <i>impossibility,</i>&nbsp;o<span style="font-size: 12.222222328186035px; line-height: 16px;">n the occasion of the book launch of <i> Architecture and Capitalism</i> <b> </b> edited by <b>Peggy Deamer</b>,&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">Storefront presented</span>&nbsp;<span style="font-size: 12.222222328186035px; line-height: 16px;">a forum where some of the book contributors and other leading figures in the discourse around politics, economy, architecture and the city presented and discussed some historical and contemporary references on how alternatives have been articulated in the past and how we might be able to articulate them today.&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">Participants included Thomas Angotti, Peggy Deamer,&nbsp;</span> <span style="font-size: 12.222222328186035px; line-height: 16px;">Quilian Riano and Michael Sorkin, among others.&nbsp;</span> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <iframe width="500" height="281" frameborder="0" src="http://player.vimeo.com/video/79435481"> </iframe> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">------------------------------------------------------------------------------------------------------------</p> <p class="MsoNormal"> <b> About the book</b> </p> <p class="MsoNormal"> <i> <b>Architecture and Capitalism: 1845 to the Present</b> </i> </p> <p class="MsoNormal"> <i> <b> </b> </i> </p> <p class="MsoNormal"> <b>Edited by Peggy Deamer</b> </p> <p class="p1">&nbsp;</p> <p class="p1">"Architecture and Capitalism tells a story of the relationship between the economy and</p> <p class="p1">architectural design. Eleven historians each discuss in brand new essays the time</p> <p class="p1">period they know best, looking at cultural and economic issues, which in light</p> <p class="p1">of current economic crises you will find have dealt with diverse but surprisingly</p> <p class="p1">familiar economic issues. Told through case studies, the narrative begins in the</p> <p class="p1">mid-nineteenth century and ends with 2011, with introductions by editor Peggy</p> <p class="p1">Deamer to pull the main themes together so that you can see how other architects</p> <p class="p1">in different times and in different countries have dealt with similar economic</p> <p class="p1">conditions. By focusing on what previous architects experienced, you have the</p> <p class="p1">opportunity to avoid repeating the past."</p> <p class="p1">&nbsp;</p> <p class="p1">With new essays by Pier Vittorio Aureli, Ellen Dunham-Jones, Keller</p> <p class="p1">Easterling, Lauren Kogod, Robert Hewison, Joanna Merwood-Salisbury, Robin</p> <p class="p1">Schuldenfrei, Deborah Gans, Simon Sadler, Nathan Rich, and Michael Sorkin."</p> <p class="MsoNormal">&nbsp;</p> <p class="p1">Peggy Deamer is a professor of architecture at Yale University, New Haven, USA.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">Publisher: Routledge, New York</p> <p class="MsoNormal">English, 2013,&nbsp;</p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">Paperback: $40</span> </p> <p class="MsoNormal"> <span style="font-size: 12.222222328186035px; line-height: 16px;">978-0-415-53488-8&nbsp;</span> </p> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">Hardback: $150.00</span> </p> <p class="p1">ISBN: 978-0-415-53487-1</p> <p class="p1">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/arch_and_capitalism.jpg" width="431" height="648" /> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">---------------------------------------------------------------------------------------------------------</p> <div class="gmail_default" style="font-family: arial,helvetica,sans-serif;"> <p class="MsoNormal"> <b> Quotes from the book</b> </p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>"</b>&nbsp;<span style="font-size: 12px; line-height: 16px;">There&rsquo;s certainly a conspiracy to make habitation and haberdashery</span> </p> <p class="p1">commutative and we must take care not to let the Man camouflage</p> <p class="p1">us from ourselves by dappling us with art-for-art bromides and celebrity,</p> <p class="p1">studding our skulls with diamonds. Nor should we surrender to our own</p> <p class="p1">side&rsquo;s dour, paternalist theories (so often produced between sips of Sancerre</p> <p class="p1">as if the way we live our lives is just incidental) and simply assume that all</p> <p class="p1">iconoclasm is just another strategy of bourgeois repression. Call it negation</p> <p class="p1">if you insist. We cross the bridge of irony or cynicism at some risk: who</p> <p class="p1"> <span style="font-size: 12px; line-height: 16px;">wants a joyless revolution?</span>" &nbsp; M. Sorkin.&nbsp;</p> </div> <p class="MsoNormal"> <span style="font-size: 12px; line-height: 16px;">----------------------------------------------------------------------------------------------------------</span> </p> <p class="MsoNormal"> <b>About the participants&nbsp;</b> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> Tom Angotti </b>is Professor of Urban Affairs and Planning at Hunter College and the Graduate Center, City University of New York, and Director of the Hunter College Center for Community Planning &amp; Development (CCPD). His recent book, New York For Sale: Community Planning Confronts Global Real Estate (MIT Press, 2008) won the Paul Davidoff Award in 2009 and International Planning History Society Book Prize in 2010. New Village Press recently published Service-Learning in Design and Planning: At the Boundaries, which he co-edited with Cheryl Doble and Paula Horrigan. The New Century of the Metropolis: Enclave Development and Urban Orientalism was published by Routledge in 2012. His other books include Metropolis 2000: Planning Poverty and Politics, Housing in Italy and a book of short stories, Accidental Warriors. Through the CCPD and in collaboration with others, Tom has completed studies on New York City&rsquo;s PlaNYC2030, Wal-Mart, NYU&rsquo;s expansion plan, Fresh Direct, and Atlantic Yards. He has collaborated on many community-based plans and written about community land trusts. He is founder and co-editor of Progressive Planning Magazine, and Participating Editor for the journals Latin American Perspectives and Local Environment. He is a Fellow at the American Academy in Rome and served as Fulbright Specialist in India, Italy and Vietnam. Tom previously served as a senior planner with the City of New York and Commonwealth of Massachusetts, and was a Peace Corps Volunteer in Peru.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Peggy Deamer</b> is the Assistant Dean and Professor at Yale School of Architecture. Deamer is a principal in the firm of Deamer Architects. Projects by her and her former firm, Deamer + Phillips, have been featured in various publications including Architecture, Architectural Record, Vogue, and the New York Times. Articles by Ms. Deamer have appeared in Assemblage, Praxis, Perspecta, Harvard Design Magazine, and other journals and anthologies.. Her seminar and advanced studio of 2000&ndash;2001 were the subjects of The Millennium House, published by Monacelli Press in 2004. She was the co-editor of Re-Reading Perspecta and the forthcoming Building (in) the Future: Recasting Labor in Architecture. Her theory work analyzes the relationship among architectural labor, craft, and subjectivity. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>Cindi Katz</b> <span style="font-size: 12.222222328186035px;">&nbsp;is Professor of Geography in Environmental Psychology and Women&rsquo;s Studies at the Graduate Center of the City University of New York. Her work concerns social reproduction and the production of space, place and nature; children and the environment, and the consequences of global economic restructuring for everyday life. She has published widely on these themes as well as on social theory and the politics of knowledge in edited collections and in journals such as Society and Space, Social Text, Signs, Feminist Studies, Annals of the Association of American Geographers, Social Justice, and Antipode. She is the editor (with Janice Monk) of Full Circles: Geographies of Gender over the Life Course (Routledge 1993) and of Life&rsquo;s Work: Geographies of Social Reproduction (with Sallie Marston and Katharyne Mitchell) (Blackwell 2004). She recently completed Growing up Global: Economic Restructuring and Children&rsquo;s Everyday Lives with University of Minnesota Press in 2004. 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mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p class="MsoNormal"> <b>Quilian Riano </b>is the founder and principal of DSGN AGNC, a collaborative design/research studio exploring political engagement through architecture, urbanism, art &amp; activism. DSGN AGNC&rsquo;s work has been featured at the Venice Biennale, Harvard University, Cornell University, New York&rsquo;s Center for Architecture, The Van Alen Institute, Parsons The Newschool for Design, The Queens Museum of Art, The Austrian Cultural Forum, Boston Society of Architects, etc. Quilian holds a Masters of Architecture from Harvard University's Graduate School of Design and currently teaches design studio at Parsons, The New School for Design and Pratt Institute of Technology. In practice and academia, Quilian works with community groups and trans-disciplinary teams to create comprehensive research that can be used to propose a variety of targeted policies, actions and designs at various scales &mdash; from pamphlets to architectures to landscapes.</p> <p class="MsoNormal"> <b> <br /> </b> </p> <p class="MsoNormal"> <b>Michael Sorkin</b> is the principal of the Michael Sorkin Studio in New York City, a design practice devoted to both practical and theoretical projects at all scales with a special interest in the city. Recent projects include masterplanning in Hamburg and Schwerin, Germany, planning for a Palestinian capital in East Jerusalem, campus planning at the University of Chicago, and studies of the Manhattan waterfront and Arverne, Queens. The studio is the recipient of a variety of awards, including three I.D. Awards and a Progressive Architecture Award. Sorkin is the Director of the Graduate Urban Design Program at the City College of New York. From 1993 to 2000 he was Professor of Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts in Vienna. Previously, Sorkin has been professor at numerous schools of architecture including Cooper Union (for ten years), Columbia, Yale (holding both Davenport and Bishop Chairs), Harvard, Cornell (Gensler Chair), Nebraska (Hyde Chair), Illinois, Pennsylvania, Texas, and Minnesota. Sorkin lectures widely and is the author of many articles in a wide range of both professional and general publications and is currently contributing editor at Architectural Record and Metropolis. For ten years, he was the architecture critic of The Village Voice. His books include Variations on A Theme Park, Exquisite Corpse, Local Code, Giving Ground (edited with Joan Copjec), Wiggle (a monograph of the studio's work), Some Assembly Required, Other Plans, The Next Jerusalem, and After The Trade Center (edited with Sharon Zukin). Forthcoming are Weed, AZ. and Work On The City, among others. Michael Sorkin was born in Washington, D.C. and received his architectural training at Harvard and MIT. </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p>
Katya Tylevich: Word bites picture 4 November 2013 12:20:06 EST http://www.storefrontnews.org/programming/pop-upss?e=582

Monday November 4, 2013 – Saturday November 9, 2013

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<w:LsdException Locked="false" Priority="37" Name="Bibliography" /> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading" /> </w:LatentStyles> </xml> <![endif]--> <!--[if gte mso 10]> <mce:style> <! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} --> <!--[endif] --> <!--StartFragment--> <!--EndFragment--> </p> <p> <span style="font-size: 12px; line-height: 16px;">Week 04 / Nov 5 - 9</span> </p> <p> <span style="font-size: 12px; line-height: 16px;">Word bites picture</span> </p> <p class="MsoNormal">Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the project</b> </p> <p class="MsoNormal">&lsquo;Word bites picture&rsquo; draws from my work writing about art and architecture, but subverts the idea of expository writing. For the project, I ask an artist, photographer or architect to send me an image he or she has created. In response to that image, I write a 500-word short fiction story. During my five-day residency, I will create at least one short story a day in response to one respective image. Each day, one more &lsquo;companion work&rsquo; will join others on the wall of theresidency space, so that the works of fiction act as abstract captions to the images. Though not exactly an exquisite corpse, the spontaneous energy of the project is similar. Viewers will likely find their brains trying to make sense of the resulting art-fiction creatures. It&rsquo;s necessary for these modular pieces to exist in a public space, so that they can assemble into a whole and face different interpretations. The project further addresses the cannibalism of all art, literature, and architecture: new movements do not exist without predecessors, which isn&rsquo;t to say that the results aren&rsquo;t entirely original. Among the people submitting images for the &lsquo;Word bites picture&rsquo; -project are artist Micha&euml;l Borremans and Vito Acconci.</p> <p class="MsoNormal">-Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b>About the artist</b> </p> <p class="MsoNormal">Katya Tylevich is an arts, architecture and design journalist based in Los Angeles. She is Editor-at-Large for arts journal Elephant, Contributing Editor for architecture magazine MARK and art journal White Zinfandel, and frequent contributor to magazines like Domus, Pin-up and FRAME. Recently, Katya wrote the text for photographer Todd Hido&rsquo;s book Excerpts From Silver Meadows, published by Nazraeli Press. Her interviews and essays appear in books like Pin-Up: Interviews, published by powerHouse Books, and Operations In Populated Areas, which accompanies an exhibition of the same name at the Gallery of Contemporary Art in Wrocław. She has essays on Brutalism and Postmodernism forthcoming in a Thames &amp; Hudson book on architecture, and her short fiction story, &lsquo;Sustained Release,&rsquo; written in response to three paintings by Micha&euml;l Borremans, will be published in the artist&rsquo;s catalog, As sweet as it gets, from Hatje Cantz in February 2014. Currently, Katya is working on a book for Laurence King Publishing, which examines contemporary artworks in unexpected ways, to be published in 2015. Together with her brother, Alexei, Katya is co-founder of Friend &amp; Colleague, a company producing original content and art projects. She was born in Minsk, Belarus and runs a website called Happy Nothing.</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">---------------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Boa constricted.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Borremans_HoveringWood.low.jpg" width="450" height="303" /> </p> <p class="MsoNormal">Micha&euml;l Borremans, <i>The Hovering Wood</i>, 2011. Oil on Canvas. Courtesy David Zwirner, New York/London and Zeno X Gallery, Antwerp.&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>Our family was never very poor, but pretended to be, to keep the evil eye uninterested. Good health was met with knocks on wood. Bad health was welcomed like an irritating houseguest, with a begrudging hospitality. A long night&rsquo;s sleep was considered suitable for cats and other indulged animals that had nine lives to waste &mdash; you know, on rapid eye movement.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>The older generations in our home would point to various nocturnal creatures as fine examples of living things with proper work ethics. The daytime sleeping patterns of those animals were struck from record, in lectures meant to motivate and probably shame. I never felt humiliated, however. I was eager to follow instructions and to please, so I took the lectures at face value and tried to emulate those animals that I thought burned the midnight oil, like horseshoe crabs, rats, owls, and opossums.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>In short order, my nighttime prowls grew quite intolerable for my family. What did me in, I think, were all the seed and peanut shells I&rsquo;d left around the home. Also, the rustling I liked to do while everybody else was giving way to bodily weaknesses, shutting their eyes and drifting into apneas, paralyses and other forms of stinky human rest.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>For those few nights that I had acted as a rodent, I&rsquo;d crept around our single-family home, thinking of all the things I could accomplish in my extra waking hours. Mostly, I snacked and watched TV. As morning rolled around, I usually found myself blinking awake in front of the early news broadcast. Perhaps upon waking, I did feel humiliated, though nobody was up early enough to catch me in my disappointed state. I was disgusted by my personal failure to control my sleepy, weepy body, and its susceptibility to routine, and to gum disease, early-onset heartburn and probably, at some point, to some other sort of chronic pain.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>My father told me that if my hot prowls were to continue, that in all fairness &mdash; literal man though he was, and head of a literal household (those were different times) &mdash; the family would have no choice but to treat me like a house animal and not a feral one, because I did, after all, live in their house and exterminating me was not an option. In other words, he said, they&rsquo;d have to have me immunized and spayed or neutered. At that age, I had already had several vaccinations and was no pussy when it came to needles and blood. But I did have to look the latter threats up in a dictionary. I still resent you for that fucking joke, old man.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Then in an act entirely out of character, I screamed that, if that&rsquo;s how they wanted it, then fine, then, fine, that I would turn myself in at an animal shelter so that a better family could adopt me there.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <i>That may be memory playing tricks on me, actually. When and where this childhood took place, there were no shelters for used, abandoned animals, only streets and garbage dumps and alleyways and pounds. It&rsquo;s probably more likely that my act, entirely out of character, was screaming that I was going to run off to the streets like an outdoor cat and wouldn&rsquo;t they be sorry when I didn&rsquo;t come back home that night or ever, even though I could remember our address, and would for the rest of my living days. To which my family, phlegmatic but in unison, knocked on all the wood available to them in that very wooden house.</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Speak to a representative.&nbsp;</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/Ottmar.jpg" width="450" height="619" /> </p> <p class="MsoNormal">Otmar Thormann. <i>COWBOY, STOCKHOLM 1968.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We had good reason to resent each other: our respective fantasies for how to fill the days had little in common. We were able to get a good night&rsquo;s sleep every night, and they chose not to; we ate three different meals a day at regular hours, and they began their mornings with a coffee and a cigarette &mdash; they ended their nights, also in the mornings, with a coffee and a cigarette, and, this time, whiskey. We had never been in a fist-fight, and they hadn&rsquo;t either, but they acted aggressively, as though they could stop clenched hands without elevated heart rates, with only a few, well placed, attractive bulging veins. We were healthy, but jealous. They were ill, but satisfied.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We decided that we would rather be ill and satisfied, too, so we invited them to join us on neutral territory &mdash; how about the woods? &mdash; for a kind of workshop, in which they could teach us how to be more like them. &lsquo;And vice versa,&rsquo; we offered, but the bargain was declined. Our broader invitation, however, was met with an affirmative. We were surprised, and had a tough go of trying to contain our excitement.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>More or less, we communicated by way of polite bows and cordial turns of &lsquo;would you please&rsquo;; we also shuffled our feet as a form of active deference. They responded with crude gestures, abbreviations and colloquialisms. One of them stuck a tongue between the index and middle fingers &mdash; you know, one of those. We tried to mimic their manners and motions, but failed to seem confident doing so. They said, &lsquo;The woods are fine with us, but it will have to be east of the train tracks,&rsquo; a geographic symbolism that sent cold shivers down our spines, as expected, but still we nodded in agreement, not wanting to sound ungrateful or, god forbid, afraid.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We arrived on time, and they were a no-show. We built a fire, following exactly the written instructions we had packed the night before. We made shish kabobs &nbsp;(pork, chicken, and vegetarian), and cooked potatoes over an open fire. Despite our diligence, the potatoes were too raw when we bit into them, a failure that brought us all close to tears.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>We wondered aloud to each other, whether this wasn&rsquo;t part of our desired learning process, this failure and abandonment, and then I did the unthinkable, by excusing myself from this passive self-criticism &mdash; &lsquo;What is this, North Korea?&rsquo; I yelled (and some of us shrugged, because what&rsquo;s from stopping this from being North Korea?) &mdash; and I tore the written instructions in two, kicked the dirt up with my feet and tried hard to lose my temper.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>That&rsquo;s when they came in all swagger and cocked index fingers. &lsquo;Lesson number one, losers! Never be on time.&rsquo; But I had already learned my lesson. I started packing my bags vigorously, so that the gesture couldn&rsquo;t go unnoticed. We shouted for me to stop, while they shouted for me to keep going. I kept going, overcome by the desire to please, more than to leave.&nbsp;</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Naturally, I was having trouble sustaining my temper at a simmer; it usually flat-lined, as if the stove had never been turned on at all. But I was somewhat determined, so I weakly put on necessary airs: &lsquo;My blood is boiling, everybody! Don&rsquo;t make it overflow!&rsquo; I tried to recreate some of the lewd gestures that they had always made look effortless. But I probably raised the wrong fingers or had the wrong tongue. My gesture was like a starter pistol firing: As if on cue, they attacked us, we tried to defend ourselves, and in a matter of minutes, all found a singular easy target and a common ground. They turned on me with their combined list of sniveling grievances and empty threats. &nbsp;I said, &lsquo;What is this North Korea?&rsquo; They either told me I was not a patriot or overly patriotic, I didn&rsquo;t ask them to repeat, and don&rsquo;t care to remember.</i> </p> <p class="MsoNormal"> <i> <br /> </i> </p> <p class="MsoNormal"> <i>Mostly, I was disheartened by the fact that I had no black eyes or central bruises to show for such a corporeal experience. My clothing was a bit scuffed up, but then again, I was wearing an outfit suitable for woodsmanship, wear, tear and otherwise. What was the use? I repatriated with the like-minded, but it was never the same between us again. They couldn&rsquo;t trust that when I closed my eyes at night, that I was actually sleeping soundly.&nbsp;</i> </p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>Scheduled to arrive.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <div> <br /> </div> <div> <img src="../images/tinyMCE_upload/VITO.jpg" width="450" height="253" /> <br /> </div> <div> Vito Acconci. <i>Under-Plaza</i>, 2010. Courtesy of Acconci Studio.&nbsp; </div> <div> <br /> </div> <div> <div> <i>He isn&rsquo;t a nervous flier, but he is a nervous sleeper. Beyond the security gates, he faces a long flight, and he&rsquo;s nervous that if he doesn&rsquo;t sleep across the ocean, he won&rsquo;t make it through the next day, which is an important one, having to do with reputation and capital.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>He likes to think of himself as an accountable man. He is an accountable man. He is not an accountant, but people sometimes take him for one; they stop him in the streets and ask for a free consultation, which he gives to the best of his armchair ability. When, at the airport ticket counter, he&rsquo;s asked whether he had alone packed his suitcases, he answers truthfully that his significant (in all ways) other had also played a significant role in the organization of items in his bags.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Security waves him through with polite nods, but only after two fingers too many have been forced to snap the elastic of his boxer-briefs. That&rsquo;s right, he&rsquo;s not predictable in all ways. And yes, he&rsquo;s understanding of the men and women in uniform who have to do their jobs and snap the elastic of his slim-fit wear as a consequence of his (unnecessary?) honesty.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Seated next to him in business class, his business associate, who&rsquo;s also a friend &mdash; but a friend kept at arm&rsquo;s length &mdash; tells him, &lsquo;Here, have this.&rsquo; What is it? It&rsquo;s a schedule IV controlled substance, which has helped countless victims of insomnia. &lsquo;Don&rsquo;t be a pussy,&rsquo; his business associate adds.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>Hem and haw. He doesn&rsquo;t want to be a pussy, after all. He&rsquo;s never taken this drug, or many others, aside from a dabble here and there of the usual suspects, but alright! Half a schedule IV controlled substance down the gullet and we&rsquo;re ready for take-off. &lsquo;Since I only took half, does that make it a schedule II?&rsquo; he jokes unsuccessfully, and closes his eyes to fall into a deep and restless snoozer.</i> </div> <div> <i> <br /> </i> </div> <div> <i>Once a victim of insomnia, he now becomes a victim of rare but serious side-effects, and rises while the seatbelt sign is still on, walks without waking toward the flight deck (&lsquo;It&rsquo;s the cockpit, people!&rsquo; he yells) and pushes his way toward the business class kitchenette, where flight attendants usually stir and shake &lsquo;another gin and tonic?&rsquo; when it is safe for them to walk about he cabin. And it is certainly unsafe for them to do so now.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>&lsquo;Sir, we&rsquo;re going to need to ask you to sit down. Sir, please sit down. Sir, right now, you&rsquo;re in violation of federal safety laws and regulations?&rsquo;&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>His fellow passengers hog-tie him while flight attendants:</i> </div> <div> <i>a. look on, doe-eyed</i> </div> <div> <i>b. play the hero</i> </div> <div> <i>c. calm the passengers with &lsquo;another gin and tonic?&rsquo;</i> </div> <div> <i>d. &lsquo;I&rsquo;ll be taking care of you on our flight, this evening.&rsquo;</i> </div> <div> <i> <br /> </i> </div> <div> <i>The pilots make an emergency landing. He wakes up. He&rsquo;s horrified to find out what has happened. His business associate is horrified, afraid he&rsquo;ll be accused of distributing a schedule IV controlled substance. His business associate hires an expensive attorney, but doesn&rsquo;t share the legal counsel. Our would-be accountant hires a lesser-known attorney, by recommendation of a family friend. Our would-be accountant is put on trial. He&rsquo;s found guilty of lesser charges. Community service. Humiliation. Significant fights with his significant other. Separation. Anxiety. A distrust of the mental healthcare system. The elastic of his boxer-briefs are permanently loose, from this day forward.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <i>And life&rsquo;s unfair, and life&rsquo;s unkind, and he is never mistaken for an accountant again. It must have been the way he&rsquo;d carried himself, before.&nbsp;</i> </div> <div> <i> <br /> </i> </div> <div> <p class="MsoNormal">--------------------</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <b> <i>En route to a chipped shoulder.</i> </b> </p> <p class="MsoNormal">by Katya Tylevich</p> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal"> <img src="../images/tinyMCE_upload/SecondConstruction1.jpg" width="450" height="633" /> </p> <p class="MsoNormal">Epsen Dietrichson. <i>Second Construction #1.</i> </p> </div> <div> <i> <div> <br /> </div> <div>His country of origin left something to be desired in terms of international clout, but it had afforded him an adolescence surrounded by, what might be considered (in a proverbial sense) to be &lsquo;paradise&rsquo;: warm blue skies, cold blue waters, sand dunes and caf&eacute;s. He had spent his young adulthood not inhaling, cigarette between two fingers, trying to finesse a lazy dissonance. &nbsp;</div> <div> <br /> </div> <div>His proper adulthood. That one took place in a country of greater importance, but lesser natural beauty, which suited him, because he was attracted to what he&rsquo;d only dreamed about when surrounded by loveliness: a harsh natural climate, a harsh social climate, a lack of space, and other brutal physical realities. &lsquo;Come in, make yourself uncomfortable.&rsquo; And he did, settling into the routine aches and embarrassments of a grey city, in which people barked at each other and lifted their legs to piss on everything and everybody within pissing range.&nbsp;</div> <div> <br /> </div> <div>Even in an acerbic capital, he retained some of his gentle disposition. He remained sleepy in his motions. He smiled politely if he happened upon eye-contact with an approaching face and body. Once, he smiled politely at a mugger. After he was robbed at knifepoint, he wrote home that he&rsquo;d &lsquo;never felt so alive,&rsquo; a clich&eacute; to which he finally felt entitled. He mailed the letter, addressed to his country of origin, but to nobody who lived there in particular.</div> <div> <br /> </div> <div>He found companionship in a big, brown shepherd dog that (who) ended up outliving all the other pups in the neighborhood by six years. The shepherd met old age, who introduced her to depression. A veterinarian, specializing in geriatric canine anxiety, prescribed canine benzodiazepines, electroconvulsive therapy, group sessions, and, as another humane option, euthanasia.&nbsp;</div> <div> <br /> </div> <div>Thanks for the canine benzodiazepines, doc, and he and the shepherd left with pursed lips. Four years later, still melancholy, the shepherd passed (of a broken heart). (No. Actually, of a canine heart-attack, caused by rich diet, infrequent exercise, low sex drive, lethargy, and high cholesterol.)</div> <div> <br /> </div> <div>After the shepherd&rsquo;s passing, his apartment felt empty, and he decided to experiment with some of the canine benzodiazepines. He had an adverse reaction after the first try and ended up with a bladder infection, feeling no less anxious. He was uncomfortable for the duration of his antibiotics course. During this healing process, he looked at photographs of his country of origin and wished that he had taken his dog there, so that &lsquo;Pancake&rsquo; &mdash; a diminutive, short for Pamela &mdash; could have run on the beaches, which were all dog-friendly, because to be unfriendly seemed a waste of time, breath and resources.</div> <div> <br /> </div> <div>He didn&rsquo;t have to live alone, but chose to. There was a woman who took interest in him, but he declined the offer with a smile. There was a man who took interest in him. He was flattered, but declined the offer with a wink. He sometimes wondered whether what he felt was satisfaction or inertia. Even with a reoccurring bladder infection, existence was more or less cozy.&nbsp;</div> <div> <br /> </div> <div>You know, he took the vet up on that euthanasia offer. But when he showed up without the shepherd (dust to dust), the veterinary staff regretted to inform him that they were not accepting new or human patients. He made a pun about impatience. He tried to make a fuss but couldn&rsquo;t, so he retraced his steps back home, hoping that he would be held up at knifepoint somewhere along that so-familiar route. &nbsp; &nbsp;</div> <div> <br /> </div> </i> </div> <div> <br /> </div> </div>
CRITICAL HALLOWEEN 2013: CorporateAvantGarde 11 September 2013 14:28:29 EST http://www.storefrontnews.org/programming/eventss?e=566

Thursday October 31, 2013 – Thursday October 31, 2013

<div align="left" style="color: #222222; line-height: normal; background-color: #ffffff; font-family: Arial, Helvetica, sans-serif; font-size: 22pt;"> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>5</o:Words> <o:Characters>33</o:Characters> <o:Company>Storefront</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>40</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> </o:OfficeDocumentSettings> </xml> <![endif]--> <!--[if gte mso 9]> <xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting /> <w:PunctuationKerning /> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 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mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} --> <!--[endif] --> <!--StartFragment--> <p class="MsoNormal">&nbsp;</p> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">CRITICAL HALLOWEEN</span> </p> </div> </div> </div> </div> </div> </div> </div> </div> <p class="MsoNormal"> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">CORPORATEAVANTGARDE</span> </p> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20pt;"> <br /> </span> </p> <p class="MsoNormal"> <span style="font-size: 20pt;"> <span style="white-space: pre;"> </span>CRITICAL HALLOWEEN</span> </p> </div> </div> </b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <b> <div align="center" style="text-align: center;"> <div align="left" style="text-align: left;"> <p class="MsoNormal"> <span style="font-size: 20pt;"> <span style="white-space: pre;"> </span>CORPORATEAVANTGARDE</span> </p> </div> </div> </b> </div> </div> <p class="MsoNormal"> <b> </b> <span style="font-size: 20.0pt; mso-bidi-font-size: 12.0pt;">&nbsp;</span> </p> </div> </div> <div align="left"> <div style="font-size: 16pt;"> <p class="MsoNormal"> <b> </b> </p> <div align="left" style="margin: 0px; padding: 0px; border: 0px; outline: #000000; font-size: 28.88888931274414px; vertical-align: baseline; background-color: transparent; background-position: initial initial; background-repeat: initial initial;"> <div style="margin: 0px; padding: 0px; border: 0px; outline: #000000; font-size: 28.88888931274414px; vertical-align: baseline; background-color: transparent; background-position: initial initial; background-repeat: initial initial;"> <b> <div align="left"> <div style="font-size: 16pt;"> <div align="left"> <div> <span style="font-size: medium;"> <br /> </span> </div> <div> <!--[if gte mso 9]> <xml> <o:DocumentProperties> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Created>2013-06-21T02:25:00Z</o:Created> <o:LastSaved>2013-06-21T02:25:00Z</o:LastSaved> <o:Pages>1</o:Pages> <o:Words>4</o:Words> <o:Characters>27</o:Characters> <o:Company>Storefront For Art and Architecture</o:Company> <o:Lines>1</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>30</o:CharactersWithSpaces> <o:Version>14.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG /> 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