Events at Storefront

Inside Pre-Fab

18 January 2012 12:36:30 EST

Friday February 3, 2012

Friday, February 3, 2012, 7-9PM

Total Enthusiasm 02: Inside Pre-Fab is a book launch event that celebrates the history and resurgence of prefabricated domestic interiors from a world of standardized serialism to one of endless variations on the occasion of the release of Inside Prefab: The Ready-made Interior, a new book by Deborah Schneiderman. The event will showcase a series of presentations by designers, students and architects that address serialization and difference in a space of interiority. Presenters include: Karen Fairbanks, Ferda Kolatan, Britney Malave, Katelyn McKernan, Christopher Quiles, Ada Tolla, Allan Wexler and Deborah Schneiderman.

The event is part of Storefront’s Total Enthusiasm Series, which exposes ideas in a framework of celebration and exuberant camaraderie.

About the book

As an inherently sustainable and affordable building method, prefabrication has enjoyed a revival in recent years, attracting clients and architects alike. In Inside Prefab: The Readymade Interior, Schneiderman turns her attention to a much-overlooked area of prefabrication: interior design. Offering a fascinating history of prefabricated interior design, followed by twenty-four contemporary case studies, the book includes projects by established architects, designers, and artists such as Shigeru Ban, Greg Lynn, and Atelier Tekuto, Andrea Zittel, among others, and up-and-coming firms. The richly illustrated case studies range from original designs for prefabricated interior walls, kitchens, bathrooms, furniture, and offices to complete prefabricated house interiors.

Princeton Architectural Press

English, 2012, 144 pages, 220 images, color

6" x 9.75" softcover

Copies will be available for purchase at Storefront during the event

24.95 USD

ISBN-10: 1568989873

ISBN-13: 978-1568989877

About the author

Deborah Schneiderman is an Associate Professor of Interior Design in the School of Art and Design at Pratt Institute, and a registered architect and LEED Accredited Professional. Deborah Schneiderman received her MArch in Architecture from SCI-Arc and her BS in Design and Environmental Analysis from Cornell University. Before becoming a design educator, Deborah Schneiderman founded deSc architecture/design/research with a focus in environmentally sustainable design. Her research explores sustainable built environments, the integration of sustainability into the design curriculum, and sustainability and prefabrication. She has presented her research internationally, recent publications include “The Prefabricated Interior: Design and History” in the Journal Interiors: Design/Architecture/Culture, Prefabricated Kitchen: Substance and Surface in Home Cultures: The Journal of Architecture Design and Domestic Space, the chapter “Integrating Sustainability into Design Curriculum” in Sustainability at Universities – Opportunities, Challenges and Trends, ed. Walter Leil Filho, the chapter “Integrating Sustainability in Design Education” co-authored by Schneiderman will be published in The Sustainable Design Handbook, edited by Stuart Walker and Jacques Giard, will be released in 2012, and her book Inside Prefab: The Ready-Made Interior, published by Princeton Architectural Press.

The event is sponsored in part by Princeton Architectural Press and Pratt Institute.

? SCALE BIG CHANGE

26 January 2012 19:01:48 EST

Wednesday February 1, 2012

? SCALE BIG CHANGE

February 1st, 7pm-9pm

A Productive Disagreement between Barry Bergdoll and Leonardo Diaz Borioli addressing the definition of the contemporary figure of the architect and his/her spaces and scales of thought and action and how institutions and current projects contribute to the construction of this profile.

Storefront’s productive disagreement “? Scale Big Change” will discuss a variety of viewpoints from institutional and practice based perspectives including the idea of the socially responsible architect highlighted in the 2010 MoMA exhibition Small Scale Big Change: New Architectures of Social Engagement curated by Andres Lepik and the depiction of other contemporary figures of the architect presented by Leonardo Díaz-Borioli based on first-hand experience of current projects occurring in Mexico.

In the Small Scale Big Change catalogue, Barry Bergdoll points out a genealogy between “critiques of orthodox modernism of the 1970s” and the “collaborative attitude” shared by the architects included in the show. In the late 1960s, when MoMA highlighted the discipline’s autonomy through presentations of the individual architect with artistic merits, MoMA’s curator Arthur Drexler was warning the profession about the discipline being prey to the “effete mannerisms of proletarian snobbery” and MoMA curator Emilio Ambasz believed that students of architecture thought that problems “had to be first solved from a sociological point of view. But in all truth, they made bad sociology and even worse architecture…”

Parallel to the work of MoMA favored architects, the discipline continued to engage with social-oriented projects. However, developmental policies have been long criticized on geopolitical grounds and recent scholarship points out how modern architecture had a far more permanent and vital role to play in the post-war era in the making of the Third World through expert architects shaping the policies towards the developing world. But how does today’s figure of the architect relate to such history and how are the different models and scales of practice presented today?

About the participants:

Barry Bergdoll
Barry Bergdoll is the Philip Johnson Chief Curator of Architecture and Design at the Museum of Modern Art and professor of modern architectural history at Columbia University. Holding a B.A. from Columbia, an M.A. from King's College, Cambridge, and a Ph.D. from Columbia, his broad interests center on modern architectural history with a particular emphasis on France and Germany since 1800.

Bergdoll has organized, curated, and consulted on many landmark exhibitions of 19th- and 20th-century architecture including "Home Delivery: Fabricating the Modern Dwelling" at MoMA (2008); "Lost Vanguard: Soviet Modernist Architecture, 1922-32" at MoMA (2007); "Mies in Berlin" at MoMA (2001), with Terence Riley; "Breuer in Minnesota" at the Minneapolis Institute of Arts (2002); "Les Vaudoyer: Une Dynastie d'Architectes at the Musée D'Orsay, Paris (1991); and "Ste. Geneviève/Pantheon; Symbol of Revolutions," at the Canadian Centre for Architecture, Montreal (1989).

He is author or editor of numerous publications including, Mies in Berlin (winner of the 2002 Philip Johnson Award of the Society of Architectural Historians and AICA Best Exhibition Award, 2002); Karl Friedrich Schinkel: An Architecture for Prussia (1994), winner of the AIA Book Award in 1995; and Lẻon Veudoyer: Historicism in the Age of Industry (1994); and European Architecture 1750-1890, in the Oxford History of Art series. An edited volume, Fragments: Architecture and the Unfinished, was recently published by Thames and Hudson (London, 2006). He served as President of the Society of Architectural Historians from 2006 to 2008.

Leonardo Diaz-Borioli

Leonardo Díaz-Borioli is the Creative Director of Estudio 3.14, an international design firm based in Guadalajara, México, and professor of Design Studio and Architectural History at the Instituto Tecnológico de Monterrey. Holding a B.Arch from the Instituto Tecnológico de Estudios Superiores de Occidente , a SMArchS in History Theory and Criticism of architecture from the M.I.T., and currently an ABD PhD at Princeton University. His academic interests center on modern architectural history of Latin America with an emphasis on the discipline's focus in subjectivity.

Díaz-Borioli has organized and curated exhibitions in Mexico about urban topics, and steers an award winning and internationally published design practice whose projects range from private homes to large scale public projects and urban and landscape design. He is also a consultant to local governments in México. His publications range from newspaper architecture criticism to scholarly pieces published in Turkey, Europe, and the Americas that mainly focus on the creation of the figure of Luis Barragán throughout the twentieth century.

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The Productive Disagreements Series is part of Storefront's programming for the development of conversations between ideologically opposed institutions, critics, artist or architects reflecting on contemporary issues around the globe. The events avoid compromise and agreement as a methodology of dialogical exchange, promoting confrontation and dialogue in order to generate a responsive audience and increase participation obtaining a multiplicity of viewpoints and strategies.

NYSCA Grants

20 January 2012 16:17:40 EST

Friday January 20, 2012

007 Urban Songline

27 December 2011 13:15:34 EST

Tuesday January 17, 2012 – Saturday February 18, 2012

Storefront for Art and Architecture will present 007_Urban_Songline by Allard van Hoorn from January 18 - February 18, 2012. The exhibition is the artist's first solo exhibition in New York and will continue his series of works that explore the tradition of Songlines through a site-specific, newly commissioned work that will literally transform the Acconci/Holl façade into a sound instrument.

An opening reception will take place on January 17th from 7 pm - 9 pm.

The origin of Songlines [or Dreaming Tracks] can be traced to Australian indigenous systems for navigation and caretaking of land achieved by mapping space through the creation of music based on the topography of land. Throughout the duration of 007_Urban_Songline, van Hoorn will create a series of Dreaming Tracks utilizing the changing morphology of the Storefront façade and the sounds emerging from the urban sonic context of the gallery.

The installation will consist of an interwoven network of strings throughout the façade and the gallery space that will transform the facade into an interactive, responsive musical instrument. Storefront's façade contains 12 panels that pivot vertically or horizontally to open the entire length of the gallery directly onto the street. When a panel of the façade moves, the strings will physically activate the totality of the façade and acoustically transform the space of the gallery making the different spatial transformations audible for visitors. Visitors will become performers and will be encouraged to manipulate the installation as they transcend the space by moving the panels of the façade and stretching and playing the fields of strings with their bodies, thus constructing and transforming the acoustic and visual topography of Storefront.

The project will allow the visitor to experiment on an architectural scale the connection between sound, tension, materiality and space. For instruction on how to play Storefront as a musical instrument, CLICK HERE.

Orchestrating the sounds between urban context and installation content, van Hoorn will strategically distribute a system of microphones throughout the different acoustic nodes around the gallery and its surroundings that will all merge into a synthesized, real time Songline audible to visitors in the gallery. The continuous Urban Songline produced throughout the length of the exhibition will be constantly streamed live and recorded and available in the Storefront Sound Archive.

For the opening night of the exhibition, van Hoorn will perform a concert of 7 Urban Songlines recorded in the space throughout the pre-opening days. In addition to performances held in the space throughout the length of the exhibition, Storefront will host events to discuss the theme of Public City Sounds; including a panel discussion moderated by the artist with sound engineers and architects. During the closing event, which will take place on February 18, 2012 at 7 PM, a live performance will mix different versions of the Storefront Songline that will then be cut live into vinyl and given away.

About the Artist
Allard van Hoorn is a Dutch contemporary performance, sound and installation artist collaborating across the disciplines of architecture, music, theater and design. Van Hoorn choreographs scripts and scenarios for the urban environment and spatial structures investigating the relationship between shared domains and the possibilities of negotiating co-ownership and appropriation of public space.

Van Hoorn has presented six exhibitions and performances that trace the tradition of the Songlines, including exhibitions at Flux-S in Eindhoven, NL; Gasworks in London, UK; the Stedelijk Museum in Amsterdam, NL; the Pinakothek der Moderne in Munich, Germany and the Gwangju Design Biennale. 007_Urban_Songline will be the artist's first solo exhibition in New York. For a sample of the artists' former Urban Songline projects, please visit the following link: http://www.allardvanhoorn.com/biography_002.asp.

Sound designed by Ryan Holsopple.

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007_Urban_Songline is supported in part, by public funds from the Netherlands Cultural Services and with the financial support of the Mondriaan Foundation, Amsterdam. Urban Songlines was realized with generous support from the Netherlands Foundation for Visual Arts, Design and Architecture.

The opening reception is kindly sponsored by Grolsch beers.

Instructions for 007 Urban Songline

9 January 2012 12:55:38 EST

Tuesday January 17, 2012 – Saturday February 18, 2012

Start your performance at home.

1. When on the sidewalk walking to Storefront let loose. Listen.

2. Drag your feet through the sidewalk's surfaces, feel the rhythm of the pavement’s joints. Listen.

3. Walk in a constant speed, feel the change in the materials'density. Listen.

4. Stop, jump. Listen.

5. Walk on your toes and your heels; feel the softness. Listen.

6. Knock on all facades, stone, metal, glass, plastic and ceramic surfaces; feel the depth and hollowness of this city. Listen.

7. Try to move anything that might move; feel the weight. Listen.

8. Touch, pull, scratch, hit (lovingly) anything that might sound. Listen.

9. Go to Kenmare Street, number 97, caress the façade. Listen.

10. Turn the panels while entering Storefront. Listen.

11. See the strings all over the space; don’t touch anything. Listen.

12. Play the Storefront with your hands, body, teeth and feet as you crawl, pluck, lick or tick the strings. Listen.

13. Play it again, think of the music, Storefront is recording your performance, synthesizing it, streaming it. Listen.

14. Leave. Perform. Listen.

15. Come back at 5pm and listen to the daily concerts composed by visitors throughout the day. Listen.

Strategies for Public Occupation: Exhibition

5 December 2011 11:59:24 EST

Friday December 16, 2011

Exhibition: December 17-22, 2011, 11 am - 6 pm

Opening Reception: December 16, 2011, 7 pm - 9 pm

Discussions: December 16th 7 pm - 9 pm & December 17 - 22, 2011

noon - 6 pm

Please note the gallery will be closed on Sunday, December 18, 2011.

Strategies for Public Occupation is an exhibition of ideas that will include seven days of discussions and an Occupy Market. Storefront will host an opening reception on December 16, 2011 from 7 PM to 9 PM.

On October 7, 2011, in response to the Occupy Wall Street movement, Storefront launched a Call for Ideas entitled “Strategies for Public Occupation” which invited submissions from architects, artists and citizens at large to offer their ideas for enabling acts of communication and action between the civil society and the structures of economic and political power. Gathering expertise from the various acts of civil occupation throughout the world during the last months and constrained to one image and one text of maximum 200 words, submissions ranged from the technical to the oneiric. With a prize equivalent to a New World Order , Storefront received more than 100 submissions.

The exhibition in progress presents the submissions delivered to the Call for Ideas and the 7-day marathon of talks, workshops and events brings together a creative force of experts, artists, architects and citizens at large to discuss the current state of affairs in relation to the Occupy movement around the world. The exhibition displays proposals for spatial occupations for public demonstrations and actions in cities throughout the world, and the events aim to identify the limitations and possibilities of tools of production and rethink new ways of cohabitation. All projects submitted will be available for browsing, consultation and distribution as part of the exhibition and through Storefront’s website and archive.

For details on the workshops and forums as part of Strategies for Public Occupation, click here.

Strategies for Public Occupation: Events

5 December 2011 12:36:20 EST

Friday December 16, 2011 – Thursday December 22, 2011

December 16th 7 pm - 9 pm &

December 17 - 22, 2011 noon - 6 pm

Performances/Events/Workshops as part of the exhibition, Strategies for Public Occupation will be led by members of the art, architecture and design community, by lawyers and experts in different fields including engineering and social sciences and members of the community interested in offering different degrees of expertise. While Storefront has invited several experts to participate in the discussions, in synchrony with the Occupy movement, Storefront welcomes everyone to participate.

The exhibition, understood as a space of confluence and flow will be a space for gathering, conversations and informal discussions that will be continuously broadcasted at http://www.ustream.tv/user/StorefrontArtArch.

FRIDAY December 16. Opening. 7pm. Manifesto Series 08. Occupy

7 PM - 9 PM: Exhibition Opening
A series of Manifestos, performances and calls for action will be delivered at the opening reception showcasing a diverse array of voices and practices that address the question of Public Occupation from multiple varied viewpoints. Presenters include: Caroline Smith | Erin Ota, Aniket Shahane|Christopher Yost, Alexandra Lerman, Chat Travieso, Peter Macapia, Arsenio Garcia | Przemek Godycki, Forrest Jessee, and Benedict Clouette in a call for Action; Mitch McEwen presenting an Architect's Statement in Support of the Occupy Movement; and Michael Sorkin.

DSN Radio's podcast featuring audio from the opening.

SATURDAY December 17. Urban Action. 12pm-6pm

Throughout the day visitors will be informed and directed to the different spaces in the city that are developing ideas in relation to the Occupy movement or engage with some of the actions happening within and around the gallery space. Performances at the gallery include:

Parade of Protests: Visitors will be able to participate in an individual performance by grasping some of the signs created by Alexandra Lerman and performing an individual action around the neighborhood.

International Public Space Library (IPSL): presented by MomenTech, IPSL is a temporary pop-up branch of the International Public Space Library, which will offer a selection of books to help stimulate the ongoing public discussion of economics, politics, society and culture that may be reflective of the Occupy Wall Street movement and other social movements that have been or are currently powered by the free exchange of ideas, particularly through the sharing of books. Visitors will be encouraged to borrow a book and when they are done, place it somewhere in the public space for others to find. Additionally, visitors will be given free IPSL Ex Libris, which they can attach to their own books to leave either at the temporary IPSL branch at Storefront, or in any public space.

On The Question of #whOWNSpace
#whOWNSpace is a collaborative effort that arises from the questions that the #occupywallstreet movement has brought up about ownership and use of open space in New York City, North America, and cities around the world.

This project's goals are to:
1- REVEAL conflicting rules and ownerships in the increasingly privatized and commercialized spaces that make up the contemporary neoliberal urban condition
2- QUESTION those rules and the current state of our "public" space; discussing the intentions and conditions surrounding our open spaces
3- ADVOCATE FOR AND PROPOSE uses and designs that encourage community activist use of urban open spaces in accordance to the Call to Action for the Rights of Neighborhoods
4- INTERVENE in urban spaces, turning ideas and research into material action

Projects to be presented include MAPPING PUBLIC SPACE, THE PUBLIC SCHOOL STUDIO CLASS, SKILL SHARING NETWORK, LEGAL/POLICY ADVOCACY

With: DSGN AGNC - Quilian Riano, Rena Mande, Dan Latorre, Amanda Rekemeyer, Phil Grimaldi, DoTank:Brooklyn - Aurash Kwawarzad, BRUNO - Isabella Bruno

SUNDAY December 18. Political Domesticities: 24h

Occupy your home transforming it into a public space.

MONDAY December 19. Representation: Laws & Maps. 12pm-6pm

To understand the possibility of action one needs to be able to delimit the margins of the possible. Laws and maps are two of the most relevant documents that guide and constrain the possibilities of action. This day will unveil and produce laws that allow citizens to empower actions beyond inherited parameters.

Throughout the day will coordinate a series of talks with individuals from the Architecture group of OWS including artist Francisca Benitez, cybernetician Superglitch, among others.

Workshop. 4pm-6pm #whOWNSpace: Observe, Diagram, Intervene. Organized by Quilian Riano.

WHOWNSPACE will show their work in regard to the POPS [privately owned public spaces] and lead a workshop on the use of design and urban theory to critically study the design, ownership, and rules of New York City's open spaces as part of the #whOWNSpace project. The lens for the workshop will be on power dynamics around public space, focusing on the potential of open space to create democratic vitality. With: DSGN AGNC - Rena Mande, Amanda Rekemeyer, Phil Grimaldi.

Workshop. 4pm-6pm. Manual production. 6pm-7pm. How to occupy a home in America. Organized by Mitch Mc Ewen .

If architecture can find inspiration from science fiction, perhaps it can participate in the formation of legal or political fiction. This is a workshop to craft such a legal and architectural fiction into a manual for occupation: "How to occupy a home in America." From 4pm-6pm participants at Storefront will share tactics, including drawings and images, for a step by step occupation of "home." From 6pm-7pm the workshop will focus on the production of this manual for public dissemination. Please bring a laptop and/or drawings, original images, and drawing implements. Please email occupy@superfront.org if you are available to participate or co-facilitate.

Conversation. 7pm. Reinhold Martin, Yates McKee, Paula Segal and a group of artists and architects will explore the different approaches to the legalities of spaces and the possibilities of action.

TUESDAY December 20: Mediums: Images, Newspapers, Blogs,... 12pm-6pm

On this day, the exhibition will showcase projections, posters and protester signs, and Storefront will host conversations and workshops about how different mediums and design strategies have been used as messages to communicate different strategies of protest.

Films 12pm-3pm: Gearoid Dolan 99%

Guerrilla Media 3pm-5pm: Ken Farmer

Perfromance 12pm-6pm: signs by Alexandra Lerman

Conversation 5pm-6pm: Keller Easterling and Benedict Clouette

WEDNESDAY December 21: Architecture. 12pm-6pm

Events

From the camps and structures created in the various cities' occupy sites to the very architectures on Wall Street that symbolically embody the existing societal structures that have inspired the movements, architecture is an enabling and constitutive force. This day will be dedicated to discuss what is the role of architecture and urban design when envisioning a world order that differs from existing canonical forms of in-habitation.

Workshop 12pm-1pm: Swarm Intelligence. A workshop exploring the spatial and structural implications of Swarm Intelligence for the Occupy Movement. By Superglitch.

Conversation 1pm-2pm: Nic Goldsmith and Dennis Adams

Workshop 3pm-5pm: "Violence, Segregation, and Solidarity". By Caroline Smith , from Occupy LA .

Although statements of solidarity and non-violence can be heard at most General Assemblies and Occupations across the country; the urban and architectural typologies found within the largest Occupy camps defaulted into normalized zones of exclusion and segregation [ie:the gated community].
This ideological break between statements of inclusion, and the physical reality of segregation, implemented by arguably the most 'radical' of the camps inhabitants, begs the following question:
Why, when it came to urbanism, and architecture, did even the most 'radical' revolutionaries immediately default into the typologies most directly connected to/embedded in the system they were trying to overcome.
We will discuss the typologies of urbanism and architecture found within the occupyLA camp, how they ended up the way they did, how these architectures affected [often negatively] the camp/community structure, and speculate on what other alternatives could have been.

Pop-Up Exhibition: Portraits of Dissent by Matthew Connors

Occupy is a series of portraits of the diverse personalities who view Zuccotti Park and related OWS actions as a fertile ground for voicing their discontents and organizing to effect change. The 400 images in the installation are arranged in chronological order, spanning October 2nd to December 18th. Many of the protesters and activists pictured were a constant presence in the park during this time. Others came from far afield to sample New York City's brand of direct democracy, in order to spread that model to their homes. All carried potent messages with them.

THURSDAY December 22: Occupy Presents.12pm-6pm

As the last day of the exhibition, Storefront will house a series of real scale prototypes that function as strategies for urban occupation. From shelters, to posters, to chairs for urbanity, to occupy holiday postcards, to do it yourself manuals, visitors to the gallery will be able to take these presented objects as presents. Works to take away include urban occupation prototypes and sheltering from members of the OWS Architecture working group including Greta Hansen, Kyung-Jae Kim, Adam Koogler, Andy Rauchut, Marcos Zotes, Jenny Polak, Mitch McEwen, Stanislava Odrljin, Francisca Benitez, and Forrest Jesse.

Strategies for Public Occupation: Day 1 Manifestoes from Storefront for Art&Architecture on Vimeo.

Day 2 Urban Action from Storefront for Art&Architecture on Vimeo.

Stammtisch / Tertulias / Salon: On Architecture and Publishing

8 December 2011 13:36:54 EST

Tuesday December 13, 2011

Stammtisch / Tertulias / Salon: On Architecture and Publishing

a discussion on publishing practices, the internet, scalability and the open exchange of ideas

Curated by Ana Maria Torres

Featured Pablo Twose from Engawa and Benjamin Prosky

December 13, 2011 at 7 PM

Thirty-five years after he published Toward an Architecture, Le Corbusier observed that it was the book's layout - a bold mixture of text and image - as much as its content that contributed to its impact: "The layouts of my articles sparked astonishment and indignation among the printers," he wrote in 1957. In 1922, he'd described his work as a "new conception of a book," and he saw this new approach to book-making as intimately bound up in what he hoped would prove a new approach to architecture.

Thanks to architect-theorists like Le Corbusier and Rem Koolhaas, we have also come to see publishing as its own complex form of architectural practice. Architects publish books to popularize designs that may or may not ever be built, but they also publish books to map out new theoretical territory. An architectural book might serve as abstract utterance or an advertisement, a reflection or a prescription, something in between, or both.

Indeed, publication continues to be a field for the exploration of architectural possibilities, abstract and concrete. The astonishment and indignation of Le Corbusier's printers didn't just signal an upheaval in publishing practice; it signaled a redefinition of the field of architecture by way of its relationship to print. Print - and, now, online media - taught architects that architecture meant more than the making of buildings; instead, it could mean the remaking of a world view.

We find ourselves at an exciting and challenging juncture for architecture. New media have created opportunities for pushing the envelope and self-reinvention, even as publishers large and small have explored new forms of printing and distribution. Some still believe in the importance of a hard copy. Some books have become even more thing-ly: products to display on a coffee table. Others have become more ephemeral: self-published zines and journals, are, if anything, making a resurgence. Other books have been freed from print altogether. Each new direction suggests different possibilities in the world of architecture.

-Ana Maria Torres

About the Speakers

The Engawa project launched in January 2010 as a result of the need to discuss architecture by people located in different cities: Tenerife, Barcelona, Toledo, Granada, Giron, etc. Because of the distances, Engawa provides a meeting place and an open forum.

The magazine takes its name and much of the meaning from the Japanese word "engawa", which means the space between the interior and the exterior of classic Japanese architecture. It is a transitional space which suggests things like invitation or welcome, but also the contrary, that is to say projection and opening.

The topic of each issue came from one image chosen by a member of Engawa. This random image prevented repeating the usual topics, and allowed randomness of conversation. From that premise a little spy game resulted, where the images became text, or vice versa.

Benjamin Prosky, Assistant Dean for Communications at Harvard Graduate School of Design, overseeing the departments of events, exhibitions, web content, publications, and Harvard Design Magazine. He has worked as a freelance communications consultant for architects and designers, advising firms on branding, written and verbal communications materials, outreach to press, publications, clients, and cultural institutions. He co-founded Architizer in 2009.

With the support of:

Sponsors:

PHARMACOPHORE: ARCHITECTURAL PLACEBO

7 November 2011 10:49:31 EST

Tuesday November 22, 2011 – Saturday December 10, 2011

Pharmacophore: Architectural Placebo

November 22 - December 7, 2011

Storefront for Art and Architecture presented Pharmacophore: Architectural Placebo, part of a growing body of Harrison Atelier (HAt) collaborations bridging design with performance. The dance-installation work was conceived, dramaturged and directed by HAt founder Seth Harrison; designed by his partner, Ariane Lourie Harrison, choreographed by Silas Riener and performed by Merce Cunningham Dance Company members Riener, Rashaun Mitchell, Jamie Scott and Melissa Toogood.

The installation was on view November 22-December 7. The opening event included a brief "teaser" performance. Full performances took place nightly, November 25-30, at 7:00 P.M. and 8:30 P.M.

About the Installation

The very ideas underlying Pharmacophore: Architectural Placebo epitomized the unique intersection HAt occupies-where art meets science, technology and medicine, and the real and the imagined become a highly nuanced blend. The title of the project represents the composite figure of two medical terms. Pharmacophore is used by doctors and drug researchers to describe any family of similarly-shaped molecular structures that interact predictably with a particular biological target. Placebo effect is a beneficial change in a biochemical state, temporary and unreliable, produced in anticipation of therapy. The interaction of the two assumed a beguiling complexity. Placebo effects are augmented by marketing campaigns, social ambition, quests for scientific success as well as the institutional apparatus of white coats, prescription labels and medical instrumentation. Often the appearance of side effects can trigger the placebo effect of an otherwise inefficacious drug. Sometimes a placebo effect can be caused by a diagnosis. Where, then, is the line between pharmacophore and placebo? What are our cultural placebos, the conventions and assumptions on which we rely every day? Is medicine itself one such placebo-pharmacophore? Having taken these questions as conceptual touchstones, Pharmacophore: Architectural Placebo was HAt's exploration of the cultural and philosophical economy that surrounds medicine, technology, and the human prospect in the 21st century.

Referencing the pharmaceutical company façade and the radiological suite, the installation consisted of 24 eight-foot-tall, tempered glass plates, supported by stainless steel framing and backlit blue, placed against along the back wall of the gallery. Contoured seats, suggestive of medical apparatus, were integrated into the installation pieces, which were dotted with inflatable forms that when unfurled became spatializations of pharmacophores. The inflatable set pieces were used as costumes and props; audience members used them as cushions. In the interaction among design objects, dancers, spectators and set, the performance, following Riener's choreography, highlighted the shared desires that prompt our cultural placebos-even as the set pieces were contorted into placebo-effects as specific and numerous as the audience members themselves.

The piece is the third installment in HAt's Pharmacophore series of design-dance hybrids. Catherine Miller choreographed the previous iterations in late 2010. In this version of Pharmacophore, Ariane Lourie Harrison's installation incorporated set and costumes, having transformed the entirety of the Storefront gallery into a pharma-cultural landscape. The project contained an original lighting design by Aaron Copp and Nick Houfek and an original score by Loren Dempster.

About the Performance

Direction & Dramaturgy: Seth Harrison, Harrison Atelier (HAt)

Visual Design: Ariane Lourie Harrison, Harrison Atelier (HAt)

Choreography: Silas Riener

Performers : Rashaun Mitchell, Silas Riener, Jamie Scott, Melissa Toogood

Sound Design and Composer: Loren Dempster

Lighting Design: Aaron Copp, Nick Houfek

HAt production: Craig Shillitto ,Carmen Fanzone, Jacob Dugopolski, Juliet Gamarci, Gabriel Harrison, Matthew Persinger, Karl Schmeck

About the Artists

Harrison Atelier (HAt) is a New York-based design firm. The practice operates along a broad spectrum defined by its two founding members' respective backgrounds: Ariane Lourie Harrison is a designer and educator, who has taught at the Yale School of Architecture since 2006. She holds a PhD from NYU and an MArch from Columbia. Seth Harrison is a designer and biotechnology entrepreneur. He holds MFA, MBA and MD degrees all from Columbia. At the intersection of the Harrisons' professional spheres, HAt develops design, writing and performance projects that explore the impact of technology on culture. Previous dance collaborations include ANCHISES (2010) with Jonah Bokaer, a work employing an altered plot line from the Aeneid that investigates a theme the Harrisons term "the ecology of aging." HAt created the dramaturgy and visual design for ANCHISES, which the New York Times recognized as one of the Ten Best Dance Works of 2010.

Silas Riener (choreographer and performer) grew up in Washington DC. He graduated from Princeton University with a degree in Comparative Literature and Creative Writing. He has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Jonah Bokaer, and Rebecca Lazier's TERRAIN. In 2010 he premiered NOX, a collaboration with poet Anne Carson and choreographer Rashaun Mitchell, with whom he continues to develop new projects. He joined the Merce Cunningham Dance Company in November 2007. While performing with MCDC, Riener completed his MFA in Dance at NYU's Tisch School of the Arts.

Rashaun Mitchell (performer) was born in Stamford, Connecticut, and raised in Atlanta, Georgia. He started dancing at Concord Academy in Massachusetts and graduated from Sarah Lawrence College in 2000. He received the Viola Farber-Slayton Memorial Grant from the Foundation for Contemporary Performance Arts in 2000. Since then he has danced with Pam Tanowitz, Chantal Yzermans, Donna Uchizono, Risa Jaroslow, Sara

Rudner, and Richard Colton. He joined the Merce Cunningham Dance Company in January 2004 and is currently on faculty at the Cunningham Studio. In 2007 he was the recipient of a Princess Grace Award: Dance Fellowship. His choreography has been presented at the Skirball Center (New York), La Mama (New York), Mount Tremper Arts (New York) and The Institute for Contemporary Art (Boston).

Jamie Scott (performer) studied dance in her hometown of Great Falls, Virginia. She continued training in the pre-professional division of the Washington School of Ballet and moved to New York in 2001 to attend Barnard College, graduating cum laude in 2005. She joined the Merce Cunningham Repertory Understudy Group in 2007 and the main company in 2009. Jamie is currently on faculty at the Merce Cunningham Dance Studio. She has danced with the Daniel Gwirtzman Dance Company.

Melissa Toogood (performer) is currently a member of the Merce Cunningham Dance Company. She began working with Merce as a member of the CDF Repertory Understudy Group in 2005. A faculty member at the Merce Cunningham Studio since 2007, she has taught repertory workshops in her native city of Sydney, Australia, and at the Cunningham studio in New York. Melissa works with Pam Tanowitz, Miro Dance Theatre, was a founding member of Michael Uthoff Dance Theatre and performed with writer Anne Carson. Melissa earned a BFA in Dance Performance from New World School of the Arts, Miami, FL under Dean Danny Lewis.

Loren Kiyoshi Dempster (composer) uses a combination of computer, electronics, field recordings, cello, improvisation, notated scores and world music influences to create and perform music. He has performed with Dan Joseph Ensemble, Trio Tritticali, String Power, Spontaneous River and Left Hand Path, among many others. His compositions for music and movement have been presented at The Stone, Roulette, Issue Project Room, North River Music, Wesleyan College and at Chez Bushwick, a 2007 Bessie Award-winning performance arts space in Brooklyn of which he is a founding member. He has toured extensively with Merce Cunningham, and he played John Cage's solo cello work "One8" for the dance "Interscape." Ever interested in the relationships between movement, space and sound, Dempster creates or performs music for many choreographers including Chris Ferris, Jonah Bokaer, Project Limb and Stochastic Ensemble in 2010.

Aaron Copp's (lighting designer) travels as a lighting designer have taken him to hundreds of theaters in more than 30 countries, from opera houses in European capitals to tents in the sand dunes of Rajasthan. His recent projects include lighting designs for Natalie Merchant, Yo-Yo Ma, Philip Glass and Laurie Anderson. Copp designed the critically acclaimed Kennedy Center revival of "The Glass Menagerie," directed by Gregory Mosher and starring Sally Field. He has also designed frequently at the Old Globe Theater in San Diego and recently received a San Diego Theater Critics Award for Joe Hardy's production of "Bus Stop." He has worked extensively in the dance world, most recently

receiving his second Bessie Award for Jonah Bokaer's "The Invention Of Minus One." Copp had a long association with Merce Cunningham, designing such pieces as "Ground Level Overlay," "Windows" and "Biped," for which he also won a Bessie. He holds an MFA from the Yale School of Drama and a BA from SUNY-Binghamton.

Nicholas Houfek (lighting designer) focuses his work in Dance and Theatre with a strong interest in new work development. Recent design work has been seen at the Lincoln Center Festival (SoPercussion and Matmos, Varése: (R)evolution Part 1,) Marvell Rep (Nora, In the Shadow of the Glen, Blood Wedding, The Dybbuk,) Ian Spencer Bell Dance, Olney Theatre Center (Farragut North, Call of the Wild,) Collaboration Town (The Play About My Dad, THE MOMENTUM,) Potomac Theatre Company (Therese Raquin,) Tours in US, France, Germany and China with dance companies Martha Graham, ARMITAGE GONE! Elisa Monte, Nai-Ni Chen and The Deborah Hay Dance Company as lighting supervisor; Lincoln Center Festival as Assistant Lighting Supervisor; Williamstown Theatre Festival, the Broadway transfer of Glory Days, and The New York City Ballet as Assistant Lighting Designer. He is a graduate of Boston University's Theatre Design Program.

The Ginger Island Project

17 October 2011 13:26:56 EST

Friday November 11, 2011 – Sunday November 13, 2011

The Ginger Island Project

A public screening, a slide installation, a sound project, a party and an exhibition

On view: November 11-13 from 11 am to 6 pm

Closing Reception: Sunday, November 13, 6 pm

"The Ginger Island Project reflects on the idea of the Fluxus artist community that George Maciunas initiated in the late 1960s. Ginger Island is an uninhabited island in the Caribbean, part of the British Virgin Islands, where George Maciunas wanted to start a Fluxus artist colony and develop a unique city. His plan was to buy the island and give pieces of land to Fluxus artists for development. Maciunas produced an urban development sketch strangely reminiscent of the Manhattan grid with numbered plots of land.

Together with friends Milan Knizák, Yoshi Wada, actor Robert De Niro and others, Maciunas travelled to Ginger Island in 1969 to explore the island before making the final decision about acquisition. This trip is surrounded by various legends, involving encounters with the police and with poisonous trees. The experience was rather traumatic; the visitors suffered from temporary blindness and swollen limbs. In the end, for a variety of reasons, Maciunas never acquired the island and a Fluxus artist colony was never established there. The island is still uninhabited and the only visitors are fishermen and divers."

-- Liutauras Psibilskis

Curated by Liutauras Psibilskis, The Ginger Island Project is a multi-part project featuring a screening, a slide installation, a sound project, a party and an exhibition of re-interpretations and remixes of archival material at Storefront for Art and Architecture, Red Egg, and the Emily Harvey Foundation. Presented as part of Performa 11, the fourth edition of visual art performance biennial in New York City (November 1-21, 2011), the three-day film installation at Storefront will feature two films: "A Walk" (1990)- Jonas Mekas' visual diary taking us through parts of SoHo and its history, focusing in particular on its establishment as the artists' community in New York, and "Ginger Island" (1969) - a short film by Milan Knizák in which he takes picturesque shots of the island during the Fluxus artists' trip. Ginger Island Project will conclude with a closing reception at Storefront on Sunday November 13, 6pm.

Also as part of The Ginger Island Project:
An installation/sound project @ Red Egg
and an exhibition @ Emily Harvey Foundation

Red Egg
202 Centre Street
November 11, 2011; 11 PM
Sound project and DJ sets by Marina Rosenfeld. DJ sets by Raz Mesinai and DJ Japanster

Emily Harvey Foundation
537 Broadway
Opening reception 5-9 pm,
On view: November 12-19, 2011
Group exhibition with artists Amy Granat, Sissel Kardel, Milan Knizák, George Maciunas, Jonas Mekas, Lisa Oppenheim & Michael David Quattlebaum Jr.

Closing Ceremony: Sacred Spaces

24 October 2011 13:49:19 EST

Saturday November 5, 2011 – Saturday November 5, 2011

Closing Ceremony

Sacred Spaces in Profane Buildings

November 5, 2011

5:00 PM - 6:30 PM

Storefront for Art and Architecture hosts a “closing ceremony” of Sacred Spaces in Profane Buildings, an exhibition by Matilde Cassani that explores secret, sacred territory throughout New York. The ceremony will include discussion with local clergy, artists, architects, academics and select participants from the www.sacredspacesinprofanebuildings.com open call on the condition of religion in the city of New York. Sacred Spaces in Profane Buildings describes the birth of religious architecture and communities as it manifests itself in the contemporary urban context. The project is a transversal investigation of the architectures, policies and multitude of individual acts through which each religion inhabits and transforms the city of New York. The diffusion of new urban religious communities is a central feature in growing contemporary urban societies and the panel will focus its discussion on the religious spaces that are built in non-traditional places to worship.

Participants in the discussion include Courtney Bender, Columbia University, Department of Religion; Maria Gonzales Pendas, GSAPP Columbia University; Patricia Bellucci, Fordham Center on Religion and Culture; along with representatives from religious communities and individuals who submitted to the project's open call

Click here to read about the exhibition.

Critical Halloween

11 August 2011 13:01:02 EST

Saturday October 29, 2011

Storefront for Art and Architecture presents CRITICAL HALLOWEEN , a costume architecture party devoted to the most feared ghost of architectural production: BANALITY.

Vanquish your devils. Praise your saviors. Unleash your inner critic in sartorial guise.

Jury : Justin Davidson, Liz Diller and Wangechi Mutu
And check out our prizes!

A print by architectural photographer Dean Kaufman

A print by Madelon Vriesendrop

A drawing by Ryue Nishizawa

Live performance by Hess Is More [Music curated by This Is Care Of]

DJ sets by Kap Ten Kurt, Tiffany Roth, Julio Monterrey & Popdaddy

Where you ask? 80 Greenwich Street

When you ask? 10 PM - 3 AM

Tickets Here!

SORRY, WE’RE ALL SOLD OUT

Drinks courtesy of Cruzen, Effen, Grolsch, Hornitos & Old Grand Dad

CLICK HERE FOR INSPIRATION

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Host Committee Members

Adam Hayes: Openshop

Amale Andraos and Dan Wood [Work AC]

Ariane and Seth Harrison [HAt]

Bjarke Ingels: BIG

Christian Wassmann

Daniel Arsham

David Allin

Dominic and Chris Leong [LEONG LEONG]

Edwin Meulensteen

Felix Burrichter & Pierre Alexandre de Looz

Georgeen Theodore

Hilary Sample and Michael Meredith MOS

Julie and Jacob Wildschioedtz

Jing Liu and Florian Idenburg [SO-IL]

Joana da Rocha Sá Lima

Julian Rose and Garrett Ricciardi [formlessfinder]

Kyle May and Julia van den Hout [CLOG]

Lizzie Hodges and Marc McQuade

Matthias Hollwich

Mitchell Joachim

Molly Heintz

Pedro Reyes

Peter Russo

Peter Sung

Prem Krishnamurthy

Spyridon Papapetros

STEPHANIE GOTO

Winka Dubbeldam

Zoe Turnbull and Krista Freibaum [Serious Business]

Critically Young Committee

Jason Kurzwell, New Jersey Insitute of Technology
Jess Russell, Cooper Union

Jesse Seegers, Princeton University

Jose Esparza, Columbia University

Matt Austin, Rice University

Storefront thanks its corporate sponsor for this event

RD RICE Building Homes of Distinction

POST EVENT REPORT

During the event competition 3 first prizes were awarded:
Davidson selected Mark Kroeckel and Alison Cutler, embodying banality with the costume "Doll Face."
Renfro selected Kyle May and Julia van den Hout, who found banality in the standardized representations of individuals in architectural models dressing up as "1:1 Man & Woman / Scalies". Mutu selected Lisa and Ted Landrum who affirmed in a message within the retina of their eyes costume " Banality is in the of the Beholder". A mention prize was given to the "Cloud" by Daniel Arsham.

During the post event competition held in conjunction with Domus, the "people's choice" was given to "Critical Bubbling" by Lydia Kallipoliti + Laia Celma + Chrysokonoa Mavrou.

KISSING vs KOMPLEX

26 September 2011 15:01:55 EST

Tuesday October 18, 2011

October 18, 2011, 7pm

Storefront for Art and Architecture presented Kissing vs Komplex on October 18, 2011, a Productive Disagreement Series Event with Sylvia Lavin and Hal Foster about contemporary relations between art and architecture, and the forces that bring them together. The artists presented ideas outlined in their recently released publications, debating such issues as architectural criticism, collaboration within the disciplines of art and architecture and the relationship between art and architecture in the 21st century.

A video of the discussion can be found below.

About the books:

title: The Art-Architecture Complex
Hardcover
ISBN 978-1-84467-689-7
5.9 × 8.6 in / 176 pages

title: Kissing Architecture
Cloth Cover

ISBN: 9781400838387

6 x 7 in / 136 pages || 33 color illus. 5 halftones.

About the authors:

Hal Foster is Townsend Martin ‘17 Professor of Art and Archaeology at Princeton.
His latest book is "The Art-Architecture Complex" (2011), a sequel to his "Design and Crime" (2002); his "First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha" appears in late 2011. He is presently at work on a theory of modernism as a way (in the words of Walter Benjamin) "to outlive culture, if need be." A member of the American Academy of Arts and Sciences, Foster writes regularly for October(which he co-edits), Artforum, The London Review of Books, and New Left Review.

Sylvia Lavin received her Ph.D. from the Department of Art and Archaeology at Columbia University in 1990 after having received fellowships from the Getty Center, the Kress Foundation and the Social Science Research Council. Her book Quatremere de Quincy and the Invention of a Modern Language of Architecture was published by the MIT Press in 1992. Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture was published by the MIT Press in 2005. Her most recent book, Kissing Architecture, was published by Princeton University Press in 2011 and The Flash in the Pan and Other Forms of Architectural Contemporaneity, is forthcoming in 2012. Ms. Lavin is an active curator of architecture and design: she has initiated a new series of architectural projects for the Hammer Museum, and has been a guest curator for the Canadian Center for Architecture and Ace Galleries in Los Angeles. She is currently the Director of the Critical Studies M.A. and Ph.D. program in the Department of Architecture and Urban Design at UCLA, where she was Chairperson from 1996 to 2006, and the Director of Hi-C, a collaborative design and research group that supports the critical engagement with experimental architecture in the public realm. She is aVisiting Professor, History and Theory of Architecture at Princeton. Ms. Lavin is the recipient of a 2011 Arts and Letters Award in Architecture from the American Academy of Arts and Letters.

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About The Productive Disagreement Series
The Productive Disagreements Series is part of Storefront's programming for the development of conversations between ideologically opposed institutions, critics, artist or architects reflecting on contemporary issues around the globe. The events avoid compromise and agreement as a methodology of dialogical exchange, promoting confrontation and dialogue in order to generate a responsive audience and increase participation obtaining a multiplicity of viewpoints and strategies.

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Presented in association with Archtober, Architecture and Design Month NYC. www.archtober.org.

ARCHITECTURE FOR FREE!?

28 September 2011 20:31:16 EST

Friday October 14, 2011

Architecture, in its most idealistic sense, is always geared towards the construction of the public good. Thus, the notion of architecture pro bono appears as a redundant affirmation. However, the real meaning lying behind the beautiful latinism of pro bono, is the contemporary capitalist counterpart and less exotic "for free" and more precisely, for free for those who are unable to afford it.

Architecture for Free!? aims to expose what is that that architecture offers pro bono and explore the possibilities lying within this rampant practice in order to see how architecture might be able to find new opportunities for reinvention and territories of exploration.

The Experiment: Architecture for Free Bank
The main event is an "architectural bank," where the architects and design students in attendance can offer their architecture services.

Using the model of the "time bank" which has recently garnered support from Bloomberg as part of a citywide volunteerism initiative, we invite architects to donate their expertise. From re-arranging a living room, a city or a planet, we invite you to come and fill in the blank.

If you want to submit your "Architecture for Free!" you can fill in the attached form and send it to architectureforfree@storefrontnews.org. Submited entries will be on display throughout the night and will be part of the digital archive "Architecture for Free!?" on Storefront's webpage.

The Debate:
A panel of architects will discuss why we do what we do and why might we do it for free.

Presented by Storefront for Art and Architecture with Matus Vallo, Simon Battisti, and Justin Fowler, Laetitia Wolff, Dong Ping Wong, and Quilian Riano.

This event is part of Archtober, Architecture and Design Month NYC. www.archtober.org.

Interrogation 05: CLOG:BIG

15 September 2011 21:38:11 EST

Friday October 7, 2011

Due to the rate at which information is spread digitally today an unprecedented amount of architectural imagery is available to the public, while the time available to actually digest any single work has been drastically reduced. CLOG is a new architectural publication that runs counter to this trend by focusing each issue on a single topic, examined from as many perspectives as possible. CLOG slows things down.

For its inaugural issue, CLOG focuses on BIG, a firm that keeps pace with the flow of online imagery, but which has largely been left unexamined. Bringing together contributors from backgrounds including art, architecture, criticism, journalism, parkour, engineering, comics, photography, philosophy, and more, CLOG : BIG presents the first holistic, critical examination of Bjarke Ingels and his firm.

Storefront for Art and Architecture will host CLOG and Bjarke Ingels in a Collective Interrogation on October 7, 2011, at 7 PM in order to foster an open cross examination of Bjarke Ingels Group (BIG)'s work. Following a brief introduction of CLOG : BIG, a series of interrogators will personally (or virtually) ask Bjarke Ingels previously selected questions.

The public is invited to submit questions to interrogation@storefrontnews.org for Bjarke Ingels and his firm through October 6, 2011. A total of 10 questions will be selected by CLOG and SFAA for the discussion.

To submit a question the public should send an e-mail to interrogation@storefrontnews.org with the question [200 words maximum], sender's name and phone contact.

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Publisher: CLOG
English, 2011, 116 pages, 43 black-and-white illustration
Softcover, 5.5 x 8.5 in
200 copies available for purchase at Storefront during the event
15.00 USD
ISBN 9780983820406
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About the Artists

Bjarke Ingels started BIG-Bjarke Ingels Group in 2005. Alongside his architectural practice, Bjarke has been active as a Visiting Professor at Rice University's School of Architecture and Columbia University's Graduate School of Architecture, Planning and Preservation. Bjarke is currently Visiting Professor at Harvard University where he is teaching a joint studio with the Business School and the Graduate School of Design.

CLOG is a publication jointly produced by Kyle May, Julia van den Hout, Jacob Reidel, Human Wu, and The Office of PlayLab, Inc.

Kyle May is the co-founder of CLOG and principal at Abrahams May Architects. He won the Sukkah City 2010 International Competition and PoTo:Type International Competition, and his work has been featured in Log, the New York Times, New York Magazine, the Los Angeles Times, and Metropolis.

Julia van den Hout is the co-founder of CLOG and Press Manager at Steven Holl Architects. She is currently writing her thesis in the Design Criticism master's program at the School of Visual Arts.

Jacob Reidel is an architect working in New York city. He has been a studio critic at Columbia University's Graduate School of Architecture, Planning and Preservation and a schoolteacher at P.S. 75 and P.S. 161 in the Bronx. He co-edited Perspecta 40 "Monster" and has contributed to 306090, Junk Jet, Constructs, and THE BI Blog.

Human Wu is an architect currently working in Basel, Switzerland. He graduated from South China University of Technology and Harvard Graduate School of Design, and has written for magazines including Time + Architecture (Shanghai) and MONU (Rotterdam), and his own blog Human's Scribbles.

The Office of PlayLab, Inc is the collaborative art and design studio of Archie Lee Coates IV and Jeffrey Franklin, located in Brooklyn, New York. They are interested in everything and their approach is multi-disciplinary, ranging from architecture to the visual world.

Contributors to CLOG:BIG:
Michael Abrahamson, Iwan Baan, E. Sean Bailey, Greg Barton, Aleksandr Bierig, Janine Biunno, Gabrielle Brainard, Greg Broerman, Sean Burkholder, John Cantwell, Dan Clark, Erandi de Silva, Justin Davidson, Obinna Elechi, Runar Halldorsson, Jonathan Hanahan, Han Hsi Ho, Karrie Jacobs, Lars Holme Larsen, Jens Martin Skibsted, Koldo (Klaus) Lus, Jonathan Kurtz, Alexandra Lange, Stephen Melville, Michel Onfray, Martin Coops, Carol Patterson, Ethan Pomerance, Ben Porto, Bernd Upmeyer, Oliver Wainwright, Sung Goo Yang, Ying Zhou.

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About The Interrogation Series

The Interrogation Series is part of Storefront's programming for the generation of dialog between "institutionalized" spheres of inquiry and emerging discourses. The events aim to produce multiple and new methodologies of exploration and to ultimately extract a confession or obtain information from certain "suspects" in relation to a particular "crime" (book, building, photograph, thought, etc.) through a series of arguments, questions and-hopefully-answers.

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Presented in association with Archtober, Architecture and Design Month NYC. www.archtober.org .

STRATEGIES FOR PUBLIC OCCUPATION: CALL FOR IDEAS

6 October 2011 17:21:34 EST

Friday October 7, 2011

New York, Autumn 2011.

Storefront for Art and Architecture is making a call for submissions for projects and strategies that offer a new, creative and productive way of spatial occupation for public demonstrations and actions in cities throughout the world. Gathering expertise from the various acts of civil occupation throughout the world during the last months, we ask architects, artists and citizens at large to offer their ideas for enabling acts of communication and action between the civil society and the structures of economic and political power.

Submission requirements:
1 image [plan, diagram, photograph, code...] 11x11 inches, 300dpi jpg format
A title and a text of 200 words maximum.

Name or Pseudonym

Deadline:

As soon as possible . December 1st, 2011.

Submissions:

Please send your files to occupy@storefrontnews.org

Prizes:
1st Prize: The possibility of a new world order

Submissions will be exhibited in a pop up installation at Storefront for Art and Architecture in New York in December and in the ongoing Storefront Strategies for Public Occupation Archive.

Cabaret Series 03: Utopie

7 September 2011 14:32:06 EST

Tuesday October 4, 2011

As part of Storefront Cabaret's Series, Storefront presents Utopie: Texts and Projects, 1967-1978 , a book edited by Craig Buckley and Jean-Louis Violeau. The book reprints material from the group of architects, sociologists, and urbanists known as Utopie. The launch includes a one night only exhibition, featuring the magazines, pamphlets, posters, and other traces of the group's activities. Performers will include Isabelle Auricoste, Craig Buckley, Jean-Louis Cohen, Cristina Goberna, Meredith TenHoor, Hubert Tonka, and Jean-Louis Violeau.

Utopie: Texts and Projects, 1967-1978
Author/Editor: Craig Buckley and Jean-Louis Violeau, Eds
About the book: Key writings and projects from the group of architects, sociologists, and urbanists known as Utopie.

About the authors:

Craig Buckley teaches at Columbia University's Graduate School of Architecture Planning and Preservation, where he is also the Director of Print Publications. His writing and criticism have appeared in Grey Room, the Journal of the Society of Architectural Historians, and other publications.

Jean-Louis Violeau is a sociologist and researcher at the Architecture-Culture-Société laboratory of the Ecole d'architecture de Paris-Malaquais in Paris.

Publisher: Semiotext(e)
English, 2011, 264 pages, black and white
9.1 x 7.8 x 1.1 inches; hardcover
24.95 USD
ISBN 978-1584350958

Support for Utopie is made possibly by Cultural Services of the French Embassy and GSAPP.

Drinks sponsored by Original Sin Hard Cider.

Presented in association with Archtober, Architecture and Design Month NYC. www.archtober.org .

VELONOTTE

21 September 2011 23:00:38 EST

Saturday October 1, 2011

ELONOTTE NEW YORK CITY

Saturday, October 1, 2011 4pm-6pm.

Storefront for Art and Architecture will host the kick-off for the first VELONOTTE New York, a project which turns cities into nocturnal open air museums experienced on a bike.

The kick-off event will offer information and registration for free to all visitors and will consist of a short presentation about past Velonights in Rome and St. Petersburg and excerpts from a documentary film about the Moscow Velonotte with contributions from Vladimir Papernyj, Sergei Choban, Alexander Neratoff, Marina Avdonina and participant commentators of the New York Velonight.

About VELONOTTE

Starts Saturday October 1st at Midnight, Continuing till 5:30 AM

www.velonightNYC.blogspot.com

VELONIGHT NYC will transform New York into an open-air museum accessed
by bicycle with an audio guide dwelling in New York's urban and cultural history

with contributions from architects, architectural and cultural historians, including Jean Louis Cohen, Peter Eisenman, Ken Jackson, Rem Koolhas, Guy Nordenson and others.

The expert's comments will be transmitted live to the participants earphones on a

proprietary radio frequency.

The New York expedition will focus on Manhattan with 20 planned stops, riding past icons (and failures) of New York's architecture, urban policy and social/cultural life.The actual itinerary will be made available the day of the tour.

The event will be recorded as a documentary film by Firma Films Company.

Registrarion for the event is closed.

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Route curated by Sergey Nikitin (with notes by Alexandr Neratoff);
producer: Elena Siyanko www.farandwideevents.com

Manifesto 06: Finding the Formless

23 August 2011 16:45:37 EST

Friday September 23, 2011

Storefront for Art and Architecture is pleased to present Manifesto Series 06: Finding Formless curated by Julian Rose and Garrett Ricciardi [principles of formlessfinder] on Friday, September 23rd, 2011 from 6:30 to 9pm.

The event will consist of a live staging of manifestos by a group of 10 individuals consisting of architects, artists, landscape architects, engineers, historians, critics, theorists, and other relevant and emerging figures from both inside and outside of the field of architecture. The presentation of the manifestos will be followed by a discussion between the presenters moderated by Garrett Ricciardi and Julian Rose.

Participants to the event include:
Vito Acconci, Lucia Allais, Julie Bargmann (D.I.R.T. Studio), Yve-Alain Bois, Ed Eigen, Hal Foster, Axel Kilian, MOS (Michael Meredith & Hilary Sample), and Jorge Otero-Pailos.

Impulses toward the formless, alternately understood as struggles to escape form as a manifestation of various norms and constraints, are as old as architecture itself. But the formless is also increasingly in the air today, whether explicitly as in discussions of the "formless" quality of the city, or implicitly in talk of atmospheric buildings, randomized structures, and the dematerialization (or increased mediation) of architecture. No doubt part of its appeal lies in the fact that the formless is frequently found at the intersections between architecture and other fields, those intriguing moments when architecture unravels and can perhaps be woven into other practices, from art to ecology or engineering. Nevertheless, the formless has not yet been theorized rigorously in architecture. It seems to underpin a wide range of tendencies that have not yet been connected, or even explicitly acknowledged or identified. This event represents a first step toward this articulation.

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This event is made possible thanks to the generous support of Elise Jaffe + Jeffrey Brown.

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formlessfinder is a laboratory for methodological experimentation oriented toward the introduction of moments of formlessness into architecture. Part dictionary, part product catalog, part archive, part database, part interactive design tool, its contents and products range from traditional architectural representations such as models and drawings to videos, photography, structural and material tests, writings, and interviews. The relationship between these inputs and outputs is not fixed, and formlessfinder allows continual reshuffling of its content as additional terms or ideas are introduced, others are eliminated, and new possibilities are uncovered. formlessfinder was created by Garrett Ricciardi and Julian Rose and exists as the nexus of their ongoing collaboration. In addition to being selected as finalists for the MOMA/PS1 Young Architects Program 2011, their design work has been exhibited at institutions such as The Museum of Modern Art, New York, the MAXXI in Rome, and they have recently been invited to give talks at The Cooper Union for the Advancement for Science and Art and Princeton University School of Architecture. formlessfinder is currently working on the completion of several public and residential architectural projects.

Julian Rose 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'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's writing on both art and architecture has been published internationally in such publications as Domus, Log, and Artforum.

Garrett Ricciardi 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'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'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's Space. In addition, he has received grants from the Foundation for the Contemporary Arts and the Bose Audio Corporation.

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Storefront's ongoing Manifesto Series is part of an effort to encourage the formulation of positions in relation to selected topics and instigate spirited discussion and exchange in a dynamic and polemical context. The format therefore differs from that of a typical symposium. Rather than a synthetic lecture, participants are invited to present a concise, point by point manifesto, with the hope that the ideas exposed will provide a ground for discussion to test and discuss different hypotheses in real time.

Sacred Spaces in Profane Buildings

16 August 2011 11:02:21 EST

Wednesday September 14, 2011

Storefront for Art and Architecture presents Sacred Spaces in Profane Buildings by Matilde Cassani, an archive and exhibition that unveils the secret sacred territory throughout New York.

Sept 14-Nov 5, 2011

Opening Reception September 13, 7pm

Through analytical and speculative works, Sacred Spaces in Profane Buildings is a public archive and exhibition that explores the impact of religious diversity on the contemporary city and the new, non-traditional spaces in which contemporary religious pluralism manifests itself.

The diffusion of new urban religious communities is a central feature in growing contemporary urban societies: until a few years ago, it was thought that the link between public and religious places would gradually disappear as societies gave way to secularity. However, the demand for religious spaces has not diminished, it has simply been altered.

Sacred Spaces in Profane Buildings describes the birth of religious architecture and communities as it manifests itself in the contemporary urban context. The project is a transversal investigation of the architectures, policies and multitude of individual acts through which each religion inhabits and transforms the city of New York.

Sacred Spaces in Profane Buildings: New York Archive

New York, as most contemporary western cities, reveals a partial image of its religious landscape. Urbanistically, it either provides an illusion of secularity (through words like "community center") in regard to new religious constructions or presents existing religious buildings prominently as historical artifacts. New religious manifestations through architectural or urban interventions are polemical and only easily allowed in the spaces of the uncharted periphery. However, religious spaces exist in the very center of each community.

Ongoing open call for submissions

www.sacredspacesinprofanebuildings.com,

The archive intends to construct a public archive that explores the urban, social and formal implications of these urban religious practices. The open call for contributions invites the public to submit stories or memories of a visit, a sketch of a known space, a photograph of a street sign, a location in a map, or anything that might help construct the most comprehensive guide to the sacred unknown of New York. The aim of the call for submissions and the archive is to bring awareness to the number of hidden spaces within New York dedicated to the different beliefs of its citizens.

Sacred Spaces in Profane Buildings: The Exhibition

The exhibition as part of Sacred Spaces in Profane Buildings will transform Storefront's Acconci-Holl façade into a golden wall framing three spaces for reflection and containing three different series of objects: 1.) Taxonomical Readings of the New York Archive; 2.) Spiritual Devices; and 3.) Symbolic Objects.

The Taxonomical Readings of the New York Archive will cross-examine each submission to the archive by presenting them in "sacred books" that will be organized in different formats for viewers to peruse. Some of the books will organize submissions by category (religion, geography, etc) and some of the books will be organized by the curator to present an in-depth analysis of a select submissions through a series of images and interviews with occupants of the select sacred space. Each book will shift the relationship between the content and its ideology while simultaneously working as a guide of exploration for audiences.

The presentation of Spiritual Devices will include four mobile, foldable, transportable structures of 1 x 2 meters designed by the curator after her extensive research into objects associated with rituals performed in temples and unofficial prayer rooms. Each structure will contain the minimum elements necessary for individual prayer rituals in Christianity, Islam, Buddhism and Sikhism.

Through the presentation of a collection of Symbolic Objects donated by different religious communities of New York, Storefront will display a collection of objectified sacredness. The objects will explore how the boundary between sacred and profane is whittled down to mere convention and how sacred architecture often times constitutes a form of interior design, its ritual instruments and decorations being mass-produced objects that are mostly just rendered holy for the occasion.

Closing Ceremony. November 5.

As a closing ceremony, a series of talks, lectures and debates will take place on Saturday November 5th from 5pm to 6:30pm. Details here.

Graphic Concept for Sacred Spaces in Profane Buildings by NR2154.

Audio engineering: Norbert Schliewe
Engineering and manufacturing: Sabastiano Conti Gallenti e Sara Galli
Photo by : Ivan Sarfatti
Seed support for the project was provided by Schloss Solitude in Stuttgart, Germany.

Generator 02: Chairs for Urbanity

22 July 2011 13:39:31 EST

Saturday August 13, 2011

Storefront for Art and Architecture is holding another Generator event in collaboration with Raumlabor in front of the gallery space on August 13, 2011. We will be making chairs to be given away to participants and for general urban use.

THE GENERATOR is an experimental building laboratory for instant, participatory building practices in public space. Central issues of the research include: construction principles, new geometries for furniture and lightweight construction buildings, as well as new use possibilities and multiple programs for people to meet and interact in public.

The event will take place at 97 Kenmare Street from 12 - 6 P.M.

Painting Urbanism Auction

22 July 2011 11:11:03 EST

Saturday July 30, 2011

July 30, 2011

Painting Urbanism: Learning from Rio Silent Auction

6:00-8:00pm

Proceeds will help support the nonprofit organization FavelaPainting to continue their work in the favelas of Rio de Janeiro.

Works can be previewed during gallery hours: Tuesday-Saturday 11am to 6pm.

To place an absentee bid, please contact Erica Freyberger at enf@storefrontnews.org with the subject line Painting Urbanism Auction or call 212.431.5795.

Painting Urbanism: Learning from Rio is an exhibition that showcases the work of Dutch artists Haas&Hahn. Their work uses color and painting as a way to act in marginal or residual spaces of cities. The exhibition contains paintings, documentary footage, pictures, sketches and plans of past, present and future projects developed by Haas&Hahn. Featured past projects include the Favelapaintings in Praça Cantão in Santa Marta and "Rio Cruzeiro" on the stairs of Rua Santa Helena all in Rio de Janeiro. Present projects include proposals for two New York interventions and future projects span throughout the world.

SACRED SPACES IN PROFANE BUILDINGS

27 July 2011 17:18:31 EST

Thursday July 28, 2011

Storefront for Art and Architecture presents Sacred Spaces in Profane Buildings a New York Archive, a project by Matilde Cassani opening on September 13th. The project unveils the hidden spaces within New York dedicated to the different beliefs of its citizens.

As part of the upcoming exhibition, we are developing a New York Archive of Sacred Spaces
in Profane Buildings and we need your help.

This is an open call for contributions that explain either a story or the memory of a visit, a sketch of a known space, a photograph of a street sign, a location in a map, anything that might help us construct the most comprehensive guide to the sacred unknown of New York.

Do you know of a secret-sacred building in your neighborhood?
Do you know of a shop that has become a Mosque?
Or an apartment that has become an Iglesia Evangelica?
Is there a prayer space in your block?

We are looking for profane buildings transformed into the sacred: private shrines; new bespoke religious buildings; and unofficial spaces for prayer.

A selection of the submissions will be exhibited at Storefront and will be part of the Sacred Spaces in Profane Buildings NY Archive. This is a collective project and we want you to be part of it.

To participate submit your material at:
Sacred Spaces in Profane Buildings

For questions please contact us at info@sacredspacesinprofanebuildings.com

About the artist
Matilde Cassani (1980) is an Italian artist and architect.
Cassani studied architecture at the Politecnico Di Milano, at the Univesitade Tecnica de Lisboa, at the Architecture and Urban Culture -Metropolis institute- at the CCCB (Centro de Cultura Contemporània de Barcelona) and at the UPC Universitat Politècnica de Catalunya. She has been a fellow at the Akademie Schloß Solitude in Stuttgart.
She is a phd candidate and is currently teaching at the Politecnico di Milano and at NABA developing her project on "Holy Urbanism". Her practice investigates the spatial implications of religious pluralism in contemporary urban contexts.

http://www.matildecassani.com

Storefront Walk

3 July 2011 03:03:11 EST

Tuesday July 12, 2011

Storefront would like to invite our members at a Patron level or above to a breakfast and tour of the High Line with our new Board President and one of the architects of the High Line on July 12th, 2011.

If you would like to join us send an e-mail to info@storefrontnews.org with the subject line 'Storefront Walks' by July 8th. Limited availability [first come first served basis].

If you are not sure what your Member Status is, you can check on our website here.

If you would like to upgrade your membership in order to join us on July 12, please contact info@storefrontnews.org with the subject line 'High Line Upgrade".

If you are still not a member and would like to join, you can do so by visiting our Membership page here. Storefront Members receive multiple benefits, from exclusive Member events like our Membership Dinner, special tour and event invitations, champagne show previews, and a 20% discount on Storefront Books.

We look forward to you joining us.

Thank you!

WHAT IS DESIGN?

10 May 2011 02:48:31 EST

Tuesday May 17, 2011

Tuesday, May 17, 2011

7pm

What is Design from Storefront for Art&Architecture on Vimeo.

Storefront for Art and Architecture is pleased to present WHAT IS DESIGN? A Manifesto for the Gwangju Design Biennale 2011 on Tuesday, May 17, 2011 at the Storefront for Art and Architecture.

This event has been curated in conjunction with the Gwangju Design Biennale and on behalf of Seung H-Sang and Ai Wei Wei, Co-Artistic Directors of the Gwangju Design Biennale 2011: DOGADOBISANGDO - "Design is Design is Not Design" .

The event aims to interrogate the current situation of design in relation to its past and present challenges, while attempting to provide a space of discourse for its future implications.

The event will consist of a live staging of manifestos by a group of 11 individuals consisting of emerging practitioners, established academics and institutional figures within the field of design, followed by a discussion.

This event is part of the Gwangju Design Biennale 2011 Academy series, which is designed to stimulate, debate, and document key issues of the Biennale in a series of international forums held in Beijing (April 8), New York (May 17), Barcelona (May 31), London (June 6), and Gwangju (September 2). Each Academy engages curatorial concerns of the Named, Un-Named, Urban Follies, Communities, Biennale City, and Thematic sections of the Biennale with select outside participants. The last Academy brings all of the participants and curators together in a wrap-up roundtable to be held in conjunction with the opening of the Biennale on September 2, 2011.

The participants of the New York Academy are:

Manifesto 1 / Anthony Fontenot/Minsuk Cho
Manifesto 2 / Sho Shigematsu
Manifesto 3 / Jacob Wildschiødtz
Manifesto 4 / Rosalie Genevro
Manifesto 5 / Prem Krishnamurthy
Manifesto 6 / Barry Bergdoll
Manifesto 7 / Brendan McGetrick
Manifesto 8 /Chris Leong / Dominic Leong
Manifesto 9 /Felicity Scott
Manifesto 10 / Pai Hyungmin/Alice S. Kim

Round table moderated by Eva Franch
Remarks by Mr Lee Yong Woo & Mr. Seung H-Sang

For more information about the Gwangju Design Biennale please visit: http://www.gb.or.kr/

DRAW-THINK-TANK: EMERGING TERRITORIES OF MOVEMENT 15X360 MANIFESTOS

18 April 2011 16:01:27 EST

Saturday May 7, 2011

Storefront for Art and Architecture presents DRAW-THINK-TANK: Emerging Territories of Movement 15x360 manifestos at the Festival of Ideas for The New City on Saturday, May 7th, 2011 from 4 to 7pm in New York City in collaboration with Audi Urban Future Initiative.

The event will take place in the mobile space structure designed by the German group Raumblabor: the Spacebuster. The Spacebuster will be situated at the intersection of Houston Street and the Sara D Roosevelt Park within the StreetFest.

The event will consist of a live staging of manifestos by a group of 15 individuals consisting of: architects, engineers, writers, sociologists, anthropologists, philosophers and other relevant and emerging figures, followed by a short discussion.

Simultaneously, and in order to foster creativity and reflection, an innovative platform "Draw-Think-Tank" a Storefront ipad platform designed especially for this event with artist Joshue Ott, will allow the participants and a chosen group of students of architecture to collaborate in the construction of a collective drawing projected in the walls of the Spacebuster to expose into the public arena their ideas in a space of synergy and cross collaboration. The mutating drawing will be printed out throughout the event as a series of 360 unique instant manifestos.

The event will be structured in three sessions of 1 hour each where a curated multidisciplinary group individuals will present individually a 4 minute manifesto [7 points and 7 images].

The three sessions, moderated by Christian Gärtner, Director of Stylepark and Eva Franch, Director of Storefront for Art and Architecture, will discuss Emerging Territories of Movement in three different spaces of action:

4-5pm Individual Mobility
5-6pm Collective Spaces of Movement
6-7pm Urbanizing Technologies

Participants include:

Saskia Sassen
Christian Schüller
Molly Wright Steenson
Mark Shepard
Joseph Grima
Raumblabor
Bjarke Ingels
Fake Industries
Annegret Maier

Daniel Perlin
Mitch Joachim
David Benjamin
Hayley Eber
Mirko Köhnke
Juergen Mayer

The event aims to interrogate the current situation of mobility in relation to its past and present challenges, while attempting to provide a space of discourse for its future implications.

The event is free and open to the public. Space within the Spacebuster is limited.

GENERATOR

18 April 2011 17:22:44 EST

Saturday May 7, 2011

Storefront for Art and Architecture will present Generator by Raumblabor at the Festival of Ideas for The New City on Saturday, May 7th, 2011 from 11am to 4pm in New York City.

The event will take place in the StreetFest at the intersection of Houston Street and the Sara D Roosevelt Park within the StreetFest next to the Spacebuster.

Participating schools: [list in formation]

PAINTING URBANISM: LEARNING FROM RIO

24 April 2011 17:19:26 EST

Saturday May 7, 2011 – Saturday July 30, 2011

Storefront is pleased to present the work of Dutch artists Haas&Hahn in the exhibition “Painting Urbanism: Learning from Rio". The exhibition will showcase paintings, documentary footage, pictures, sketches and plans of past, present and future projects developed by Haas&Hahn. Featured past projects include the Favelapaintings in Praça Cantão in Santa Marta and “Rio Cruzeiro” on the stairs of Rua Santa Helena all in Rio de Janeiro. Present projects include proposals for two New York interventions and future projects span throughout the world.

Painting Urbanism: Learning from Rio - Constant Workshop
Visitors to the exhibition will have the opportunity to learn from Rio sit down and develop new proposals to add to the collection of visionary projects to transform the cities in which we live. All work produced throughout the exhibition will be compiled and catalogued and a selection of drawings will be on display within our website.

Painting Urbanism: New York Project
This exhibition, presented on the occasion of The Festival of Ideas for The New City, aimed at developing a urban intervention in the Lower Manhattan area. Due to bureaucratic and cultural difficulties within the social fabric of the city, the project proved to be impossible to achieve within the time frame. We hope that this exhibition will inspire individuals, communities or groups interested and able to facilitate such an enterprise, and will step forth and contact us for a future possible intervention in New York.

About Painting Urbanism: Learning from Rio

There has always been within the world of art, anthropology or artistic practice a fascination with the structures of society that exists in the margins of legality, at the edge of the possible.

During the last thirty years, exacerbated by a massive rural exodus and a radical and spontaneous growth of cities throughout the world, slums, places constructed and inhabited outside the normative and canonical spaces of the city, have been at the center stage of the territories of the marginal.

This fascination has incited a large group of architects and artists to immerse themselves within slums as ethnographers, surveyors or involuntary colonizing figures of normalcy. These excursions into the new frontiers of society have resulted in a proliferation of studies on fragmented geometries, new beats and sounds or data visualization, all in the quest to capture, formalize or freeze that what originally captivated by its informality.

This fascination though, has operated sometimes within but often beyond the socio-economical conditions of the slums. When trying to address them, projects have worked oftentimes as contemporary ambassadors of western standards of life: of public and private, of postmen and phones, of roads and squares, of infrastructure and culture, all with little understanding or respect for the inherent virtues and lessons to be learned from these communities.

In 2005, Haas&Hahn landed as a pair of ethnographers to shoot a documentary film on Hip Hop culture in the favelas of Rio de Janeiro. As a product of the multiple informal conversations with the inhabitants, they sensed an opportunity for action beyond documentation and started their first painting project in the favelas with a mural of 150m2 "Boy with Kite" in Vila Cruzeiro. The project, materialized jointly with the inhabitants of the favela, produced an immediate effect in the community and their collective image within the larger metropolitan area. Two subsequent projects in different favelas, Rio Cruzeiro (2000m2 in Vila Cruzeiro, 2008) and Praça Cantão (7000m2 in Santa Marta, 2010) unveiled a methodology of action within the built environment without precedents: Painting Urbanism.

Painting Urbanism resides in the intersection between land art, supergraphics, graffiti and urban planning. It takes the built environment as a continuous territory beyond notions of public and private; it activates the urban fabric introducing new spaces of intensity and collectivity beyond spatial conditions and denounces the underutilization of residual spaces of design and action within the city.

Haas&Hahn have been able to generate a body of work that grows from the formal intricacies, legal conditions and social dynamics inherent to slums and produce a method of action that would hardly be able to be envisioned within the normative spaces of western models of urbanization.

Learning from Rio: While currently, the majority of cities and governments worldwide are more concerned and focused on preservation and restoration than change and action, Painting Urbanism opens up the possibility of large interventions within the city that bring together the large questions set forth by the big visionary proposals of architects and urban planners of the twentieth century. Painting Urbanism is able to act within the present urban reality by intervening on the liminal surface of the constructed city and produce spaces of true collective aspiration just through color, form and imagination.

This exhibition showcases the work produced by Haas&Hahn during the last six years and a series of proposals for two New York interventions and future projects throughout the world from the suburbs in Paris to the city of Cairo.

We invite you to come, learn from Rio and act.

Eva Franch i Gilabert, Director.

Haas&Hahn is the working title of artistic duo Jeroen Koolhaas and Dre Urhahn. They started working together in 2005.

Jeroen Koolhaas (Rotterdam, 1977) studied graphic design at the Design Academy in Eindhoven and has been working as a freelance audio-visual designer and illustrator for the New Yorker magazine since graduation. www.jeruniverse.com

Dre Urhahn (Amsterdam, 1973) has worked as a journalist, copywriter, and art-director and has set up successful companies specializing in different fields, from event management to television production.

This program is supported, in part, by public funds from the Netherlands Cultural Services. This project has received funding through a grant from the Netherland-America Foundation, the Mondriaan Foundation, Amsterdam, and The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB). The opening reception has been generously funded by Melissa Shoes.

Festival of Ideas for the New City

9 March 2011 19:09:10 EST

Wednesday May 4, 2011

Storefront for Art and Architecture is proud to participate as one of the Organizing Partners in the Festival of Ideas for The New City.

The festival will transform downtown Manhattan into a dynamic laboratory for creative thinking and action, bringing together scores of participants and public events, working together to affect change. The Festival will harness the power of the creative community to imagine the future and explore the ideas destined to shape it. It will take place from May 4-8, 2011, in locations around Downtown Manhattan in an area spanning East to West including the Lower East Side, the East Village, Soho, Nolita, and Chinatown - and will serve as a platform for artists, writers, architects, engineers, designers, urban farmers, planners, and thought leaders in various disciplines to exchange ideas, propose solutions, create new problems, and invite the public to participate.

For more information please check: http://www.festivalofideasnyc.com/

DRAW THINK TANK MOBILE APP!

4 May 2011 15:06:40 EST

Wednesday May 4, 2011

D.I.G. - Final performance

25 April 2011 12:42:41 EST

Saturday April 23, 2011

G for Group / Performance. In the third and final stage, Arsham/Snarkitecture created and inhabited Dig, carving spaces first for inhabitation and collective gatherings in a performance open to public view.

The last day of the exhibition brought more than 1000 individuals that gathered inside DIG in small groups.

At the close of the exhibition all the material was returned to the manufacturer and recycled back into rigid foam insulation.

This project has been possible through the lead support of OHWOW and Galerie Perrotin.

Daniel Arsham (1980, Cleveland)

Daniel Arsham's practice straddles the lines between art, architecture and performance. With a penchant for collaboration his expanded practice has included collaborations with Merce Cunningham, Hedi Slimane, Robert Wilson and Jonah Bokaer. He makes architecture do things it's not supposed to do, mining everyday experience for opportunities to confuse and confound our expectations of space and form. Simple yet paradoxical gestures dominate his sculptural work: a façade that appears to billow in the wind, a white cube eroded on all sides like a glacier, a figure wrapped up in the surface of a wall. Structural experiment, historical inquiry, and satirical wit all combine with consummate technical skill in Arsham's ongoing interrogation of the real and the imagined.

Snarkitecture
Snarkitecture is a collaborative practice operating in territories between the disciplines of art and architecture. Working within existing spaces or in collaboration with other artists and designers, the practice focuses on the investigation of structure, material and program and how these elements can be manipulated to serve new and imaginative purposes. Searching for sites within architecture with the possibility for confusion or misuse, Snarkitecture aims to make architecture perform the unexpected.

Snarkitecture was established by Daniel Arsham and Alex Mustonen.

D.I.G - Performance

16 May 2011 04:16:15 EST

Monday April 11, 2011

Interrogation 04 -Writing the City into Being: Essays on Johannesburg 1998–2008

22 January 2011 19:32:41 EST

Tuesday March 15, 2011

Interrogation 04
Writing the City into Being: Essays on Johannesburg 1998-2008
by Lindsay Bremner

Storefront for Art and Architecture presents the launching of Writing the City into Being: Essays on Johannesburg 1998-2008 with a series of interrogations between the author and different scholars including Mabel O. Wilson, Alicia Imperiale and Helene Furján about Johannesburg and its urban transformations during the last decade.

About the book:
Writing the City into Being is Bremner's long-awaited collection of essays, spanning more than a decade of work on Johannesburg. It is both an unflinching analysis of the characteristics of an extraordinary city and a work of imagination - a bringing of the evasive city into being through writing. Johannesburg has become a touchstone in critical thinking on the development of the twenty-first-century city, attracting scholars from around the world who seek to understand how cities are changing in the face of urban migration in all its myriad forms and the inflow of foreign capital and interest. Bremner is at the forefront of this scholarship. Her intimate knowledge of the city makes this a deeply personal but authoritative collection of essays. Writing the City into Being is an important book for those seeking to understand cities in a rapidly changing and fragmenting world. Lindsay Bremner is an extraordinary guide to the city of Johannesburg, and one of its most incisive commentators.

About the author:
Lindsay Bremner is Professor of Architecture in the Tyler School of Art at Temple University in Philadelphia. She is an award-winning architect and has published, lectured and exhibited widely on the transformation of Johannesburg after the end of apartheid. Her published work on the city include Johannesburg: One City Colliding Worlds (2004), chapters in Johannesburg - the Elusive Metropolis (2008), The Endless City (2008), Desire Lines: Space, Memory and Identity in the Post-Apartheid City (2007), Future City (2005), Under Seige: Four African Cities. Freetown, Johannesurg, Kinshasa, Lagos (2002), blank___architecture apartheid and after (1998) and contributions to Domus, Public Culture, Social Identities and Cities. In her design work, Bremner takes on projects having a socially or culturally transformative agenda, such as her second placed entry to the Freedom Square Competition (with Mashabane Rose Architects, 2002) and the Sans Souci Cinema project in Kliptown, Soweto (with 26'10 South Architects, 2004 - 2007). The latter was awarded a special prize in Bauwelt Magazine's First Work Competition in 2010. Bremner's current research, Folded Ocean: Mutating Territories in the Indian Ocean World is investigating the impact of global mobility, trans-nationalism and environmental change on the human settlements of the Indian Ocean. This will be published in 2A and as a chapter in Writing post national narratives: other geographies, other times in 2011. Bremner was formerly Chair of Architecture at the University of the Witwa-tersrand in Johannesburg. She holds a B.Arch degree from the University of Cape Town and M.Arch and DSc.Arch degrees from the University of the Witwatersrand.

About the participants:

Helene Furján is an Assistant Professor in the Department of Architecture at PennDesign, University of Pennsylvania, where she is Director and a founding editor of viaBooks, Director of the Conversations Series of interdisciplinary debates, and Chair of the Architecture Lecture Committee. She has had essays and reviews published in journals including Gray Room, AAFiles, Assemblage, Casabella, Journal of Architecture, JAE, ArtForum and Interstices. She published Crib Sheets: Notes on the Contemporary Architectural Conversation with Sylvia Lavin (2005), and has chapters in Intimate Metropolis (2008), 306090: Models (2008), Softspace (2006), Gen(H)ome (2006), and Performalism: Form and Function in Digital Architecture (2008). 'Glorious Visions': John Soane's Spectacular Theater is forthcoming through Routledge in 2011, and she is working on a new book with Linda Taalman and Roland Woolroos-Ritter investigating the history of the diagram. Her current research investigates effects, spectacle, perception and affect in the history and contemporary practice of architecture, and the organisation and interdisciplinarity of urban systems.

Alicia Imperiale is Assistant Professor of Architectural History/Theory and Design at the Tyler School of Art, Temple University. She is a Ph.D. candidate at Princeton University (2011). Her dissertation is based on the theoretical projects of Italian architect Rinaldo Semino and contextualises Semino's work in a larger milieu of megastructural design, cybernetic studies and radical political events in Italy from 1958-73. Her essay ‘Organic Italy: The Troubling Case of Rinaldo Semino,' was recently published in Perspecta 43: Taboo (Yale University Journal of Architecture, MIT Press, 2010). In relation to her work on the politics of the 1960s, Alicia is a co-curator of the exhibit Clip, Stamp, Fold: The Architecture of Little Magazines 196X-197X. She is a contributor to the recent book of the same name published by Actar/Birkhäuser, 2010. Her design and written work focus on the impact of digital technologies on art, architecture, representation and fabrication. This research is presented in her book New Flatness: Surface Tension in Digital Architecture (Birkhauser, 2000). Other published essays include ‘Digital Skins: Architecture of Surface' in SKIN: Surface, Substance and Design (Princeton Architectural Press, 2002), ‘Fluid Alliances: Architecture, Politics and Fetish Post 9/11' in LOG 1, ‘Territories of Protest,' in LOG 13/14, and ‘Seminal Space: Getting under the Digital Skin,' in RE: SKIN, ed. Mary Flanagan (MIT Press, 2006). She has also taught design and visual theory at Southern California Institute of Architecture, Pratt Institute, Columbia University, Cornell University and Parsons School of Design. She holds a B.Arch from Pratt Institute, an MFA in Combined Media from Hunter College and an MA from Princeton University. She was a Van Alen/Dinkeloo Visiting Fellow at the American Academy in Rome in 1988.

Mabel O. Wilson navigates her multidisciplinary practice 6Ten Studio between the fields of architecture, art, visual cultural analysis and cultural history. Her design experiments and scholarly research investigate space and cultural memory in black America, race and visual culture, and new technologies and the social production of space. She is currently completing the book Progress and Prospects - Black Americans in the World of Fairs and Museums (forthcoming University of California Press.) She teaches at Columbia's GSAPP where she directs the Advanced Architectural Research program.

Publisher: Fourthwall Books
English, 2010, 347 pages, 37 colour illustrations, 1 black-and-white illustration
Softcover, 188 x 127 mm
30 copies available for purchase at Storefront during the event
35 USD
ISBN 978-0-9869850-0-3

This publication was sup¬ported by the Graham Foundation for Advanced Studies in the Fine Arts.

About The Interrogation Series:
The Interrogation Series is part of Storefront's programming for the generation of dialog between "institutionalized" spheres of inquiry and emerging discourses. The events aim to produce multiple and new methodologies of exploration and to ultimately extract a confession or obtain information from certain "suspects" in relation to a particular "crime" (book, building, photograph, thought, etc.) through a series of arguments, questions and-hopefully-answers.

Forum 03 - Critical Futures

21 February 2011 01:56:16 EST

Tuesday March 8, 2011

FORUM 03:

CRITICAL FUTURES #3

A debate on the future of architecture criticism

Storefront is pleased to invite you to the third event in a three-part series of debates on the future of architecture criticism organized by Domus that have previously taken place in London and Milan.

Over the past decade, several transformations regarding media and communication systems, among others, have reshaped the context within which architecture is conceived and debated.

The Internet has made images and information free and instantly ubiquitous; magazines, once the undisputed platforms for the criticism of architecture and design, have been challenged to redefine their purpose and economic model in the light of dwindling readerships; blogs have given a global audience, potentially of millions, to anyone with an Internet connection. In all of this, the continued relevance of architecture criticism as practiced today has been put in doubt: as Alexandra Lange writes, "Online, both everyone and no one is a critic, and architecture talk proliferates, often in the absence of buildings."

Is criticism in the traditional sense still relevant or useful, and can it be more than the legitimation of the new? If the role of the print publication in contemporary production irreversibly declines, what is its future? Will online publishing (from press-release feed blogs to the few bastions of criticism online sites) ever be able to fill this void?

Participants:

Justin Davidson (architecture critic, New York magazine)
Eva Franch i Gilabert (Director, Storefront for Art and Architecture)
Alexandra Lange (journalist and critic, Design Observer)
Shannon Mattern (Department of Media Studies & Film, The New School)
Kazys Varnelis (Netlab, Columbia University GSAPP)
Lebbeus Woods (architect and blogger)

Mimi Zeiger (Writer and founder of Loud paper)

Moderated by Joseph Grima - Editor, Domus

DIG

9 February 2011 13:28:43 EST

Tuesday March 1, 2011 – Saturday April 23, 2011

DIG
A performance installation by Daniel Arsham/Snarkitecture
March 2-April 23, 2011

check images of the process at: http://oh-wow.com/dig/

Opening Reception: Tuesday, March 1, 7pm
Closing Reception: Saturday, April 23, 5pm-7pm

On March 1st 2011, Storefront for Art and Architecture will inaugurate DIG, by Daniel Arsham/Snarkitecture, an experiment to construct new spatial relations and programs that emerge from the interplay between drawing, materiality and performance.

From Daniel Arsham/Snarkitecture:

"Dig explores the architecture of excavation. Storefront's distinctive gallery space will be filled with a solid volume of EPS architectural foam, engulfing the existing interior in an unyielding flood of white. The volume will then be excavated using simple tools - hammers, picks and chisels - to transform a stock industrial material into a strange, unexpected cavern for both work and play.

Dig is an experiment between the precision of the architectural plan and the looseness of the unknown. The installation and performance explore an intersection of primitivism and contemporary architecture; the complexity of the final surfaces and form suggests a digital origin and conceals the simplicity of a space made entirely by hand. The solid volume is excavated and inhabited by basic necessity, but also engages in careful play with the existing architecture of Storefront. Dig uncovers the inconceivable within the conceivable."

DIG will be developed in three stages:

D for Display / Exhibition. In an act of pre-representation, the exhibition will showcase a series of studies developed a priori in relationship to questions of form (in relation to the gallery's idiosyncratic plan and façade) and program (desires and notions of inhabitation and play). These studies, materialized in the medium of conceptual models are an elaboration of works that shift from plan, to elevation to section to material studies. (March 1-March 28)

I for Intensify / Installation. The gallery will be filled almost in its totality, transforming the entire space into a deep façade where the pieces on display will be intensified by different points and lines of vision perceptible from both the interior of Storefront and the gallery space of the street. (March 29-April 4)

G for Group / Performance. In the third and final stage, Arsham/Snarkitecture will both create and inhabit Dig for the duration of the subsequent month-long installation, carving spaces first for inhabitation and in a second stage for collective gatherings in a performance open to public view. (April 5-23)

Parallel to the exhibition, a series of talks, excursions and encounters happening inside the work in progress will address the emerging forms of the installation in relation to contemporary notions of collectivity and inhabitation in the quest for moments of architectural reinvention and surprise.

At the close of the exhibition all the material will be returned to the manufacturer and recycled back into rigid foam insulation.

This project is made possible through the lead support of OHWOW and Galerie Perrotin.

Daniel Arsham (1980, Cleveland)
Daniel Arsham's practice straddles the lines between art, architecture and performance. With a penchant for collaboration his expanded practice has included collaborations with Merce Cunningham, Hedi Slimane, Robert Wilson and Jonah Bokaer. He makes architecture do things it's not supposed to do, mining everyday experience for opportunities to confuse and confound our expectations of space and form. Simple yet paradoxical gestures dominate his sculptural work: a façade that appears to billow in the wind, a white cube eroded on all sides like a glacier, a figure wrapped up in the surface of a wall. Structural experiment, historical inquiry, and satirical wit all combine with consummate technical skill in Arsham's ongoing interrogation of the real and the imagined.

Snarkitecture
Snarkitecture is a collaborative practice operating in territories between the disciplines of art and architecture. Working within existing spaces or in collaboration with other artists and designers, the practice focuses on the investigation of structure, material and program and how these elements can be manipulated to serve new and imaginative purposes. Searching for sites within architecture with the possibility for confusion or misuse, Snarkitecture aims to make architecture perform the unexpected.

Snarkitecture was established by Daniel Arsham and Alex Mustonen.

Exhibition Schedule:

Exhibition:
March 2-April 23, 2011
Tuesday through Saturday from 11am to 6pm

Members and Press Opening:
March 1, 2011, 6pm

Public Opening Reception:
March 1, 2011, 7pm

Performance:
Tuesdays, Thursdays, Fridays April 5-23, 2011, 3-6pm

Manifesto 03 - Eco-Redux

22 January 2011 19:32:41 EST

Friday February 25, 2011

MANIFESTO SERIES 03
ECO-REDUX
launching: EcoRedux: Design Remedies for an Ailing Planet (Architectural Design)

Storefront for Art and Architecture presents Manifesto Series 03: Eco-Redux showcasing 77 points [11 speakers] towards a new methodology of action for the 21st century. The event will feature:

Chris Perry
Eva Franch i Gilabert
Jimenez Lai
Lydia Kallipoliti
Mark Wigley
Matthias Hollwich & Marc Kushner (HWKN)
Michael Young
Michelle Addington
Mitchell Joachim (Terreform ONE)
Peder Anker
Rafi Segal

About the book:
In the history of ideas, discourses get recycled. Concepts emerge as allegedly new, though ideas undergo long journeys of migration from one epistemological field to another. EcoRedux allegorically brings back to life a 1972 issue of AD, which outlined an emerging environmental consensus in the postwar period: a form of ‘synthetic naturalism', where the laws of nature and metabolism were displaced from the domain of wilderness to the domain of cities and buildings.

What happens now though, in the environmental battlefield of a world that has suffered severe loss of resources? As a symptom of a new reality inundated with environmental catastrophes, sudden climatic changes and garbage-packed metropolises, environmental consciousness re-emerges as an inevitable cultural armature for architects and designers. At present, the new wave of ecological architecture cannot be solely directed to the ethics of the world's salvation and the rhetoric of confinement. It rather upraises as a psycho-spatial or mental position, fuelling a reality of change, motion and action.
Though mindful of the past, the objective of this issue is distant from idealizing and romanticizing the environmental agenda of the 1970s. EcoRedux critically recognizes a recirculatory understanding of the world and its resources and hints towards a new opportunistic ‘materiality' that becomes a requisite part of our discipline. Recycling is commonly referenced in regards to material systems; however, this issue examines recycling as an ideational and philosophical system of viewing the world of ideas, information and matter as flow rather than as the accumulation of discrete objects.

About the editor:

Lydia Kallipoliti is a practicing architect, engineer and theorist currently teaching at the Cooper Union and at Columbia University in New York. She holds architecture degrees from A.U.Th in Greece, MIT and Princeton University. The online database for ecological material experiments (www.ecoredux.com) that Kallipoliti created, parallel to the EcoRedux AD issue, has been awarded an honor at the 14th International Webby Awards and a silver medal in theW3 awards by the International Academy of Digital Arts and Sciences. Her design and theoretical work has been published and exhibited internationally.

Contributing Authors to the AD issue:

Lydia Kallipoliti, Anthony Vidler, Fabiola Lopez-Durand & Nikki Moore, Mark Wigley, Matthias Hollwich & Marc Kushner (HWKN), Francois Roche (R & Sie(n) architects), Eva Franch i Gilabert, Alexandros Tsamis, Anna Pla Catala, Eric Vergne, Rafi Segal, Jonathan Enns, Mitchell Joachim (Terreform ONE) and Brian Carter.

Publisher: John Wiley & Sons
Language: English
Year: 2011
Pages #: 136 pages
Color/duotone/black and white: Color
Dimensions: 10.7 x 8.2 x 0.5 inches
Hardcover/ Softcover: Softcover
Copies will be available for purchase at Storefront during the event
ISBN-10: 0470746629
ISBN-13: 978-0470746622

Street Fest Competition - Winners

21 February 2011 02:23:31 EST

Monday February 21, 2011

Winners of Streetfest Tent Design Competition Announced

Storefront for Art and Architecture, the New Museum, and New York City's Department of Transportation (NYCDOT), are pleased to announce that a team of emerging New York City-based designers from the studios Family and PlayLab have been selected as the winners of Storefront's StreetFest international competition to re-envision temporary outdoor structures.

The StreetFest competition asked for designs that envisioned street tents not only as shelters but also as active elements within the collective construction and understanding of the city. StreetFest made a call to Architects, Artists and Engineers to re-envision, with the same budget of renting common tenting structures, the performativity-the material, social, and educational possibilities-of temporary outdoor structures and to bring innovative design to an object of everyday life within the urban life of cities. Unanimously chosen by the jury out of 30 submissions, the winning entry, called "The Worms", allows for a variety of urban configurations able to construct spaces of gathering and collectivity in a context of surprising, colorful playfulness.

The Worms' are modular accordion forms, skinned in bright, lightweight, waterproof rip-stop nylon that is patterned and reinforced to provide flexibility in use and singularity in shape. Each modular unit is 10 feet in height and 20 feet in length. These units can be combined in an infinite number of different configurations, generating important gathering spots and orientation points within the crowded context of a public event. Moreover, the effect of their bright, vaulted forms is surprising and joyful from both street level and above.

"The Worms" take the most functional aspects of the typical street fair tent and advance them, making the result more adaptable, sculptural, and interactive, accommodating a wider and more engaging variety of programs. Built from common and inexpensive materials, these new tent typologies are designed to be as efficient in cost and assembly as the ubiquitous white farmer's market tent, while catalyzing activities and events not typically found in street festivals.

The rolled galvanized steel ribs of 'The Worms,' supported by steel forks resting on swivel
casters, create bays that can expand, turn, and contract to host a variety of programs and can easily be reconfigured. To minimize on-site setup time, each 'Worm' can be flat packed and delivered to the site fully assembled before being rolled and locked into position. Simultaneously distinct, familiar, and endlessly adaptable, 'The Worms' are a living entity that will physically engage the neighborhood, buildings, and streets to form new spaces for gathering, eating, discovering, and playing.

The winning design will be on full view to New Yorkers and visitors to the city alike, when
StreetFest takes place along the Bowery, between Houston and Spring Streets, in Downtown Manhattan on May 7, 2011 during the upcoming Festival of Ideas for the New City where eight raspberry and cyan blue colored 'Worms' will be realized for the May event.

Following the Festival of Ideas, "The Worms" will be used at the Department of Transportation's summer events and at other temporary street events.

The Designers: Family & PlayLab Team includes: Archie Lee Coates IV, Jeffrey Franklin,
Keshet Rosenblum, Scott Snelling, P.E.,and Dong-Ping Wong.

Production: Kellam Clark

The Jury included: Vito Acconci, Principal, Vito Acconci Studio; Jeff Thompson, Associate
Principal, Buro Happold Consulting Engineers; Eva Franch i Gilabert, Director, Storefront for Art and Architecture; Tamara Greenfield, Executive Director, Fourth Arts Block; Lisa Phillips,Toby Devan Lewis Director, New Museum; Charles Renfro, Partner, Diller Scofidio + Renfro; and Wendy Feuer, Assistant Commissioner Of Urban Design & Art, NYC Department Of Transportation.

ABOUT FAMILY
Family was established to determine more optimistic and productive typologies of ecological building. They are dedicated to redefining architecture's role in the consumption and production of energy, the optimization of valuable land, and the innovative application of natural resources in order to look beyond an ability to sustain and towards a practice of prosperity. Projects include a floating pool in New York City, a contemporary art museum in Maribor, Slovenia, a high-density housing block in Dallas, Texas, and a master-planning proposal for the Nordhavnen peninsula of Copenhagen. Family is led by Dong-Ping Wong.

ABOUT THE OFFICE OF PLAYLAB, INC.
The Office of PlayLab, Inc. is the collaborative art and design studio of Archie Lee Coates IV
and Jeffrey Franklin, and is located in Brooklyn, New York. PlayLab is interested in everything. They create the things that excite them, and hopefully those around them. Their approach is multi-disciplinary, ranging from architecture to the visual world. They're currently working on +Pool, a floating and self-filtering pool in New York City; PlayLab Arabia, an accredited exploration program at a science and technology university in The Kingdom of Saudi Arabia;The Gauntlet, an interactive art exhibition in Stockholm, Sweden; and Artypes, an informational, inspirational, educational, and economical art resource.

ABOUT THE FESTIVAL OF IDEAS FOR THE NEW CITY
The Festival of Ideas for the New City, May 4-8, 2011, is a major new collaborative initiative in New York involving scores of Downtown organizations working together to harness the power of the creative community to imagine the future city and explore ideas that will shape it. The Festival will include a three-day slate of symposia; an innovative StreetFest along the Bowery; and over one hundred independent projects and public events. For more information, visit festivalofideasnyc.com.

Interrogation 04 - Cornell Journal of Architecture 8: RE

22 January 2011 19:32:41 EST

Friday February 18, 2011

Storefront for Art and Architecture presents the re launching of the Cornell Journal of Architecture with issue 8: RE with a series of interrogations in chain between some of issue 8's editors and contributors adressing the now, the new and the next in architecture . Participants include:

Aaron Goldweber
Alex Mergold and Jason Austin (Austin + Mergold)
Andrea Simitch
Caroline O'Donnell
Dagmar Richter
Daniel Marino
David Reinfurt
Irina Chernyakova
John Zissovici
Kent Kleinman
Kyle Jenkins
Lydia Kallipoliti
Mark Morris
Melissa Constantine
Raymond Fort
Spyros Papapetros
Zachary Tyler Newton

About CJA 8: RE

This issue of the Cornell Journal of Architecture is about the now, the new, and the next in architecture, while simultaneously acknowledging that every possible future is intrinsically linked to the existent, to the present and its attendant past. At the heart of issue 8: RE is the understanding that the creative act itself is reiterative; that in rethinking, recombining, reshuffling, recycling, and reimagining aspects of the world around us, we produce work that both belongs to the current moment and establishes new future trajectories. The texts reflect the interconnected strands of technology, history, theory, and intuition that necessarily reinforce each other in architectural education and practice today: issues of reuse and recycling; of feedback loops and regression; of dialogue, criticism, and correspondence; and of the role that changing technologies have in restructuring the way we think, see, and remember.

The event will be moderated by Caroline O'Donell, editor of CJA 8.

Installation Project Leader: Courtney Song

Cover: Soft
Illustrations: Color
Size: 20 x 23 cm
Publication Date: 2011
Page Number: 192
Published by: Cornell AAP Publications
Language / ISBN: English [978-0-9785061-4-8]
Price: USA 20.00 $

Copies will be available for purchase during the event

________________________________________________________________

Interrogation 03 - Brandscapes

22 January 2011 19:32:41 EST

Friday February 11, 2011

Storefront invites you to the book launch of the second edition of Brandscapes : Architecture in the Experience Economy [MIT 2010] with an inquisitive dialogue between the author, Anna Klingmann and Felix Burrichter about the state of branding in architecture. It will further the timeline of Klingmann's book, discussing the way the economical burst and the recent economic recession has affected architecture in theory and in practice.

About the book:
In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes, and at buildings not as objects but as advertisements and destinations. In the experience economy, experience itself has become the product: we're no longer consuming objects but sensations, even lifestyles. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do.

Klingmann argues that architecture can use the concepts and methods of branding-not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation. Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village. Klingmann looks at different kinds of brandscaping today, from Disneyland, Las Vegas, and Times Square-prototypes and case studies in branding-to Prada's superstar-architect-designed shopping epicenters and the banalities of Niketown.

But beyond outlining the status quo, Klingmann also alerts us to the dangers of brandscapes. By favoring the creation of signature buildings over more comprehensive urban interventions and by severing their identity from the complexity of the social fabric, Klingmann argues, today's brandscapes have, in many cases, resulted in a culture of the copy. As experiences become more and more commodified, and the global landscape progressively more homogenized, it falls to architects to infuse an ever more aseptic landscape with meaningful transformations.

How can architects use branding as a means to differentiate places from the inside out-and not, as current development practices seem to dictate, from the outside in? When architecture brings together ecology, economics, and social well-being to help people and places regain self-sufficiency, writes Klingmann, it can be a catalyst for cultural and economic transformation.

About the author:
Anna Klingmann, an architect and critic, is the founder and principal of KL!NGMANN, an agency for architecture and brand building in New York. Her work has been published in AD Magazine, Daidalos, Architectural Record, Architecture d'Aujourd'hui, and other periodicals.

About the Interrogator:
Felix Burrichter is the Editor of Pin-Up Magazine, a biannual magazine for architectural entertainment.

Publisher: MIT Publishers
Language: English
Year: October 2010Second edition / 2010
Pages: 7 x 9, 378 pp.,
Illustrations: 100 illus.
$19.95
ISBN-10:0-262-51503-2
ISBN-13:978-0-262-51503-0

Copies will be available for purchase during the event and Klingmann will hold a book signing.

With the support of Architizer and MIT press.

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Manifesto 02 - Infrastructural Opportunism

13 January 2011 17:58:52 EST

Friday January 28, 2011

MANIFESTO SERIES 02
INFRASTRUCTURAL OPPORTUNISM
PAMPHLET ARCHITECTURE 30 +

Storefront for Art and Architecture presents Manifesto Series 02: Infrastructural Opportunism showcasing 100 points [10 speakers] towards a new methodology of action for the 21st century. The event will feature:

MIMI ZEIGER on manifestos

INTERBORO on exclusion

DIANA BALMORI on realignments

JASON VIGNERI-BEANE on stripping down

LYDIA KALLIPOLITI on remedies

ANDREW BLUM on tubes

JOYCE HWANG on interventions

MAMMOTH on expanding fields

JANETTE KIM on highjacking

INFRANET LAB on contingency

While contemporary politics is navigating towards a better understanding of the geopolitical consequences of an increasingly globalized territory through a publicly acknowledged Infrastructural Investment, architects, simultaneously, have shifted their attention from the object to the territory. Coupling: Infrastructural Opportunism , the last issue of Pamphlet Architecture, is a collection of projects, strategies and methodologies that show us how to learn to see our build environment anew and find new opportunities for action. This event will bring together a series of this issue's contributors and other architects and writers to deliver a series of fresh thoughts towards an Infrastructural Opportunism.

Presented by INFRANET LAB + LATERAL OFFICE

About the Manifesto Series: The Manifesto Series is part of Storefront's programming for the development and exposure of fresh and new ideas in a short, precise and concise manner. The events have the aim to reinvigorate and reinvent the manifesto format as a way of exchanging ideas between architectural discourses and social and political spaces of action.

Paella Series 02 - Spaces that teach - Spaces that learn

18 January 2011 15:11:43 EST

Sunday January 23, 2011

-POSTPONED-

Storefront is pleased to celebrate the second edition of the PAELLA SERIES discussing "spaces that learn / spaces that teach" through a banquet discussion between 17 invited guests.

Years away from the phenomenological and behavioral fears attached to singular
readings of direct relationships between architecture and the subject, "spaces that
learn / spaces that teach" wants to pick up the discussion about how the
architectural environment influences the subject and try to understand the
different positions and tools available today from multiple points of view and
realms of practice.

Wendy Woon

Mohammed Sharif

David van der Leer

Laura Kurgan

Nader Voussoughian

Vincent Appel

Dan Michaelson

James Slade

Hayes Slade

Paula Hayes

Preeti Sriratana

Karen Wong

Susan Sellers

Felicity Scott

Iwan Baan

Steven Holl

The event will be moderated by Florian Idenburg + Jing Liu, SO-IL.

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

This event is possible thanks to the generous support of Despaña .

Despaña / 408 Broome Street /New York / www.despananyc.com

CABARET 02 - Monsterpieces Launch

13 January 2011 13:54:33 EST

Friday January 21, 2011

Storefront invites you to the book launch of Monsterpieces [ORO 2010] with a Cabaret of Dreams projected into the architectures of the 2000s.

The event will introduce and invite you to perform a new mode of architectural practice: the dreaming of history through a series of imaginary retro-perspectives and alternative histories of the architecture of the last ten years.

The event will be open to the dreams and contributions of the public and will have special contributions from:

Emily Abruzzo
Gerald Bodziak
Aude-Line Duliere
Eva Franch
Alicia Imperiale
Michael Kubo
Jason Long
Spyros Papapetros
Clara Wong
Tamar Zinguer

About the book:

Monsterpieces presents a collection of kids' bestiaries as a critique of Monster Contemporary Architecture. It is a reinterpretation of contemporary iconic forms and the contemplation of the future states of these masterpieces, or more fittingly, Monsterpieces. In this book, two Harvard architecture graduates challenge their minds un-learning architecture history. They speculate on the future state of post-occupancy of contemporary architectural icons, creating a retrospective of future archeological studies. A response and critique of iconic perFORMance - the current architectural trend in competing for attention - this fiction tells the story of building forms that do follow function. In this fabular manifesto, each eccentric form finds its justification in a speculative function, with surreal and dystopian connotations.

These zoomorphic graphic explorations show not only what the future forms of the buildings will be, but also possible re-appropriation of program by their users. By projecting ecological reforms that reshape the anatomy of the buildings, these speculations glorify the absurdity of architectural forms in the 2000s.

Included in this book are essays by Antoine Picon, Monica Ponce de Leon, Timothy Hyde, Jonathan D Solomon, and Spyros Papapetros.

About the authors:
Aude-Line Duliere and Clara Wong are rebellious daughters of the Koolhaasian 90s. They hold Master of Architecture degrees from Harvard Graduate School of Design, and together are a model of active global collaboration. Aude-Line Duliere is an architect and movie production designer assistant in the U.S. and across Europe, with a Bachelor of Architecture degree cum laude from the Institut Superieur d'Architecture La Cambre and a Master's degree from Sint-Lucas Architectuur Brussels. Her academic work builds on the dual nature of her experience and explores the crossroads between architecture and cinema.

Clara Wong is a practicing architect, artist, and part-time assistant professor at the University of Hong Kong, with academic activities spanning the U.S. and Hong Kong. She received her Bachelor's degree summa cum laude from Princeton University School of Architecture, and graduated with accolades from the Princeton University Program in Visual Arts, focusing on Drawing and Painting.

Publisher: ORO editions
Language: English
Year: 2010
Pages: 100
Illustrations: Essays and fully illustrated stories
Color/duotone/black and white: Duotone 8.5" x 6" Hardcover
19.95 USD

ISBN 978-0-9819857-3-2

Copies available for purchase during the event

This event is possible thanks to the generous support of ORO publishers.

About The Cabaret Series: The Cabaret Series is part of Storefront's programming for the development of modes of expression that engage with contemporary discourses, the audience and the social, political and physical space of the event in a playful, sexy and humorous manner. The events have the aim to produce new modes of communication between speakers, performers and spectators through humor, provocation, seduction and immediacy.

Instant Architecture

8 December 2010 15:45:36 EST

Thursday December 16, 2010

Storefront for Art and Architecture, in collaboration with Control Group , presents the first Instant Architecture Manifesto Marathon. The event-performance will take place Thursday, December 16th from 7 to 10pm. It will consist of a series of real time drawing performances on the facades of the buildings surrounding Storefront.

The performers, explosive individuals from New York offices and Schools of Architecture, will react, create and respond to prompted challenges. Each participant will have a computer connected to a projector and a 10 minute time span to deploy their imagination and abilities on the city.

The event will feature three high-performance projectors and three Apple computers operating the last version of AutoCad for Mac, all surrounded by a festive atmosphere of music and drinks.

Participants:

7.10 SPEED

[LOT – EK] Gia Wolff / Ada Tolla

[Hayley Eber+Frank Gesualdi] EFGH

[Volido] Max Sanjulian

7.20 PINK

[Sellegr.com] Richie Gelles

[Snarchitecture] Daniel Arsham

7.30 DEMOCRACY

[Gensler] Peter Wang+ Markus Hering

[Gensler] +Sohee Moon

[Gensler] +Jonas Gabbai

7.40 WAR

[Openshop] Adam Hayes

[Openshop] Mark Kroeckel

[Openshop] Dave Maple

7.50 PLEASURE

[PLE]Pablo Lorenzo Eiroa

[Acconci Studio] Bradley Rothenberg+Francis Bitonti

[Cooper Union]Jan Voitehovich

8.00 MARXISM

[Leeser Architecture] Henry Grosman

[Leeser Architecture] Hiroe Fujimoto

[Leeser Architecture] Lindsay Harkema+Zach Goldstein

8.10 DRUGS

[HAT] Seth Harrison+Ariane Lourie Harrison + Jacob Dugopolski

[HAT] +Matt Zych+Catherine Miller

[HAT] +Chat Travieso+ James mcGinn

8.20 MOSQUES

[Columbia University] Pablo Ros

[multiplicities] Daniel Holguin+Victoria Simes

[Terreform One+Terrefuge] Mitch+ Maria Aiolova

8.30 SEX

[Fake Industries] Urtzi Grau

[Archi-tectonic] Gabriela Valentina Bruno

[JJ] Jeremiah Joseph

8.40 BLINDNESS

[Rogers Marvel Architects] Yavuz Akcora/

[Rogers Marvel Architects] Tim Fryatt/

Rogers Marvel Architects] Shane Neufeld

8.50 SENT

[fragmentalmuseum]Guy Reziciner

[Cooper Union]Jeremy Jacint

[NOARCH] Lydia Kallipolity+James Lowder

9.00 BLANK

[Tschumi Architects]Jerome Haferd

[Israel Berger, AIA] Benson Gillespie

[Rockwell Group] Hristian Petrov

9.10 MORE

Total Housing 01: Apartments

3 December 2010 12:09:52 EST

Wednesday December 15, 2010 – Saturday January 22, 2011

Opening Reception: Tuesday, December 14, 7pm

Storefront is pleased to announce Total Housing 01: Apartments, an exhibition of the results of the first in a succession of architecture competitions circling around the book Total Housing . Organized with Architizer.com and Actar Publishers, this first iteration concentrates on the typologies of apartments. The exhibition will showcase the five winning entries, which were chosen from nearly 400 submissions, along with selected commentary from the jury. Input from the public will be included and encouraged as a component of the exhibition. A selection of projects will be on display and the exhibition will be accompanied by a newsprint publication.

About the Total Housing Competitions
Actar publishers, Architizer.com, and Storefront for Art and Architecture are launching Total Housing , a series of competitions to create today's definitive source for residential designs that go beyond standardized and canonical models of inhabitation.

Total Housing 01: Apartments is the first in the series of Total Housing Competitions. The city is resurgent after years of suburban supremacy, but new technologies and socio-economic shifts have made traditional models for urban housing obsolete. Architects and designers are at the forefront of creating physical spaces that react to these new urban conditions, and we want to see them. Total Housing 01: Apartments looks for residential projects that address the incongruity between outmoded ideas of domestic space and contemporary urban lifestyles. The exhibition explores apartments that demonstrate innovation through material applications, programmatic arrangements, technological implementations, or radical conceptual propositions.

Sponsors:

This exhibition is made possible with the generous support of NRI, F.J. Sciame Construction Company, Inc. and Miele, Inc.

TOTAL ENTHUSIASM 01 - CLIP/STAMP/FOLD

1 December 2010 22:43:36 EST

Saturday December 11, 2010

Saturday, December 11th, 6pm - 8pm

Storefront presents the first event of the TOTAL ENTHUSIASM series with the launch of CLIP/STAMP/FOLD: The Radical Architecture of Little Magazines 196X – 197X [Actar 2010], 672 dynamic pages edited by Beatriz Colomina and Craig Buckley and as image editor, Urtzi Grau.

During the event, a group of contributors to the book and magazine makers will toast some of the ideas and provocations that the exploding book contains.

Participants will include Peter Eisenman, Anthony Vidler, Bernard Tschumi, Steven Holl, Cynthia Davidson, Mario Gandelsonas, Alison Sky, Suzanne Stephens, William Menking, Albert Ferré, Craig Buckley, Urtzi Grau, Beatriz Colomina, and more.

About the book: An explosion of little architectural magazines in the 1960s and 1970s instigated a radical transformation in architectural culture, as the magazines acted as a site of innovation and debate. Clip/Stamp/Fold takes stock of seventy little magazines from this period that were published in over a dozen cities. The book brings together a remarkable range of documents and original research which the project has produced during its continuous travels over the last four years starting with the memorable exhibition at the Storefront for Art and Architecture in November 2006.

The book features transcripts from the “Small Talks” events at Storefront in which editors and designers were invited to discuss their magazines; a stocktaking of over 100 significant issues that tracks the changing density and progression of the little magazine phenomenon; transcripts of more than forty interviews with magazine editors and designers from all over the world; a selection of magazine facsimiles that have been fully reproduced at three-quarter scale; and a fold out poster, inspired by the exhibition’s printed wallpaper, that offers a mosaic image of more than 1,200 covers examined during the research. Just as each iteration of the exhibition is an open-ended collaboration with the visitors and with a different group of editors, institutions, and collectors who provide a different set of original magazines in each city, this catalogue documents a work in progress, hoping to stimulate further discussion and research.

The book features original contributions by a galaxy of remarkable magazine makers: Takefumi Aida and Minoru Takeyama, Ernesto Alva, Jean Aubert, Isabelle Auricoste, Stephen Bann, Stefano Boeri, Oriol Bohigas, Yve-Alain Bois, Andrea Branzi, Pierre Clément, Peter Cook, Dennis Crompton, Peter Crump, Pietro Derossi, Peter Eisenman, Günther Feuerstein, Hal Foster, Kenneth Frampton, Mildred Friedman, Mario Gandelsonas, Edith Girard, Olivier Girard, Jorge Gleason Peart, Nancy Goldring, Steven Holl, Hans Hollein, Jean-Paul Jungmann, Rosalind Krauss, Ugo La Pietra, Miguel Lawner, Lisa Licitra Ponti, Chip Lord and Curtis Schreier, Jacques Lucan, Alessandro Mendini, William Menking, Robin Middleton, Hans Mol, Rafael Moneo, Peter Murray, Patrice Noviant, John Outram, Grahame Shane, Dennis Sharp, Alison Sky, Manuel de Solà-Morales, Philip Steadman, Suzanne Stevens, Bernard Tschumi, Roel van Duyn, Anthony Vidler, Stanislaus von Moos, Michael Webb, David Wild, James Wines, and Tom Woolley.

About the Editors:

Beatriz Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University.

Craig Buckley teaches at the Graduate School of Architecture, Planning, and Preservation, Columbia University, where he is also the Director of Print Publications.

Clip/Stamp/Fold Research Team: Craig Buckley, Leonardo Diaz-Borioli, Anthony Fontenot, Urtzi Grau, Lisa Hsieh, Alicia Imperiale, Lydia Kallipoliti, Olympia Kazi, Daniel Lopez-Perez, Joaquim Moreno, Irene Sunwoo.

Clip Stamp Fold: The Radical Architecture of Little Magazines 196X – 197X

Edited by Beatriz Colomina, Craig Buckley.

Image editor: Urtzi Grau

Clip/Stamp/Fold is the first in the M+M Books series from the Program in Media and Modernity, Princeton University

English 2010. 672 pp., 350 ills., 150 in color, 200 duotone

19 x 26 cm hardcover

60 copies will be available for purchase at Storefront during the event

55 USD

ISBN 978-84-96954-52-6

----------------------------------------------------------------

The Total Enthusiasm Series is part of Storefront’s programming for the exposure of ideas in a framework of celebration and exuberant camaraderie.

Book Launch & Closing Party

7 September 2010 15:17:08 EST

Tuesday December 7, 2010

Storefront is pleased to invite you to the closing party for the exhibition A Perfect Home: The Bridge Project by Do Ho Suh, and the launch of the StorefrontBooks publication A Contingent Object of Research, edited by the exhibition's curator Yasmeen M. Siddiqui. This book includes a range of deep probing, critical essays about Do Ho Suh's work along with images of the exhibition content.
Felicity D. Scott will make general comments during the presentation.

Contents include:
Foreign Residence, Haunting Home by Felicity D. Scott

Disciplinary Bridges by Philip Beesley

Improbable Bridge by Rachel Armstrong

Conversations on a Bridge by Sandra Antelo-Suarez

The Image of the World: Geographies of a Perfect Home by Rania Ghosn

Published by StorefrontBooks

Edited by: Yasmeen Siddiqui

Design by: Common Name

English

Hardcover

Dimensions: 9 1/4" x 9 1/4"

ISBN: 978-0-9843617-2-4

Sponsors:

This publication has been made possible by major lead support by Yun Jie Chung, and the generous support of The Graham Foundation for Advanced Studies in the Fine Arts, and Lehmann Maupin Gallery.

Limited copies will be available for purchase at the gallery during the event. You can pre-order the book online or at the gallery and buy it together with Storefront Newsprints 1982-2009 for a special price. Take a look at our Online Bookstore for other great Storefront Publications and new low prices.

Pre-orders will start shipping in January 2011.

StreetFest Competition

30 November 2010 21:34:40 EST

Wednesday December 1, 2010

The Competition

The Festival of Ideas for the New City is a major new collaborative initiative between scores of downtown organizations, from large universities to arts groups and community organizations, working together to affect change. The Festival is a first for New York and will demonstrate the power of the creative community to imagine the city of the future. The Festival will serve as a platform for artists, architects, designers, and other thought leaders to exchange ideas, propose solutions, create new problems, and invite the public to participate in improving urban life.

The Festival of Ideas for the New City will take place during the weekend of May 7-8, 2011, and will include panels, roundtables, symposia, and workshops; an innovative outdoor "street fair"; and dozens of projects, performances, and events, opening simultaneously at multiple downtown venues. The Bowery will serve as the spine of the Festival, with Cooper Union and the New Museum acting as anchors and hubs for conversation, discussion, learning, and action.

For the occasion of the first Festival of Ideas for the New City in New York City, Storefront for Art and Architecture jointly with the New Museum and New York City's Department of Transportation (NYCDOT) are launching the StreetFest competition for the design, management, and construction of temporary outdoor spaces that produce new ways for collective gathering and city engagement.

On Saturday, May 7, 2011, one winning entry will occupy designated outdoor spaces along the Bowery and the surrounding streets of the New Museum during the Festival. We envision fabricating a minimum of fifteen structures that will cover approximately 2,000 square feet.

These temporary outdoor structures will accommodate a multiplicity of activities including: vendors, workshop areas, outdoor classrooms, demonstrations, installations, music, and other performances and exhibitions.

The Challenge

Prefabricated tenting structures have proliferated in the last years as the only solution to temporary affordable outdoor shelter. The resulting landscape of street fairs or temporary events throughout cities and neighborhoods has been a spatially, geometrically, chromatically, and materially homogeneous environment that simply enables activities to happen without generating a playful engagement with the city or its citizens.

This competition asks for designs that envision street tents not only as shelters but also as active elements within the collective construction and understanding of the city. StreetFest makes a call to Architects, Artists and Engineers to re-envision the performativity-the material, social, and educational possibilities-of temporary outdoor structures.

The winning entry will have these characteristics:
1. Aspires to reinvent the typical street fair tent
2. Is modular; one unit can become three can become seven, providing scalability and the ability to go from an intimate platform to a larger one
3. Is conscientious of the materials used and their impact on the environment
4. Is easy to produce and install; if time allows, there is opportunity to produce additional structures

The selected project will work closely with the StreetFest Task Force committee and will be commissioned to produce, construct, install, and disassemble the final design.

Site Description and Scope

The competition aims to reinvent a site-less typology with a call for projects able to propose new modes of site engagement without a particular site limit.

During the Festival, and facilitated by street closures TBD [see annex 1], the StreetFest will be roughly located around the New Museum and its surrounding streets. The information provided in the map is for orientation only and is subject to change.

However, it is important to consider the dimension of the streets, sidewalks, fire egress lines, trees, street furniture and lighting, etc.

Schedule

Registration Deadline>>>>>>>>>>>>>>>>>>>January 21, 2010
Deadline to Submit Questions>>>>>>>>>>>> January 24, 2011
Common Answers Publication on Website>>> January 26, 2011
Registration Confirmation E-mails Sent>>>>> January 24, 2011
Competition Submission Deadline>>>>>>>>>February 7-8, 2011
Winner Announcement>>>>>>>>>>>>>>>> >>Mid-February, 2011
Design-Management-Construction period>>> Mid-February-May1st
StreetFest Date>>>>>>>>>>>>>>>>>>>>>>>> May 7, 2010

Design Considerations

The design must provide a covered area of 2,000 square feet. The competition asks for an amount of tents that can range from 10 to 20 units. While traditional tents have a clear modulation in relation to street vendors and other functions, the competition is seeking designs that are able to provide for multiple spatial configurations, from freestanding units to large collective areas.

Program: The formal configurations or typologies to be developed can vary in form and size and should be able to accommodate the following programs as well as propose new functions:

- Exhibitors who are likely to present workshops, classrooms, exhibits, and/or performances
- Eating/talking areas related to parked food trucks
- Vendors who will sell products
- Several performances areas

Requirements: Due to the outdoor nature of the project and its situation in the public realm, submissions must comply with the following requirements:

- Comply with the NYC Building Code for its type of structure and shall be prepared for permit applications
- Allow for a fifteen-foot wide fire egress lane on every street and allow clearance for all existing fire hydrants
- Provide shelter from wind and water
- Incorporate flexible design parts for vertical coverage
- Structures must be self-standing without the need of making modifications on the street or sidewalk
- Accommodate electric wiring, lighting, and other amenities
- A thorough understanding of the materials used in the project and their life cycle need to be an integral part of the project
- Assembly, disassembly (two hours or less each), storage, and transport need to be an integral part of the design
- The design and proposed installation methodology of the Structure shall be subject to an engineering review and certification by the engineer who is part of the winning team

Other considerations: Original ideas on new tent uses are encouraged

Submission Requirements

All submission materials must have a Title and include the Identification Number (provided to Entrants via e-mail between January 23-25, 2011).

No names or identifying information should be placed on any document except on the form inside the identification envelope.

Panels

Two portrait 34 x 44" panels mounted on hard board. These will have the project title and identification number on the top right of the front and must contain the necessary drawings for the execution of the project including but not limited to:

1. Plans, sections and details. Recommended scales: 1"=1'0" , 1/4"=1'-0", 3/32"=1'0"
2. Two visual representations of the project that convey its use.
3. A structural study
4. A regulations compliance form [each project is responsible for demonstrating a total control and awareness of the rules and regulations that affect the proposal]
5. A production and assembly time schedule
6. A detailed execution budget
7. A 300-word description of the project

Book

A bound project documentation book of 5 pages minimum and 30 page maxiumum in portrait format 11 x 17".

The book must contain all the information presented in the panels and plus any additional information necessary to evaluate the project in its full scale and scope. Please include the Title and Identification Number on the cover page.

Identification Envelope

A sealed envelope containing the signed Identification Form and Privacy and Release Statement.

The outside of the envelope should include the Title and Identification Number only.

A cd containing three folders [panels/book/envelope] with digital copies in pdf and jpg format of all documents mentioned above [300 dpi] . All files should be labeled with [identification code_document name_number.file extension], example:

12345_Panel_1.pdf
12345_Panel_2.pdf
12345_Panel_1.jpg
12345_Panel_2.jpg
12345_Book.pdf [all pages in one single file]
12345_Book_page1.jpg [each page should have a jpg file]
12345_Identification Form.pdf

Eligibility

1. Each submitting team must have as a team leader an Architect and at least one Artist or one Engineer.

2. Additional team members from other disciplines are encouraged.

3. The team leader must have graduated or have started an independent practice within the last ten years. At least one of the team members is living or practicing within New York City or its boroughs.

4. There is no limit on the number of Submissions a given organization, team, or individual may submit, but each Submission must be registered separately and be accompanied by a unique Identification Number, separate registration fee payment and each submission must meet every Competition requirement.

5. Eligible person(s) or Firm(s) shall go through detailed guidelines and shall need to agree to abide by the conditions mentioned therein before registration. Upon acceptance and after registering such person(s) or Firm(s) shall qualify to enter the competition.

6. To be eligible, each Submission must strictly read and comply with all the imperatives of the StreetFest as given in the Competition Guidelines. In case any entry is found to be noncompliant, it shall be disqualified from entering the competition. In case any Entrant(s) is found to have provided false information before or after registration, they shall be liable to be disqualified.

7. The Architect must be willing to observe and comply with all laws, rules, regulations, requirements, orders, and directions of any governmental authority that may pertain to the Architect's activities and will require, and will be responsible for such observance and compliance from each agent, employee, contractor, or subcontractor engaged by the Architect in connection with the project.

8. By entering the Competition, any and all entrants, and where applicable, their predecessors, successors, assigns, heirs, officers, directors, attorneys, agents, affiliates, parents, subsidiaries, employees, shareholders, and any other person or entity similarly situated, agree in full to these Terms and Conditions.

9. No Entrant shall receive or be entitled to receive any payment as a result of a submission or for granting the promoters any right here in or associated with the competition except an award pursuant to the rules herein.

10. All registration fees, are non-refundable and nontransferable.

Budget / Prize

The total budget for design, construction, assembly, and disassembly is $20,000.

The total budgeted amount for the project [design, management, permits, production, mounting, and dismounting] is $20,000. Any costs in excess thereof are the sole responsibility of the Architect.

The winner Architect will work with the StreetFest task force committee to realize the design and work with the organizers to obtain all permits and will be responsible for project management with manufacturers/vendors to produce the project.

All other production and fabrication expenses, exceeding $20,000, shall be assumed by the Architect.

Additionally, the selected project will be awarded a design, construction, and managing fee in the amount of $7,500.

Questions

All questions should be e-mailed to StreetFest@storefrontnews.org by January 24, 2011. Relevant questions and answers will be posted on the StreetFest page found on the www.Storefrontnews.org website on January 26, 2011.

Registration

Competitors are required to register their intention to enter. This registration must be received by January 21, 2010 before midnight, by sending the registration form [Annex 3] to StreetFest@storefrontnews.org, which includes a $50 registration fee payable via PayPal. Projects will not be juried without valid registration. After registration, each Entrant will be provided with a registration confirmation and assigned a unique Identification Code in January 24, 2011.

Anonimity

Competitors must not communicate with the jury about the competition in any way until a public announcement of the winners is made.

No partner, associate, or employee of any jury member may participate in the competition.

Selection

The jury is formed by:

Vito Acconci, Principal
Vito Acconci Studio

Cristobal Correa, Associate Principal
Buro Happold Consulting Engineers

Eva Franch i Gilabert, Director
Storefront for Art and Architecture

Tamara Greenfield, Executive Director
Fourth Arts Block

Lisa Phillips, Toby Devan Lewis Director
New Museum

Charles Renfro, Partner
Diller Scofidio + Renfro

Janette Sadik-Kahn, Commissioner
New York City Department of Transportation

The decision of the jury shall be final and binding on all parties, and no disputes shall be entertained.

The jury might declare the competition deserted and reject any and all proposals received in response to this competition.

The jury might waive or modify any irregularities in proposals received or any other aspect of this competition.

Additional Information

The StreetFest Competition is organized by Storefront for Art and Architecture, sponsored by the New Museum, and supported by New York City's Department of Transportation (NYCDOT).

Copyrights regarding the Projects shall remain the property of the Architect.

The actual structure will become the property of the New Museum and will be utilized by Storefront for Art and Architecture and NYCDOT and other institutions for future events and venues.

Submitted materials shall not be released nor exposed in public, press or other media before the announcement of a winning entry or the cancellation of the competition.

The Architect agrees to permit competition sponsors to use the submitted materials for public posting, publication, or exhibition or for archival, promotional, educational, and such other purposes as such institutions shall determine.

The Jury and/or Storefront for Art and Architecture reserve the right to cancel or suspend the Competition for any reason, including those causes beyond the organizer's control that could corrupt the administration, security, or proper participation in the Competition.

The organization assumes no responsibility for postal, e-mail, electronic, technical, or natural conditions that prevent the receipt or judging of a competition submission or any part thereof.

The organization reserves the right to amend these Guidelines at any time without notice.

No information contained in submissions shall be deemed confidential and such information may be shared with other governmental entities. Therefore, please do not submit any information that may be deemed proprietary in nature.

Competition sponsors shall not be liable for any costs incurred by any respondent in the preparation, submittal, presentation, or revision of its submission. Competition sponsors shall not be obligated to pay and shall not pay any costs in connection with the preparation of such submissions.

Deadline

Submissions must be delivered to Storefront for Art and Architecture on February 7 or February 8, 2011 between 11 a.m. and 6 p.m. EST.

Storefront for Art and Architecture
97 Kenmare Street
New York, NY, 10012

Notification

The winning entry will be directly contacted in mid-February, 2011, followed by a public announcement.

PRODUCTIVE DISAGREEMENT 01 - Atlas of the Conflict

9 November 2010 20:29:45 EST

Tuesday November 16, 2010

PRODUCTIVE DISAGREEMENT 01 PRESENTS:

ATLAS OF THE CONFLICT by MALKIT SHOSHAN

Storefront for Art and Architecture is pleased to invite you to our first edition of the Productive Disagreement Series on Tuesday, Nov 16th, 7pm with the book launch of “ATLAS OF THE CONFLICT” (010 Publlishers) by Malkit Shoshan.

The first act of the evening will start with a book presentation by the Author followed by commentaries by Andrew Herscher and Jane Harrison. The second act will consist on a public discussion with representatives of Israeli and Palestinian lobby groups, Adam Horowitz and Ethan Heitner moderated by Henk Ovink and Eva Franch.

About the book: The Atlas of the Conflict (010 Publishers, 2010) maps the processes and mechanisms behind the shaping of Israel-Palestine over the past 100 years. Over 500 maps and diagrams provide a detailed territorial analysis of the Israeli-Palestinian conflict, explored through themes such as borders, settlements, land ownership, archaeological and cultural heritage sites, control of natural resources, landscaping, wars and treaties. A lexicon, drawing on many different information sources, provides a commentary on the conflict from various perspectives. As a whole, the book offers insights not only into the specific situation of Israel-Palestine, but also into the phenomenon of spatial planning used as a political instrument.

About the Author: Malkit Shoshan , (Haifa, 1976) is an Israeli architect. Shoshan is the founder and director of the Amsterdam based architectural think tank FAST (the Foundation for Achieving Seamless Territory). Their research explores and highlights the relations between architecture, planning, politics and activism in Israel/Palestine, Georgia, Afghanistan, Iraq, Kosovo, and the Netherlands. Shoshan is currently developing her Phd dissertation at Tu Delft. Her work has been published and exhibited internationally in magazines such as Volume or Abitare or venues such as the Venice Architecture Biennale, the Venice Art Biennale or the Rotterdam Biennale.

About the participants:

Andrew Herscher, University of Michigan, author of Violence Taking Place.

Jane Harisson, Princeton University, executive director of Atopia project.

Henk Ovink, director of National Spatial Planning, the Netherlands.

Ethan Heitner is a cartoonist and student at School of Visual Arts, and has been working with Adalah-NY: The Campaign for the Boycott of Israel since 2007.

Adam Horowitz is a writer and co-editor of Mondoweiss, a news website devoted to covering American foreign policy in the Middle East, chiefly from a progressive Jewish perspective. He holds a Master's degree in Near Eastern Studies from New York University, and is a co-editor of the upcoming book The Goldstone Report: The Legacy of the Landmark Investigation of the Gaza Conflict (Nation Books).

Atlas of the Conflict

Author: Malkit Shoshan

Designed by: Joost Grootens

English

480 pp

195 x 115 mm / hardcover

ISBN 978 90 6450 688 8

price 50USD

This event is possible thanks to the generous support by the Mondriaan Foundation.

About Storefront Series:

The Productive Disagreements Series is part of Storefront’s programming for the development of conversations between ideologically opposed institutions, artist or architects reflecting on contemporary issues around the globe. The events avoid compromise and agreement as a methodology of dialogical exchange, promoting confrontation and dialogue in order to generate a responsive audience and increase participation obtaining a multiplicity of viewpoints and strategies.

INTERROGATION 02 - Event-Cities 4

3 November 2010 12:43:04 EST

Friday November 12, 2010

Storefront is pleased to invite you to our second edition of the INTERROGATION SERIES presenting the book Event-Cities 4 on Friday November 12, 7pm, through an inquisitive dialogue between Bernard Tschumi and Peter Cook.

About the book:

Event-Cities 4 (MIT Press, 2010) is the latest in the Event-Cities series from Bernard Tschumi, documenting recent built and theoretical projects in the context of his evolving views on architecture, urbanism, and design. In this collection, Tschumi introduces the "Concept-Form": a concept generating a form, or a form generating a concept, so that one reinforces the other. The concept may be programmatic, technological, or social. The form may be singular or multiple, regular or irregular. Concept-forms act as organizing devices or common denominators for the multiple dimensions of programs and their evolution over time, and drive the projects featured in this book.

Highlights of the more than twenty recent projects in the book include a media zone in Abu Dhabi, a museum and visitors' center in Alésia, France, a pedestrian bridge in La-Roche-sur-Yon, France, and a master plan for a sprawling new city in the Dominican Republic.

About the author:
Bernard Tschumi is Principal of Bernard Tschumi Architects, New York and Paris. A theorist, author, educator, and architect, he is known for books including The Manhattan Transcripts and Architecture and Disjunction and built projects including the Parc de la Villette, the Acropolis Museum, Le Fresnoy Center for the Contemporary Arts, and the Vacheron-Constantin Corporate Headquarters, among others. He served as Dean of the Graduate School of Architecture, Planning and Preservation at Columbia University in New York from 1988 to 2003.

About the interrogator:
Peter Cook is Professor of Architecture at the Royal Academy of Arts in London and Emeritus Professor of both University College London and the Stadel Academy of Art in Frankfurt. He was a founder of Archigram, the apocryphal British group awarded the Royal Gold Medal for Architecture in 2003, and is the architect of the Kunsthaus in Graz (with Colin Fournier) and apartment buildings in Berlin and Madrid. His drawings are in the collections of The Museum of Modern Art in New York, the Centre Pompidou in Paris, the Deutsches Architekturmuseum in Frankfurt, FRAC in Orleans, the V&A Museum in London, and the Japan Architect collection in Tokyo, as well as many private collections. In 2007 Cook received knighthood for his services to education and architecture. He is currently a consultant to HOK on the Olympic Stadium for 2012 and, with his own CRAB studio, on buildings in Spain and Italy.

Event Cities 4
6 1/2 x 9, 640 pp., 200 color illus.
350 b&w illus.
ISBN-10: 0-262-51241-6
ISBN-13: 978-0-262-51241-1
$35.00(PAPER)

___________________________________________________________________

About Storefront Series:

The Interrogation Series is part of Storefront's programming for the generation of dialog between "institutionalized" spheres of inquiry and emerging discourses. The events aim to produce multiple and new methodologies of exploration and to ultimately extract a confession or obtain information from certain "suspects" in relation to a particular "crime" (book, building, photograph, thought, etc.) through a series of arguments, questions and-hopefully-answers.

PAELLA 01 - Architecture on Display

6 November 2010 23:31:29 EST

Sunday November 7, 2010

Storefront is pleased to celebrate the first edition of the PAELLA SERIES discussing Architecture on Display [AA Publications 2010] through a banquet discussion between 15 invited guests:

Zak Kyes
Srdjan Jovanovic Weiss
Shohei Shigematsu
Prem Krishnamurthy
Nader Vossoughian 
Michael Young
Martin Beck
Mark Wigley
Lydia Kallipoliti
Ken Saylor
Florian Idenburg
Charles Renfro
Beatriz Colomina

Brett Steele [textual presence]

Ariane Lourie Harrison
Andres Lepick
Andre Singer

The event was introduced and cooked by Eva Franch and moderated by Aaron Levy and William Menking.

About the book:

Architecture on Display
On the History of the Venice Biennale of Architecture
Aaron Levy and William Menking

Architecture on Display is a research initiative by Aaron Levy and William Menking that consists of interviews with each of the living directors of the Venice Biennale for Architecture. Architecture on Display is a research initiative by Aaron Levy and William Menking that consists of interviews with each of the living directors of the Venice Biennale for Architecture. The origins of the architecture biennale are generally traced to the 1970s, when it emerged from under the umbrella of the larger Venice Biennale, which was itself established in 1895. Since then it has become one of the most prestigious forums for architectural discourse today, and has served as a model for a range of international exhibitions. The book explores the biennale through the directors who established its particular discourse, including Vittorio Gregotti, Paolo Portoghesi, Francesco Dal Co, Kurt W Forster, Massimiliano Fuksas, Hans Hollein, Richard Burdett, Deyan Sudjic, Aaron Betsky and Kazuyo Sejima, as well as the current president of the Venice Biennale, Paolo Barrata. These conversations do not seek to recapitulate the exhibitions themselves but rather explore the questions that these exhibitions raise, with the hope of offering a model for future curatorial endeavours.

208 pages,
178 x 110 mm, Paperback, 2010
ISBN 978-1-902902-96-8
£7.50

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The Paella Series is part of Storefront's programming for the instigation and development of conversations and thoughts in a state of floating attention. The events have the aim to introduce intense public conversations and debate into spaces of quotidian action, in this case cooking and eating.

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With the support of:

Slought Foundation

and

Despaña / 408 Broome Street /New York / www.despananyc.com

Total Housing 01: Apartments

1 November 2010 16:59:30 EST

Monday November 1, 2010

Announcing the Competition Launch of Total Housing 01 : Apartments
Presented by Actar Publishers, Architizer.com and Storefront for Art and Architecture.

What is Total Housing?
Actar publishers, Architizer.com, and Storefront for Art & Architecture are launching Total Housing, a series of competitions to create today's definitive source for residential design that goes beyond standardized and canonical models of inhabitation.

Total Housing:

Apartments is the first in the series of Total Housing Competitions.
The city is resurgent after years of suburban supremacy, but new technologies and socio-economic shifts have made traditional models for urban housing obsolete. Architects and designers are at the forefront of creating physical spaces that react to these new urban conditions, and we want to see them. Total Housing: Apartments is looking for residential projects that address the incongruity between outmoded ideas of domestic space and contemporary urban lifestyles. We are looking for apartments that demonstrate innovation through material applications, programmatic arrangements, technological implementations, or radical conceptual propositions.

Eligibility
The work can be built or proposed, but it must have been conceived or completed within the last 3 years. The work must be submitted by the author or authors of the project [firms, architects, designers, students, teams, anyone].

Categories
Apartment is defined as: a domestic unit for inhabitation within a building occupied by more than one household. Entrants can enter as many projects as they wish, but each project must be classified as one of the following apartment units:

1 - one bed
2 - two bed
3 - three bed
4 - three + bed
5 - none of the above

Submission Requirements
Submit your projects on Architizer.com. The project profile must include the following:
- The lead design firm or project leader
- Team [all team members must be credited]
- Project Title
- A brief text [300 words maximum] that describes the project and clearly defines the questions your project addresses and the innovative tools of implementation your project proposes.
- Keywords: To guide the jury's evaluation of your project, please include one or several keywords that specify your project's space of inquiry (suggestions: urban policy, material, ecological, social, ...)
- A minimum of five documents, including at least:
- One [projective document] (1) a diagram, drawing or image that explains the core idea in your project
- Two [generative documents] (2) plans, sections or details
- Two [atmospheric documents] (2) images, renderings or photographs
-The tag THA2010"must be added as a tag to the project profile, without this tag the project will not be eligible. Note the category of your entry by adding it to your tag after an underscore. For instance, a one bed apartment will be tagged THA2010_1. Whereas a three+ bed apartment will be tagged: THA2010_3.

Submission Fee
Submission is free

Deadline
11.59pm EST
November 28th 2010

Jury
The jury will include:
- Elisa Ours (VP of Planning and Design, Corcoran Sunshine Marketing Group)
- Joel Sanders (founder and principal, Joel Sanders Architect)
- Calvin Tsao (principal, Tsao & McKown Architects)
- Marc Kushner, AIA (cofounder of Architizer.com)
- Wayne Congar (Editor, Actar NY)
- Albert Ferre (Managing Editor, Actar
- Eva Franch (Director, Storefront for Art and Architecture)

Selection
The jury will deliver the results on December 6th in New York City. There will be 5 winners, one from each category, along with a number of honorable mentions. The winning designs will be featured on Architizer's front page, a selection of the projects will be asked to be part of the Total Housing 01: Apartments performance-exhibition at Storefront for Art and Architecture in NYC, and asked to contribute their work to the upcoming publication of Total Housing in print, by Actar Publishers and online by Architizer.

What's next?
Stay tuned throughout 2011 for other housing typology calls.

Questions?
Contact info@architizer.com or info@storefrontnews.org

MANIFESTO 01 - Emerging Latin Territories

19 October 2010 15:55:00 EST

Wednesday October 27, 2010

Storefront for Art and Architecture, in collaboration with Instituto Cervantes, presents the inaugural event of our new Manifesto Series with the FreshLatino seminar Emerging Latin Territories.

The presentations and conversations intend to be a declaration of strategies and visions to speculate, understand or project a new approach towards the construction of our built environment from a Latin-American perspective within a global world. The event will take place in two acts and will be moderated by curator Ariadna Cantis in collaboration with Eva Franch. In order to frame and spark the discussion, the two sessions-the first at the Instituto Cervantes and the second at Storefront-will provide the following lenses for exploration:

Monday October 25th, Instituto Cervantes, 6pm
1/ Urban Territories & Material and Sensorial Qualities
Leonardo Diaz Borrioli
Pablo Lorenzo Eiroa
Cristina Goberna
Javier Iturralde
Andres Jaque
Joaquim Moreno

Wednesday October 27th, Storefront for Art and Architecture, 7pm
2/ Geopolitical Territories & Environmental Sensibilities
Francisca Benitez
Carlos Brillembourg
Jose Castillo
Urtzi Grau
Andres Jaque
Ximena Labra
...and more

Curated by Ariadna Cantis, curator of the FreshLatino exhibition at the Instituto Cervantes, in collaboration with Eva Franch.

About FreshLatino: «Freshlatino» is a selection of fourteen Ibero-American architectural offices that use the medium of video-installation to expose their ideas, some of them materialized as small constructions, others operating within the world of contemporary art, performance or architecture. The works operate within the limits of various disciplines proposing a new way to approach the complexity of contemporary cities through different interventions in the public space. Freshlatino is a documentation platform that constructs links on both sides of the Atlantic Ocean, redrawing a new cultural geography. Freshlatino is a Project by Ariadna Cantis

About the Manifesto Series: The Manifesto Series is part of Storefront's programming for the development and exposure of fresh and new ideas in a precise and concise manner. The events aim to reinvigorate and reinvent the manifesto format as a way of exchanging ideas.

Membership Dinner 2010

1 December 2010 14:13:18 EST

Tuesday October 26, 2010 – Wednesday October 27, 2010

Inaugurated in 2009, the annual Storefront Membership Dinner is a unique opportunity for Storefront's benefactors and donors to join us for an intimate dinner in the iconic Storefront Gallery. The dinner, a celebratory kick-off to our annual Membership Drive, is catered by Vendy Award Winning food trucks and local restaurants. For more information on Membership Benefits and to join our community of supporters, please visit our Membership page.

The 2010 Storefront Membership Dinner was generously sponsored by NRI.

FORUM 02 - Disciplinary Bridges

1 October 2010 14:48:09 EST

Tuesday October 12, 2010

Sandra Antelo Suarez, Rachel Armstrong and Philip Beesley on "Do-Ho Suh's A Perfect Home: The Bridge Project" moderated by Yasmeen Sidiqui and Eva Franch.

October 12, 2010, 7 - 9 PM

Storefront for Art and Architecture presents a discussion forum about disciplinary specificity and cross-fertilization of thoughts and practices, in this case specifically taking the current exhibition in display, Do Ho Suh's The Bridge Project, as a point of reference. The work, a contingent object of research, has come into being through a complex set of relationships among different fields of knowledge.

The forum will consist of three interlocutors who embody different notions of interdisciplinarity or trans-disciplinarity: science fiction writer/scientist Rachel Armstrong, architect/set designer Philip Beesley and critic/curator Sandra Antelo-Suarez.

Do Ho Suh will be in the room but not visibly present, intervening only if circumstances, discussion or questions awaken his desire for participation.

About the interlocutors:

SANDRA ANTELO-SUAREZ

Sandra Antelo-Suarez is a curator and editor based in NY. She is the founder Director of TRANS>, a non-profit organization that provides unique platforms for artists to develop works and collaborations through curatorial and editorial projects. Among her curatorial projects are Don't Trust Anyone Over Thirty: Entertainment by Dan Graham, Tony Oursler, Rodney Graham and Japanther (2004); A Smile Without a Cat (Celebration of Annlee's Vanishing) a fireworks project by Pierre Huyghe and Philippe Parreno (2003), En el Cielo, an exhibition over the skies of Venice (2001). Currently she is working on the 10th anniversary exhibition of the Jumex Collection, Mexico City.

RACHEL ARMSTRONG

Dr Armstrong is an interdisciplinary researcher who has trained as a medical doctor and tutors fifth year MArch students in the modification of biological systems for their technical dissertations at The Bartlett School of Architecture, UCL. She has also collaborated with international artists such as Helen Chadwick, Orlan and Stelarc who engaged with the technologies of extreme body modification and the impact of extreme environments on biological systems in projects that exemplified her broader interest in the way in which the environment can directly shape organisms through biotechnological interventions. She has explored some of the possibilities in her SF novel 'The Gray's Anatomy' and also in guest editing Wiley's 'SF Aesthetics' and 'Space Architecture'. Her work currently focuses on the development of Metabolic Materials for Living Buildings where she works in collaboration with international architects and scientists.

PHILIP BEESLEY

Architect and stage designer, Philip Beesley produces installations using leading-edge technology. He is also a professor at the University of Waterloo School of Architecture and co-director of the University's Integrated Centre for Visualization, Design and Manufacturing (ICVDM). It is in Toronto that he founded his own firm and works today, designing residential and public buildings and conducting design projects for exhibitions and the performing arts. He has won a number of awards for his work, including the Ontario Lieutenant Governor's Medal for Architecture, the Prix de Rome for Architecture, and, in 2005, the Canadian Architect Award of Excellence for the graphic design of the French River Visitor Centre. In addition to his architectural work, Beesley has created numerous installations that draw on his research into architectural textiles and more specifically interlinked mesh structures, particularly the Canadian Pavilion at the Venice Architectural Biennale 2010.

Curator:

Yasmeen Siddiqui.

Sponsors:

Major lead support is provided by Yun Jie Chung. The exhibition is also made possible by generous funding from The Graham Foundation for Advanced Studies in the Fine Arts, and Lehmann Maupin Gallery.

Additional support provided by The Maritime Hotel and Control Group

CABARET 01 - The Studio-X NY Guide to Liberating New Forms of Conversation

21 September 2010 13:34:40 EST

Friday October 8, 2010

Storefront for Art and Architecture presents the inaugural event of our new Cabaret Series in a performative and multi-media book launch for The Studio-X NY Guide to Liberating New Forms of Conversation (GSAPP Books, 2010), edited by Gavin Browning.

In this cabaret:

DAVID BENJAMIN will telecommunicate,
GAVIN BROWNING will tell a story,
CRAIG BUCKLEY will surprise,
MTWTF will publish,
MICHELLE FORNABAI will paint,
EVA FRANCH will emcee,
LARISSA HARRIS & DAMON RICH will conspire,
MITCHELL JOACHIM & IOANNA THEOCHAROPOULOU will narrate,
JANETTE KIM will count,

MITCH MCEWEN will rap,
DANIEL PERLIN will make noise,
SARAH WILLIAMS will visualize,
MIMI ZEIGER will formulate,
and MARK WIGLEY will wrap things up.

About the book: Studio-X New York is one node of a global network that includes like-minded event/work spaces in Beijing, Mumbai and Rio de Janeiro. But that wasn't always the case. In the beginning, this lone "pilot" Studio-X-unadvertised and largely invisible to the public, tucked away behind an unmarked door on the 16th floor of a nondescript office building in Lower Manhattan-needed an infrastructure, identity, audience, and a set of tools to make it work. These are the instructions.

Featuring:
Moshe Adler, Bathroom Keys, Barry Bergdoll, David Cay Johnston, Chairs, Charette, Jean-Louis Cohen, Design Glut, Yevgeniy Fiks, File Cabinets, Karen Finley, Lars Fischer, Laura Flanders, Folding Wall, Michelle Fornabai, Free Speech Zone, Cristina Goberna, Group Therapy, Interboro, Mitchell Joachim, Olympia Kazi, Vitaly Komar, Reinhold Martin, Michael Mandiberg, Jürgen Mayer H., Mitch McEwen, Jonas Mekas, New York City Department of Parks and Recreation, Neighborhood Watch, Network Architecture Lab, Jorge Otero-Pailos, Daniel Perlin, Joshua Prince-Ramus, Rapid Response, Reading Group, David Reinfurt, Damon Rich, Sukhdev Sandhu, Raja Shehadeh, Mark Shepard, Simulcast, Brooke Singer, Sink, Spatial Information Design Lab, Situ Studio, Tables, Astra Taylor, Ioanna Theocharopoulou, Suzanne Tick, Track Lighting, Town Hall Meeting, Urban Landscape Lab, Warm Engine, Cathy Wilkerson, Mabel Wilson, Mimi Zeiger, and more.

The Studio-X NY Guide to Liberating New Forms of Conversation
Edited by Gavin Browning
Afterword by Mark Wigley
Designed by MTWTF
GSAPP Books
192 pages, paperback
21 cm x 14 cm
ISBN: 1-883584-65-5
15 US

FORUM 01 - Total Housing Book Launch

24 September 2010 14:18:23 EST

Wednesday September 29, 2010

Storefront, in collaboration with Actar and Architizer, are pleased to invite you to the US Release of TOTAL HOUSING, an Actar book, and the pre-launch of the Total Housing Competition.

The event will take place in the form of a conversation about the book and the basis for the upcoming Total Housing Competition. The conversation will bring together a selection of the Total Housing Competition jury with diverse perspectives on housing to discuss the guidelines and principles for evaluating housing projects in different contexts. The jury's commentary will serve as the basis for the competition brief.

The conversation, guided by Eva Franch will include Mark Kushner (Founding Partner, HWKN, Founder, Architizer), Elisa Ours (Vice President of Planning & Design Corcoran Sunshine Marketing Group), Cassim Shepard (Project Director, Urban Omnibus), Lyn Rice (Founding Partner, Lyn Rice Archtitects), Joel Sanders (Founding Partner, Joel Sanders Architects) and Karen Kubey (New York-area Regional Catastrophic Planning Team).

ABOUT THE BOOK:
A new publication from Actar, TOTAL HOUSING is conceived as evidence supporting the qualities of dense, urban living. The title refers to the need to understand that social, environmental, and economic factors affect form, and that living space is a base for our increasingly complex and varied societies.

Published by:

Actar

Edited by:
Tomoko Sakamoto , Irene Hwang , Albert Ferré
English Language

Color Illustrations

Softcover

396 Pages

ISBN: 978-84-96540-88-0

Copies will be for sale during the event

ABOUT THE COMPETITION:
A collaborative venture between Storefront, Actar and Architizer, the Total Housing Competition invites architects, design offices, freelancers and students from around the world to submit their built or speculative work. The Total Housing Competition is an opportunity to celebrate exceptional residential projects.

The Total Housing Competition intends to go beyond traditional editorial and curatorial practices, mining Architizer as a platform, for residential projects from emerging designers that escaped Actar's editorial radar or Storefront's curatorial spectrum.

The competition launch is TBD

INTERROGATION 01 - Kersten Geers David Van Severen in Conversation with Enrique Walker

15 September 2010 16:21:22 EST

Thursday September 23, 2010

Storefront presents the inaugural event of our new Interrogation Series with Kersten Geers David Van Severen and Enrique Walker discussing the work of OFFICE Kersten Geers David Van Severen published in the book Seven Rooms and currently on display with photographs by Bas Princen at the 12th Architecture Venice Biennale "Garden Pavilion (7 Rooms / 21 Perspectives)".

About the authors: The Brussels-based architectural firm OFFICE Kersten Geers David Van Severen was set up in 2002 by Kersten Geers (*1975) and David Van Severen (*1978). OFFICE Kersten Geers David van Severen and Bas Princen were recently awarded the Silver Lion at the 2010 Venice Biennale for the most promising young participant of the exhibition "People meet in architecture" curated by Kazuyo Sejima. Their joint project "Garden Pavilion (7 Rooms / 21 Perspectives)" can be seen in the Palazzo delle Esposizioni and in the garden of the Arsenale.

About the book: Seven Rooms provides the first survey of OFFICE's most significant architecture projects to date

About the Interrogator: Enrique Walker is an architect and Adjunct Associate Professor at the Graduate School of Architecture, Planning and Preservation, Columbia University, where he directs the Master of Science program in Advanced Architectural Design. His publications include, Tschumi on Architecture: Conversations with Enrique Walker (Monacelli, 2006) and Lo Ordinario (Gustavo Gili, 2010).

About the Interrogation Series: The Interrogation Series is part of Storefront's programming for the generation of dialog between "institutionalized" spheres of inquiry and emerging discourses. The events aim to produce multiple and new methodologies of exploration and to ultimately extract a confession or obtain information from certain "suspects" in relation to a particular "crime" (book, building, photograph, thought, etc.) through a series of arguments, questions and-hopefully-answers.

Seven Rooms

OFFICE Kersten Geers David Van Severen
Edited by Moritz Küng, deSingel, International Arts Campus, Antwerpen, graphic design by Joris Kritis, texts by Moritz Küng, Enrique Walker
English
2009. 80 pp., 85 ills., 26 in color
21,10 x 29,10 cm
softcover
21 copies will be available for purchase and interrogation at Storefront during the event
ISBN 978-3-7757-2572-9

A Perfect Home: The Bridge Project

10 August 2010 15:48:47 EST

Wednesday September 15, 2010 – Tuesday December 7, 2010

Opening reception: September 14, 7pm

Storefront for Art and Architecture is extremely pleased to announce the inauguration of its 2010-11 exhibition season with a new project by internationally acclaimed artist Do Ho Suh. The Bridge Project is Do Ho Suh’s most recent chapter in his ongoing work, A Perfect Home.

Over the past two years Do Ho Suh and his team of researchers, architects, and designers have generated four fantastical bridge designs that propose ways to connect Seoul, South Korea, and New York City. This conceptual project, which roots back to Do Ho Suh’s first drawings of this inhabitable bridge in 1999, proposes to build a bridge that joins two homes into one, connecting the spatial, temporal, psychological, and cultural distance between Seoul and New York. The project constructs the bridges within a new space of projected desires where economic and structural optimization are not the defining elements of design. His studio’s rigorous and speculative research method has led to the uncovering of a multitude of challenges. Each of the four bridges uses different technologies, structures, and forms to contend with the issues of climate, biodiversity, and human activity. Each design factors in specific environmental and oceanographic data: ocean current, tide, wind, wave, salinity, temperature, sea level, precipitation, snowfall, foliage, cloud fraction, hot spot, natural disasters, the migratory routes of aviary and marine life, etc. The plans also consider political conditions, factoring in missile testing, as well as the migratory patterns of people via air route, ocean liner route, and cruise routes.

About the artist:

Do Ho Suh is well known for his post-minimalist sculptural works that tackle questions about notions of home, place, site, and memory. His experience of transcultural displacement motivates his ongoing inquiry into the ways we conceive of and build our concept of home. The Bridge Project, however, does not resemble the more polished works that are shown in museums throughout the world. Rather, the exhibition presents the hypothetical research as an experimental lab within the gallery space and will present the studio's research and designs. The Bridge Project operates like an open workshop. During the first two weeks of the exhibition the design team will continue to generate solutions for this bridge that spans from Seoul to New York. Documentation of the work made during this period will be included in the exhibition catalogue.

About the curator:

Yasmeen M. Siddiqui is an independent critic and curator. Her work is informed by graduate studies in medieval Islamic art history, a location where art and architecture convene as a singular aesthetic system. In 2005, she joined Storefront's curatorial staff, after having completed an MA at the Center for Curatorial Studies, Bard College. Previously, her major work was as an art and architecture writer and editor. From 1999 and 2001 she was senior editor of the architecture magazine Medina, a bilingual platform produced in Cairo. During this period she also worked as art critic at The Cairo Times. From 2002-2004 she edited the MIT project ArchNet. Selected publications include: “Stability” in Alex Schweder, Lawrimore Projects Catalogue (2009); “Yasmeen Siddiqui in conversation with Melvin Charney,” in Between Observation and Intervention: The Painted Photographs of Melvin Charney, DAP (2009); Intimating Architecture in Modern Painters (July-August 2007); Histories of Violence in The Brooklyn Rail (March 2006); Nadim Kufi at Gallery 108 in Flash Art (2003); Emergent Forms: Sabah Naim Reconceptualises Movement in Fault Lines, Contemporary African Art and Shifting Landscapes, London: inIVA (2003).

Sponsors
Major lead support for this exhibition is provided by Yun Jie Chung.The exhibition is also made possible by generous funding from The Graham Foundation for Advanced Studies in the Fine Arts, and Lehmann Maupin Gallery.

Instead of a Letter

5 August 2010 11:57:08 EST

Friday August 6, 2010

6pm & 7pm
Free admission. Seating is limited .

Storefront is pleased to host a performance by CEC Artstlink Awardees, Russian performance group Liquid Theatre. Join us for this event, which will use Storefront's unique façade to explore the timeless themes of love and revolution. Choreographers Kseniya Petrenko and Ana Isabel Keilson will present their new multi-media street theater piece Instead of a Letter . The half-hour performance will feature members of the Russian performance group Liquid Theatre in collaboration with American dancers. The work draws from the spirit of 1920s revolutionary Russia and the poet Vladimir Mayakovsky's explorations of love.

Performed by Ana Isabel Keilson, Carson Reiners, Lucy Struever, Masha Nebesnaya, Kseniya Petrenko, Dmitry Motuavin, Alexey Zherebtsov, and Denis Semenov. Directed by Kseniya Petrenko and Aleksey Zherebtsov. Choreographed by Kseniya Petrenko and Anna Isabel Keilson.

This event is funded through an ArtsLink Independent Projects award. The ArtsLink Awards programs are funded by the National Endowment for the Arts, the Trust for Mutual Understanding, The Andy Warhol Foundation for the Visual Arts, the Ohio Arts Council, the Kettering Fund and the many dedicated individual supporters of CEC ArtsLink.

Newtown Creek Book Launch

9 July 2010 15:01:02 EST

Tuesday July 13, 2010

Tuesday, July 13, 7pm

Once a tidal creek meandering through marshlands rich in herbs, grasses, fish, waterfowl, and oysters, Newtown Creek today is a toxic cesspool that brings up raw sewage every time it rains. A tributary of New York's East River that forms part of the border between Brooklyn and Queens, Newtown Creek has long been at the heart of the city's "industrial backyard," serving as home to numerous industries, storage/warehouse facilities, waste transfer stations, and power plants, and as the dumping ground for unwanted byproducts and toxic waste. Site of a 17-million-gallon underground oil spill that still contaminates the area, Newtown Creek is currently under consideration by the Environmental Protection Agency for designation as a Superfund site, but the creek, whose waterfront is for the most part inaccessible to the public, is still largely unknown to residents and visitors of New York alike.

Newtown Creek: A Photographic Survey of New York's Industrial Waterfront is an extensive documentation of this forgotten landscape that shows the evolution of the built environment over five years in more than 230 images. Photographer Anthony Hamboussi followed the creek through the neighborhoods of Hunter's Point, Greenpoint, and Bushwick, shooting over fences and gates where he could not gain access to record the bare industrial landscape. From the ruins of Morgan Oil and the Newtown Metal Corporation, to the construction of the new water treatment facility, to the footprints of the former Maspeth gas holders, Hamboussi recorded sites that may soon undergo further transformations. His survey captures the creek at a moment in time when gentrification and revitalization are just starting to change the area, providing a glimpse into the history of industrial New York. An insightful essay by Paul Parkhill puts Hamboussi's work into context.

About the author
Anthony Hamboussi is a photographer who lives in Brooklyn, New York. He is a recipient of numerous fellowships and has exhibited internationally

Anthony Hamboussi

Princeton Architectural Press
9.625 x 6.5 IN / 24.4 x 16.5 CM
432 PP / 237 Color IlluStr AtIoNS / 4 b+W
Hardcover
978-1-56898-858-0
$55.00
Publication Date: May 10, 2010

Ecological Urbanism Book Launch

9 June 2010 18:29:02 EST

Tuesday June 22, 2010

ECOLOGICAL URBANISM

Edited by

Mohsen Mostafavi

with Gareth Doherty

Harvard University Graduate School of Design

Lars Müller Publishers

656 pages approx.

1000 illustrations

hardcover (2010)

www.lars-mueller-publishers.com

While climate change, sustainable architecture, and green technologies have become increasingly topical, issues surrounding the sustainability of the city are much less developed. The premise of this book is that an ecological approach is urgently needed as an imaginative and practical method for addressing existing as well as new cities.

Ecological Urbanism considers the city with multiple instruments and with a worldview that is fluid in scale and disciplinary focus. Design provides the synthetic key to connect ecology with an urbanism that is not in contradiction with its environment. The book brings together practitioners, theorists, economists, engineers, artists, policymakers, scientists, and public health specialists, with the goal of providing a multilayered, diverse, and nuanced understanding of ecological urbanism and what it might be in the future. The promise is nothing short of a new ethics and aesthetics of the urban.

This book is also part of an ongoing series of research projects at Harvard University’s Graduate School of Design that explore alternative and radical approaches between ecology and architecture, landscape architecture, planning, and urbanism.

Postopolis!DF

20 May 2010 11:42:53 EST

Tuesday June 8, 2010 – Saturday June 12, 2010

From 8-12 June 2010, Storefront for Art and Architecture, in partnership with Museo Experimental El Eco, Tomo and Domus Magazine, will host the third edition of Postopolis!, a public five-day session of near-continuous conversation curated by some of the world’s most prominent bloggers from the fields of architecture, art, urbanism, landscape, music and design. 10 world-renowned bloggers from Los Angeles, New York, Turin, Barcelona, London and elsewhere will convene in one location in Mexico City to host a series of discussions, interviews, slideshows, presentations, films and panels fusing the informal and interdisciplinary approach of the architecture blogosphere with rare face-to-face interaction.

Each day, the 10 participating bloggers will meet in the magnificent courtyard of Museo Experimental El Eco, designed by Matthias Goeritz, to conduct back-to-back interviews of some of Mexico City’s most influential thinkers and practitioners – including architects, city planners, artists and urban theorists but also military historians, filmmakers, photographers, activists and musicians. The talks will be conducted in either Spanish or English, and translations will be available. Each day of talks will end with an after-party hosted by some of Mexico City’s most influential music blogs.

The first Postopolis! took place in the gallery space at Storefront for Art and Architecture during the summer of 2007, and a second edition was held in Los Angeles in 2009.

Participating blogs:

Urban Omnibus (Cassim Shepard)

Intersections (Daniel Hernandez)

DPR Barcelona (Ethel Barona Pohl)

Toxico Cultura (Gabriella Gomez-Mont)

Tomo (Guillermo Ruiz de Teresa)

Mudd Up! (Jace Clayton aka DJ /rupture)

Edible Geography (Nicola Twilley)

We Make Money Not Art (Regine Debatty)

Strangeharvest (Sam Jacob)

Wayne & Wax (Wayne Marshall)

Location

Museo Experimental El Eco

Sullivan 43, Col. San Rafael, CP 09470 Mexico City,

Tel. 5535 51 86

www.eleco.unam.mx

Calendar

Tuesday

6:00 - Presentación Postópolis!

7:00 - Brief presentations by each blogger

8:30 - Break

9:00 - Fernando Romero

9:30 - Ali Gadorki

10:00 - Opening Party @ Rhodesia

Wednesday

4:00 - Rachel Laudan

4:30 - LA76

5:00 - Carlos Alvarez Montero

5:30 - Gilberto Esparza

6:00 - Break

6:30 - DJ Alí & Tomás Brum Álvarez

7:00 - Héctor Galván

7:30 - Alejandro Hernandez

8:00 - Pedro Reyes

8:30 - Break

9:00 - Derek Dellekamp

9:30 - Carlos Prieto Acevedo & Ximena Labra

Thursday

4:00 - Wendell McShine + Saner + Lili Carpinteyro

4:30 - Erendina Cruzvillegas

5:00 - Jorge Legorreta

5:30 - TBD

6:00 - Break

6:30 - Rozana Montiel

7:00 - Laurel Ptak

7:30 - José Castillo

8:00 - Talking Nose, video conference with Sissel Tolaas

8:30 - Break

9:00 - Gregory Berger

9:30 - Mark Powell & Jose Luis Cuevas

Friday

4:00 - Dr. Ravi Singh

4:30 - Geraldine Juarez + video conference with Magnus Ericksson

5:00 - María Moreno Carranco

5:30 - Camilo Smith & 2phase

6:00 - Break

6:30 - Juan Carlos Rulfo

7:00 - El Espectro Rojo

7:30 - Sofía Hernández Chong Cuy

8:00 - Carlos Amorales - Nuevos Ricos

8:30 - Break

9:00 - Pablo I. Kobayashi

9:30 - Fernando Llanos

Saturday

12:00 - Said Dokins

12:30 - Alfonso Morales

1:00 - Rodrigo Díaz

1:30 - TBD

2:00 - Ehecatl cabrera

2:30 - Eduardo Terrazas

3:00 - Martha Schteingart

3:30 - Break

4:00 - Mariana Delgado / Proyecto Sonidero

4:30 - Sembradores Urbanos

5:00 - Antonio Vega Macotela

5:30 - TBD

6:00 - Break

6:30 - David Lida

7:00 - Frida Escobedo

7:30 - TBD

8:00 - Perros Negros

8:30 - Break

9:00 - Eduardo Abaroa

9:30 - Gabriela Jauregui

10:00 - Closing Party

Twitter: @postopolis, #postopolis

Partners

Museo Experimental El Eco

TOMO

Domus Magazine

Sponsors

Think Britain / UKTI

Urbi VidaResidencial

UNAM Difusión Cultural

UNAM

Hotel Brick

XXLager

Mezcal El Enmascarado

Contramar

Mero Toro

Pasagüero

Radio Ibero 90.9

Organizers

Daniel Perlin & Joseph Grima

Storefront Team (César A. Cotta & José Esparza)

Tomo (Jorge Mungia & Guillermo Ruiz de Teresa)

Click here to download the press release.

Presione aquí para descargar el boletín de prensa.

www.postopolis.org

Storefront Board of Directors Appoints Eva Franch as New Storefront Director

20 May 2010 12:20:12 EST

Wednesday May 12, 2010

The Board of Directors of Storefront for Art and Architecture is extremely pleased to announce the appointment of Eva Franch who becomes the new director of New York's most innovative platform for art, architecture and the built environment.

In mid-January, the Board launched an international search and was overwhelmed by the breadth and depth of the candidates who applied from around the world. More than 70 applicants were vetted and the list was first narrowed to a field of fourteen and subsequently to six finalists who were interviewed in New York City. Acting on the recommendation of the search committee, the Board unanimously ratified Ms. Franch's appointment on May 10, 2010.

Ms. Franch, 31, is a Catalan architect, researcher, teacher and founder of OOAA [office of architectural affairs]. She has spent the last two years making a dynamic mark at Rice University where she was awarded the Worthman Fellowship and has been teaching as the Masters Thesis studio director. Previously she taught at the University of Buffalo where she received the Peter Reyner Banham Fellowship.

Franch studied at TU Delft, at ETS Arquitectura Barcelona where she received her Master in Architecture with Honors in 2003 and, with a “La Caixa” grant, at Princeton University, where she received the Suzanne Kolarik Underwood Prize and her M.Arch II degree in 2007.

Peter Guggenheimer, Board President remarked, "We are all thrilled at the selection of Eva Franch to lead Storefront. She has it all - energy, intellect, charm and a commitment to keep Storefront at the forefront of the international conversation centered on the intersections of art, architecture and urbanism. Each prior director has taken us along a unique tangent to a relatively constant arc, and I have no doubts that Eva will bring a fresh eye to our programming and events, while adhering to Storefront's core values of independence, exploration of the unexpected and to reach diverse audiences who want to know what is at the center of the conversation.”

Ms. Franch expressed, “To direct Storefront after visionaries like Kyong Park and Shirin Neshat, Sarah Herda and Joseph Grima is both an honor and a challenge I am relishing. I am delighted to join the institution par excellence that understands experimentation and risk as a priori conditions. New York is one of the most intense cities in the world and I am looking forward to working together with the board, the staff and the extensive network of thinkers involved in making Storefront the place that it is and that will be. I see my role within the legacy of Storefront as a stimulating experience and endeavor for the art and architectural communities inside and beyond cultural, geographic or institutional borders. My practice and my deep connection to the academic world has afforded me a global perspective and I look forward to unveiling, unearthing and spotlighting that which is on the “edge” in order to provide the new grounds from where to produce new “vectors of desire”."

Ms. Franch will start August 1, 2010.

Additional information
Eva Franch’s work has been exhibited at the Center for Architecture in New York, Korean Institute of Architects in Daegu, FAD Barcelona, NAI Rotterdam, Shenzen Biennale of Architecture, SOA Princeton, COAR Rioja and ETSA Barcelona among others. Selected publications include “Terminal B. Barcelona Creative Database” (2008), “CityThemeCity” and “Content_A” in Pidgin (2006-7), “Dementia” in Postboks (2004), “Pause Pavillion” in Pasajes (2004), “Generative metaphors” in Sources of Architectural Form (2007), and “R.E.D. studies” in Imagined Spaces (2007). Awarded the Howard Crosby Butler Traveling Fellowship (2006) by Princeton University, Franch also received an Akademie Schloss Solitude research grant (2009), the Incubadora del FAD prize for emerging architects (2007), a Pasajes-iGuzzini prize (2004) and a Dragados Foundation prize (2005).

Refuge: Five Cities

11 May 2010 00:00:00 EST

Tuesday May 11, 2010 – Saturday July 17, 2010

Opening reception: Tuesday, May 11th 7pm

Princen’s project originated as research for the IABR Rotterdam and explored the theme of “refuge urbanism.” This exhibition presents a series of works in which Princen observes contemporary urban transformation in Turkey and the Middle East: how Istanbul, Beirut, Amman, Cairo and Dubai have become laboratories for a proliferation of spaces and practices of refuge – spaces of extreme poverty on the one hand and wealth on the other, ranging from migrant worker camps to gated satellite cities in the desert.

Concurrently, a second exhibition with photographs from the same series is travelling to Istanbul, Amman, Beirut and Cairo, the cities where the photographs were taken. These exhibitions will predominantly focus on the relation to the direct surroundings and phenomena shaping these cities.

2010 Spring Benefit

23 June 2010 13:04:52 EST

Wednesday May 5, 2010

Cocktail party and silent auction

6:30-9:00pm

Honoring Barry Bergdoll and Andrea Zittel

and thanking former Storefront Director Joseph Grima

Chaired by Phyllis Lambert

Hosted by Alex von Bidder and Julian Niccolini

Held at The Four Seasons restaurant Designed by Philip Johnson in the Seagram Building, designed by Ludwig Mies van der Rohe

Benefit Commitee

Storefront Circle
Peter Guggenheimer

Storefront Council
Andy Frankl, Ibex Construction
Steven Holl
Lauren Kogod and David Smiley
NRI
Artur Walther
Jerry I. Speyer

Benefactor
Sciame Construction Co.
Nathalie and Charles de Gunzburg
Nils and Madeline Burke-Vigeland
Carlos Brillembourg and Karin Waisman
Michael Manfredi and Marion Weiss

Patron
ads ENGINEERS
Gensler
reddymade design llc
Asymptote Architecture
Estrellita Brodsky and Daniel Brodsky
Diller Scofidio + Renfro
Sharon Davis
RD Rice
Marc Kushner
Lee Miller
Agnes Gund
Andrea Rosen

Sponsor
Ann Marcus Renzler and Frank Renzler
Robert A.M. Stern
Polshek Partnership Architects
Jonathan Caplan and Angus Cook
Marpillero Pollak Architects
LEHR Construction Corp.
Wanda Bubriski and Beverly Willis
Toshiko Mori
Marc Hacker & Ken Schwartz
Fabian Marcaccio and Galia Solomonoff
Claire Weisz and Mark Yoes
Peter Reed
David Piscuskas, 1100 Architect
Preeti Sriratana
Stephan Jaklitsch Architects PC
VVA Project Managers and Consultants
Zubatkin Owner Representation
Glenn Garrison
Selldorf Architects
Karen Wong
Glenn and Susan Lowry
Jan Staller
Michael Castelli
Barbara Jakobson
Alexander Gorlin
Barbara Wilks
James Dart
Calvin Tsao
Cooper, Robertson & Partners
Christy MacLear
Wendy Evans Joseph
Hans Demarmels, World-Architects.com
DeWitt Tishman Architects LLP
Carol A. Willis
Charles Renfro
Juergen Riehm, 1100 Architect
William J. Rockwell Architect LLC
David Rockwell
Diane L. Ackerman
Eileen Hatfield, PE
Florian Idenburg
Sarah Herda
EvensonBest
Barbara Pine
Frederieke Taylor
Belmont Freeman
Grant F. Marani, Robert A.M. Stern Architects
D'juro Villaran-Rokovich
Betsy Sussler
Nina Rappaport
Peter Hochschild
Anne Rieselbach
F. Anthony Zunino
Robert (Bo) Lauder
William Morrish
Bernard Tschumi
Beth Rudin DeWoody
Mark Robbins

Landscapes of Quarantine Exhibition Walkthrough

24 April 2010 00:00:00 EST

Saturday April 24, 2010

LAST CHANCE!
Landscapes of Quarantine exhibition Final Day: Saturday, April 24, 2010
Exhibition Walk-through: 3:00pm

Landscapes of Quarantine has been extended through this Saturday. Please join us on the final day for an exhibition walk-through with the designers, architects, artists, and curators whose work is on display.

Landscape of Quarantine Banquet

10 April 2010 00:00:00 EST

Saturday April 10, 2010

Storefront will be hosting dinner events inspired on “Landscapes of Quarantine” by Michael Cirino of A Razor, A Shiny Knife.

For "Landscapes of Quarantine," Geoff Manaugh and Nicola Twilley have curated a multi-disciplinary group of eighteen artists, designers, and architects, each of whom was inspired by one or more of the physical, biological, ethical, architectural, social, political, temporal, and even astronomical dimensions of quarantine.

At it’s most basic; quarantine is a strategy of separation, containment and isolation — the creation of a hygienic boundary between two or more things, for the purpose of protecting one from exposure to the other. Typically, quarantine is thought of in the context of disease control. But quarantine should not be considered only in that context. Hence our exploration of its myriad applications, culinary among them

During the exhibition, a series of quarantine-inspired dinners will be held at the gallery. The range and application of quarantine concepts will be developed through the presentation of a six-course meal (menu below), as well as through performance and art in many mediums developed specifically for the event.

As a clear example of quarantine in food, we will be presenting a time lapse display of the dry aging process by Master Purveyors, which has been supplying the likes of Peter Luger and Keen’s Chop House with dry aged USDA prime beef since 1957. This will follow the transformation of a full sirloin cut from its raw butchered state to its highly sought after and prized intensified dry aged state, the result of its being quarantined in a temperature and humidity controlled space for at least 21 days. The presentation of this beef and its butchery will be part of the program on the night of the meals, as guests savor custom aged beef.

These events are not only for professional chefs or foodies; they are for anyone who loves food, regardless of culinary knowledge or experience. The evenings are produced to effect a communal environment of social interaction, education and fun.

Dates/Times for event:
Saturday, 10 April
Sunday, 11 April
Guests are invited and encouraged to come at 16:00 for cooking demonstrations, dinner will be served at 19:00

Price:
$152 per person – Includes meal, paired with beverages, cooking demonstrations, exhibit
Purchase tickets online.

Lessons:
Knife sharpening
Butchering beef
Sous-vide applications
Slow egg cookery
Interesting applications for an iSi whipper

Menu:
Steelhead Trout Roe, Juniper, Citrus, Angelica, Licorice
Effervescent Neutral Spirit Citrus Cocktail

Hirame, Tonshi, So-su, Yasai
Unflitered Sake

Pheasant, White Truffles, Black Truffles, Thyme
In Cot We Trust

24-Day Dry Aged Rib Steak, Potatoes, Spinach, Blue Cheese, Tomatoes, Lettuces, Bacon
Cannonau

Soft Cow’s Milk Cheese, Fresh Fruit, Toast

Chocolate
>Appelton Rum

Menu was written with Daniel Castaño, Michael Lee, Demian Repucci, Andrew Rosenberg and Danny Zlobinsky

Beverage:
A selection of cocktails and wines will be paired with the meal with the assitance of Damian Gutierrez from Cabrini Wines, Matt Franco and Jonny Cigar (who will also be performing at the events).

RSVP:
Along with your paid RSVP, please include any dietary restrictions (even if they do not seem relevant to this meal).

Cancellation policy:
Seats are nonrefundable. Seats are fully exchangeable.

If you have any questions about the educational topics that we will be covering or dishes we will be serving, please feel free to contact Michael Cirino.

“We're not talking about quarantining anybody for a sniffle or a cough.”
- Martin Cetron

Landscapes of Quarantine

10 March 2010 00:00:00 EST

Wednesday March 10, 2010 – Saturday April 24, 2010

Opening reception: Tuesday, March 9, 7pm

Group exhibition exploring the spaces of quarantine, from Level 4 biocontainment labs to underground nuclear waste repositories.

Curated by: Future Plural
Geoff Manaugh, BLDGBLOG
Nicola Twilley, Edible Geography

Designed by:
Glen Cummings, MTWTF

Landscapes of Quarantine features new works by a multi-disciplinary group of eighteen artists, designers, and architects, each of whom was inspired by one or more of the physical, biological, ethical, architectural, social, political, temporal, and even astronomical dimensions of quarantine.

At its most basic, quarantine is a strategy of separation and containment—the creation of a hygienic boundary between two or more things, for the purpose of protecting one from exposure to the other. It is a spatial response to suspicion, threat, and uncertainty. From Chernobyl’s Zone of Exclusion and the artificial quarantine islands of the New York archipelago to camp beds set up to house HIV-positive Haitian refugees detained at Guantánamo and the modified Airstream trailer from within which Buzz Aldrin, Neil Armstrong, and Michael Collins once waved at President Nixon, the landscapes of quarantine are various, mutable, and often unexpected.

Typically, quarantine is thought of in the context of disease control. It is used to isolate people who have been exposed to a contagious virus or bacteria and, as a result, may (or may not) be carrying the infection themselves. But quarantine does not apply only to people and animals. Its boundaries can be set up for as long as needed, creating spatial separation between clean and dirty, safe and dangerous, healthy and sick, foreign and native—however those labels are defined.

As a result, the practice of quarantine extends far beyond questions of epidemic control and pest-containment strategies to touch on issues of urban planning, geopolitics, international trade, ethics, immigration, and more. And although the practice dates back at least to the arrival of the Black Death in medieval Venice, if not to Christ’s 40 days in the desert, quarantine has re-emerged as an issue of urgency and importance in today’s era of globalization, antibiotic resistance, emerging diseases, pandemic flu, and bio-terrorism.

Landscapes of Quarantine began with an eight-week independent design studio directed by Geoff Manaugh and Nicola Twilley of Future Plural. Each Tuesday evening, from October to December 2009, a multi-disciplinary group of studio participants met to discuss the spatial implications of quarantine and develop their own creative response: the resulting work forms the core of the Landscapes of Quarantine exhibition.

Works on display:

Pages 179 – 187, Joe Alterio

Q-CITY: An Investigation, Front Studio | Yen Ha & Michi Yanagishita

MAP 002 QUARANTINE, David Garcia Studio

Did We Build The Frontier To Keep It Closed?, Scott Geiger

Field Notes from Quarantine, Katie Holten

Hotel III, Camp II, Lab IV, Cell V, Mimi Lien

Cordon Sanitaire, Kevin Slavin

Context/Shift, Brian Slocum

Containing Uncertainty, Smudge Studio | Jamie Kruse & Elizabeth Ellsworth

NYCQ, Amanda Spielman & Jordan Spielman

Quick, Richard Mosse

Thermal Scanner and Body Temperature Alert System, Daniel Perlin

Precious Isolation: A Pair of Invasive Species, Thomas Pollman

The Landscapes of Quarantine exhibition opening reception is
generously sponsored by Brooklyn Brewery.

New Geographies 02: Landscapes of Energy

11 February 2010 00:00:00 EST

Thursday February 11, 2010

7pm: Presentation of NEW GEOGRAPHIES #2: LANDSCAPES OF ENERGY

Edited by Rania Ghosn.

Speakers: Rania Ghosn, Hashim Sarkis, Charles Waldheim.

Energy infrastructures deploy space at a large scale, yet they remain invisible because the creation of value in the oil regime has long externalized spatial costs, sliding them out of sight and away from design’s agency. Contemporary environmental, political, and financial crises have brought energy once again to the forefront of design concerns. Rarely, however, do practices of sustainable design—efficient building skins, islands of self-sufficiency, positive-energy machines—address the spatiality of energy systems. Instead, they tend to emphasize a renewable/nonrenewable binary that associates environmental costs exclusively with the infrastructure of oil and overlooks the geographic imperative of all forms of energy.

Volume 2 of New Geographies proposes to historicize and materialize the relations of energy and space, and map some of the physical, social, and representational geographies of oil, in particular. By making visible this infrastructure, Landscapes of Energy is an invitation to articulate design’s environmental agency and its appropriate scales of intervention.

Contributors to New Geographies #2 include: Ivan Illich, John May, Carola Hein, Gavin Bridge, Abdellatif Benachenhou and El Hadi Jazairy, Santiago del Hierro and Gary Leggett, Andrew Barry, Center for Land Use Interpretation, Geoffrey Thün and Kathy Velikov, Martin Melosi, Maria Kaika, Geoff Manaugh, Pierre Bélanger, Kazys Varnelis and Robert Sumrell, Jean Robert, Mirko Zardini.

The Panelists:

Rania Ghosn is an architect, geographer, and doctoral candidate at the Harvard University Graduate School of Design. Her dissertation explores the territoriality of energy transport through the historical case study of an oil pipeline across the Middle East. Rania received her bachelor’s in architecture from the American University of Beirut and a holds a master in geography degree from University College London.

Hashim Sarkis is the Aga Khan Professor of Landscape Architecture and Urbanism at the Harvard University Graduate School of Design. He teaches design studios and courses in the history and theory of architecture. Sarkis also directs the Aga Khan Program at the GSD. Sarkis is a practicing architect between Cambridge and Lebanon. His projects include the award winning housing complex for the fishermen of Tyre, a park in downtown Beirut, two schools in the North Lebanon region, and several urban and landscape projects. He is author of several books and articles including Circa 1958: Lebanon in the Pictures and Plans of Constantinos Doxiadis (Beirut: Dar Annahar, 2003), editor of CASE: Le Corbusier’s Venice Hospital (Munich: Prestel, 2001), co-editor with Peter G. Rowe of Projecting Beirut (Munich: Prestel, 1998), and executive editor of the CASE publication series (GSD/Prestel).

Charles Waldheim is Professor and Chair of Landscape Architecture at the Harvard University Graduate School of Design. He teaches design studios and seminars at the intersection of landscape and contemporary urbanism, particularly in the North American context. He has written extensively on the topic and edited The Landscape Urbanism Reader (Princeton Architectural Press, 2006), CASE: Lafayette Park Detroit (Prestel / Harvard Design School, 2004) and co-edited, with Jason Young and Georgia Daskalakis, Stalking Detroit (Barcelona: ACTAR, 2001). On the history and future of Chicago urbanism, he is author of Constructed Ground (University of Illinois Press, 2001) and co-editor, with Katerina Ruedi Ray, of Chicago Architecture and Urbanism: Histories, Revisions, Alternatives (Chicago: University of Chicago Press, 2005). He is currently writing the first book-length history of Chicago’s O’Hare International Airport, entitled Chicago O’Hare: A Natural and Cultural History (Chicago: University of Chicago Press).

NEW GEOGRAPHIES #2: LANDSCAPES OF ENERGY

Editor-in-Chief: Rania Ghosn

Editorial Board: Gareth Doherty, El Hadi Jazairy, Antonio Petrov, Stephen Ramos, Neyran Turan.

Editorial Advisor: Melissa Vaughn

Advisory Board: Bruno Latour, Mohsen Mostafavi, Antoine Picon, Hashim Sarkis, Charles Waldheim.

Graphic Design: Tomas Celizna and Daniel Harding

New Geographies is distributed by Harvard University Press.

Landscapes of Energy is funded by the Graham Foundation for the Arts, the Aga Khan Program at the Harvard University Graduate School of Design, and the Center for the Environment at Harvard University.

For further information on the New Geographies journal, visit: www.gsd.harvard.edu/newgeographies

Living Architectures

21 January 2010 00:00:00 EST

Thursday January 21, 2010 – Saturday February 27, 2010

Applying their keen eyes to architecture’s everyday use, filmmakers Ila Bêka and Louise Lemoine create intimate portraits of iconic contemporary buildings, giving backstage access to their inner lives and hidden workings. This was recently epitomized by their celebrated documentary, Koolhaas HouseLife , which received its UK Premiere as the opening film of the London Architecture Foundation's Architecture on Film series of screenings and was part of the exhibition " On Mock-ups, Home Videos and Housekeeping: a video exhibition in three parts " at Storefront for Art and Architecture in New York.

In a new transatlantic exhibition of Bêka and Lemoine's ongoing research into architecture as living form , parallel video installations will be presented at London's Architecture Foundation and New York’s Storefront for Art and Architecture. The films depict the human occupations of Richard Meier’s Church in Rome , Frank Gehry’s Guggenheim Bilbao , and Herzog and de Meuron’s Pomerol winery , alongside further footage of Koolhaas’s Maison - Bordeaux.

Seen through the lens of Bêka and Lemoine’s camera, architecture appears engaged in constant dialogue with its users, from line-dancing grape-pickers to abseiling window cleaners. Architecture is seen as an experience, in other words, rather than as an image.

Exhibition movies:
- Koolhaas HouseLife (2008) 21'00"
- Pomerol, Herzog & de Meuron (2010) 25'23"
- Xmas Meier (2010) 22'02"
- Gehry’s Vertigo (2010) 22'56"

Bridge the Gap? 6

11 December 2009 00:00:00 EST

Friday December 11, 2009 – Sunday December 13, 2009

Organized by
Center for Contemporary Art, CCA Kitakyushu in collaboration with Storefront for Art and Architecture

Curated by
Akiko Miyake / CCA Kitakyushu
Joseph Grima / Storefront

Participants
Ruben Coen Cagli / Neuroscience
Trisha Donnelly / Visual Art
Didier Fiuza Faustino / Architecture
Joan Jonas / Visual Art
Lisa Kaltenegger/ Astrophysics
Kazuo Okanoya / Cognitive Science
Damon Rich / Urban Design
Anri Sala / Visual Art
Kevin Slavin / Information Science

BRIDGE THE GAP? aims to create an ongoing forum between artists, scientists, designers and thinkers of the humanities in which ideas are exchanged and reciprocal stimulation and influence can occur. The first BTG?, held in 2001 in Kitakyushu (Japan) brought together 30 specialists from the arts, sciences and humanities (www.btgjapan.org); the second in took place in Milan, the third in Chiang Mai, the fourth in Kitakyushu/Shanghai and the fifth in Venice. Each event involved a profound change in scale and context of the BTG? format.

By making the coffee break a central forum and by enhancing the exchange between participants, BTG? poses the question concerning the necessity of actual and virtual salons now. BTG? proposes a non-linear, non-hierarchical approach to knowledge production – to go beyond the boundaries of disciplines and to overcome the fears of pooling knowledge. Classical conferences emphasized order and stability. In contrast, we now see fluctuations instability: the unpredictable. In non-equilibrium physics, you find various notions of unstable systems and the dynamics of unstable environments. Instead of certitudes, BTG? expresses connective possibilities.

The field of reflection and discussion coming from the different perspective will begin to broaden, deepen and create the ground to work in collaboration.

December 11 Schedule:
11:00 - 11:40 Damon Rich
11:40 - 12:20 Anri Sala
12:20 - 13:00 Lisa Kalgenegger

15:00 - 15:40 Trisha Donnely
15:40 - 16:20 Ruben Coen Cagli

16:40 - 17:20 Kazuo Okanoya
17:20 - 18:00 Joan Jonas

18:30 - 19:10 Didier Faustino
19:10 - 19:50 Kevin Slavin

Participant Bios

Ruben Coen Cagli
is Postdoctoral Research Associate of the Albert Einstein College of Medicine of Yeshiva University. He studies the visual creativity from the vantage point of computational Cognitive Science, and currently focuses on computational models of natural image statistics, visual cortical processing, and texture synthesis.

Trisha Donnelly
presents her work in various ways such as installation and performance, using diverse mediums including video, drawing, photography and sound. Sometimes accompanied by her personal experience, her work blurs concept of time and space within the framework of art exhibition.

Didier Fiuza Faustino
realizes many architecture projects, while he also presents his work often in art exhibition context. His architectural and artistic projects are above all focused on the issue of space as a political, social and bodily experience. He conceives architecture as a "tool for exacerbating our senses and sharpening our awareness of reality".

Joan Jonas
is a pioneer of video/performance art. She started her career in 60s and led the new art movement happening around that time. Her influence plays a crucial role in the development of art even until the present day. Currently she continues to explore her performance work with new media, and also presents installation work.

Lisa Kaltenegger
is an astrophysicist at the Harvard-Smithsonian, Center for Astrophysics. She studies extrasolar planets, especially focusing on the Earth-like planets, and the photons where we could trace life on the planet. Now she works on the discovery of the photon of the planets, and also involves with the design of the space telescopes for it.

Kazuo Okanoya
is Head of Laboratory for Biolinguistics of Riken Brain Science Institute. Through study on bird's hearing/song, and vocal token of naked mole-rats and degus which are belong to rodent species, Okanoya investigates mechanism of human brain and language.

Damon Rich
uses video, sculpture, graphics, and photography to investigate the political economy of the built environment. In 1997 he founded the Center for Urban Pedagogy (CUP), a New York City nonprofit organization that uses the power of design and art to improve the quality of public participation in urban planning and community design, where he was the creative director for 10 years.

Anri Sala
is known for his video work, which is sometimes entwined seemingly with political, biographical contexts. The images often feature physical and linguistic details that look trivial but have peculiarities. He also presents his work in the styles of installation and performance.

Kevin Slavin
is the Managing Director and co-founder of Area/Code, a company engaged in building on the landscape of pervasive technologies and overlapping media to create new kinds of entertainment. Founded in 2005. Area/Code creates cross-media games and entertainment for clients including Nokia, CBS, Disney Imagineering, MTV, Discovery Networks, A&E Networks, Nike, Puma, EA, the UK's Department for Transport, and Busch Entertainment.

Agenda Book Launch

10 December 2009 00:00:00 EST

Thursday December 10, 2009

7pm

AGENDA is an architecture book that occupies the territory between a monograph, a diary, and a collection of essays, interviews, and conversations. At its most harmless AGENDA is a catalog of 365 days, like a diary or journal: a collective narrative, personal and subjective. It documents the work and thinking of JDS Architects over a specific year marked by crisis, beginning on September 15th, 2008, the day that Lehman Brothers filed for bankruptcy. The form of the book exploits the double meaning of its title, presenting the absurdities of day-to-day architectural practice while also staking our intent.

Rather than a definitive direction, our agenda is a definitive attitude - of eagerness, enthusiasm, and optimism, of criticality and concern, of fun and inquiry. It is a directive, a motivation to act, at times without clear knowledge of where our agenda will lead. “Change,” the buzzword of the last U.S. presidential campaign, is the order of the day, and the task of AGENDA is to explore what kind of change will be needed if architects are to assume a political and social agency in this new landscape.

Bringing together diverse forms of content, AGENDA is a product of vigilant observation, introspection, and engagement with outside thinkers and collaborators - artists, curators, politicians, authors, economists, journalists, developers, educators, and architects.

AGENDA is a record of search and research, providing more questions than answers.

AGENDA is unapologetically naive.

AGENDA is an unorthodox architecture novel.

AGENDA demystifies the practice of architecture, revealing process, research, fun, and failure.

AGENDA looks to both the past and the future.

Edited by: Jesse Seegers, Benedict Clouette, Ryan Neiheiser, and Julien De Smedt

Designed by: Korczak and Vereecken

Published and Distributed by: Actar

Contributions from: Hans Ulrich Obrist, Lars von Trier, Bruce Sterling, Ernesto Neto, Pascal Smet, Michael Speaks, Geoff Manaugh, Brendan McGetrick, Barbara Vanderlinden, Sozyone Gonzalez, Angelo Consoli, Bruno Brunet, Hans Ibelings, Tom Avermaete, Robert Winkel, Eric Corijn, Roland Legrand, Hugh Maaskant, Cleon Peterson, Albert Ravestein, Seleção Brusseleira

More info...

Storefront Newsprints 1982-2009

9 December 2009 00:00:00 EST

Wednesday December 9, 2009

7pm

Shortly after Storefront for Art and Architecture was born in 1982, founding director Kyong Park began circulating what he described as a "newsletter" among the gallery's friends and followers.

This newssheet, sent out by mail to a list of up to 3,000 people, served a dual purpose: as an update on exhibitions, events and programs in the gallery, and also as a "reader" of sorts, offering critical contextualizations to the exhibitions on display in the gallery. In the mid-Eighties, the newsletters evolved to acquire a precise format: large sheets of double-sided monochrome newsprint, folded down to the size of a postcard and distributed either by mail or for free in the gallery. Each show in the gallery has its own newsprint, and the tradition continues to this day.

Over time, the archive of Storefront's Newsprints grew to become the most complete historical documentation of the gallery's programs since its earliest days. Storefront Newsprints 1982-2009 is comprised of reproductions of over 154 newsletters, many of which contain otherwise unpublished texts by artists, architects and theorists such as Vito Acconci, Lebbeus Woods, Michael Sorkin, Beatriz Colomina, Michael Webb and Mark Wigley.

Additional content includes an in-depth interview by current director Joseph Grima with Kyong Park on the origins and history of the Newsprints project, an index of other Storefront publications and readers, numerous unpublished texts and essays, and a conversation with former director Sarah Herda.

Publisher: Storefront Books
Pages: 1024 pages total
2 volumes with slipcase
Dimensions: 2.2" x 10.5" x 14.5"
Medium: Soft cover newsprint, monochrome
Weight: 7lb
Price: $49

Order online .

At Land: Bodyscape & Cityscape

19 November 2009 00:00:00 EST

Thursday November 19, 2009 – Saturday January 9, 2010

Curated by Jean-François Chevrier

At 7.15pm the exhibition's curator, Jean-François Chevrier, will give a brief introduction to the exhibition and contextualization of Marina Ballo Charmet's work.

The work of photographer and artist Marina Ballo Charmet, whose formal training is as a psychoanalyst, is centered on what she describes as “inattentive, unintentional observation, irrational and without direction”. This retrospective exhibition, curated by critic and writer Jean-Francois Chevrier, presents a selection of photographic and video works produced since 1995 that investigate a variety of subjects ranging from the ordinary and the mundane in the urban landscape to the human figure. Ballo Charmet’s work constitutes less an attempt to provide a pictorial rendition of these subjects than an endeavour to evoke the “unperceived” in our daily experiences. Her photographs of the urban landscape concentrates on shreds of the city: details of sidewalks, the upper levels of buildings that pulse in and out of the margins of our field of view; her exploration of the human figure concentrate on specific areas of the body, such as that between the breast and the mouth (the first field of view a baby becomes familiar with). The images featured in her Parks series ¬– an ongoing project that has taken her to public parks in Milan, London, Berlin, Paris, Rome, Vienna, Madrid, Lisbon, Palermo and New York – are framed from a viewpoint close to the ground, revealing each park as its own universe. Ballo Charmet's work is less an exercise in representation of her chosen subjects – whether they be details of cities, urban landscapes, portions of the human figure or parkscapes – than an investigation of how we perceive them.

Marina Ballo Charmet was born in Milan, where she now lives and works. After graduating with a degree in Philosophy, she specialized in psychology and child psychoanalysis. Since the early 1980s she has worked as a psychotherapist for Milan’s local health services department. From the mid-1980s on, she has also dedicated her energy to parallel projects and research involving photography and video.
Ballo Charmet’s work has been exhibited in solo exhibitions at: Triennale, Milano, 2008; Centre National de la Photographie, Parigi, 1999; Fondazione Mudima, Milano, 1998; Ar/Ge Kunst, Galleria Museo, Bolzano, 1995; Stadtgalerie, Graz, 1992.

Group exhibitions that have included Ballo Charmet’s work include: Post-It Cities, CCCB, Barcelona, 2008; Reality Crossing, Fotofestival Manheim-Ludwigshafen-Heidelberg, Mannheim; Parco 2006-2007, Fotograﬁa Europea, Reggio Emilia, 2007; Trans Emilia, SK Stiftung Kultur, Koln, 2006 and Fotomuseum Winterthur, Winterthur, 2005; Des Territoires, Ecole Nationale Superieure ddes Beaux Arts di Parigi; Venezia - Marghera, CCA Montreal, 1998; Lei. Donne nelle collezioni italiane, Fondazione Sandretto Re Rebaudengo, Torino 1997; Venezia-Marghera, XLVII Biennale d’Arte, Venezia, 1997.

Jean-François Chevrier is an art historian, art critic and exhibition curator. He is Professor in the History of Contemporary Art at the École nationale supérieure des Beaux-Arts in Paris.
Through 30 years, his main centres of interest have been the exchanges between art and literature in the nineteenth and twentieth centuries, modern and contemporary art, history of photography, and architecture. In his essays on photography, Chevrier has examined the place of photography within modern art, between the fine arts and the media.
He published long monographic essays on Raoul Hausmann, Antonin Artaud, Walker Evans, Brassaï, Robert Doisneau, Michelangelo Pistoletto, Bernd and Hilla Becher, Gerhard Richter, Öyvind Fahlström, Marcel Broodthaers, Herzog & de Meuron, Jeff Wall… among others.
Exhibitions and catalogues he has curated and co-edited include Une autre objectivité / Another Objectivity (1988-9), Photo-Kunst (1989-90), Walker Evans & Dan Graham (1992-4), Des Territoires (2001), Art and Utopia: Limited Action. Modern Art according to Mallarmé (2004-5).
He recently published a monograph on Jeff Wall (Paris: Hazan, 2006) and an expanded edition of his 1982 book, Proust et la photographie (Paris: L'Arachnéen, 2009).

Exhibition photographs (flickr)

Ten Days for Oppositional Architecture

12 November 2009 00:00:00 EST

Thursday November 12, 2009 – Sunday November 22, 2009

Towards Post-Capitalist Spaces

November 12 -- 21, 2009
Gair Building No 6, 81 Front Street, Brooklyn, NY 11201 (York Stop on the F Train)

The transformation of the urban landscape within the last decades has increasingly been dominated by the demands of capitalist utilization. Due to the current crisis, however, which goes far beyond a mere crisis of the real estate and financial market, these neoliberal politics and attendant forms of production of space have been subject to a loss of legitimation. For this reason, not only do the dominance and promises of the privatization model, the free market and private property have to be questioned, but also the conventions of the space-producing professions that follow and materialize these policies.

In this context the event “Ten Days for Oppositional Architecture” takes up the task of exploring possibilities and conditions of a socially committed architectural practice. Therefore the narrow boundaries of the profession have to be left behind. We hence invite activists, geographers, architects, planners, and economists representing different critical approaches to discuss and develop concepts and practices that not only try to oppose and challenge the capitalist mode of production of space, but also try to go beyond it strategies of de-commodification, re-appropriation and alternative production of space. We will look at already existing spatial actions of resistance as well as search for possibilities to further theorize them: How can these strategies and alternative practices be turned into social and political forces towards post-capitalist spaces?

All events are public. All those interested are welcome.
Free dinner will be served during discussion evenings.
An exhibition and a reading corner will support and document the discussions.

Program

Wednesday, November 11, 6 pm
Opening Reception

Thursday, November 12, 7 pm
The Decommodification of Housing
Discussion with James deFilippis, geographer, Rutgers University, New Brunswick · Esther Wang and Helena Wong of CAAAV, Organizing Asian Communities, New York

Friday, November 13, 7 pm
Bar + programming by Lize Mogel and Alexis Baghat, An Atlas of Radical Cartography*

Saturday, November 14, 7 pm
The Real Estate Crisis, Private Property and the Prospects of Planning
Discussion with David Kotz, economist, University of Massachusetts Amherst · Teddy Cruz, architect, San Diego

Sunday, November 15, 7 pm
Bar + programming by tba*

Monday, November 16, 7 pm
On the Commons: Taking versus Granting Rights
Discussion with Peter Linebaugh, historian, University of Toledo · Brett Bloom of Midwest Radical Culture Corridor, Urbana · Rob Robinson of Picture the Homeless, New York

Tuesday, November 17, 7 pm
Bar + programming by common room*

Wednesday, November 18, 7 pm
Territory as a Means of Struggle
Discussion with United Workers, Baltimore · Neil Smith, geographer, City University New York

Thursday, November 19, 7 pm
Bar + programming by Amanda Schachter and Alexander Levi of SLO architecture*

Friday, November 20, 7 pm
Reclaiming Capitalist Spaces
Discussion with Janelle Cornwell and Julie Graham, geographers, University of Massachusetts Amherst · Max Rameau of Take Back the Land, Miami

Saturday, November 21, 12 pm
Towards Post-Capitalist Spaces
Lecture by David Harvey, geographer, City University New York, 12 pm
Workshops with special guests*, 2 -- 6 pm
Final presentation and discussion, 7 pm
Party, 10 pm

* For more details and updates please visit:
www.oppositionalarchitecture.com

A project by:

An Architektur
Produktion und Gebrauch gebauter Umwelt
Alexanderstrasse 7, D-10178 Berlin

organized by Oliver Clemens, Sabine Horlitz, Anita Kaspar, Kim Förster
www.anarchitektur.com / contact: redaktion@anarchitektur.com

On occasion of:

Commissioned by Performa. Presented by Performa and Storefront for Art and Architecture. Supported by the Graham Foundation, IFA (Institut für Auslandsbeziehungen) and Two Trees Management, Inc.

Performa 09 (November 1-22, 2009) is the third biennial of new visual art performance presented by Performa, a non-profit multidisciplinary arts 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.
www.performa-arts.org

Albert Heta and Vala Osmani Book Launch

15 October 2009 00:00:00 EST

Thursday October 15, 2009

7 pm
Presentation of the publication "The way between Prishtina and Belgrade has 28000 un-proper build objects. So, never it will be an autobahn!", edited by Albert Heta and Vala Osmani.

Public reading of texts:
‘The State and Contemporary Art?' by Branimir Stojanovic,
‘Society of civil opportunism’ by Besnik Pula and
'Speculative Provisionality' by Albert Heta.

Introduction by Vala Osmani.

"The way between Prishtina and Belgrade has 28000 un-proper build objects. So, never it will be an autobahn!" includes: transcripts from the seminar "Cultural Policies as Crises Management?" designed as a challenge not only to the Kosovar cultural and political scene but also to the European intellectuals to help them see the political process in Kosova as a European process that concerns not only politics and politicians but also thinkers and culture workers in Europe; and texts.

Future Europe is being designed in Kosova.

This event was designed to push the art scene away for the non-articulative mode of functioning and away from a mode that prefers and promotes artist without any position even when working in the extremely politically charged context.
In the wider context this event and this publication include geographies and cities in Europe with contributions by selected individual with potential to reshape the contemporary thought.

Transcripts of the presentations by Andrea Hummer, Albert Heta, Boris Buden,Mehmet Behluli, Shkelzen Maliqi, Petrit Selimi, Besnik Pula, Borka Pavicevic, Branimir Stojanovic, Prelom Collective, Marion Hamm, Erden Kosova, Maritta Muukkonen, Milica Tomic,  and texts form 2006 to 2008 by Boris Buden, Branimir Stojanovic, Erden Kosova, Maritta Muukkonen, Despina Zefkili, Nita Luci, Besnik Pula, Agon Hamza and Albert Heta - marking a time and a process in Kosova, Serbia and other European realities.

These are individual perspective on Europe and Kosova, on countries, issues, cultural policies and challenges encountered, And Serbia.

The publication "The way between Prishtina and Belgrade has 28000 un-proper build objects. So, never it will be an autobahn!" is the product of the seminar "Cultural Policies as Crisis Management?, project by Stacion Center for Contemporary Art, Prishtina in collaboration with eipcp, Vienna in the framework of the project Translate Beyond Culture: The Politics of Translation.

"Cultural Policies as Crisis Management?"is supported by European Cultural Foundation, eipcp, Vienna, Swiss Office Prishtina, Kosova Foundation for Open Society, DZG and Raster.

"The way between Prishtina and Belgrade has 28000 un-proper build objects. So, never it will be an autobahn!", edited by Albert Heta and Vala Osmani. Publisher: Stacion Center for Contemporary Art, Prishtina. Size: 110x178 mm Pages: 272 Designed in Kosova by DZG Printed in Kosova by Raster

Biographies:

Albert Heta born in Prishtina, works as an artist, designer and an art manager. His notable works include “It's time to go visiting: No visa required”, a public intervention on British Airways billboards in Prishtina (2003), 'Embassy of the Republic of Kosova in Cetinje' (2004) for Cetinje Biennale or his 'Kosovar Pavilion Venice Biennial 2005' distributed in collaboration with e-flux (2005). His works never fail to provoke debate in relation to the social, cultural and political mechanisms of power, and evoking sentiments and discussions rekindled as the result of the “disseminating” of these works in public context or censored and vandalized when touching issues related to colonial politics of the contemporary time, state, identity and international/ national politics, Heta's work has been exhibited in a wide international context including: Apexart, New York, MARCO, Vigo, Kunsthalle Fridericianum, Kassel, Galeria Nova, Zagreb, etc. He is co-founder of a project institution Stacion - Center for Contemporary Art Prishtina.

Besnik Pula Born in Prishtina, is a Ph.D. candidate in the Department of Sociology of the University of Michigan and an adjunct instructor in the Department of Politics at New York University. His research includes questions of state building, intellectual discourse, civil society, and international intervention and administration in the Balkans. He has published a number of scholarly articles and contributes frequently to the Kosovo press. His activities in Kosovo are aimed at the regeneration of theoretical reflection and critical analysis of contemporary and historical social and political processes in Kosovo and the Balkans as seen in a broader comparative and global framework. These activities are mainly carried out through groups such as the former Department for Social Critique and the recently founded Research Group in Sociology in Philosophy based in Prishtina.

Branimir Stojanovic, philosopher and theoretician of psychoanalysis, founder of the Shool for History and Theory of Images where he lectured on the subject of Art and Psychoanalysis. Member of the Centre for Contemporary Art – Belgrade editorial board, editor of the Gay Science book edition and member of the Break (Prelom) magazine Advisory Board. Published numerous articles, essays and studies in periodicals and collections of essays.

Vala Osmani born in Prishtina, is architect, co-founder and director of the architecture department of a project institution Stacion - Center for Contemporary Art Prishtina. She has co-designed and co-curated the program of Stacion since 2006. She was co-curator of Stacon’s program for the collaboration project LE MONDE AUTOUR DE VOUS initiated by Abdellah Karroum at the Brussels Biennale 1 and is co-editor of the publication "The way between Prishtina and Belgrade has 28000 un-proper build objects. So, never it will be an autobahn!".

Landscapes of Quarantine Workshop

6 October 2009 00:00:00 EST

Tuesday October 6, 2009 – Tuesday December 1, 2009

Landscapes of Quarantine is an independent, multi-disciplinary design studio, based in New York City, consisting of eight evening workshops, from October 6 to December 5, 2009, in which 17 participants will gather to discuss the spatial implications of quarantine. Quarantine is an ancient spatial practice characterized by a state of enforced immobility, decontamination, and sequestration; yet it is increasingly relevant—and difficult to monitor—in an era of global trade, bio-engineering, and mass tourism.

Studio participants will explore a wide variety of spatial and historical examples, including airport quarantine facilities, Level 5 biohazard wards, invasive species, agricultural regulations, swine-flu infected tourists confined to their hotel rooms, lawsuits over citizens' rights to resist involuntary quarantine, horror films, World Health Organization plans for controlling the spread of pandemics, lunar soil samples, and more.

During the studio, participants will develop individual design projects in response to the problem of quarantine, with guidance and inspiration provided by readings, screenings, group discussions, and an evolving line-up of guest speakers and critics. These projects will then be eligible for inclusion in "Landscapes of Quarantine,” an exhibition hosted by the internationally renowned Storefront for Art and Architecture in early 2010.

By the end of the studio, each participant will have produced a complete design project. This could range from the speculative (plug-in biosecurity rooms for the American suburbs) to the documentary (recording the items and animals detained for quarantine on the U.S./Mexico border), and from the fantastical (plans for extra-planetary quarantine facilities) to the instructional (a field guide to invasive species control).

We are particularly excited to announce that we have confirmed a select group of incredibly interesting and talented participants from fields as diverse as architecture, illustration, gaming, photography, and sound design:

Joe Alterio — Illustrator, Animator, and Comic Book Artist

Elizabeth Ellsworth and Jamie Kruse – Artists, smudge studio

Scott Geiger — Writer, Architecture Research Office

Yen Ha and Michi Yanagishita — Architects, Front Studio and “ladies who lunch”

Katie Holten — Artist

Jeffrey Inaba — Architect, INABA Projects, Director, C-LAB, and Editor, Volume Magazine

Ed Keller — Architect and Filmmaker, AUM Studio

Mimi Lien — Set Designer

Richard Mosse Saddams Palaces

Daniel Perlin — Sound Designer, Perlin Studios

Thomas Pollman — Architect, New York City Office of Emergency Management

Kevin Slavin — Urban Games Designer, Area/Code

Brian Slocum — Architect, Polshek Partnership Architects

Amanda Spielman — Graphic Designer, Graphomanic and SpotCo

Lebbeus Woods — Architect, Author, and Educator (lebbeuswoods.wordpress.com)

The studio is both unaffiliated and independent (there is no college credit), and it is also free (though applicants will be responsible for all costs associated with producing their final project). For more information, including the studio brief, course pack, and regular updates, visit BLDGBLOG (http://bldgblog.blogspot.com) and Edible Geography (www.ediblegeography.com).

Landscapes of Quarantine is produced and organized by Future Plural, a project-based, independent design lab launching in October 2009 from a temporary base in New York City. Future Plural consists of Geoff Manaugh (BLDGBLOG) and Nicola Twilley (Edible Geography).

Pike Loop - Digital Materiality

30 September 2009 00:00:00 EST

Wednesday September 30, 2009 – Saturday November 14, 2009

Pike Loop installation construction period: October 5-27, 2009
On public display from: October 27, 2009-September 17, 2010
Demolition occurred on September 17, 2010

Location: Pike Street between Division Street and East Broadway (map)

In September 2009, Storefront for Art and Architecture will inaugurate an exhibition of the work of Swiss architects Gramazio & Kohler , Architecture and Digital Fabrication, ETH Zurich and, in conjunction with NYC Department of Transportation’s Urban Art Program, Storefront will present the first architecture project to be digitally fabricated on site, at 1:1 scale, in the US.

Developed through their research at ETH Zürich Faculty of Architecture, Gramazio & Kohler's work explores highly complex architectural artifacts, built by industrial robots typically used to assemble automobiles and perform other high-precision tasks. The accuracy, strength and speed of these robots allow them to fabricate architectural forms of unprecedented complexity and intricacy.

Gramazio & Kohler's work represents the cutting edge of innovation in the field of digital fabrication in architecture. For many years architects have relied on digital manufacturing processes such as CNC milling or 3D printing as a tool for formal research at model-scale. For the first time, Gramazio & Kohler’s work explores the potential of mobile digital fabrication techniques that can fabricate at 1:1 scale on site.

Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich

Gramazio & Kohler, Architecture and Digital Fabrication, ETH Zurich

Positioned on the central mall on Pike Street, the robot will work for up to four weeks - in full view of the public - to construct a brick wall, a highly sculptural response to the specific identity of the site. For the Pike Loop installation, more than seven thousand bricks aggregate to form an infinite loop that weaves along the pedestrian island. In changing rhythms the loop lifts off the ground and intersects itself at its peaks.

The exhibition at Storefront Gallery will present the results of Gramazio & Kohler’s ongoing research into digital fabrication in architecture at ETH Zurich Faculty of Architecture. The same robot, R-O-B, unit recently built the award-winning installation, Structural Oscillations, at the 2008 architectural biennial in Venice.

Collaborators: Michael Knauß (project leader), Ralph Bärtschi, Markus Giera, Michael Lyrenmann, Kirsten Weiss, Brett Albert, Gabriel Cuéllar, Léonard Kocan, Marc Pancera, Tom Stewart. Exhibition co-curated by César A. Cotta.

About NYC Dept. of Transportation Urban Art Program
The Urban Art Program is an initiative of New York City’s Department of Transportation intended to invigorate the City's streetscapes with engaging temporary art installations. As part of the World Class Streets initiative, art will help foster more vibrant and attractive streets and offer the public new ways to experience New York City’s streetscape.

Partners
ETH Zurich Faculty of Architecture

Sponsors
Keller AG Ziegeleien AG
USM Modular Furniture
General Shale Brick Inc.
Sika Switzerland AG
Swiss International Airlines

This exhibition is made possible with the generous support of:
Graham Foundation for Advanced Studies in the Fine Arts
Consulate General of Switzerland in New York
Pro Helvetia
New York State Council on the Arts
New York City Department of Cultural Affairs

Engineering services generously provided by:
Buro Happold Consulting Engineers, P.C.

Media Partner:
World-Architects.com

View Larger Map

A: Digital Materiality exhibition at Storefront for Art and Architecture (97 Kenmare St.)
B: Pike Loop installation site (Pike St. between Division and East Broadway)

The BLDGBLOG Book Launch

26 September 2009 00:00:00 EST

Saturday September 26, 2009

3pm–8pm

Read by millions since its launch in 2004, BLDGBLOG is the leading voice in speculation about architecture, landscape, and the built environment. Now The BLDGBLOG Book distills author Geoff Manaugh’s unique vision, offering an enthusiastic, idea-filled guide to the future of architecture, with stunning images and exclusive new content. From underground exploration to the novels of J.G. Ballard, from artificial glaciers in the mountains of Pakistan to weather control in Olympic Beijing, The BLDGBLOG Book is “part conceptual travelogue, part manifesto, part sci-fi novel,” according to Joseph Grima of Storefront for Art and Architecture.

“BLDGBLOG is something new and substantially different from anything else I have seen. Secretly, I had always hoped it would become a book. Geoff Manaugh has provided the reader with an excursion into a new world—part digital fantasy, part reality at the intersection of art, architecture, landscape design, and pure ideas. Like the blog, the book is personal, idiosyncratic, and, best of all, incredibly interesting.” Errol Morris, Academy Award-winning director of The Fog of War and Fast, Cheap & Out of Control

On Saturday, September 26, Manaugh will be joined by many of the writers, thinkers, and practitioners whose work is featured in The BLDGBLOG Book, in a day-long event of back-to-back presentations at Storefront for Art and Architecture. It is free and open to the public.

Schedule

—3:00pm: Karen Van Lengen

—3:30pm: Jace Clayton (live interview)

—4:00pm: Richard Mosse
Interview with BLDGBLOG

—4:30pm: Mason White
InfraNet Lab

—5:00pm: Patrick McGrath (live interview)
Interview with BLDGBLOG

—5:30pm: Lebbeus Woods
Interview with BLDGBLOG

—6:00pm: Alan Rapp

—6:05pm: Geoff Manaugh

—6:30pm: Drinks

—8:00pm: End

Public Projects Book Launch

22 September 2009 00:00:00 EST

Tuesday September 22, 2009

Storefront for Art and Architecture will host a lecture and book launch by Dennis Oppenheim.
Public Projects, published by Charta, includes a conversation between Dennis Oppenheim, Vito Acconci, Liam Gillick and Aaron Betsky; texts by Aaron Levy, Director of the Slought Foundation, the Director of the Marta Museum in Herford, Germany Roland Nachtigaller and curator of the recent exhibition, Electric Kisses, Friederike Fast. Following the talk the artist will answer questions and encourage discussion.

Over a hundred and fifty projects and proposal photographs, drawings, model and renderings are included in Public Projects, which also documents the museum installation. It is available through Distributed Arts Publishers, with complementary signed copies available at the launch.

New Russian Choreography

20 August 2009 00:00:00 EST

Thursday August 20, 2009

Join us for an evening of interdisciplinary performance featuring Russian choreographers Alexander Andriyashkin (TSEKH Dance, Moscow) and Tatiana Luzai (Derevo Physical theater, Saint Petersburg), and theater directors Kseniya Petrenko (LIQUID Theater, Chelyabinsk) and Aleksei Zherebtsov (LIQUID Theater, Chelyabinsk). In New York as part of a residency co-hosted by Jacob's Pillow Dance, the artists will spin together site-specific works combining elements of street theater, contemporary dance, and post-modern performance. Followed by a light wine reception.

$5 suggested donation. Email akadysheva-yong@cecartslink.org to reserve a ticket.

Material Feedback

31 July 2009 00:00:00 EST

Friday July 31, 2009

On July 31, to mark the close of Reef, Storefront for Art and Architecture will host a discussion among a group of practitioners whose work focuses on digital design, material logic and innovative fabrication techniques. With the crucial objective of forging new relationships between research and practice in mind, this discussion will explore how new methods of fabrication and advances in computational geometry cyclically feed into one another.

The evening will begin with each of the participants presenting images of current work and research, creating a common pool of references open to group discussion. Each participant will be asked to present 10-15 slides within a 5-10 minute period. The discussion will be followed by music and refreshments.

Presentations by:
Mark Fornes & Skylar Tibbits (THEVERYMANY)
Rob Ley (Urbana)
Yanni Loukissas
Peter Macapia (LabDORA)
Dwayne Oyler (Oyler Wu Collaborative)
Axel Schmitzberger (11.1)
Michael Silver
Joshua G. Stein (Radical Craft)
Chris Lasch (Aranda/Lasch)

Moderator:
Mark Morris (Cornell University)

eVolo #1 Launch

28 July 2009 00:00:00 EST

Tuesday July 28, 2009

7pm

by Carlo Aiello, Editor-in-Chief

It is with great pleasure that we introduce you to the premier issue of eVolo. This architecture and design journal was initially conceived in 2004 by a group of graduate students at Columbia University in New York City. Following graduate school, inspired and idealistic, many of us felt the need to reach further and look more closely at ourselves and our specific strengths to figure out what we could uniquely contribute to the field of architecture. Unfortunately entering the work force revealed a scary truth; the world of architecture is a tough place, making little room to accommodate all the unique contributions that so many brilliant young architects were so eager to make. This, specifically, is the inspiration for eVolo; to provide a forum for showcasing the most innovative, the most avant-garde designs that will define architecture in the twenty-first century.

So I introduce to you, eVolo, a work in progress with a clear mission, but no other rules. We have in mind a desire to examine the relationship between architecture and the natural world, architecture and the community, architecture and urban living; but this is an open investigation, welcoming all questions with a willingness to entertain any and all possible answers.

As a part of our mission, in 2006 we created the annual Skyscraper Competition, whereby architects, students, and designers shared their ideas about the future of the skyscraper. The outcome was extraordinary, and in 2008 we published a book with the most innovative projects of the last three years. In September of 2009, there will be an exhibition in New York City to display the brilliance that was uncovered by this competition, brilliance and creativity beyond what we had imagined. Such investment in the work, such innovation, such freedom of thought and expression – we feel confident that there is endless creativity just waiting chance to shine.

So we hope you enjoy the first issue -Housing for the twenty- first century is what we have chosen, and have made it a collaboration between thinkers from diverse fields attempting to understand our current habitation necessities; an exploration of where we are and where are we heading. We start off with the analysis of the economic, social, and architectural causes and consequences of the largest and fastest migration event of human history; the exodus from rural to urban China.

‘Opinion’ is a collection of essays on the broad topic of housing, reaching broadly, from discussions about the use of new technologies, ecology, and global warming, to the transformation of a house into another ‘member’ of a family. This section also includes a reflection on the legacy of Frank Lloyd Wright and his architectural sensibility to make house and context one single entity. In this section you will also find critiques on some of the most forward-looking housing projects designed by world-class firms such as Steven Holl Architects, Asymptote Architecture, Herzog & de Meuron, Bjarke Ingels Group, and Office for Metropolitan Architecture.

Central to this issue are the winning projects of the 2007 Housing Competition organized by eVolo, which consists of twenty proposals that, through the use of new materials, technology, novel spatial organizations, and combinations of programs, present a glimpse of the possible world to come. You will find examples of underground housing, the regeneration of existing neighborhoods, the exploration of new aesthetics from mathematical algorithms, and the studies of biogenetic materials used for environmentally responsive claddings.

The final section spotlights a young firm of designers known as Nervous System, who are producing an ingenious jewelry line based on patterns of organization in the natural world. Some of their pieces mimic the growth of coral and other branching structures, while other collections are created with the simulation of particle aggregation and diffusion systems.

The first issue of eVolo is the beginning of a long journey, along which we intend to search and discover, unveil and promote, in a collaborative format that welcomes anyone that wishes to take this journey with us.

eVolo- to study, to develop, to evolve, to fly away…

New Geographies Book Launch

7 July 2009 00:00:00 EST

Tuesday July 7, 2009

7pm: Presentation of NEW GEOGRAPHIES #1: AFTER ZERO
Edited by Neyran Turan, Stephen Ramos.

Speakers: Neyran Turan, Stephen Ramos, Hashim Sarkis

Design disciplines are challenged by the condition of the zero point. “Zero-context,” “cities from scratch,” and “zero-carbon” developments all force designers to address important questions regarding the strategic relevance and impact of a design intervention. As much as the zero point presents naïve innocence and embodies contradictory notions—such as crisis versus abundance or context versus model—it also creates a ground for doubt, self-critique, and rejuvenation for architecture and urbanism. As projects, indeed entire “new” cities, are built before they can even be imagined and then repackaged and replicated as models for any context, what do these projects suggest for the design disciplines? Beyond a focus on the vast scales and ambitions of these projects, it is important to see them as symptomatic of a much broader condition within contemporary architecture and urbanism. Along with the challenges inherent in the zero point, perhaps more meaningful are the provocations of the AFTER following the ZERO condition. The idea of an AFTER ZERO is crucial for us; not only to assert the need to reflect on the future following the zero condition but also in acknowledgment of the release of this volume after our previous Volume No. 0. If the zero condition presents crises of form, context, and social relevance for architecture and urbanism, perhaps one way to deal with this is “to redefine crisis, not as crisis but more simply as symptoms of larger urban trends whose logic is revealed only when judgment is suspended,” as Albert Pope writes in the volume. If we assess the current moment of crisis as a zero point, how can we think about the social, political, and formal significance of design after the Meltdown? After an era of reality mapping or iconic formalism, the volume aims to investigate possibilities AFTER crises, AFTER mapping, and AFTER signature architectures. Without relying on totalizing narratives, naïve morality, or escapism, AFTER ZERO is an opportunity to imagine alternative futures and a revitalized project for the city.

Contributors to New Geographies #1 include: Albert Pope, Ulrich Beck, Pier Vittorio Aureli, Martino Tattara, Erik Swyngedouw, Keller Easterling, Thomas J. Campanella, Francois Blanciak, Yasser Elsheshtawy, Matthew Gandy, Behrang Behin, Lola Sheppard, Mason White, Joseph Grima, and Peter Hall.

The Panelists:

Neyran Turan is an Assistant Professor at Rice University School of Architecture. She recently received her doctoral degree from the Harvard University Graduate School of Design with a dissertation exploring the history of a specific dialogue between the geography and urbanism of twentieth-century Istanbul. Turan holds a masters degree from Yale University School of Architecture and a Bachelor of Architecture degree from Istanbul Technical University. Turan's work focuses on contemporary interpretations of scale, infrastructure and ecology, and their potentiality for new positionings in architecture and urbanism. She is the cofounder of NEMEstudio, a research and design collaborative based in Houston and Boston.

Stephen Ramos is a Post-Doctoral Fellow at the Belfer Center for Science and International Affairs at Harvard University's John F. Kennedy School of Government. He received his doctoral degree in urban planning and design from the Harvard University Graduate School of Design in 2009. His dissertation, entitled "Dubai Amplified: The Role of Large-Scale Trade Infrastructure in the Territorial Development of a Lower Gulf Port Geography, "explores the multiple roles and meanings of infrastructure within rapidly urbanizing circumstances, looking specifically at the case of Dubai. His professional practice includes work with the Fundación Metrópoli in Madrid, the International Society of City and Regional Planners in The Hague, along with NGO work in Central America. Stephen holds a B.A. in Literature from Gettysburg College, an M.S. in Community and Regional Planning, and an M.A.in Latin American Studies from the University of Texas at Austin.

Hashim Sarkis is the Aga Khan Professor of Landscape Architecture and Urbanism at Harvard University Graduate School of Design. He teaches design studios and courses in the history and theory of architecture. Sarkis also directs the Aga Khan Program at the GSD. Sarkis is a practicing architect between Cambridge and Lebanon. His projects include the award winning housing complex for the fishermen of Tyre, a park in downtown Beirut, two schools in the North Lebanon region, and several urban and landscape projects. He is author of several books and articles including Circa 1958: Lebanon in the Pictures and Plans of Constantinos Doxiadis (Beirut: Dar Annahar, 2003), editor of CASE: Le Corbusier’s Venice Hospital (Munich: Prestel, 2001), co-editor with Peter G. Rowe of Projecting Beirut (Munich: Prestel, 1998), and executive editor of the CASE publication series (GSD/Prestel).

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NEW GEOGRAPHIES #1: AFTER ZERO
Editors-in-Chief: Neyran Turan, Stephen Ramos.
Editorial Board: Gareth Doherty, Rania Ghosn, El Hadi Jazairy, Antonio Petrov.
Advisory Board: Bruno Latour, Mohsen Mostafavi, Antoine Picon, Hashim Sarkis, Charles Waldheim.
Graphic Design: Thumb.
New Geographies is distributed by Harvard University Press.

For additional information on the New Geographies Journal, visit: www.gsd.harvard.edu/newgeographies
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Rob Ley and Joshua G. Stein present Reef

4 June 2009 00:00:00 EST

Thursday June 4, 2009

Watch live video from storefront on Justin.tv

The creators of Reef, Rob Ley and Joshua Stein, discuss the work of their practices and their investigations into the use of emergent technologies in architecture.
Rob Ley is the founding principal of Urbana, an architecture and design studio in Los Angeles. Urbana engages current material and formal technologies to develop environments that respond to human inhabitation and experience. Ley currently teaches graduate design studios and seminars at the Southern California Institute of Architecture (SCI-Arc).
Joshua Stein heads Radical Craft, a Los Angeles based studio that investigates urban and material patterns while focusing on the intersection of traditional craft and contemporary fabrication techniques. He has taught design studios and seminars at Cornell University, SCI-Arc, Woodbury University, and the Milwaukee Institute of Art & Design as well as fabrication workshops in Barcelona, Istanbul, and Krefeld (D).

Reef

2 June 2009 00:00:00 EST

Tuesday June 2, 2009 – Saturday August 1, 2009

An installation at Storefront for Art and Architecture by Rob Ley and Joshua Stein

Reef redefines the role of architectural envelope by capitalizing on emerging material technology to imbue space with behavioral qualities. In this installation at Storefront for Art and Architecture in New York, the public engages in the new social nuances revealed as exhibition is redefined by exploding the perceived 'wall' separating private and public space. The responsive membrane creates a diverse range of porous and dynamic enclosures capable of producing sophisticated, flexible responses to an existing program. Reef creates an interior condition which reacts according to an exterior street-scape, and reasserts an active, willful role in shaping that public space.

Architecture's earlier flirtations with motion and technology have often been justified by claims of efficiency through intelligence; however, this territory of rational efficiency and intelligence quickly doomed that architecture to the role of the spectacular machine or the respectful servant. The heroics of Ron Herron's Walking City or even contemporary retractable stadium canopies rarely attempt to operate as a medium for social interaction. In these cases, technology drags with it a machine aesthetic, further distancing it from the sphere of the social. Could a different paradigm expand the possibilities for viewing the human relationship with technology and space?

Reef investigates the role emerging material technology can play in the sensitive reprogramming of architectural and public space. Shape Memory Alloys (SMAs), a category of metals that change shape according to temperature, offer the possibility of efficient, fluid movement without the mechanized motion of earlier technologies. Operating at a molecular level, this motion parallels that of plants and lower level organisms that are considered responsive but not conscious. A field of sunflowers as they track the sun across the sky or a reef covered with sea anemones offer images of the type of responsive motion this technology affords. Its use in practical applications has been limited to the medical and aerospace fields as well as novelty toys -- the super exclusive vs. the trite. Despite the potential of this technology, there have been few serious attempts to test its possibilities at the scale of architectural environments. Reef's unique exploration of technology shifts from the biomimetic to the biokinetic while liberating and extending architecture’s capacity to produce a sense of willfulness.

Reef furthers the experimental agenda of Storefront through the investigation of a sophisticated and flexible negotiation of the public street and the typical 1st floor retail space. The original façade installation by Acconci and Holl engaged public space in a novel way by locating the art and architecture experiment at interface between gallery and street rather than sealing it off from the public life of the street. Reef extends this experiment through the introduction of a more precise and fluid secondary interface, one charged with the purpose of fostering refined social interactions through a variable and fluid porosity. Unlike the typical activities that one associates with ground floor spaces of the city -- retail, office, or gallery -- here the motion and sway of nature, like trees in the wind, is enfolded within interior space, drawing in the sensibility of the outdoors. In tandem with the Acconci/Hall façade, Reef questions the negotiation between the public realms of urban space and the intimacy of the interior.

Supported by grants from:
Graham Foundation for Advanced Studies in the Fine Arts.
AIA Knowledge Grant
IDEC Special Projects Grant

This project was made possible by the generous support and assistance of Dynalloy Inc.

Motion Control Software Development and Custom Electronics: Pylon Technical

Bios

Rob Ley is the founding principal of Urbana, an architecture and design studio in Los Angeles. Urbana engages current material and formal technologies to develop environments that respond to human inhabitation and experience. Mr. Ley currently teaches graduate design studios and seminars at the Southern California Institute of Architecture (SCI-Arc). He holds a Master of Architecture from University of California, Los Angeles (UCLA) and a Bachelor of Science in Architecture from the University of Illinois, Urbana-Champaign.

Joshua G. Stein heads Radical Craft, a Los Angeles based studio that investigates urban and material patterns while focusing on the intersection of traditional craft and contemporary fabrication techniques. He has taught design studios and seminars at Cornell University, SCI-Arc, Woodbury University, and the Milwaukee Institute of Art & Design as well as fabrication workshops in Barcelona, Istanbul, and Krefeld (D). He holds a Master of Architecture degree from the University of California, Los Angeles (UCLA).

49 Cities Discussion

20 May 2009 00:00:00 EST

Wednesday May 20, 2009

A discussion with Amale Andraos and Dan Wood (Work AC), Sarah Whiting (Princeton) and Michael Webb (Archigram).

Reserved seating available only for Storefront Members. Please RSVP at rsvp@storefrontnews.org.

Become a member for $50 and get a signed copy of 49 Cities Book at the event.

Photo credits: Gaia Cambiaggi

Resonance Booklaunch

19 May 2009 00:00:00 EST

Tuesday May 19, 2009

Book launch at Storefront Gallery
97 Kenmare Street, New York, NY 10012

Resonance
Visual activism, Installations, Architecture

Excerpt from IP phone conversation between Federico Díaz and Jeff Kipnis, April 22, 2009.

"Art and architecture, have over time, produced a highly specialized discourse.

… But let’s go back to this question of the Resonance sculptures. If you think of them as simulations, then the effect is to be fascinated by how close they imitate something else. But I have a different concept that I use, but I am not trying to impose it on this work. I have this idea that is called “re-origination”. I want to suggest the concept of Federico that helps me understand his work, it’s basically called re-origination. The idea is something like this: Let’s say you read a book, and you make a movie of it. Then I’m interested, first of all in the power of one medium to represent another medium is a really fantastic thing, and we should respect that, and not be afraid of it. So, the power of representation is really good, is important, on the other hand, what’s really interesting to me is when the movie can do something that the book couldn’t do. So, the book gets inside the movie and then becomes a new original condition. When I look at the Resonance sculpture, it’s really fascinating to me, not because they look like water, not because I don’t recognize the representation, but because they do something completely different; mostly because they are still, not because they are moving. And so, it feels like, not that it’s stopped, not that it is a picture of something that’s been stopped, but that it actually stops all the time around it, like in the Matrix.

And what I think is interesting to me, is that I don’t think that [this could be created by] any other technique or technology, but this is only something that could be done in rapid proto-typing, not because of the ability to represent so well, but the material itself, and the way it’s made, has this uncanny ability to produce this effect that nothing else can produce. … What you do seems different for me, there is a way that your project takes on a kind of original art condition. Basically, I don’t believe in such a thing as an idea. I believe that ideas are diagrams that change matter. … That’s why I think the work is so interesting.

I’m going to make it very simple. Caravaggio was a great painter. And most of his great work began with religion. Not all of it, but most of it. What he did, he would paint, for example, John the Baptist. But he would remove all of the evidence, the traditional symbols of religion. The art would make us confront the living reality of miraculous moments. I think that today science is like religion. In a certain way that’s interesting to me, Federico is like Caravaggio, in that he starts with science, and then removes everything that is scientific from it, to leave the part that’s about life. My theory is, from the moment he thought he couldn’t do what Caravaggio did, that’s all he’s been doing. The trick is to understand the relationship between science today, and religion in the 16th century.

Basically, there is something, and I don’t know what to say about this, there is some reason that digital methods can do it and paint can’t. Nietzsche was the first philosopher to ever use a typewriter. And his first publisher refused to publish anything, because he didn’t think you could write philosophy on a machine. There was a belief that there had to be a kind of intimate connection between the soul and the medium of expression."

Federico Díaz and his team, later named E AREA after one of their late 1990s breakthrough projects, have been working together for more than fifteen years. They have contributed to contemporary art with new stimuli that have broadened and transcended the current way of perceiving art and the concept of a work of art.

Every time Díaz presented a new interactive work, he caught the public’s attention. Resonance was published on the occasion of the international art exhibition Art Basel Miami Beach 2008 where the artist realized Ultra, a site-specific installation curated by Alanna Heiss and organized with P.S.1 Contemporary Art Center.

The cover of the book contains a thermo color that reacts to temperatures from 71,6°F/22°c. The color will change based on heat such as sunshine or human touch.

The book is published by Charta + P.S.1 Contemporary Art Center in collaboration with Galerie Zdeněk Sklenář, Prague, 2009

Gets Under the Skin

24 April 2009 00:00:00 EST

Friday April 24, 2009

Apr 30 2009
May 7 2009
May 13 2009

Films and videos on modernist architecture
Curated by Hajnalka Somogyi

With films by:
Bernd Behr, Johanna Billing, Michael Blum, Josef Dabernig, Domènec, Miklós Erhardt, Terence Gower, Pierre Huyghe, Lars Laumann, Iñigo Manglano-Ovalle, Caitlin Masley, Ursula Mayer, Anna Molska, Sadie Murdoch, Pia Rönicke, Anri Sala, Caspar Stracke and Judi Werthein

Modernist architecture has been a strong, recurring theme in contemporary art. Way after its rise and fall, it still seems to bug artists, both as art and as social program: it provokes mixed feelings of fascination, nostalgia, rejection and disillusionment. Gets Under the Skin offers a selection of critical responses to the ideas and products of modernist architecture that neither buy the recent “grand narrative” of its wholesale failure nor join the uncritical celebration and fetishization of its masterpieces.

Taking prime and more obscure examples of the Euro-American modernist architectural canon from the Bauhaus school in Dessau or the Goldfinger House in London through Le Corbusier’s Unité d’Habitation and the Crown Hall at the IIT campus to the Expo ’67 in Montreal and Eastern European housing projects among many others, these works recast various threads that led from the originally informative ideas of pure reason and universal emancipation to the wildly divergent realities and myths that make up for their current context. Demolished and in ruins or polished and musealized, modernist architecture appears in these works as an unshakable legacy that continues to inspire and irritate.

Gets Under the Skin is a thesis project curated by Hajnalka Somogyi as part of the requirements for the Master of Arts degree at the Center for Curatorial Studies, Bard College.

April 24, 7pm
Location: in the Spacebuster (by Raumlabor)
under the High Line at 508 W25 St at 10th Ave

Anna Molska
Perspective, 2003
1’ 31”, video, color, sound
Courtesy of the artist and Foksal Gallery Foundation, Warsaw

Judi Werthein
This Functional Family, 2007
15’, video, color, English
Courtesy of the artist

Johanna Billing
Where She Is At, 2001
07’ 35”, video, color, sound
Courtesy of the artist and Hollybush Gardens, London

Ursula Mayer
Interiors, 2006
3’ 11”, 16 mm transferred to DVD, b/w and color, sound
Courtesy of the artist and Monitor, Rome

Bernd Behr
House Without a Door, 2006
16’ 32”, HD video, color, sound
Courtesy of the artist

Sadie Murdoch
Eileen.Gray, 2004
6’ 45”, video, color
Courtesy of the artist

Domènec
Unité Mobile (roads are also places), 2005
9’ 35”, video, color, sound (French)
Courtesy of the artist

Terence Gower
Ciudad Moderna, 2004
8’, digital video, b/w, color, Spanish with English subtitles
Courtesy of the artist

Pia Rönicke
Somewhere Out There, 1998
9’ 18”, digital animation, color, sound
Courtesy of the artist and gb agency, Paris

Total around 77 min

April 30, 7pm
Location: Storefront for Art and Architecture

Terence Gower
Wilderness Utopia, 2008
3’, HD video, color, English
Animation and design: Sticky Pictures, Brooklyn
Funded by the Graham Foundation for Advanced Studies in the Fine Arts and the Hirshhorn Museum and Sculpture Garden
Courtesy of the artist

Iñigo Manglano-Ovalle
Always After (The Glass House), 2006
9’ 41”, super 16 mm film digitized to HD and compressed for HD-DVD
Courtesy of the artist and Max Protetch Gallery

Lars Laumann
Berlinmuren, 2008
23’ 56”, video, color, English
Courtesy of the artist and Maureen Paley, London

Pierre Huyghe
This Is No Time for Dreaming, 2004
24’, live puppet play and super 16 mm film, transferred to digibeta, color, English
Courtesy of the artist and Marian Goodman, New York

Caspar Stracke
No Damage, 2002
13’, digital video, color, sound
Courtesy of the artist

Total around 74 min

May 7, 7pm
Location: Storefront for Art and Architecture
With a conversation between the curator and Tirdad Zolghadr, thesis adviser.

Caitlin Masley
Expo ’67, 2008
11’ 14”, super 8 mm film transferred to DVD, b/w and color, sound (French)
Courtesy of the artist

Josef Dabernig
WARS, 2001
10’, 16 mm film transferred to DVD, b/w, sound
Courtesy of the artist and Andreas Huber Gallery, Vienna

Miklós Erhardt
Havanna, 2006
15’ 11”, video, color, English
Courtesy of the artist

Anri Sala
Dammi I Colori, 2003
16’, video, color, Albanian with English subtitles
Courtesy of the artist and Marian Goodman, New York

Michael Blum
The Three Failures, 2006
22’ 04”, video, color, English
Courtesy of the artist

Total around 75 min

May 13, 6 pm
Location: Preston Theatre, Bard College Annandale-on-Hudson, NY

Anna Molska
Perspective, 2003
1’ 31”, video, color, sound
Courtesy of the artist and
Foksal Gallery Foundation, Warsaw

Judi Werthein
This Functional Family, 2007
15’, video, color, English
Courtesy of the artist

Sadie Murdoch
Eileen. Gray, 2004
6’ 45”, video, color
Courtesy of the artist

Terence Gower
Ciudad Moderna, 2004
8’, digital video, b/w, color
Spanish with English subtitles
Courtesy of the artist

Pia Rönicke
Somewhere Out There, 1998
9’ 13”, digital animation, color, sound
Courtesy of the artist and gb agency, Paris

Pierre Huyghe
This Is No Time for Dreaming, 2004
24’, 16 mm film transferred to HD DVD
color, English
Courtesy of the artist and
Marian Goodman, New York

Caitlin Masley
Expo ’67, 2008
11’ 14”, super 8 mm film transferred to DVD
b/w and color, sound (French)
Courtesy of the artist

Josef Dabernig
WARS, 2001
10’, 16 mm film transferred to DVD, b/w, sound
Courtesy of the artist and
Andreas Huber Gallery, Vienna

Anri Sala
Dammi I Colori, 2003
16’, video, color
Albanian with English subtitles
Courtesy of the artist and
Marian Goodman, New York

Gets Under the Skin
Films and videos on modernist architecture

“CHANCE TO SMASH GLASS AT CROWN HALL GOES FOR $2705 ON eBAY. A winning bid of $2705 was placed on eBay for the opportunity to shatter the first pane of glass removed from S.R. Crown Hall as part of the May 17, 2005 "Smash Bash," the kick off for the historic renovation of the Ludwig Mies van der Rohe-designed National Historic Landmark at IIT. The renovation coincides with the 50th anniversary celebration of this Modernist architecture icon. The auction, which ended Friday, received 55 bids on the auction web site.”

One great thing about researching contemporary artistic responses to modernist architecture is that you keep stumbling upon curious stories. About why Ian Fleming named his infamous villain after architect Erno Goldfinger; about Erich Mendelsohn and the Hollywood studio RKO building ‘German Village’ on a US military weapons testing area in 1943; about how the Hirschhorn Museum almost ended up in the wilderness of Canada; about a woman who married the Berlin Wall; about an artist-mayor who made socialist housing blocks in Tirana painted in all colors of the rainbow. Stories which are never easy to unpack, to relate to one another, to make clear sense of. The one in the above quote is also bursting with ambiguity.

First of all, destroying something as a way to celebrate it seems an unusual idea – who would want to get bashed on his 50th birthday? Moreover, who would pay for performing such job? The accounts tell us that it was van der Rohe’s architect grandson, Dirk Lohan who placed the highest bid. He said: “As a longtime IIT supporter, this means very much to me. But, it means even more on a personal level.” I wonder what he meant. Surely, there would have been other ways to donate.

This act of violence, one could say the “desecration” of this landmark piece of modernist architecture, even if justified by a benevolent motive (alibi?), points to controversial emotions driving modernism’s posterity. Crown Hall is a landmark, its preservation has been a top priority for the Institute; its anniversary was a celebratory event. It houses the College of Architecture at IIT, the alma mater of generations of architects. It is so much worshiped it actually might be no surprise that the replacement of its window panes turned out to be a euphoric “smash bash”, as if the offspring had been waiting for this miraculous moment when smashing grumpy grandpa’s window goes unpunished. Which is of course not about any family issues Mr. Lohan might have had, but more about a currently prevailing attitude in which admiration and rejection of the modernist legacy – one could say also some sort of frustration induced by it – are strongly intertwined.

What is it about modernist architecture that makes you want to smash it with a huge steel hammer? What is it about modernist architecture that you would want to preserve and leave behind for the next generation? (Importantly, we should set aside the question begging to be asked: What is modernist architecture? – simply because answering it in any “objective” way, overruns the ambitions of this text or project by far.)

So why do we still bother so much? One obvious answer is that because it is still around. At least in most cities in Europe and North America, the areas on which this project focuses, it still has a defining presence: it shapes the ways one moves, perceives, creates relations with others, it unavoidably influences feelings and thoughts. It is motion and emotion, form and information. It is not only what one perceives, it is also what one knows about it: the initial ideas of early modernism that shaped its formal vocabulary, that imbued it with social programs based on the rationalization of human needs and duties, on solidarity; and the innumerable critical assessments by architecture and art historical, sociological, psychoanalytical, semiotic, postmodernist, post-colonialist and post-socialist studies, among others, which countered the modernist canon with their own alternating/alternative narratives. For lack of a clearer definition, this is modernist architecture today: a maze of narratives – from accounts of academic discourses to rumors, anecdotes, and urban myths.

Part of them is about modernist architecture’s doom, wholesale failure; about its arrogance, its complicity with the ruling order; the dreadful social situations it has created/contributed to, or its lack of power to create the society on the vision of which it was based. Another part of the stories (and this is not necessarily in full opposition with the former) has established modernist architecture as untouchable legacy, icon, fetish, cult.

Where does contemporary art stand then when addressing modernist architecture? Obviously, there is no correct answer to this question: artistic reactions are as various as the responses from other cultural fields. Certainly, the former is influenced by the latter, as artists who today deal with modernist architecture see and select from the narratives modernist architecture constitutes, both from the academic and the popular kinds; but how does artistic knowledge production, with its own stories, concepts and fantasies contribute to the broader re-thinking of this legacy?
There are so many artworks today that plunge into this vast field; and there have been so many curatorial projects, exhibitions, conferences and the like, trying to frame and interpret this production. Video and film works are just a part of it; I had to forgo sculptural, photographic and installation works or multichannel projections, among others, when compiling this project and, needless to say, the present selection is far from being representative or comprehensive in any sense. Still, a screening program provides one of the easiest ways to overview a large amount of works, which is important when one is interested in the diversity of possible approaches.

The selected films and videos all address the European and North-American heritage of modernist architecture (with one exception venturing into the Mexican context); beyond this criterion, they are rather different. The artists all “talk” about modernist architecture: about a building, an interior, an architect, a grounding idea; but it is probably more interesting to ask what does modernist architecture stand for in their eyes? Why does it keep bugging them?

Indeed, in these works, there are no hammers (although there is a broom and a lot of shattered glass) and there is no celebration, either. Most of them are peaceful, contemplative, atmospheric, some even nostalgic; in others there is less longing and more disapproval. Their standpoint is mostly elusive: inconclusive, enigmatic pieces, often operating with irony or emotions, never even trying to seem detached or comprehensive in their approach. Mostly focusing on “case studies” instead of addressing the large picture. It is interesting that in most of them, modernist architecture appears as plans, drawings, models, photographs, found footage or musealized environments: thus, already as representation. Not only as physical environment, but also, as a legacy. The works not only deal with the past, but also with the present; however, this present is articulated as “aftermath”.

Some, like Andreas Huyssen, would call these works memory practices; others, like Svetlana Boym, would talk about nostalgia; and many, like Boris Buden would see in these works acts of cultural translation. The common question is: what is to be remembered, what is to be saved, to be translated so as to secure its afterlife?

Is it the formal simplicity and the aesthetic beauty arising from it? While in most of the works, there is a clear appreciation of these values, they seem equally aware of the vulnerability of modernist forms vis-a-vis downright opposing ideologies that have made use of them. Is it the idea of solidarity, of modernization that would make life fair, the Euro-American leftist tradition that influenced the formative ideas of modernist architecture? It is certainly evoked in many of the pieces – along with colonial exploitation and the possible horrors of nationalism, competition, and of concepts of a homogeneous society, among other dark shadows and blind spots behind the bright ideas. Is it the boldness of the architects and their sense of responsibility when they set out to change the world? One definitely has to admire their spirit when watching some of these works; nevertheless, the same works might make one aware of the architects’ frailty, naïveté, complicity or powerlessness.

Is it possible that, besides articulating and reflecting on the accumulated critique, convictions and fantasies related to modernist architecture, some of these artists are also taking personal issues with a legacy that was framed as art with clear social programs and with practitioners – the architects – who did not (as architects cannot) shy away from intervening into the social fabric Is modernist architecture of special importance to artists, a continuous source of inspiration and irritation, for it is posing the question of how it is possible to make art and to have a social impact at the same time? This can be confirmed (or denied) only by the artists; till then, the works in which the figure of the artist appears (either as him- or herself or as alter ego and effigy) can make us think of possible reasons why they put themselves on spot.

The videos and films will be presented through three evenings at Storefront. Instead of trying to come up with three subthemes (which were not considered through the selection process) and thereby creating three “blocks” of the works, they have been ordered chronologically, according to the date of the building or interior featured in them. This twice-interrupted flow of para-history (which, with regards to the works’ contents and sensibilities creates rather haphazard connections) is intended to cast light on the specificity of artistic knowledge production precisely by proving itself to be a total nonsense as the logic of ordering.

For whatever their reasons for engaging in these issues may be, the question still remains: why should we ask artists about modernist architecture? How do they contribute to the already complex and cacophonic discourse on it? I would say that it is exactly the works’ elusiveness, their openly subjective viewpoints, the interweaved facts and fiction, their abandoning all research and disciplinary protocols, the contradictions and discrepancies created and left unresolved, the incongruent elements put together as if indifferent to their differences –all this is what makes them indispensable when thinking of the past and its effects on the present. They reveal how slippery the field of constructing history really is while actively doing it in their own “shredder-pulper” ways (as Sarat Maharaj put it) and enjoying the slips and slides, the shreds and pulp of the myths and histories of modernist architecture that we are indeed left with.

Hajnalka Somogyi

Spacebuster by Raumlabor

16 April 2009 00:00:00 EST

Thursday April 16, 2009

(Above: Spacebuster at CSV Cultural Center, Photo Alan Tansey )
View Alan Tansey's photostream documenting evening events in the Spacebuster

Spacebuster is a mobile inflatable structure - a portable, expandable pavilion - that is designed to transform public spaces of all kinds into points for community gathering. A new iteration of a past Raumlabor project, the Küchenmonument (presented in Europe in 2006-8), the Spacebuster will make its first appearance in the US this evening and will travel throughout Manhattan and Brooklyn for 10 consecutive evenings hosting various community events.

The pavilion is comprised of an inflatable bubble-like dome that emerges from a step van that also houses the compressor that keeps the Spacebuster inflated. The dome expands and organically adjusts to its surroundings, be it in a field, a wooded park, or below a highway overpass. The material is a translucent plastic that allows the events taking place inside of the shelter - screenings, lectures, dinners or discussions - to be entirely visible from the outside. Likewise the exterior environments become the events' backdrops.

Each of these ten evenings will be organized in conjunction with a community group, nonprofit organizations, university, or arts organization. Events will include artist talks, film screenings, communal dinners and many other events.

Friday 17 April, 6.30pm
Public Vernissage at Gansevoort Plaza with a talk by Raumlabor (map)

Sunday 19 April, 7pm: Dinner at the Old American Can Factory
Dinner with Raumlabor in the Spacebuster in The Courtyard of The Old American Can Factory, 232 Third Street at Third Ave., Gowanus Brooklyn, hosted by The Eighteenth, a roving restaurant run by artist Anne Apparu (7pm onwards, $27). To book a seat please RSVP to rsvp@storefrontnews.org - limited seating available. Organized in conjunction with MeanRed Productions and XØ Projects.

Tuesday 21 April, 7.00pm
Presented in conjunction with Goethe Institute New York
Gathering at Wyoming Building, the new events space of the Goethe Institute NY (map) followed by a lecture by Raumlabor and presentation of the Fragmental Museum at Clemente Soto Vélez Cultural Center ( map)

Wednesday 22 April, 7.00pm
Screening and discussion: "Examined Life", organized in conjunction with Gavin Browning/Studio-X/Columbia GSAPP
Followed by open discussion with Astra Taylor, Avital Ronell and Raumlabor (Event booked out)

Thursday 23 April, 7.00pm
Iron Designer, organized in conjunction with Studio-X/Columbia GSAPP and DUMBO Improvement District
Iron Designer is organized by Mitchell Joachim, Ioanna Theocharopoulou and Gavin Browning, Columbia GSAPP, as a continuation of ECOGRAM: The Sustainability Question.
Featuring teams of M.Arch students from Columbia GSAPP, CCNY, Parsons and Pratt, IRON DESIGNER is a real-time, ecologically-oriented and challenge-based happening loosely based on “Iron Chef”.
Location: The Archway in DUMBO (map)

Friday 24 April, 7.30pm
Screening of Gets Under the Skin Films and Videos on Modernist Architecture curated by Hajnalka Somogyi (link)
Screening of Utopie 18, a movie by Raumlabor, followed by open discussion with the public.
Screenings will take place in the Spacebuster, located under the High Line at 508 W25 St at 10th Ave in Chelsea (map)

Saturday 25 April
3pm Workshop
4.30pm Sandwiches by raumlaborberlin
5pm Poetry Slam
On Saturday, April 25th 2009, Storefront for Art and Architecture and Myrtle Avenue Brooklyn Partnership will organize a joint community-oriented event to be held in the unused space under the Brooklyn-Queens Expressway along Park Avenue. The focus of this workshop will be on how disused spaces of this kind can be re-imagined as neighborhood assets. During activities facilitated by planners and designers including Raumlabor, workshop attendees will be able to share their thoughts by sketching, through discussions, and by exchanging ideas. The event will be free and open to the public. Location: Park Ave btw Washington Ave and Hall Street (under the BQE), Brooklyn (map)

Sunday 26 April, 8.00pm
Finissage - closing reception and goodbye to Raumlabor (33 Flatbush Ave, Brooklyn)

About Raumlabor
Raumlabor is a group of architects and urban designers based in Berlin, Germany. Raumlabor began working on the issues of contemporary architecture and urbanism in 1999. Working in various interdisciplinary teams they investigate strategies for urban renewal. Raumlabor’s work deals with urban design and planning, architectural design, landscape, buliding interactive environments, research and design of public space and art installations. Their public art installations have been shown in Vienna, Austria, numerous cities in Germany, as well as numerous biennials and exhibition spaces throughout Europe.

Sponsored by:
Goethe Institute New York
Department of Transportation - Urban Arts Initiative

Partner Organizations:
Clemente Soto Vélez Cultural Center
Studio-X/Columbia GSAPP
Meanred Productions
Meatpacking District Initiative
Dumbo Improvement District
MARP LDC / Myrtle Ave Brooklyn BID
ForYourArt

With special thanks to
Kellam Clark www.kellamclark.com
MILROSE www.MILROSE.com
IBEX Construction www.ibexconstruction.com

Spacebuster on WNYC

Spacebuster at CSV Cultural Center, Photo Alan Tansey

Spacebusting

From within a hard shell swells the soft bubble, a billowing urban room hatched in the back of a delivery van. This genie in a lamp makes for instant theater, and shows how wind in a bag can make instant architecture. But this is no ordinary pop-up circus tent. Rather than being consumed as entertainment, like a circus act or the dead matter of architecture, Spacebuster consumes its viewers, and they in turn transform it. Touch it, see and be seen through it, drink and debate inside it.

New York is full of invisible walls. The spaces that Spacebuster busts are penned by intangible limits. Space busting is about uncompressing the void, sprouting between the cracks, squeezing the vacuum, enveloping the moment. Ambiguity no longer equates to amnesia. The strange yet banal spectacle of inflation, the making of walls and boundaries, turns out to be an overture to cross those boundaries and infiltrate the volume. Spacebuster mobilizes us to mobilize space.

Enter Spacebuster, the amorphous enigma: A certified building by the Department of Buildings. A licensed vehicle by the Department of Motor Vehicles. A certified street event by the Department of Transportation. An experimental realm-laboratory by Raumlaborberlin. Inhaling inert space, it holds its breath until the space reawakens, if only for a moment. Will the memory last? How will we convert this experience of agile placemaking into everyday practices of urban space busting?

- Gideon Fink Shapiro

WORKac: 49 Cities

14 April 2009 00:00:00 EST

Tuesday April 14, 2009 – Saturday May 23, 2009

Above: Site plan for Exodus. Rem Koolhaas, London, 1972.

Discussion with Dan Wood and Amale Andraos of WORKac and Michael Webb from Archigram, May 20, 7 PM.

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Buy the catalogue ($28): Second edition with new contributions from Michael Webb and Sam Jacob

What was the proposed population of Superstudio’s Continuous Monument? What would the density of Rem Koolhaas’ Exodus plan for London have been had it ever been realized? How would they compare in scale to Kenzo Tange’s Tokyo Bay project, or to Corbusier’s Ville Radieuse? Which of the two would have contained more green areas? 49 Cities sets out to crunch the numbers of several centuries of unrealized urbanism, all the way from the Roman city to the great utopian projects of the 20th century. Through plans, sections, diagrams, charts and scale drawings, 49 cities are observed statistically and presented in an unprecedented comparative study, the result of a research project conducted over several years. Despite the fact that they never actually existed, this history of utopian urbanism provides a remarkable insight into our understanding of the contemporary metropolis.

"Throughout history, architects and planners have dreamed of ‘better’ and different cities – more controllable, more defensible, more efficient, more monumental, more organic, taller, denser, sparser or greener. With every plan, radical visions were proposed, ones that embodied not only the desires but also, and more often, the fears and anxieties of their time.

With the failure of the suburban experiment and the looming end-of-the world predictions – from global warming and waste to post-peak oil energy crises and uncontrolled world urbanization – architects and urbanists find themselves once more at a cross-road, fertile for visionary thinking. Today’s meeting of intensified environmental fears with the global break down of laissez-faire capitalism has produced a new kind of audience, one that is ready to suspend disbelief and engage in flights of the imagination to radically rethink the way we live.

Recognizing the recurrent nature of our environmental preoccupations and their impact in shaping utopias of the past, 49 cities inscribes our time within a larger historical context, rereading seminal projects and visionary cities of the past through an ecological lens of the present that goes beyond their declared ideology to compare and contrast their hypothetical ecological footprint.

49 cities is a call to re-engage cities as the site of radical thinking and experimentation, moving beyond ‘green building’ towards an embrace of ideas, scale, vision and common sense combined with delirious imagination in the pursuit of empowering questioning and re-invention."

Amale Andraos, Dan Wood

Site plan for Tokyo Bay. Kenzo Tange, Tokyo, 1960.

Site plan for Noahbabel. Paolo Soleri, Coastal Waters, 1969.

City design awards presented by Dan Wood at the opening reception

Printing 49 Cities at Linco Printing, Queens

POSTOPOLIS! Los Angeles

31 March 2009 00:00:00 EST

Tuesday March 31, 2009 – Saturday April 4, 2009

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A live 5-day blogathon of back-to-back discussions, interviews, panel talks, slideshows, films and parties with scheduled and unscheduled guests, themed around landscape and the built environment.

Hosted by ArchDaily / Plataforma Arquitectura , BLDGBLOG , City of Sound , Subtopia,

mudd up!, We Make Money Not Art

Location: Rooftop Terrace at The Standard, Downtown LA

On the occasion of Los Angeles Art Weekend, Storefront for Art and Architecture and ForYourArt present Postopolis! LA, a live five-day event of near-continuous conversation about architecture, art, urbanism, landscape, and design to be held in Los Angeles from 31 March to 4 April 2009. Six bloggers, from five different cities around the world, will host a series of discussions, interviews, slideshows, panels, talks, and presentations, fusing the informal energy and interdisciplinary approach of the architectural blogosphere with the immediacy of face-to-face interaction.

Over the course of five days, the six host bloggers will invite 40+ participants from a multitude of fields including architecture, urban planning, geology, defense, publishing, game design, artistic practice, oceanography, music, politics and many others to give brief presentations, each followed by a public discussion.

Postopolis! LA follows in the footsteps of the first groundbreaking edition of Postopolis! held in New York in May 2007, hosted by BLDGBLOG, City of Sound, Inhabitat and Subtopia and attended by several thousand people over a period of five days. Postopolis! LA takes place during the 2nd annual Los Angeles Art Weekend, highlighting the city’s vast array of creative talent.

SCHEDULE
The following lineup of speakers for Postopolis! LA was curated by the authors of the six host blogs.

TUESDAY 31
05:00 : Fritz Haeg Artist and Writer
05:40 : Patrick Keller Architect and Principal, Fabric
06:20 : Yo-Ichiro Hakomori Architect and Principal, wHY Architecture
07:00 : BREAK
07:20 : Dwayne Oyler Architect and Principal, Oyler Wu Collaborative
08:00 : Michael Dear Professor of Geography, USC
08:40 : Jeffrey Inaba Architect and Principal, Inaba Projects
09:20 : BREAK

The evening will end with brief back-to-back presentations by the organizers and host blogs:
09:40 : Joseph Grima Storefront for Art and Architecture / Bettina Korek ForYourArt
10:00 : Geoff Manaugh BLDGBLOG / David Basulto Plataforma Arquitectura / Bryan Finoki Subtopia
10:20 : Jace Clayton mudd up! / Dan Hill City of Sound / Regine Debatty we make money not art
10:40 : OPEN QUESTIONS

WEDNESDAY 1
05:00 : Mary-Ann Ray Architect, Writer, and Principal, Studio Works Architects
05:40 : David Gissen Theorist and Historian, CCA
06:20 : Whitney Sander Architect and Principal, Sander Architects
07:00 : BREAK
07:20 : Sarah Johnston & Mark Lee Architects and Principals, Johnston MarkLee
08:00 : Robert Miles Kemp Designer and Principal, Variate Labs
08:40 : Freya Bardell & Brian Howe Principals, Greenmeme
09:20 : BREAK
09:40 : Ted Kane Architect and Writer
10:00 : Stephanie Smith Founder, Ecoshack

THURSDAY 2
05:00 : Austin Kelly Principal, XTEN Architecture
05:40 : Orhan Ayyüce Architect, Blogger , and Senior Editor, Archinect
06:20 : Ava Bromberg Just Space(s)
07:00 : BREAK
07:20 : Ben Cerveny Strategic and Conceptual Advisor, Stamen Design
08:00 : Steve Roden Musician and Artist
08:40 : Gary Dauphin Writer and Critic
09:20 : BREAK
09:40 : Benjamin Ball &Gaston Nogues Architects and Founding Partners, Ball-Nogues Studio
10:00 : Mike the Poet Poet and Writer

FRIDAY 3
05:00 : Michael Downing LAPD
05:40 : Bryan Boyer Organizer, Helsinki Design Lab 2010
06:20 : Ari Kletzky Founder, Islands of LA
07:00 : BREAK
07:20 : Eric Rodenbeck Founder, Stamen Design
08:00 : Matthew Coolidge Director, Center for Land Use Interpretation
08:40 : Christopher Hawthorne Architecture Critic, Los Angeles Times
09:20 : BREAK
09:40 : David Burns, Austin Young & Matias Viegener Founders, fallen fruit
10:00 : Ken Ehrlich Artist and Writer

SATURDAY 4
04:20 : Benjamin Bratton Architect and Theorist
05:00 : Christian Moeller Artist
05:40 : Sean Dockray / Dan Goods / Daniel Rehn / Jay Yan
06:20 : Media Panel ( Matt Chaban (Architects Newspaper) , Curbed LA , Alissa Walker , Greg J. Smith , Christina Ulke )
07:00 : Photography Panel ( Catherine Ledner , Misha Gravenor , Dave Lauridsen , Tom Fowlks , Gregg Segal )
07:20 : BREAK
08:00 : Paul PetruniaFounder, Archinect School Bloggers Panel
08:40 : Magazine Panel Sam Grawe DWELL , Zach Frechette GOOD , & t.b.d
09:20 : CLOSING PARTY

About the six blogs hosting Postopolis! LA:

ArchDaily (English) & Plataforma Arquitectura (Spanish)
Author: David Basulto (Santiago, Chile)
Plataforma Arquitectura and ArchDaily focus on connecting architects and designers from around the world to debate about design in general and the current state of practice. Plataforma Arquitectura started in early 2006, and ArchDaily launched in March 2008. While both blogs share similar goals, they follow different approaches. The authors of ArchDaily have been traveling to the US constantly to interview architects who have an important role in education, public policy, or practice itself. On the other hand, Plataforma Arquitectura has become a powerful voice that has given more visibility to the Latin American architects as it reunites them and gathers their problems/rants/concerns acting as a whole. The editors of PA and AD have collaborated with the last 2 Biennales, helping spread the fame of Chilean – and Latin American – architecture around the world. Plataforma Arquitectura is the most-read Spanish language architecture blog in the world.

BLDGBLOG
Author: Geoff Manaugh (San Francisco)
Geoff Manaugh is senior editor of Dwell magazine and the author of BLDGBLOG, a 2006 Yahoo! Top 25 Pick of the Year and a Time Magazine Style & Design 100 blog for 2007. Since its launch in 2004, BLDGBLOG has been read by more than 5 million people. Manaugh has been called “the world's greatest living practitioner of ‘architecture fiction’” by Bruce Sterling, and one of the 50 “most influential architects, designers, and thinkers” in the field today by Icon magazine. Geoff Manaugh was a participant in the first edition of Postopolis! in NYC, 2007.

City of Sound
Author: Dan Hill (Sydney, Australia)
City of Sound is a blog about cities, architecture, design, media, and culture—often colliding in the same post on the imagined connections between travel writing and design, or football and architecture. Dan Hill was a participant in the first edition of Postopolis! in New York City, 2007.

Subtopia
Author: Bryan Finoki (San Francisco)
Subtopia (http://subtopia.blogspot.com) began as a site where research on the broad topic of “military urbanism” could be gathered. As time went on, Subtopia evolved into a larger, ongoing chronicle of how different Orwellian trends in urbanism engage the geopolitical process of constructing and living in cities all over the world today. In the world of architecture blogging, Subtopia is one of the most fascinating and unique destinations. Bryan Finoki was a participant in the first edition of Postopolis! in New York City, 2007.

Mudd Up!
Author: Jace Clayton (New York)
Jace Clayton is a writer & musician based in Brooklyn. His essays have appeared in such places as The Washington Post, Frieze, The Fader, Wire, Bidoun, The National, n+1, Abitare, and on his blog, Mudd Up! As a musician, he’s performed in over 25 countries, released records on Soul Jazz & Tigerbeat6, DJ’ed in a band with Norah Jones, done two John Peel Sessions, and was turntable soloist with the 80-member Barcelona Symphony Orchestra. Jace Clayton hosts a weekly radio show on NYC-area FM station WFMU, 91.1 fm, featuring lots of international exclusives and live guests.

We Make Money Not Art
Author: Regine Debatty (Paris, France)
The blog we-make-money-not-art.com (WMMNA) is a series of reports on art exhibitions, architecture events, conferences on digital culture, and design festivals taking place all over the world. The blog also features interviews with creative people, book reviews and visits to art and design schools. WMMNA won a Webby Award in both 2006 and 2007 for best personal/cultural blog and a Media Guardian Innovation Award in 2008 as Best Independent Blog. In addition to writing about the intersection between art, design, and technology, Régine Debatty also curates art shows, organizes discussion panels, and lectures internationally about the ways that artists, hackers, and interaction designers continue to(mis)use technology.

Rooftop Terrace at The Standard, Downtown LA
(Click to see panoramas)

by SayTweet • view this

Lieb House: Change of Address

11 March 2009 00:00:00 EST

Wednesday March 11, 2009 – Wednesday March 18, 2009

A micro-exposition inside EXYZT's Situation Room, documenting Robert Venturi's 1969 Lieb House with drawings, photographs, movies, and interviews to mark its relocation from Barnegat Light, NJ to Glen Cove, NY on Long Island.

The opening event on the 11th of March featured a presentation by the organizers of the relocation, architect Frederic Schwartz and filmmaker Jim Venturi.

March 13: A Modern Masterwork Sails up the East River

A gathering at South Street Seaport watched Robert Venturi and Denise Scott Brown's Lieb House carried via barge under the Brooklyn Bridge and into Long Island Sound.

The relocation, organized by Frederic Schwartz and James Venturi, saved the historic home from demolition at the original Long Beach Island site. The passage of the house and the assembled onlookers were filmed by 13 cameras, including a heli-cam, to become part of Jim Venturi's documentary on Robert Venturi and Denise Scott Brown.

About the Lieb House
"In 1967 Nathaniel and Judith Lieb commissioned Venturi to design a beach house on newly reclaimed land in Barnegat Light. Completed in 1969, the modestly-sized residence falls midway between his seminal publications, Complexity and Contradiction in Architecture (1966) and Learning from Las Vegas (1972), and contributed to the young architect's emergent career. With obvious pride yet irreverent humor, Venturi, in Progressive Architecture (1970), described the home as "a bold little ugly banal box." In mid-August during her second summer in the house, Mrs. Lieb may have upset some of her neighbors when she remarked in The New York Times: "I guess they thought it was so much uglier than theirs-but then probably they don't consider their own houses ugly. . . . It's a real dumb house, just a box, but it's gorgeous."

On January 31, 2009, the Lieb House was sold by Leroy and Sheila Ellman, the fourth and longest resident owners, to a developer with more interest in the substantial lot than the Venturi landmark. The sellers, who took care to maintain the essence of the original design, were rightfully concerned that the 1,835 square-foot home would be razed and contacted Venturi Scott Brown and Associates. Working to beat the settlement timetable and the developer's bulldozer, arrangements were made to move the house from its site. James Venturi, a filmmaker and son of Robert Venturi and Denise Scott Brown, spearheaded the relocation plans while working on a documentary about his parents' career. The Lieb House is currently sitting at a bayside dock only a few streets from its original site, awaiting transport by barge for the 20-hour ride to Glen Cove, NY."

(Excerpted from Only 40 but Having A Change of Life, a text by Fred B. Adelson, Ph.D., Professor, Art Department, Rowan University)

Situation Room: February/March events

28 February 2009 00:00:00 EST

Saturday February 28, 2009

through Mar 28 2009
(Free admission - no RSVP required)

Saturday, February 28, 7pm
Preview Screening: China Town, a video by Lucy Raven (50')

Followed by an open discussion with Jiang Jun to introduce the 3-part film series curated by Urban China, at Situation Room the following three Saturdays

China Town traces copper mining and production from an open pit mine in Nevada to a smelter in China, where the semi-processed ore is sent to be smelted and refined. Considering what it actually means to "be wired" and in turn, to be connected, the video follows the detailed production process that transforms raw ore into copper wire-in this case, the literal digging of a hole to China-and the generation of waste and of power that grows in both countries as byproduct. Animated from sequences of digital still photographs and ambient sound recorded on location, China Town focuses on the contemporary
recycling of the American landscape and industrial economy as raw mineral wealth for a developing nation.

---

Thursday, March 5, 7pm
Foreclosure Crisis: Q&A with Acorn Home Defenders
Moderated by Jose Esparza

On Thursday, Feb. 19, ACORN (Association of Community Organizations for Reform Now) members in eight cities kicked off their Home Staying campaign, a new tactic to fight the foreclosure crisis. Teams of ACORN Home Defenders - volunteers from local communities - will employ civil disobedience as needed to help people who have faced foreclosure to stay in their homes until a comprehensive federal solution has been put in place.
A screening of footage from the first Home Defenders actions in NY State and a survey of the current nationwide housing crisis will be followed by an open discussion between ACORN and Home Defenders representatives and the audience on the legitimacy and effectiveness of civil disobedience strategies in this context.

---

Saturday, March 7, 7pm
Urban China Film Series - Screening I
Being with Clay
A documentary by Tang Hongyu & Lu Bin (1h 20")
(free admission)

To mark Urban China's first exhibition in the US, Informal Cities (curated by Benjamin Godsill, at the New Museum through March 29), Storefront will host a 3-part film series curated by Jiang Jun, editor and founder of Urban China.
Being with Clay carries out a reading of contemporary Chinese culture through the regional techniques of potterymaking that survive until this day. From crockery to sculpture, public infrastructure and architecture, the use of clay is central both to Chinese tradition and the nation's contemporary identity.

---

Saturday, March 14, 7pm
Urban China Film Series - Screening II
Father
A documentary by Cao Fei (1h 28m)
(free admission)

Renowned Chinese artist Cao Fei (1978) follows her 72 year old father, a State artist and sculptor, through every step of the production, transportation and installation of an 18' sculpture of former Communist Party leader Deng Xiaoping in a town in the Guangxi Province. The sculpture was commissioned as one of the waypoints on an officially-sanctioned tourist route, "A Journey in Red", that traces the steps of Deng Xiaoping's life throughout China. In Cao Fei's words, "When the giant sculpture, revered by all, rose from the ground, a relationship between the Father's artistic ideal and present-day reality was unfolded".

---

Saturday, March 21, 7pm
Urban China Film Series - Screening III
Chung Kuo [China] (1972)
A documentary by Michelangelo Antonioni (5h 10m)
(free admission)

Michelangelo Antonioni's 1972 documentary Chung Kuo is a rare and epic depiction of China as a nation caught on the cusp of massive, far-reaching transformation. When screened at the Venice Film Festival in 1974, this stark yet ultimately sympathetic portrait sparked off a diplomatic incident and was denounced by the Chinese government as a vicious act of anti-Chinese propaganda. (The Party had approved and supervised/surveilled the 8-week shooting, but Antonioni deployed secret cameras at various points to shoot un-preapproved locations.)

From Susan Sontag's On Photography:

"Nothing could be more instructive about the meaning of photography for us -- as, among other things, a method of hyping up the real -- than the attacks on Antonioni's film in the Chinese press in early 1974. They make a negative catalogue of all the devices of modern photography, still and film.
(...) Antonioni was reproached for photographing things that were old, or old-fashioned -- "he sought out and took dilapidated walls and blackboard newspapers discarded long ago"; paying "no attention to big and small tractors working in the fields, [he] chose only a donkey pulling a stone roller" -- and for showing undecorous moments -- "he disgustingly filmed people blowing their noses and going to the latrine" -- and undisciplined movement -- "instead of taking shots of pupils in the classroom in our factory-run primary school, he filmed the children running out of the classroom after a class."

---

Tuesday, March 24 through Saturday March 28 (7pm daily)
Screening: China Town, a video by Lucy Raven (50')
(free admission)
Screenings will be followed by open discussion with guest respondents (TBA) and the audience.

China Town traces copper mining and production from an open pit mine in
Nevada to a smelter in China, where the semi-processed ore is sent to be
smelted and refined. Considering what it actually means to "be wired"
and in turn, to be connected, the video follows the detailed production
process that transforms raw ore into copper wire-in this case, the
literal digging of a hole to China-and the generation of waste and of power that
grows in both countries as byproduct. Animated from sequences of digital
still photographs and ambient sound recorded on location, China Town
focuses on the contemporary recycling of the American landscape and
industrial economy as raw mineral wealth for a developing nation.

EXYZT presents Situation Room

20 February 2009 00:00:00 EST

Friday February 20, 2009 – Tuesday March 31, 2009

------------------------------------------------------------------------------------------------------------------
" The architecture .../... will be a means of modifying present conceptions of time and space... It will be a means of knowledge and a means of actions."
Gilles Ivain alias Ivan Chtcheglov, 1958

We will act to defend architecture that is plural, used, complex, diverse, real and alive; architecture that is about action and interaction, formation and deformation, transormation and appropriation.

Situation Room as playground for [re] creation, collective action, active occupation, open demonstration, and social games will be intuitive, interactive and collective performance, showing an everyday life tools and knowledge Directory. For architecture of process, of fabrication, reaction and interaction, members of Exyzt will inhabit the gallery space, making use of the furnishings as though it were a domestic space.

More than showing past projects, we choose to set up a platform for creation and solidarity inviting people to transform the classic use of the gallery, to experiment diversity of programs and activities with basic cheap materials as moving boxes activated with the Storefront staff.

We propose a platform for action, defending an architecture that is alive. EXYZT shakes up the idea of architecture as an independent field. Working on experimental projects, EXYZT invites architecture, video, graphic-design, botany and any other concept to become devices of expression and creation.

Like a series of disparate notes, ready-to-assemble elements will be put together in situ to create this modular, domestic place, rapidly assembled viral constructions that can be implemented to create and augment a social space. Little by little, each limb of this strange apartment will grow new functions, allowing its users to do more and more things, to occupy and work in its ever-changing space. After the basic living space has been assembled an essential urban infrastructure will be added: water, electricity, radio, TV, Internet, etc... Once complete, a vast variety of individual modules will occupy the gallery space to be used for a moment, a day, or a whole night. Lightness, speed and flexibility will be essential ingredients of the Set-up.

The collective carries out temporary setups. Each project is in line with precise and determined time and special frame. The units can be shaped and rearranged to become a living and sitting space, a workspace equipped with a desk, computers and tools, or a dining room, among other forms. From week to week the space will evolve, taking on different ephemeral forms and functions with the public. The situation becomes the physical medium through which a creative and collective game is expressed. The series of projects questions the relationship between public and private and encourages the audience to move from being a spectator to be an actor too.

Exyzt invites the audience to reconsider occupied areas in a well-defined time-frame. The collective conceive and organize each project as a ludic playground where cultural behaviours and shared stories relate, mix and mingle.

Created in 2003 on the initiative of five architects, they produced and organized a first self-construction and self-documented project on a abandoned plot of land in Parc de la Villette, in Paris. By opening up to various fields, the collective group attempts to render architecture into a different perspective.

Our team is now a community of people who have chosen to act under the same principle of sharing knowledge and abilities, imagining the environment as the terrain of a participatory game, a site for play and appropriation, creating 'transient micro ambiances' as Guy Debord described the constucted situation.

Construction will constitute the first movement. Act!

Text by Philippe Rizzotti & Dimitri Messu

------------------------------------------------------------------------------------------------------------------
ARCHITECTURE = ∞PEOPLE∞

Philippe Deangeli (Lighting Designer) + Dagmar Dudinsky (Graphic Designer) + Fernando Favier (Music Composer) + Christophe Goutes (Sound Cooker) + Diego Monet (Director) + Brice Pelleschi (Photographer) + Virginie Perrot (Painter) + Alexander Römer (Architect & Carpenter) + Philippe Rizzotti (Architect) + Pier Schneider (Video-artist & Architect) + François Wunschel (Video-Artist & Architect) + Storefront Staff and Volunteers + Guests

Monday 16
gallery occupation
Eleven people arriving and having a day to find solution to sleep in Storefront. Basic needs.

Tuesday 17
collective insulation
Problem will be insulation … how to close the amazing Storefront façade, so as not to freeze in the night.

Wednesday 18 @ 7pm
participatory sustenance
Basic needs are supposed to be fixed by now.
By night, we will be organizing the first dinner, that’s why we need the table; helping us work easily.

Thursday 19
progressive illumination
Lighting and video set-up. Preparation of the opening performance.

Friday 20 @ 7pm - OPENING
Performance inauguration
Exhibition set-up. Making the place attractive, diverse and fun.

Saturday 21 @ 7pm
Exyzt Feast
Discussion time. People introduce themselves and what they do. Big dinner - Serge will roast a pig.

Sunday 22 @ 12.30pm
Au revoir
Brunch

Situation Room - EXYZT at Storefront: Video

Some True Stories: Researches in the field of flexible truth

18 November 2008 00:00:00 EST

Tuesday November 18, 2008 – Tuesday December 23, 2008

Change rarely follows sanctioned plot lines. Rather it often pivots around hoax, hyperbole and stray details. These phantom turning points are not easily taxonomized or moralized within orthodox political logics. We expect the right story—an epic binary tale of enemies and innocents, when it is often the wrong story—a little epidemic of rumor and duplicity—that rules the world.

Still, the fact that most pigs are wearing lipstick expands an activist repertoire! Some True Stories is thrilled that two can play at this game. The research collected here considers a dissensus that is less self-congratulatory and less automatically oppositional but potentially more effective (and sneakier). Unlikely or outlying political evidence, with its fickle or underexplored logics, excites feelings of resourcefulness and ingenuity. Here is a large field of mongrel events and category leftovers—butterflies that are not pinned to the board because they do not reinforce expectations.

Architecture and urbanism contribute many wrong stories to the mix as they move headlong into the world, propagating forms of polity faster than proper political channels can legislate them. If the world spins around the actions of discrepant characters, architects, as classic facilitators of power, have long had a seat at the table.

Some True Stories happily swims in these dirty waters with all the other shills, butlers and go-betweens, looking for new points of leverage within the fictions and persuasions that we already have running through our fingers. The artifacts in the room are culled from design offices, commercial showrooms, documentary video, advertisements and informal web networks.

Hoax is design. This collection expels utopian prescriptions in favor of agility, ricochet, "faction" and cultural contagion. We are attracted to spatial entrepreneurialism, unreasonable innovation, impure ethical struggles and obdurate problems that continually resist intelligence. We hope to spread rumors that the world has changed--operating with all the guises and none of the disadvantages of truth.

Keller Easterling

Download the exhibition newsletter (500kb)

See the opening reception pictures on flickr

Election Night Special! Sleepover at Storefront

4 November 2008 00:00:00 EST

Tuesday November 4, 2008

To mark the closing of the White House Redux exhibition, Storefront will hold an all-night election vigil in the gallery with live a large-screen CNN projection, 5 cable news channels, blogging stations and wi-fi for blog reading (and writing). The event, organized in association with Control Group, will continue until the 44th President of the United States is announced. Everyone welcome!

Event begins 6pm. Drinks will be provided while they last - BYO food and sleeping bags. Coffee and croissants from Ceci Cela will be served at 7am.

Click here to view photos from the event!

Click here to view media coverage!

White House Redux

2 October 2008 00:00:00 EST

Thursday October 2, 2008 – Tuesday November 4, 2008

In January 2008 we presented an international call for ideas: "What if the White House, the ultimate architectural symbol of political power, were to be designed today? On the occasion of the election of the 44th President of the United States of America, Storefront for Art and Architecture, in association with Control Group, challenge you to design a new residence for the world’s most powerful individual."

Universally recognized as a symbol of political authority, one of America’s greatest tourist attractions, and the nerve center of the world’s most complex communications system, the White House is the ultimate architectural embodiment of power. Few people realize the building's extent, since much of it is below ground or otherwise concealed by landscaping. The White House includes: six stories and 55,000 square feet of floor space, 132 rooms and 35 bathrooms, 412 doors, 147 windows, twenty-eight fireplaces, eight staircases, three elevators, five full-time chefs, a tennis court, a bowling alley, a movie theater, a jogging track, a swimming pool, and a putting green. It receives about 5,000 visitors a day.

The original White House design, by James Hoban, was the result of a competition held in 1792. Over the centuries, presidents have added rooms, facilities and even entire new wings, turning the White House into the labyrinthine complex it is today. What if, instead of in 1792, the competition were to be held today? What would a White House designed in 2008, election year for the 44th President of the United States, look like?

The best ideas, designs, descriptions, images, and videos were selected by some of the world's most distinguished designers and critics.

JURY

Beatriz Colomina (Architectural historian, New York)
Stefano Boeri (Editor-in-chief, Abitare magazine, Milan)
Liz Diller (Diller Scofidio + Renfro, New York)
John Maeda (President Elect, Rhode Island School of Design RISD)
Geoff Manaugh (BLDGblog and Dwell magazine, San Francisco)
Mark Wigley (Dean of the Graduate School of Architecture, Columbia University, New York)
Laetitia Wolff (Editorial director, Surface magazine, New York)

Learning From Hangzhou

5 August 2008 00:00:00 EST

Tuesday August 5, 2008 – Saturday September 20, 2008

上有天堂下有_杭

“Above there is Heaven, Below there is Hangzhou”

HANGZHOU

The Yangtze River Delta corridor is one of the fastest developing regions in the world. Spanning from Shanghai to Ningbo and encompassing 16 cities with populations larger than 1 million people (including Shanghai, a city of 20 million at the center) the Yangtze River Delta now boasts a gross industrial output value equivalent to 21 percent of China’s total. It is a region in China that has the most investment, population, environmental pollution, and at 45% the corridor has one of the fastest urbanization rates in the world. The city of Hangzhou lies 180 kilometers southwest of Shanghai and is a major hub in the Yangtze River Delta’s geographic and economic configuration. Over the last ten years Hangzhou has tripled in size to cover 16,596 square kilometers and increased by one million for a total population of 6.29 million.

Hangzhou dates back some 4700 years and is considered one of the cradles of Chinese civilization. It is traditionally known for its beautiful women, rich cultural heritage and romantic legends. But while downtown Hangzhou is centered around the picturesque and idyllic West Lake, the backside of the city unravels in a spirit of anarchic ecstasy with no apparent adherence to architectural stylistic integrity or regulations regarding size, signage, or districting. This is indicative of many Chinese cities, where planners cannot keep pace with the accelerated evolution brought on by the country’s recent economic growth. China’s policies of economic reform have not only affected tremendous urban expansion (and even births of cities) concentrated into a short period of time, but also an unbridled culture of consumerism. Learning from Hangzhou is a case study of revolutionary transition as it occurs in one Chinese city. The aim of the project is to delineate some of the physical manifestations effected by economic expansion and examine where socio-cultural change and urban development overlap.

LEARNING FROM ADVERTISEMENTS

This project borrows its title and cue from Robert Venturi and Denise Scott-Brown’s seminal work, Learning from Las Vegas. The authors, in pursuit of understanding the implications of popular culture upon architectural design, observe in a late nineteen sixties Las Vegas that the distinction between architecture and signage was becoming increasingly blurred. Signage they deemed was often more important and elaborate than the venues that they advertised and some buildings were signs in themselves. While Hangzhou is no match for the surrealism that Las Vegas offers, it possesses its own idiosyncratic interrelationships of architecture and signage that are confounded by the city’s rapid pace of development. Whereas in Las Vegas, signs become the buildings, in Hangzhou, the constructed environment becomes a stage for the discourse of economic expansion, often leaving architecture at the service of signage. The advertising and real estate industries, equally prosperous, have literally obliterated the respective roles of each other. Learning from Hangzhou offers a lesson for a globalizing world that is increasingly frivolous in its commoditization of public space.

Learning from Hangzhou furthers its inquiry beyond architecture and signage to the broader spectrum of urban iconography wherein demolition and construction, architectural eclecticism, accruements of habitation, graffiti advertising, inexpensive large-scale printing, climate control and cultural desire all collide in an orgy of semiotic permissiveness and point to a civilization in the awkward throes of transition.

INSTANCE ARCHIVE

From 2003-2007 thousands of digital photographs, based on patterns or visual re-occurrences throughout the city, were recorded and archived into categories of architectural, socio-economic and urban cultural phenomena. These photographs cover territory from outdoor advertising (in its many different and all enveloping configurations) to the constructed environment (the transitional zones of demolition/construction sites, architecture, and architectural apparatus’) to urban culture’s visual codes (street markings, ad imagery, internet bars, the wedding industry, etc.). The intention is that by isolating instances of repetition from the overall fabric of the city processes of urbanization and social/cultural change can be examined more carefully. Learning from Hangzhou is an attempt to present a developing city codified along the edges of its own physical utterances.

Like every city, Hangzhou is a dynamic organism whose very fabric is disappearing as quickly as it is woven. Learning from Hangzhou attempts to record phenomena that will otherwise vanish in China’s amnesiac race towards hypermodernity; and to ultimately describe a civilization and its attendant environment that is alive with frenetic change.

This project was made possible through generous support from IBEX Construction and Tim and Ellen Van Housen.

Storefront Closing Party and Launch of the Facade Restoration

28 June 2008 00:00:00 EST

Saturday June 28, 2008

7.00pm

On the last evening of Didier Fiuza Faustino's installation (G)HOST IN THE (S)HELL Storefront will host a summer closing party and officially launch the Facade Restoration.
On July 1, construction work begins on the restoration of Storefront's famed facade designed in 1992 by Vito Acconci and Steven Holl. In late September, the gallery will reopen with a newly-restored exterior and an exciting new season of exhibitions and events.

DONATE TO THE FACADE RESTORATION PROJECT NOW!
We have now raised more than half the funds we need to carry out the restoration. Your contribution, however small, will go a long way towards giving this great work of architecture another 15 years of life!
Donors will be acknowledged at the reopening party and on a special-edition newsletter published in September.

Pop Up Storefront London: CPH Experiments

20 June 2008 00:00:00 EST

Friday June 20, 2008 – Sunday July 27, 2008

Pop Up Gallery Location (map) :

1- 5 Exhibition Road, London SW7 2HE

Underground to South Kensington

The BIG CPH Experiment, an exhibition that inaugurated at Storefront for Art and Architecture in New York in October 2007, presents a series of recent design projects and large-scale models by the Copenhagen-based architecture practice BIG/Bjarke Ingels Group. The centerpiece of the exhibition is a model of the LEGO Towers made out of 250,000 LEGO bricks. BIG’s architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes. In their projects, BIG tests the effects of size and the balance of programmatic mixtures on the triple bottom line of the social, economical and ecological outcome. Like a form of programmatic alchemy, they create architecture by mixing conventional ingredients such as living, leisure, working, and shopping. The exhibition showcases some built works and a number of large-scale models illustrating proposals for innovative residential typologies, all of which are situated in Copenhagen. Focusing on Kløverkarrén, BIG House, the LEGO project, Mountain Dwellings and VM Houses (both designed in conjunction with JDS Architects), the exhibition presents a broad spectrum of the research that has gone into varying housing solutions for different generational attitudes and economical backgrounds. Each project’s effect and reception is presented differently, depending on how it operates in the public realm, ranging from images of life in the VM houses post-occupation, through the 250.000 piece LEGO model inhabited by 1000 LEGO people, to the excessive political debate about Kløverkarreen. On July 4, Pop-Up Storefront London will hold a day-long series of discussions hosted by Geoff Manaugh, founder of BLDGBLOG and senior editor of Dwell magazine, San Francisco.

Media Partner: Icon Magazine

Sponsors: Brompton Estates, DAC

BIG is a Copenhagen based group of over 60 architects, designers, builders and thinkers operating within the fields of architecture, urbanism, research and development. BIG’s architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes. In their projects, BIG tests the effects of size and the balance of programmatic mixtures on the triple bottom line of the social, economical and ecological outcome. Like a form of programmatic alchemy, they create architecture by mixing conventional ingredients such as living, leisure, working, and shopping.

VM

If people are different, why are all apartments the same? The VM houses compile 85 different housing types into a 225 unit complex, providing the residential diversity of an entire neighbourhood in to a single block.

MTN

Can you combine the splendours of a suburban lifestyle with the convenience of urban density? By placing a 100 unit residential slab on top of a block of parking, we create a new hybrid typology half villas half urban block. The result is 11 stories of terraced residences with generous garden courtyards, nested on top of a south facing slope of parking. In a country flat as a pancake, the only way to get a south facing hillside, is to do it yourself.

SCALA

Copenhagen used to be the city of towers, but in a post-modern disappointment with the urban residue of modernism the city has grown agoraphobic. Towers are seen as urban aliens that invest all their efforts in the skyline, rather than in the urban space. The Scala Tower focuses all its qualities from the waist down. A slim simple tower, that melts towards the city, merging with neighbouring blocks and public squares. The stepped and twisted volume allows the public to invade the facades, extending the public realm to the Copenhagen skyline.

LEGO

The last 50 years the Danish building industry has been exclusively devoted to prefabrication. Denmark has become a country built from LEGO bricks. Rather than seeing the modular mania as a straightjacket, this project is a homage to Danish building industry. By turning the site in to a modular matrix of 12X12ft we created an elastic field of peaks and valleys. A thousand plateaus ascending and descending, separating and merging to form a fluid space of private and public plateaus. Combining the rigorous and the adventurous. The box and the blob.

KLM

Architects always wait for the phone to ring or someone to announce a competition. As a profession we are always the last to get involved, and then only to “make it nice”. When the social democratic mayor of Copenhagen announced a plan to provide 5000 affordable homes in Copenhagen, we saw an opening for short circuiting the good old dilemma between development and preservation. Copenhagen’s former airfield, now home to 40 football fields, turned in to the gargantuan courtyard of a 3 kilometer long building block, would accommodate 5000 people without sacrificing a single football field. Rather than choosing between football or affordable homes . . . this project provides both.

LEGO Houses

Above: Watch the BIG team build a 250,000 piece LEGO model for the Storefront exhibition

(G)host in the (S)hell

13 May 2008 00:00:00 EST

Tuesday May 13, 2008 – Saturday June 28, 2008

Opening Reception 13 May, 7-9.00pm

This May, Storefront will inaugurate a solo exhibition of French artist and architect Didier Fiuza Faustino and his Paris-based practice Bureau des Mésarchitectures (Mathieu Herbelin, Cláudia Martinho, Tony Matias, Guillaume Viaud). Faustino's largescale onsite installation (G)HOST IN THE (S)HELL, designed specifically for Storefront for Art and Architecture, will occupy the entire body of the gallery and engage its iconic façade by temporarily interrupting its role as movable, morphable barrier. Using chain-link fence as a medium to entirely encase and isolate the facade's panels, (G)HOST IN THE (S)HELL will explore the complex role that barriers and thresholds play in defining and creating public and private space, ideas central to Faustino/Mésarchitectures' work.

The opening reception on May 13 will feature a special projection designed by Didier Fiuza Faustino/Bureau des Mésarchitectures.

Didier Fiuza Faustino (1968), a French artist and architect practicing between Paris and Lisbon, is the principal of Bureau des Mésarchitectures. Faustino's work frequently questions the relationship between the body and architecture, investigating ideas of intimacy and desire within exhibition and communication. Through performance, installation and immersive environments, Faustino explores the body's potential for action removed from the architectural contexts that define them. His work creates rational, monolithic spaces, devoid of any representational device and disconnected from all outside circumstances.

(G)host in the (S)hell is generously sponsored by Étant Donnés and is presented courtesy of Galerie Gabrielle Maubrie
Projection sponsored by LMCC (Lower Manhattan Cultural Council)
This installation made possible by Academy Fence Company, New Jersey.

Pop Up Storefront Milan: Ring Dome Pavilion

16 April 2008 00:00:00 EST

Wednesday April 16, 2008 – Sunday April 20, 2008

Pop Up Storefront at Milan Furniture Fair 2008

This April, Storefront for Art and Architecture and Abitare magazine will be appearing in Milan for the 2008 edition of the Furniture Fair (16-21 April) with a new version of the Ring Dome pavilion previously installed at Storefront Gallery in New York. The pavilion, designed by Minsuk Cho/Mass Studies and built out of 1,500 hula-hoops and and 12,000 zip-ties, will be installed in the Galleria Vittorio Emanuele, the shopping arcade that connects Piazza Duomo and Piazza La Scala.

During the five days of the Fair, the pavilion will host a series of events organized by Abitare magazine and Storefront.
These will include a 100-minute dialogue between Hans Ulrich Obrist, Pierre Paulin and Rem Koolhaas; a day-long domino-interview with 50 participants, starting with Naoto Fukasawa; Gaetano Pesce in conversation with Oliviero Toscani; and a day-long open editorial meeting.

Pop-up Storefront Milan
Galleria Vittorio Emanuele
20100 Milan, Italy
16-21 April, 2008

Pop-up Storefronts

11 April 2008 00:00:00 EST

Friday April 11, 2008

This year, Storefront will begin an exciting new chapter in its history that will carry the gallery beyond the confines of New York – a series of new Storefronts will pop up for a brief time in cities around the world to host events and exhibitions, and then disappear.

Pop-Ups will avoid the conventional gallery format by temporarily taking over unoccupied spaces in unexpected neighborhoods, to exhibit and discuss pressing topics in art and architecture.

The very first Pop-Up Storefront, opening 11 April in Los Angeles (map), will exhibit Frédéric Chaubin's CCCP (Cosmic Communist Constructions Photographed) in a partially disused print works on Sunset Boulevard. CCCP
opened to critical acclaim in April 2007 in Storefront New York, and will be on view in the Pop-up Storefront LA for five weeks.

In April, a Pop-up Storefront will make a brief appearance in Milan (map) during the 2008 edition of the Salone del Mobile (Milan Furniture Fair, 16-21 April). In June, Storefront will be visiting London (map) for five weeks on occasion of the London Festival of Architecture (20 June - 20 July).

Sign up to our newsletter to receive information about future Storefront events in cities around the world. Pop-up Storefronts- coming soon to a city near you!

Pop Up Storefront Los Angeles: CCCP

11 April 2008 00:00:00 EST

Friday April 11, 2008 – Saturday May 17, 2008

Pop Up Gallery Location (map):
Paperchase Printing
7176 Sunset Blvd. (2 blocks west of La Brea, corner of Formosa)
Los Angeles, CA 90046

Opening reception Friday 11 April, 7pm

Opening hours:
Wednesday – Friday, 3pm – 8pm
Saturday – Sunday, 1pm – 8pm

Pop-up Storefront LA is sponsored by American Apparel

Local partners:
ForYourArt (www.foryourart.com)
Los Angeles Forum for Architecture and Urban Design(www.laforum.org)

CCCP-Cosmic Communist Constructions Photographed

FRÈDÈRIC CHAUBIN

Over the past five years, during the course of his travels in the former Soviet Union, French photographer Frederic Chaubin has documented an extensive collection of startling architectural artifacts born during the last two decades of the Cold War. Architects in the peripheral regions of the Eastern Bloc countries, working on governmental commissions during the ‘70s and ‘80s, enjoyed a surprising degree of creative freedom. Operating in a cultural context hermetically sealed from the influence of their Western counterparts, they drew inspiration from sources ranging from expressionism, science fiction, early European modernism and the Russian Suprematist legacy to produce an idiosyncratic, flamboyant and often imaginative architectural ménage. Unexpected in their contexts, these monumental buildings stand in stark contrast to the stereotypical understanding of late Soviet architecture in which monotonously repetitive urban landscapes were punctuated by vapid exercises in architectural propaganda.

The subjects of Chaubin’s photographs, scattered throughout Armenia, Estonia, Georgia, Lithuania, Belarus, Ukraine and Russia, were all constructed during the last two decades of the Soviet era. Very few of their designers achieved anything more than local recognition, and until now these buildings have never been collectively documented or exhibited. The authors of many works remain unknown, and some have been destroyed since Chaubin’s photographs were taken. Concieved and executed during a moment of historical transition, they constitute one of the most surprising and least known legacies of the former USSR.

As well as presenting the architecture itself, CCCP: Cosmic Communist Constructions Photographed traces the intellectual and political undercurrents that act as a backdrop, and at times inspiration, for the work of these Soviet architects. The exhibition, a compendium of film stills, drawings, magazine articles and historical timelines, maps out the complex genealogy of this overlooked but compelling chapter in the history of 20th century design.

Frédéric Chaubin in Paris, France. He is editor in chief of the French lifestyle magazine Citizen K.

A conversation on Soviet Architecture in the 20th Century

A Pop-up Storefront Event Organaized in association with LA Forum for Architecture and Urban Design Sunday April 13, 2pm (Location: Pop-Up Storefront LA) Frédéric Chaubin and Richard Pare, with Barry Bergdoll, Philip Johnson Chief Curator of Architecture & Design at MoMA, NYC, and Joseph Grima, Director of Storefront for Art and Architecture, NYC To celebrate the opening of the first Pop-Up Storefront in Los Angeles, and the opening of the exhibition CCCP: Cosmic Communist Constructions Photographed, Pop-Up Storefront LA hosted a discussion on the topic of the Soviet architectural legacy of the 20th century. Drawing on accounts of the personal experiences of Richard Pare and Frederic Chaubin, the two photographers who have most extensively documented the current state of 20th century architecture in the former USSR, the discussion will be centered around the the potential of photography both as a tool for investigation and discovery and an instrument of archival preservation. Richard Pare's exhibition Lost Vanguard: Soviet Modernist Architecture, 1922-1932 (MoMA, New York, July-October, 2007) and Frédéric Chaubin's Cosmic Communist Constructions Photographed (Storefront for Art and Architecture, New York, April 2007) document two distinctly different periods in the history of Soviet architecture (1922-1932 and 1969-1989 respectively), but many of the same threats imperil the existence of the buildings captured so brilliantly in their photographs. At this poignant moment of social and political transformation in the the former USSR, the future of a century of architectural history remains uncertain, placing all the more importance on the photographic record.

On Mock-ups, Home Videos and Housekeeping: a video exhibition in three parts

25 March 2008 00:00:00 EST

Tuesday March 25, 2008 – Saturday May 3, 2008

1. Mock-Ups in Close-Up
March 25 2008 - April 5 2008

Architectural Models in Cinema 1927 – 2007
A video project by Gabu Heindl and Drehli Robnik, 2008 (105', running on loop)

2. Come to Israel: It's hot and wet and we have the Humus
April 8 2008 - April 19 2008

Role Playing in Military Practices, Sexual Practices and Videotaping
Video works by Ruti Sela & Maayan Amir and Yossi Atia & Itamar Rose
Curated by Joshua Simon

3. Koolhaas Houselife
April 22 2008 - May 3 2008

Stories from the daily life of Guadalupe Acedo, caretaker and housekeeper of the
House in Bordeaux designed by Rem Koolhaas
A film by Ila Bêka and Louise Lemoine (70', running on loop)

Mock-Ups in Close-Up (Gabu Heindl and Drehli Robnik, 2008) is a comprehensive overview of one of the least-explored territories in the relationship between architecture and cinema. 80 different clips, all including architectural models, are collated to become, in themselves, an 80-minute movie that includes sequences from films produced between 1927 and 2007.

Although it contains some obvious classics, such as Housing Problems [1935], King Vidor´s The Fountainhead [1948] and Peter Greenaway´s Belly of an Architect [1987], this compilation does not primarily deal with "films about architecture". Rather, it offers a section through an all-inclusive film history which, in the project's re-writing, appears to be obsessed with showing models in a variety of contexts: be it on the fringes or in the center of a scene, models pop up in love stories, thrillers, psychological dramas, comedies or sci-fi.

The films compiled include arthouse and blockbuster fare, "auteur cinema" as well as contributions to film franchises such as the Dr. Mabuse, James Bond, Dirty Harry, Death Wish, Indiana Jones, Robocop, Austin Powers and X-Men cycles.

The list of filmmakers who could not resist to either pan over or to focus on architectural models includes Fritz Lang, King Vidor, Sergio Leone, Alain Resnais, Sam Fuller, Arthur Penn, Robert Aldrich, Michelangelo Antonioni, Francis Ford Coppola, Don Siegel, Stanley Kubrick, Margarethe von Trotta, Robert Zemeckis, Penny Marshall, Peter Greenaway, Oliver Stone, Tim Burton, Steven Spielberg, Ben Stiller, the Farrelly Brothers, and Wes Anderson.

March 28, 6.30pm: Author's presentation followed by open discussion with Beatriz Colomina. Their talk will raise some key questions on film history, archiving, "photogénie" and specific typologies of architectural models and the roles they play in movies from an architect or urbanist´s point of view.

Come to Israel: It's hot and wet and we have the Humus Shopping malls and checkpoints, outings and family bbq's, war zones and entertainment are all part of Israeli filmmakers Itamar Rose & Yossi Atia satire set in Israel's heartland. Juxtaposed with this series is Ruti Sela & Maayan Amir's acclaimed video trilogy of bar-hopping, S&M quickies and prostitution, a steamy first-person investigation into the sexual practices of Tel Aviv’s
nightlife that often uncovers complex military reminiscences.

Atia & Rose's satirical shorts, as they call them, have been attracting attention in their hometown of Tel Aviv, mostly by word of mouth, since 2005. Their movies, which feature them in a variety of fictional characters interviewing Israelis they meet or approach on the street, the mall or the park, squarely take on the highly controversial issue of Israeli society’s relationship with race, gender and sexuality. In one of their videos, dressed in traditional Arabic gowns, Atia & Rose approach picnicking families at a national park on Independence Day and ask them to stand with them for a moment of silence in memory of the Arab villages which used to be where the park is now, before their residents were uprooted in 1967.

In their video trilogy Beyond Guilt (2004-2006), the female duo Sela & Amir investigates pick-up bars, internet dating sites and call girl services in Israel, revealing the deep effects of the army experience on the most intimate practices of young Israelis. As they actively participate and try to seduce young men in restrooms of pick-up joints, schedule anonymous sessions with S&M partners and pay a prostitute to film them with her in a
hotel room, the two upset the balances of power between photographer and photographed; male and female; multiple and singular; object and subject.

Sela's video Nothing Happened (2007) is a touching depiction of what is portrayed as an unexceptional night in Tel Aviv: casual kissing, intimacy and socialization with prostitutes. The resulting picture reveals the impact of the communications media, the emergence of behavioral stereotypes in front of the camera and the craving for exposure and publicity reminiscent of reality TV. More than anything else, however, it reveals the effects of occupation, terror and militarism as factors delineating the Israeli identity, even in the most private of moments.

The videos shown in the exhibition reveal a blurring of borders. Sexual and political-military identities seem to intermingle to an extent in which distinction is no longer possible. In both Sela & Amir's and Atia & Rose's videos uniform, costumes and role-playing are the props in a play that is a clear evocation of reality. The extreme gestures these artists employ in their films allow them to create, with the spontaneous consent of their subjects,
an incisive snapshot of the intimate and all-embracing relationship between Israelis and the state of Israel.

Thursday April 10, 6pm: presentation of the filmic work of Ari Libsker. Libsker, who is showing his documentary film Stalags - Holocaust and pornography in Israel at the Film Forum (opening April 9), will be speaking at Storefront for Art and Architecture about his ongoing filmic investigating of perversion and Jewish sexuality. He will also be showing three short videos he shot in Tel Aviv (2003), London (2004) and Accra, Ghana (2007), which he made as part of his ongoing video-project "Lectures".

Koolhaas Houselife is a film by Ila Bêka and Louise Lemoine on one of the masterpieces of contemporary architecture: the house in Bordeaux designed by Rem Koolhaas / OMA. Unlike most movies about architecture, this feature focuses less on explaining the building, its structure and its virtuosity than on letting the viewer enter into the invisible bubble of the daily intimacy of one of the icons of contemporary architecture. This experiment presents a new way of looking at architecture and broadens the field of its representation.

Like any house, this is a place where different lives are lived, with all its chaos, its wear and tear, and its changes. The work of Bêka and Lemoine offers us a portrait of the real and changing vitality of one of those monuments that we believe are immortal. This is realized through the stories and daily chores of Guadalupe Acedo, the home’s caretaker and housekeeper, and the other people who look after the building. Following and interacting
with Guadalupe, blooms an unusual and unpredictable look at the spaces and structure of the building.

Watch the trailer of Koolhaas Houselife

Ramak Fazel: 49 State Capitols

23 January 2008 00:00:00 EST

Wednesday January 23, 2008 – Saturday March 8, 2008

In the summer of 2006, photographer Ramak Fazel set out on a road trip to visit every Capitol Building in the 50 US states. Beginning in his hometown of Fort Wayne, Indiana, Fazel’s journey tours the United States with the purpose of photographically documenting the capitol building of each state and the everyday lives of the people in and around it. In a rented van, used both as a traveling home and studio, Fazel visited 49 of the state capitals over a three-month period (the self-funded budget for the trip didn’t stretch far enough to include Alaska). Equipped with a stamp collection from his childhood, at each stop Fazel prepared a handmade postcard, which he then mailed to himself at the general post office of his next destination, thus putting the dated postage collection to use to become part of a future set of postcards. 49 State Capitols will be the first exhibition in the US of the photographs from Fazel's journey.

A third of the way through his trip, Fazel, an American citizen, was detained and mirandized on suspicions of terrorism. He was released and continued his journey, but from then on his observations of everyday America occurred in the context of continuous police interrogation and FBI surveillance.

Traveling by camper van, he drove a total of 17,345 miles and spent 78 days on the road. The entire narrative of his trip constitutes an unconventional glimpse into contemporary America: the capitol buildings are shown contextually, their views interrupted by vehicles, trees, and power lines, revealing the commonplace presence they have within the community. Other photographs document tourists’ visits conveying diverse moods: curiosity, childhood boredom and an almost religious solemnity.

In contrast to these passive observations stand Fazel’s handmade postcards: graphically eloquent messages conceived as personal mementos of the trip. Each card is a piece of 10 by 14 inch cardstock. Since postage stamps never lose their value but depreciate considerably, Fazel used his entire childhood collection to create forceful graphic compositions out of the stamps themselves. These postage stamp mosaics thus served both as an artistic medium and as an actual payment for delivery of the cards. His collection ranged from stamps of the 1920s and 30s to those of his childhood in the 60s and 70s. The resultant depictions include a rainbow of U.S. Presidents, a number of cityscapes, and a playful rendering of skiers racing down a slope.

Through these nested acts of tourism – Fazel’s own cross-country trip, the journey of the photographs mailed as postcards, the stamp collection’s reassertion as actual postage – Fazel’s project unravels the layered modes of witnessing the United States. His catalogue of state capitals evokes the documentary photography sponsored by FDR’s New Deal Farm Security Administration during the Great Depression. Conversely, his handmade postcards suggest the traditional road trip and car culture popularized in the postwar 1950s. Using the road trip as a narrative structure, Fazel’s photographs and postcards constitute both a neutral observation of and a highly personal investigation into America today as they reflect Fazel’s diverse and extreme encounters along the way.

Ramak Fazel

Born in Iran in 1965, Ramak Fazel and his family moved to Fort Wayne, Indiana, when he was very young. He graduated with a degree in Mechanical Engineering from Purdue University in Indiana in 1988. He then moved to New York where he studied graphic design and photography. He assisted various notable American photographers such as Mark Seliger and Bruce Davidson. Since 1994 he has worked and spent time in New York and Milan, Italy, working in conjunction with design and architecture magazines such as Abitare, Casa Brutus and Domus. He has contracted with Domus as a photographer since 1996. He lectures and conduct workshops at several prominent schools of photography throughout Europe.

Fazel’s photography and personal projects take an interest in Iran, Italy, Japan and the United States. His work concentrates on the concepts of identity and how it relates to our notion of “place.”

Chinatowns

11 December 2007 00:00:00 EST

Tuesday December 11, 2007 – Saturday December 22, 2007

OPENING RECEPTION : 6.30 PM on Tuesday, December 11th @ Storefront

AFTER PARTY : From 9.00 @ Obivia opposite Storefront

There are more than 300 Chinatowns around the world today. Many others have disappeared, and new ones are being born each year. Storefront for Art and Architecture, in association with Chinatown Film Festival New York, takes you on a global tour of the Chinatowns around the world.

Despite the clichés associated with Chinatowns, they are defined by their differences as much as their similarities. Some are rundown ghettos; others are modern sites of recent development. From large and well-known neighborhoods in San Francisco and London, to obscure or recently-formed communities in cities like Dubai and Glasgow, Chinatowns is an accumulative photographic portrait of an urban phenomenon spanning across more than 100 cities and four continents.
Starting in New York City and moving east around the planet, Chinatowns is a compendium of over 1000 images taken by almost as many photographers. It is a visual tribute to the diversities and idiosyncrasies, as much as the similarities, that unite these urban communities scattered all over the world.

Photograph by: Brian McMorrow

International Festival: On the Town

17 November 2007 00:00:00 EST

Saturday November 17, 2007 – Saturday November 17, 2007

INTERNATIONAL FESTIVAL : ON THE TOWN - FINAL SCREENING
17th of November @ Storefront

SCREENING 1 : 2-4pm

SCREENING 2 : 5-7pm

FOLLOWED BY A RED CARPET GALA EXTRAVAGANZA FROM 7PM

As part of PERFORMA07, New York’s second biennial of new visual art performance, the Swedish collaboration International Festival (initiated by architect Tor Lindstrand and performance-related artist Mårten Spångberg) takes on the monumental task of re-shooting the entirety of “On The Town” (98 minutes), Stanley Donen’s seminal 1949 dance film featuring Gene Kelly, Frank Sinatra, and others, in order to produce an inter-textual fiction engaging with the spatial and social geographies of New York City.

The actors exploring New York in the original film will be replaced by the performing team of International Festival. This social performance will take place over the course of a twenty-one day shoot, creating a wide variety of social situations as the team searches for and re-films scenes at the locations in “On The Town”.

The original “On the Town” will be running on a loop at Storefront throughout the process, and each day, the new material shot will be superimposed onto the original film, so that the final day’s shoot will complete the “erasure” of the original.

The typical intersection in cinema between spatial and temporal conditions here deviates from a question of “what” to a question of “how,” as the production of the film is transformed from a process of simply creating representation into a dramatic process in its own right. The film, the product of this process, depicts a spatial hyper-fiction, as the image passes from one cinematic reality to another, extraterritorial and actual space, returning it to the general intellect. It simultaneously documents a durational social performance, the expression of which is deliberately weak, and functions as an activation outline, a protocol for an empowered understanding of the city.

International Festival (initiated by Tor Lindstrand and Mårten Spångberg) is a long-term collaborative platform between architecture and performance, named “Architects of the Year” in Sweden for 2007. The work of International Festival issues questions surrounding distribution, accountability, and ownership in specific social and economical contexts. Created by an architect (Lindstrand) and a performance-related artist (Spångberg), International Festival occupies a terrain where opportunities to activate and change spatio-temporal coordination in a pro-active manner are central. This work is embedded in the specificity and singularity of the relations it produces in collaboration with the spectator.

Tor Lindstrand is an architect based in Stockholm. Aside from his work with International Festival, he is an editor of the cultural quarterly Merge Magazine. Lindstrand is also working as a teacher at the School of Architecture, Royal Institute of Technology, Stockholm, focusing on the relationship between tools of representation and the production of architecture, emerging on-line platforms, digital social space, and the opportunity to say yes.

Mårten Spångberg is a performance-related artist, writer and curator. Base in Berlin, he has created his own work, which emphasizes choreographic structures, since 1994, and has been commissioned as a choreographer for the Frankfurt Ballet. His work has been shown in many European countries, and he has also worked with choreographers such as Xavier Le Roy and Les Ballets C de la B. From 1996-2004 he organized and curated the international performance/dance festival Panacea and was commissioned curator of performing arts at the Gulbenkian Foundation, Lisbon, 2001-04. He was visiting professor at the University of Giessen 2000-03, lecturer at P.A.R.T.S. 2001-06, and has taught both at the arts academy in Maastricht and at the Royal School of Theatre in Stockholm.

PERFORMA07 (October 27-November 20, 2007) is the second biennial of new visual art performance presented by PERFORMA, a non-profit multidisciplinary arts 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. www.performa-arts.org

Bjarke Ingels Group: CPH Experiments

2 October 2007 00:00:00 EST

Tuesday October 2, 2007 – Saturday November 24, 2007

BIG is a Copenhagen based group of over 80 architects, designers, builders and thinkers operating within the fields of architecture, urbanism, research and development. BIG’s architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes. In their projects, BIG tests the effects of size and the balance of programmatic mixtures on the triple bottom line of the social, economical and ecological outcome. Like a form of programmatic alchemy, they create architecture by mixing conventional ingredients such as living, leisure, working, and shopping.

The exhibition will showcase some built works and a number of large-scale models illustrating proposals for innovative residential typologies, all of which are situated in Copenhagen. Focusing on Kløverkarrén, BIG House, the LEGO project, Mountain Dwellings and VM Houses (both designed in conjunction with JDS Architects), the exhibition presents a broad spectrum of the research that has gone into varying housing solutions for different generational attitudes and economical backgrounds.

Each project’s effect and reception is showcased dependant on to what extent it is already manifest in the public realm, ranging from images of life in the VM houses post-occupation, through the 250.000 piece LEGO model inhabited by 1000 LEGO people, to the excessive political debate about Kløverkarreen.

VM

If people are different, why are all apartments the same? The VM houses compile 85 different housing types into a 225 unit complex, providing the residential diversity of an entire neighbourhood in to a single block.

MTN

Can you combine the splendours of a suburban lifestyle with the convenience of urban density? By placing a 100 unit residential slab on top of a block of parking, we create a new hybrid typology half villas half urban block. The result is 11 stories of terraced residences with generous garden courtyards, nested on top of a south facing slope of parking. In a country flat as a pancake, the only way to get a south facing hillside, is to do it yourself.

Performance Z-A: a Pavilion for Storefront's 25th Anniversary

21 September 2007 00:00:00 EST

Friday September 21, 2007 – Tuesday October 16, 2007

Twenty-five years ago, in September 1982, Storefront's first public event got underway in its original Prince Street location. Performance A-Z, organized by the gallery's founders Kyong Park and R L Seltman, and artist Arleen Schloss, was a 26-day sequence of performances by New York-based artists. Each of the 26 performers was allocated one evening slot. The event became a manifesto for the gallery's future programming: as Kyong Park wrote in his introduction, "Storefront supports the idea that art and design have the potential and responsibility to affect public policies which influence the quality of life and the future of all cities."

In late September 2007, Storefront will celebrate its 25th anniversary with a new edition of its first event. Entitled Performance Z-A, this 26-day celebration will be hosted in Petrosino Park, adjacent to Storefront, in a specially built pavilion designed by Korean architect Minsuk Cho. Organized by the three directors who have led Storefront over the past 25 years (Kyong Park, Sarah Herda and Joseph Grima), Performance Z-A will be an inclusive event involving not only performance artists but also representatives of all the disciplines that have participated in Storefront's program in the past decades: architects, artists, writers, researchers, filmmakers, photographers, musicians and more. For 26 days, from September 21 to October 16, 2007, the protagonists of Storefront's past, present and future will host 26 evening events including performances, concerts, open discussions, film screenings and interviews.

All events held in Ring Dome (located in Petrosino Park, adjacent to Storefront), at 7pm

The making of Ring Dome Pavilion

Z

Sept 21 - Opening party for Ring Dome hosted by:

Arleen Schloss, a participant and co-organizer of Performance A-Z at Storefront in 1982, has for many years run the interdisciplinary research lab A’s. It is the most influential place you've never heard of, giving birth to bands and experimental movements like Alan Suicide, Phoebe Leger’s Metamonad, Gray/Jean-Michel Basquiat, The Coachman and The Human Arts Ensemble.

Minsuk Cho, designer of the Ring Dome, is a founding partner of Mass Studies, a Seoul-based architecture practice. His work has been exhibited internationally and has won numerous prizes, including first prize in the 1994 Shinkenchiku International Residential Architecture Competition for new dwelling design, the Architectural League of New York's Young Architects Award in 2000, and two U.S. Progressive Architecture Awards.

Y

Sept 22

“Lincoln Ocean Victory Eddy” is Jill Magid and Ed Vas’s performance that includes a video and series of photographs, accompanied by a haunting novella. All record her five-month friendship with a New York City police officer. She initiates it by asking him to search her (he doesn’t) and then shadows him during his night shift, usually on subway platforms in Manhattan and Brooklyn.

X

Sept 23

Launch of Storefront Books, a curated micro-bookshop at Storefront, hosted by Akiko Miyake, with the participation of Marina Abramovic, John Miller, Siobhan Liddell, Soo Ja Kim, Liam Gillick, Maurizio Cattelan, Rirkrit Tiravanija. Akiko Miyake is co-founder the Center for Contemporary Art Kitakyushu (Japan) and publisher of the CCA Artists’ Books series, a collection of more than 50 titles by internationally renowned artists. The CCA artists’ books will be on sale at Storefront.

Special guest Hideaki Ariizumi, a former student of Kazuo Shinohara, will discuss Kazuo Shinohara: Street with Human Shadows.

W

Sept 24

Teddy Cruz hosts Food for Thought: The Tijuana-NY Kitchen. For one evening, Ring Dome becomes an open-air kitchen, serving authentic Tijuana tacos in an exchange of food for thought. Teddy Cruz’ work is centered along the border between San Diego, California, and Tijuana, Mexico, where he has been developing a practice and pedagogy that emerge out of the particularities of this bicultural territory. He has received international recognition for his work on housing and its relationship to an urban policy more inclusive of social and cultural programs, including the 2004-05 James Stirling Memorial Lecture On the City Prize.

V

Sept 25

Engaging the City presents The Obscene Bird of Night, a carnival block party with exquisite entertainment brought to you by the Four of Babylon. Engaging the City is an independent monthly lecture series that serves as a venue for individuals in a variety of professions who engage the extraordinary and exciting complexity of contemporary cities in novel ways.

U

Sept 26

Photographer, editor and researcher Florian Boehm presents his most recent project, Wait for Walk, a series of portraits of New Yorkers waiting to cross the street. Boehm is co-author and co-founder of the project EndCommercial/Reading the City,

a visual record of modern urban life exhibited at Storefront in 2002.

T

Sept 27

Daniel Perlin (AKA DJ N-Ron) is an artist working across media creating sound, video, objects and installations. For Performance Z-A he will present Dance Faster, a live mix from inside Ring Dome that the audience will be able to listen to through wireless headsets from anywhere inside Petrosino Park and the surrounding area. Daniel Perlin’s work has previously been presented at the Lower Manhattan Cultural Council, The Chelsea Art Museum, Postmaster’s Gallery, D’Amelio Terras, TN Probe Tokyo, Temporary Contemporary Gallery London and the Centre Pompidou.

S

Sept 28

Ruben Ochoa presents a one-day installation of his Dancing PoPos next to Ring Dome in Petrosino Park. Based in Los Angeles, Ochoa excavates the city to uncover forms and structures for his interventions and sculptural works. Support made possible by LACMA: On-Site.

At 3:30 pm, world-famous Monstrologist Johan Olander presents a lecture for children on his recent monstrological discoveries and his new book, A Field Guide to Monsters. The audience will be able to ask questions about his findings.

At 7:00 pm, Marilyn Minter responds to "10 Questions" posed by Karen Marta about Minter's grisly-glam paintings and photographs, and her new monograph, just released by Gregory R. Miller & Co.

R

Sept 29

Eyal Weizman presents his most recent book, Hollow Land: Israel’s Architecture of Occupation. Guest speakers include Tom Keenan, Reinhold Martin, Felicity Scott and Michael Sorkin. Weizman (Director of the Centre for Architecture Research at Goldsmiths College, London) has conducted an in-depth investigation into the planning aspects of the Israeli occupation of the West Bank for several years. In 2003, Weizman co-curated the exhibition A Civilian Occupation: The Politics of Israeli Architecture at Storefront.

Q

Sept 30

Armin Linke screens the US premier of his award winning film-in-progress on the Alps realized in collaboration with architect Piero Zanini. Alpi, a synchronized projection onto 3 screens with surround sound, is a captivating visual investigation that debunks many of the myths surrounding the picturesque alpine landscape, exposing it as a hotbed for experimentation in social, economic and political relations. The film was awarded a Golden Lion at the 2004 Venice Architecture Biennale. Armin Linke’s photographic work was exhibited at Storefront in 2004.

P

Oct 1

The Center for Urban Pedagogy (CUP) presents the Envisioning Development Toolkit, a workshop aimed at demystifying the term “affordable housing” that uses an interactive felt poster to help people understand how the city and federal governments define "affordable," what the income spread is like for different neighborhoods, and who can afford to move into those neighborhoods now. As an agency, CUP makes educational projects about places and how they change, bringing together art and design professionals and community-based advocates and researchers.

O

Oct 2

Bjarke Ingels hosts the opening of the exhibition CPH Experiments, five radical proposals for high-density dwelling from Danish architecture practice BIG/Bjarke Ingels Group, a group of over 80 architects, designers, builders and thinkers based in Copenhagen. The exhibition will showcase five large-scale models (including one made of 250,000 LEGO blocks) of housing projects currently under construction in the Danish capital. The opening will be followed by Bjarke's Birthday Bash, a party at Bar 205 on Chrystie Street to celebrate Bjarke Ingel's 33rd birthday.

N

Oct 3

A reading hosted by Frederic Tuten with other writers who have written about or who themselves make visual art. Frederic Tuten will be joined by Shelley

Jackson, author of Half-Life and The Melancholy of Anatomy; Wayne Koestenbaum, poet, author of Hotel Theory, a hybrid of fiction and nonfiction; and Iris Smyles, short story writer and editor of Smyles & Fish. Tuten has published five novels including The Adventures of Mao on the Long March, Van Gogh's Bad Café, and Tintin in the New World.

M

Oct 4

Screening of Storefront's 1982 innaugural event Performance A-Z filmed by Arleen Schloss. The gallery will be open with extended hours and the bookshop will be open, with books featured throughout Z-A for sale.

L

Oct 5

Stefano Boeri, Gianluigi Ricuperati and the editorial team present the new Abitare magazine. With the September '07 issue, Abitare, the bilingual English/Italian monthly architecture publication, passes under the editorship of Boeri after the 15-year tenure of Italian architect and designer Italo Lupi. Boeri and guests will discuss the new editorial line, in particular the intersection between architecture, art and literature, hinted at in the magazine's new subtitle: Dwelling Stories, Telling Spaces.

K

Oct 6

Tomas Saraceno is an artist based in Frankfurt, Germany. After studying architecture under Peter Cook, Mark Wigley and others, he began an ongoing research into inhabitable lighter-than-air airborne structures as a solution to the world's exploding population. For Performance Z-A, Saraceno will hold an open discussion with invited guests (TBA) on the potential of new materials such as Aerogel. Saraceno will also present a visionary project under development that will be presented at Storefront in 2008.

J

Oct 7

Anselm Franke is a curator and writer based in Antwerp and Berlin. He is currently the Artistic Director of Extra City Center for Contemporary Art in Antwerp. He was recently announced as co-curator of the forthcoming Manifesta 7, the European Biennial of Contemporary art, hosted in different location every two years. Franke, who curated An Uneven Exchange of Power at Storefront in 2004, will present the program-in-progress of the biennial and discuss the opportunities and limitations of this roving exhibition format in the wake of the controversial cancellation of Manifesta 6.

Pedro Reyes will present footage from "Palas Por Pistolas", a project that involved a voluntary donation of weapons

from civilians in the city of Culiacan in Western Mexico. This city suffers the highest rate of deaths by firearms. For this project 1650 arms have been collected. The footage shows the destruction of these arms that will be melted and casted into farming tools for a foresting campaign and educational purposes. After the film, there will be a discussion about the theories of social scientist Jacob Levy Moreno who in the nineteen-forties proposed Sociatry as field of research and a set of practices aimed to heal society.

I

Oct 8 (Revised program)

10 am : For Columbus Day, Lorenzo Romito and other members of Rome-based research group Stalker Lab present NY Peace Walk: In the Footsteps of Paul Auster. Starting at Storefront at 10am, participants will walk to the United Nations Building spelling the word PEACE along the way.

Participants should meet at Storefront at 10am

7 pm : In the evening, members of Stalker Lab will meet in Ring Dome Pavilion to present photographs of the day's walk as well as their 7-year ongoing study on an ex-slaughterhouse in Rome as a laboratory of cultural interactions between Stalker and the emergent communities formed by Gypsies, refugees and clandestine immigrants.

H

Oct 9

Internationally renowned photographer Ramak Fazel tells the remarkable story of his most recent photographic project, to be exhibited at Storefront in 2008. In the summer of 2006, Fazel set out in a camper van to visit and photograph every Capitol Building in the 50 States and the everyday life of the people who work in and around them. A third of the way through his trip, Fazel is detained and mirandized on suspicions of terrorism. He is released and continues his journey, but from then on his observations of everyday America occur in the context of continuous police interrogation and FBI surveillance.

G

Oct 10 (Revised program)

A collaborative musical venture between singer songwriters Emma Zakarevicius and Sasha Markovic.

F

Oct 11

Rescheduled due to weather

E

Oct 12

Photographer Luca PIzzaroni installs his first sculpture project "Labels" in the ring pavilion. He co-authored Endcommercial: Reading the City, an analytical observation of recurring urban iconographies of New York and various cites. Endcommercial:Reading the City contains over 60,000 images and is still widely acclaimed for creating a new visual vocabulary that depicts the urban experience.

Vito Acconci, co-designer with Steven Holl of the Storefront façade, discusses the possible options for the project’s restoration fifteen years after it was built. Acconci, who today runs the architectural practice Acconci Studio, will also present and discuss his office’s recent work.

D

Oct 13

Artist Dan Graham, whose work was exhibited in Environmental Aesthetic at Storefront in 1986, in conversation with architectural historian and theorist Beatriz Colomina. Graham will show and discuss his most recent photographic work, a contemporary revisitation of his photographic documentation of New Jersey in the late Sixties.

Neil Greenberg grafts real-world metropolitan challenges onto his imagined cities. He’s in the second phase of Fake Omaha, which includes the creation of a central city, its suburban area, its history, its problems, its plans and its future. Greenberg lives in Detroit where during the day he schedules buses for a mid-size transit authority and runs a small, upstart transit system on the side.

C

Oct 14

Are you there G-D? Its Me, Heavy-Meta choreographed and performed by robbinschilds with "the man for the job" played by Michael Helland and music by Deep Forest. robbinschilds was formed by choreographers Sonya Robbins and Layla Childs in 2003 to present highly visual dance works that explore the intersection between architecture and human movement. Performances include Seriously Heavy (I hurt myself hurting you (June 2006), a site-reactive work at the Autumn Skate Bowl in Greenpoint, Brooklyn, and C.L.U.E. (December 2005) at Triskelion Arts.

B

Oct 15

Recent video and film artworks by artists-in-residence at Akademie Schloss Solitude.

THe film program was organized as an adjunct public event to the exhibition Searching for an Ideal Urbanity, an interdisciplinary project curated by the Italian architect Fabrizio Gallanti in cooperation with fellows of Akademie Schloss Solitude, which was presented at Solitude in spring of 2007. The works in the film program deal with different forms of urbanity, taking a sociological, architectural or narrative approach.

(1) Korpys/Löffler and Marcus Kaiser, Super Sam (2002), 13 min. (with english subtitles)

(2) Susanne Bürner huts (2007), 2.30 min.

(3) Susanne Bürner Ohne Titel (2004), 5.30 min.

(4) Sanford Biggers A small world (1999-2002), 6.30 min.

(5) Krassimir Terziev A Place (Playground)(2004), 10 min.

(6) Susanne Bürner 50.000.000 can't be wrong (2006), 6.24 min.

(7) Susanne Bürner Finistère (2005), 5.40 min.

(8) Korpys/Löffler Digging Deep (1999), 42 min. (with english subtitles)

(9) Daniel Kunle and Holger Lauinger NEULAND (2006), 75 min. (with english subtitles)

A three-second-video from the Spots series by Alexander Schellow will be shown in the intermission between the films above.

A

Oct 16

A live sound work by Barbara Held. Barbara Held, one of the participants in Performance A-Z at Storefront in 1982, is a flutist who moves out of the time frame of concert music, combining sound and image in installations that usually include live performance. Recent works include Microcòsmics, a project curated by Joan Fontcuberta in which she worked with electron microscope imagery and sound.

A final screening of Arleen Schloss's footage of the 1982 Performance A-Z will close this event.

Media Sponsor: The Architect's Newspaper

Storefront's program is generously supported by:

New York State Council for the Arts (NYSCA)

Lower Manhattan Cultural Council (LMCC)

New York City Department for Cultural Affairs (DCA)

Performance Z-A is sponsored by:

Kaye Scholer LLP

Sennheiser USA

The Maritime Hotel and Bowery Hotel

Performance Z-A visiting artists are supported by:

Me&Ro

Carlsberg

Citizens for NYC

The Andy Warhol Foundation for the Visual Arts

PARC Foundation

Bread 20 Spring

The Color House New York

Esquina

Richard Gluckman

General Strategic Marketing

Mexican Cultural Institute New York

MEXICANA

Japan Foundation New York

Davis Brody Bond Aedas

Italian Cultural Institute

The New York Bike Share Project Seminar 3: Josh Squire

11 July 2007 00:00:00 EST

Wednesday July 11, 2007

Josh Squire talks about JC Decaux\'s bikeshare schemes in Paris, Lyon and Vienna

The New York Bike Share Project Seminar 2: Carlos Pujol

10 July 2007 00:00:00 EST

Tuesday July 10, 2007

Carlos Pujol presents Cemusa\'s bikeshare scheme in Pamplona

The New York Bike Share Project Seminar 1: Richard Grasso

9 July 2007 00:00:00 EST

Monday July 9, 2007

How do bikesharing projects in Europe work? As part of the New York Bike Share Project, jointly organised by Storefront for Art and Architecture and the Forum for Urban Design, Richard Grasso from Clear Channel Adshel present the SmartBike schemes his company runs in Barcelona, Stockholm and Oslo and explains what advertising companies have to do with free bicycles

The New York Bike-Share Project

7 July 2007 00:00:00 EST

Saturday July 7, 2007 – Wednesday July 11, 2007

A summer charette produced by the Forum for Urban Design and Storefront For Art and Architecture
www.nybikeshare.org

Daily July 7-11: Free bikes from 97 Kenmare Street and a roving satellite station.

Imagine walking to a sidewalk corner and finding a public bicycle. With a cellphone call or swipe of a card, you unlock it from its bike rack and ride it across town. Once at your destination, you steer to the closest bike rack and, with one more call or card swipe, return the bike to the public network. You pay less than $.50 for the trip, and the bike is once again available for the taking.

Bike-sharing already exists in cities across Europe, including Oslo, Barcelona, Copenhagen, Stockholm, Lyon and Frankfurt. Paris alone is currently installing over 10,000 bikes at 750 stations. Bike-sharing is a reality overseas, revolutionizing transportation networks and greening the urban fabric. How could it launch in New York?

From July 7-11, 2007, the Forum For Urban Design, partnering with Storefront for Art and Architecture, will introduce New Yorkers to bike-sharing through a highly-visible, five-day design charette. Located at one of the most exciting street corners in Lower Manhattan, The New York Bike-Share Project will consist of three parts: an experimental bike-share (free bike rentals!), an exhibition of European successes and a design charette with public presentations. The Forum expects that this event will attract attention and participation from city government, media, and the urban-planning and biking communities, as well as the general public.

Schedule of events
July 7-11, ALL DAY: Free 30-minute bike rentals from 97 Kenmare Street and a second bike-share “station” whose location will change each day. Bikes can be rented or returned to either station.
July 9, 6:00 pm: Public presentation of bike share programs in Barcelona, Stockholm and Oslo
July 10, 6:00 pm: Pamplona, Lyon and Paris
July 11, 6:00 pm: Presentation of the charette results and closing reception

The Experiment (free bike rentals!)
From July 7-11, New Yorkers and tourists alike will enjoy free 30-minute rides between Storefront for Art and Architecture (97 Kenmare St.) and a second bike-share station. Locations for the second station will include the Hudson River Park, Washington Square Park, Williamsburg, City Hall, and SoHo. Visit nybikeshare.org for the most up-to-date locations and dates, as well as real-time text and video blogging of the experiment.

The Exhibition
Storefront for Art and Architecture (97 Kenmare St.) will host a exhibition of European bike-share programs and the people who use them. It will be open to the public July 7-11.

The Charette
The Forum For Urban Design will facilitate a public charette to imagine a future bike-share program in New York City. Public presentations from design and transportation experts will begin at 6 pm on July 9 and 10. Final charette results will be published on nybikeshare.org and presented to the public at 6 pm on July 11. Reception to follow.

The Website
Visit our website www.nybikeshare.org for real-time text and video blogging of the New York Bike-Share Project throughout its five days.

Sponsors
Cemusa (www.cemusa.com)
Clear Channel Adshel (www.clearchanneladshel.com)
Metro Bicycles (www.metrobicycles.com)
Bike and Roll (www.bikeandroll.com)

CCCP: Small Talks

12 June 2007 00:00:00 EST

Tuesday June 12, 2007

To mark the closing of the exhibition CCCP: Cosmic Communist Constructions Photographed, Storefront will host two lectures by eminent architecture historians on the influences and inspirations behind Soviet architecture of the '70s and '80s. The lectures will be followed by a reception and a late viewing of the exhibition.

Tuesday, June 12, 6:30pm
Anna Bronovitskaja: Soviet Architecture 1970-1989

How could such unusual and eclectic architecture be produced in a era notorious for mass-prefabrication and highly-standardized construction processes? This talk will offer an insight into the social and cultural context into which the buildings documented in the CCCP exhibition were born, with specific reference to key events such as the exhibition of Finsterlin drawings in the Moscow Museum of Architecture or the construction of a Buckminster Fuller pavilion in the 'America' exhibition in Sokolniki.

Anna Bronovitskaja is editor of Moscow-based architecture magazines Project Russia and Project International. She is also Associated Professor at Moscow Institute of Architecture, and the co-author of the guide-book Moscow Architecture
1920-1960.

Saturday June 16, 6:30pm
Anna Sokolina: Architecture as Collateral Damage: War Memorials and Rebirth of Patriotism in Soviet Russia

This talk will trace the role of monuments and war memorials within the framework of constructed social utopias, touching on issues of looting and provenance in art, the designs of war memorials across Russia and Eastern Europe and the global discourse of totalitarian architecture and democracy. Tracing the parallels between Khrushchev’s Thaw (1960s), Brezhnev’s Stagnation (1970s) and Gorbachev’s Glasnost (1980s) and their resonances in Soviet Modernism, Technologism, and Postmodernism, this lecture will offer an insight into the architectural manifestations of mass propaganda, political delusion and deception, and the climax, twilight, and demise of Communist Utopia.

Anna Sokolina is an architecture/art historian and Assistant Professor at Miami University School of Fine Arts Department of Architecture and Interior Design. Sokolina received her Ph.D. in Architecture from the Russian Academy of Architecture and Construction Sciences Research Institute for Theory of Architecture, and M.Arch. from the Moscow Architectural Institute. She is currently working on two book projects, Architecture Behind the Iron Curtain: Russia and East Germany 1945-1990, and second edition of Architecture and Anthroposophy.

The CCCP Small Talks were made possible thanks to the generous support of the Trust for Mutual Understanding.

Keller Easterling

2 June 2007 00:00:00 EST

Saturday June 2, 2007

Keller Easterling discusses her recent book, "Enduring Innocence."

Postopolis! Closing Party

2 June 2007 00:00:00 EST

Saturday June 2, 2007

Julia Solis

1 June 2007 00:00:00 EST

Michael Kubo of Actar Books discussing his recent projects at Actar and the world of books, magazines, boogazines and blogs.

Some Postopolis! pictures

29 May 2007 00:00:00 EST

Tuesday May 29, 2007

Postopolis!

29 May 2007 00:00:00 EST

Tuesday May 29, 2007 – Saturday June 2, 2007

Postopolis! is a five-day event of near-continuous conversation about architecture, urbanism, landscape, and design. Four bloggers, from four different cities, will host a series of live discussions, interviews, slideshows, panels, talks, and other presentations, and fuse the informal energy and interdisciplinary approach of the architectural blogosphere with the immediacy of face to face interaction.

BLDGBLOG (Los Angeles), City of Sound (London),Inhabitat (New York City), and Subtopia (San Francisco) will meet in person to orchestrate the event, inviting everyone from practicing architects, city planners, and urban theorists to military historians, game developers, and materials scientists to give their take on both the built and natural environments. For the past five years, blogging has helped to expand the bounds of architectural discussion; its influence now spreads far beyond the internet to affect museums, institutions, and even higher education. Postopolis! is an historic opportunity to look back at what architecture blogs have achieved – both to celebrate their strengths and to think about their future.

Participants:

Lebbeus Woods, Mark Wigley, Laura Kurgan, Michael Sorkin & Mitchell Joachim, Stanley Greenberg, Joel Sanders, Susan Szenasy, DJ /rupture, Andrew Blum, Jake Barton, William Drenttel, Tom Vanderbilt, Michael Bierut, Lawrence Weschler, Robert Krulwich, Benjamin Aranda & Chris Lasch, Randi Greenberg, Allan Chochinov, Julia Solis, Ada Tolle & Giuseppe Lignano, Scott Marble, Paul Seletsky, Robert Neuwirth, Wes Janz, James Sanders, David Benjamin & Soo-in Yang, Eric Rodenbeck, Kevin Slavin, Gianluigi Ricuperati, Quilian Riano, Miss Representation, Enrique Gualberto Ramirez, George Agnew, Chad Smith, Abe Burmeister, John Hill and many more.

Tuesday 29 May

3:00 pm: Robert Krulwich

3:40 pm: Tobias Frere-Jones

5:00 pm: Stanley Greenberg

5:40 pm: Michael Kubo (Actar)

6:30 pm: Geoff Manaugh (BLDGBLOG), Dan Hill (City of Sound), Jill Fehrenbacher (Inhabitat) and Bryan Finoki (Subtopia) in a back-to-back pecha kucha presentation followed by opening reception

Wednesday 30 May

1:30 pm Benjamin Aranda & Chris Lasch

2:10 pm: Matthew Clark (Ove Arup)

4:00 pm: Panel on Sustainability with Susan Szenasy, Graham Hill , Allan Chochinov, Jill Fehrenbacher

5:30 pm: Scott Marble

6:10 pm: Paul Seletsky

6:50 pm: LOT-EK (Ada Tolla & Giuseppe Lignano)

7:30 pm: Michael Sorkin & Mitchell Joachim

Thursday 31 May

1:30 pm: DJ /rupture

2:50 pm: Gianluigi Ricuperati

3:30 pm: Monica Hernandez (Lifeform)

4:10 pm: Jeff Byles

4:50 pm: Wes Janz

5:30 pm: Lebbeus Woods

6:10 pm: Robert Neuwirth

6:50 pm: Jake Barton

7:30 pm: Joel Sanders

Friday 1 June

1:30 pm: Julia Solis

2:10 pm: Andrew Blum

3:00 pm: Tom Vanderbilt, Michael Bierut and William Drenttel

4:10 pm: James Sanders

4:50 pm: David Benjamin & Soo-in Yang

5:30 pm: Kevin Slavin

6.10 pm: Eric Rodenbeck

6:50 pm: Laura Kurgan

7:30 pm: Lawrence Weschler

Saturday 2 June

2-4 pm: Conversations with Neil Smith, Keller Easterling, Beatriz Colomina and Mark Wigley

4.15 pm: Randi Greenberg

4.30 pm: Bloggers open house with back-to-back presentations and discussions with Quilian Riano (Archinect), Miss Representation, Enrique Gualberto Ramirez (aggregat456), George Agnew (Architecture of Fear), Chad Smith (Tropolism), Abe Burmeister (Abstract Dynamics), John Hill (Archidose), Alec Appelbaum (NY Magazine), Aaron Plewke (Archinect) and many more.

7pm: Closing party with drinks and DJ

Postopolis! preparations...

27 May 2007 00:00:00 EST

Sunday May 27, 2007

Not much happening yet

Frederic Chaubin: CCCP

24 April 2007 00:00:00 EST

Tuesday April 24, 2007 – Saturday June 16, 2007

Over the past five years, during the course of his travels in the former Soviet Union, French photographer Frederic Chaubin has documented an extensive collection of startling architectural artifacts born during the last two decades of the Cold War. Architects in the peripheral regions of the Eastern Bloc countries, working on governmental commissions during the ‘70s and ‘80s, enjoyed a surprising degree of creative freedom. Operating in a cultural context hermetically sealed from the influence of their Western counterparts, they drew inspiration from sources ranging from expressionism, science fiction, early European modernism and the Russian Suprematist legacy to produce an idiosyncratic, flamboyant and often imaginative architectural ménage. Unexpected in their contexts, these monumental buildings stand in stark contrast to the stereotypical understanding of late Soviet architecture in which monotonously repetitive urban landscapes were punctuated by vapid exercises in architectural propaganda.

The subjects of Chaubin’s photographs, scattered throughout Armenia, Estonia, Georgia, Lithuania, Belarus, Ukraine and Russia, were all constructed during the last two decades of the Soviet era. Very few of their designers achieved anything more than local recognition, and until now these buildings have never been collectively documented or exhibited. The authors of many works remain unknown, and some have been destroyed since Chaubin’s photographs were taken. Concieved and executed during a moment of historical transition, they constitute one of the most surprising and least known legacies of the former USSR.

As well as presenting the architecture itself, CCCP: Cosmic Communist Constructions Photographed traces the intellectual and political undercurrents that act as a backdrop, and at times inspiration, for the work of these Soviet architects. The exhibition, a compendium of film stills, drawings, magazine articles and historical timelines, maps out the complex genealogy of this overlooked but compelling chapter in the history of 20th century design.

Frédéric Chaubin in Paris, France. He is editor in chief of the French lifestyle magazine Citizen K.

LOST AND FOUND CITY

3 March 2007 00:00:00 EST

Saturday March 3, 2007 – Saturday March 24, 2007

Exhibition Features Artists Exploring Urban Life Through Sound, Sculpture, Installation, Performance, and New Media at Various Locations in New York City

ANNANDALE-ON-HUDSON, N.Y.—Lost and Found City is an exhibition project, curated by 10 graduate students in their first year of study in curatorial studies and contemporary culture at CCS Bard. The project examines the intersection of private and public settings, as well as the metaphorical “owning” of locations based upon personal events. The initial component takes place at Cuchifritos from January 27 to February 3, followed by the opening of the exhibition at Storefront for Art and Architecture on Saturday, March 3, from 6:00 to 8:00 p.m. in New York City. Lost and Found City continues on view at Storefront through Saturday, March 24. There will also be a performance at Orchard in early March (date to be announced).

For this exhibition project, emphasis is placed upon phenomena within areas of New York City, such as Nolita and the Lower East Side. The individual exhibition components occur at different times and locations, including at the Storefront for Art and Architecture, Cuchifritos (next to Essex Street Market), and Orchard. Exhibition participants reflect a diversity of artistic and cultural practices, including fictional, autobiographical, analytical, politically/socially engaged, poetic, and psychogeographic responses to urban life.

The initial component of the project is a one-week presentation of Lara Favaretto’s suitcase object at Cuchifritos from Saturday, January 27, through Saturday, February 3. The contents of this suitcase remain unknown, suggesting a presence at once familiar and threatening—a magical-realist everyday object, seemingly abandoned in the space.

Favaretto’s work then migrates to the Storefront for Art and Architecture on March 3, where it is recontextualized with the works of other exhibition participants. The Storefront show is composed of a number of newly commissioned and modified works that reactivate the space, including recorded olfactory tours of the urban environment created by Caitlin Berrigan and Michael McBean, designed for visitors to remap and renavigate Nolita and the Lower East Side; architectural/urban investigations and pedagogical projects of CUP (Center for Urban Pedagogy); Jonah Freeman’s imaginary megabuilding as city; a new outdoor urban projection/intervention by LURE (Aaron Igler plus collaborators); Mark Koven’s real-time, live-feed interactive/participatory work that explores history, geography, and the claim of territory; Mads Lynnerup’s performative-video infiltrations of other people’s navigations of the neighborhood’s streets; Jill Magid’s performance about her metaphorical seduction of a New York City police officer in the subterranean environs of the subway system; Costa Vece’s flags made of a bricolage of discarded clothing that contest national/local identities; and Stephen Vitiello’s sound installation that creates a provocative interpenetration of city and nature.

Through this careful mixing of art practices, the curators desire to generate a dialogue that animates questions of urbanism with a new grammar, encapsulating the intersections between private and public domain, the personal and the political, and social engagement and poetic disengagement, all of which constitute the complex territory of any city.

Lost and Found City proposes to examine the relationship between the private urban narratives that we invent and the constant flux of the city at large. Where do history and memory intersect? How does subjectivity map itself onto community? The project seeks to connect the urban present to the past, articulating cycles of dispossession and reclamation within city space. This pattern is symbolic of the city’s continuous losing and finding of itself, including its citizens’ gains and losses in relation to the cultural, economic, and political systems of a particular metropolis. The New York urban environment, for example, is characterized by an accelerating privatization of public space, as well as by gentrification and development that perpetrate an antihistorical and impersonal experience of neighborhoods. Lost and Found City proposes that there is a continuous oscillation of loss and gain within urban flux, and is a dramatic interplay between winners and losers in terms of power: political, economic, and subjective. That which is lost is usually reactivated and repurposed within urban space, for better and worse.

Lost and Found City is curated by: Lauren Benanti, Daniel Byers, Vincenzo de Bellis, Anat Ebgi, Edith Tyler Emerson, Milena Hoegsberg, Sabrina Locks, Nicole Pollentier, Terri Smith, and Niko Vicario. The graduate students, in their first year at the Center for Curatorial Studies at Bard College, developed the exhibition within their first-year practicum, supervised by Joshua Decter, an independent curator and CCS faculty member.

For further information about the exhibition, visit the website www.bard.edu/ccs/lostandfoundcity, call 845-758-7598, or e-mail ccs@bard.edu.

About the Center for Curatorial Studies
Location: Bard College, Annandale-on-Hudson, NY
The Center for Curatorial Studies and Art in Contemporary Culture at Bard College (CCS Bard) is an exhibition and research center dedicated to the study of art and exhibition practices from the 1960s to the present day. The Center’s graduate program is specifically designed to deepen students’ understanding of the intellectual and practical tasks of curating exhibitions of contemporary art, particularly in the complex social and cultural situations of present-day urban arts institutions. With state-of-the-art galleries, an extensive library and curatorial archive, and access to the remarkable Marieluise Hessel collection of more than 1,700 works, students at the CCS Bard gain both an intellectual grounding and actual experience within a museum. For further information, call the Center for Curatorial Studies at 845-758-7598, e-mail ccs@bard.edu, or visit www.bard.edu/ccs.

About Storefront for Art and Architecture
Location: 97 Kenmare Street, New York City
Exhibition Hours: Tuesday through Saturday from 11:00 a.m. to 6:00 p.m.
Founded in 1982, Storefront for Art and Architecture is a nonprofit organization committed to advancing innovative positions in art, architecture, and design. Its program of exhibitions, events, and publications is intended to generate dialogue and collaboration across geographic, ideological, and disciplinary boundaries. Storefront’s distinctive facade is regarded as a contemporary architectural landmark. Commissioned in 1993 as a collaborative building project by artist Vito Acconci and architect Steven Holl, it consists of 12 panels that pivot vertically or horizontally to open the length of the gallery onto the street. The project blurs the boundary between interior and exterior and creates a multitude of possible facades. For further information call Storefront for Art and Architecture at 212-431-5795, e-mail info@storefrontnews.org, or visit www.storefrontnews.org.

About Cuchifritos
Location: 120 Essex Street between Delancey and Rivington, New York City
Exhibition Hours: Monday through Saturday, noon to 5:30 p.m.
Located at Essex Street Market, Cuchifritos is an art gallery/project space that focuses on contemporary art as it relates to community, social issues, and public space. It aims to act as a forum for exploring fundamental ideas, issues, and concerns associated with the Lower East Side through the medium of contemporary art, to highlight the work of underrepresented artists, including artists from this and similar communities. Chuchifritos is a program of the Artists Alliance Inc. For more information call the gallery at 212-598-4124 or visitwww.aai-nyc.org/cuchifritos.

About Orchard
Location: 47 Orchard Street, New York City
Performance: Date to be announced
Orchard is a cooperatively organized exhibition and event space in New York’s Lower East Side. The gallery is run by twelve partners, including artists, filmmakers, critics, art historians, and curators. The partners of Orchard have been variously associated with the New York experimental film and video scenes, institutional critique, ’90s non-yBa practices in Britain, and political conceptualist traditions in North and South America. They do not have a univocal position on their working methods or on art. Orchard’s cooperative framework and resulting exhibition program reflect dialogues among its members, their practices, and their social, geographical and artistic conditions and contradictions. For more information call the gallery at 212-219-1061 or visit www.orchard47.org.

Press Contact: Emily M. Darrow
darrow@bard.edu
845.758.7512

Clip, Stamp, Fold: The Radical Architecture of Little Magazines, 196x – 197x

14 November 2006 00:00:00 EST

Tuesday November 14, 2006 – Saturday February 24, 2007

An exhibition at the Storefront for Art and Architecture, NYC

http://www.clipstampfold.com/

From November 14 2006 – January 31, 2007, Storefront for Art and Architecture will host the exhibition Clip, Stamp, Fold: The Radical Architecture of Little Magazines, 196x – 197x, curated by Beatriz Colomina, Craig Buckley, Anthony Fontenot, Urtzi Grau, Lisa Hsieh, Alicia Imperiale, Lydia Kallipoliti, Daniel Lopez-Perez, and Irene Sunwoo from Princeton University, with the collaboration of Olympia Kazi.

In recent years, there has been resurgence of international interest in the architecture of the 1960s and 1970s. Yet the role of the many experimental publications that were the engine of that intensely creative period has been largely neglected. The exhibition Clip, Stamp, Fold: The Architecture of Little Magazines, 196x – 197x tracks the critical function of the little magazine in architecture during these years, when a remarkable outburst of publications disseminated and catalyzed a range of experimental practices. Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals that appeared in response to the political, social, and artistic changes of the period. Clip, Stamp, Fold investigates how an internationally diverse group of architectural little magazines informed the development of postwar architectural culture.

In the exhibition, the terms “little” and “magazine” are not taken at face value. In addition to short-lived, self-published magazines, Clip, Stamp, Fold includes pamphlets, building instruction manuals, as well as professional magazines that experienced “moments of littleness,” influenced by the graphics and intellectual concerns of little magazines. The exhibition charts the temporal progression and transformation of the phenomenon of little magazines through the design of their covers, and also takes stock of different magazine forms and how they were put together, introducing rare originals from private collections and providing facsimiles accessible to the public. These displays will be complemented by a selection of interviews with editors and designers of these publications.

If the little magazines of the 1960s and 1970s were the engine of an intensely creative period of architectural design, they also provided a space for architectural theory to flourish and an arena for critical discussion of the role of politics and new technologies in architecture. With their dissemination, these innovative and energetic documents also established a global network of exchange amongst architectural students, avant-garde architects and theorists, as well as a means to situate themselves within the historical context of architectural publishing of progressive thought and design. An implicit aim of the exhibition, then, is to invite reflection on contemporary uses of media in architecture, and how these fit into a broader historical context. Assembling all these remarkable documents for the first time offers a unique view of a key period of architectural innovation and challenges today’s architects to provoke a similar intensity.

The exhibition has been a collaborative effort by a team of PhD candidates in the School of Architecture at Princeton University led by Professor Beatriz Colomina and has been been made possible through the generous support of the Graham Foundation for Advanced Studies in the Fine Arts along with the School of Architecture, the Program in Media and Modernity and the Graduate School of Princeton University.

Covers (l to r) : Megascope 1, 1964 ; Utopie : Sociologie de l’urbain 1, 1967 ; Bau : Schrift für Architektur und Städtebau 1/2, 1968 ; ARse 3, 1970 ; Casabella 367, 1972.

Pia Lindman: Fascia

19 September 2006 00:00:00 EST

Tuesday September 19, 2006 – Saturday October 28, 2006

A commission by Storefront for Art and Architecture
Curated by Yasmeen M. Siddiqui

Opening reception: Tuesday September 19, 6:30—8:30 pm

DESCRIPTION
Fascia refers to the body’s connective tissue, to a sheath or protective membrane surrounding wheat or bodily organs, a collection of objects that gives the appearance of a band or a stripe, an opening or doorway, or the layered surface that creates the illusion of dividing architectural structures. Engaging with many of these meanings, Pia Lindman’s Fascia project unfolds as a series of live performances, video recordings and drawings, that engage in a visual dialogue with Steven Holl’s and Vito Acconci’s renowned design of the Storefront for Art and Architecture façade. Like Acconci and Holl, she challenges the traditional notion of façade as constituting a membrane that simultaneously separates and erotically joins the inside with the outside. Fascia departs from the definition of the membrane-wall as both a marker and an embodiment of space.

Lindman’s live performances reflect the tension between art and architecture as a conflict between what is aesthetically pleasing (the seduction of surfaces, facades or the face itself) and the realization that our experience of space is circumscribed and curtailed by the very structures we inhabit. For these performances she designed a chair, echoing the devices used in early photographic portraiture. Tiny metal arms extend from the headrest of the chair to hold her head in place as she sits. More devices appear with every performance: another arm extends up from the seat to fit into her mouth; clamps, magnets, and rods are added to this metal frame, forcing her face to conform to increasingly more difficult, uncomfortable positions. The structure of the apparatus gradually takes control over the face, pulling and stretching the skin, eyelids and lips into controlled (mechanized) grimaces.

These performances are recorded and edited as a series of time-lapsed (layered) videos focusing on her face. With a fixed camera, she films 60-minute close-ups that are edited into one-minute transparent-layered sections: a one-minute video shows 60 minutes simultaneously. Every facial gesture is blurred (the blinking of eyes, the parting of lips, and the tiny movements of the head due to breathing). Because of the duration of the pose, the face generates minute movements that do not emphasize individuality of the face’s features but cause it to lose any sense of intentional expression. The face is rendered empty like an architectural element open to interaction and dialog. At the same time, it also appears immobile — a grimace, a mask. Surprisingly, the fusion of mobile and immobile elements causes the architecture of the face to move and facial expressions to dissolve.

Pia Lindman's work contributes to the tradition of minimalist performance and community-oriented art, and suggests new perspectives in merging artistic, social, and scientific research. Having site-specific art tradition as a point of departure, her work evolves around the themes of social context and space, as well as the performative aspect of making and experiencing art. Internationally known for her interactive performance and installation Public Sauna, first developed during graduate work at MIT and later presented at P.S.1 Contemporary Art Center in 2000, Lindman explores how our bodies become the loci of interaction between private and public. Her most recent work explores human and non-human gestures.

FASCIA has been made possible, in part, by the Lower Manhattan Cultural Council with the generous support of The September 11th Fund.

PERFORMANCE SCHEDULE
Tuesday, September 19, 2006, 7:00 pm
Saturday, September 23, 2006, 3:00 pm
Saturday, October 14, 2006, 3:00 pm

Linda Ganjian, Kim Holleman, Marie Sauvaitre: Portable

28 June 2006 00:00:00 EST

Wednesday June 28, 2006 – Saturday August 5, 2006

Organized by Yasmeen M. Siddiqui, Associate Curator, Storefront

Ganjian, Holleman, and Sauvaitre use the languages of sculpture, installation, and landscape photography to represent points of intersection, where landscapes (urban and rural) and nomadic architctures meet. Ganjian builds utopian cities on jewel case-like velvet pedestals and carpets. Ganjian 's carpets are inspired by icons from her childhood, the urban landscape surrounding her studio in Long Island City, and American popular culture. Holleman builds a living park within a generic trailer. For Trailer Park, Holleman appropriates forms of public architecture and science to reveal and interrogate their ideal promises. She responds to investigations into 1960s utopian and research architecture, and utilitarian/utopian models, and makes a statement about current cultural conditions. Sauvaitre 's landscape photography represents portable architectures of the Bedouins in Wadi Rum (Jordan), the same Bedouins across the border in the Negev (Israel), the marginal trailer "snow birds" of Slab City (USA) and trailers found in the Catskills (USA), as well as the last gypsies of Camargue (France). Nomadic versus sedentary – this relationship is ancient, and yet remains relevant. PORTABLE proposes that we reconsider the term nomad, and how it operates in contemporary society.

Biographies of the Artists

LINDA GANJIAN, born in Brighton, Massachusetts in 1970, and raised in the suburbs of Boston, received her B.A. (with a major in painting) from Bard College in 1992 and her M.F.A. from Hunter College CUNY in 1998.

Her work has been exhibited in NYC, New Jersey, the Netherlands, Scotland and Armenia. Some highlights include: the Brooklyn Museum of Art ("Open House: Working in Brooklyn" 2004), Stedelijk museum de Lakenhal in Leiden, the Netherlands (2001), eyewash@Fishtank Gallery ("Four-Squared" 2003), Schroeder-Romero gallery ("Somewhere Outside It" 2005), Annina Nosei Gallery ("Everland" 2005), Stefan Stux gallery ("Irrational Exuberance" 2004), Art in General ("Between the Acts" 1997), PS122 ("Imaginary Friends" 1998), the Rotunda Gallery ("Cities and Desire" 2001), and Free Gallery, Glasglow, Scotland ("Majority Rules, Part I and II", 2002). She has received grants from the Pollack-Krasner Foundation (2005); Artslink (2001); the ARPA foundation (2001); the Gunk Foundation (February 2002) for the No Live Girls project, a fellowship to Hall Farm Center (2005), Millay Colony (2004), and Vermont Studio Center (2003). She recently had her first one-person show in New York at eyewash@Gallery Boreas in Williamsburg (March 2006).

KIM HOLLEMAN, born in Tampa, Florida in 1973 and raised in the suburban area of Palm Beach Gardens, attended The Cooper Union for The Advancement of Science and Art in New York and The Rietveld Academie in Amsterdam, Holland.

Her work has been exhibited in both print form and in solo and group exhibitions in New York, The Netherlands, and in Colorado at The Boulder Museum of Contemporary Art for the show entitled, A Sense of Place: Work that Examines Changing Concepts of Place, Borders and Nationalism on a Global Scale (2004), and currently at The Kohler Arts Center in Wisconsin in the show entitled, Utopia (2006). Her solo show, The Artificial Homemaker at The Rietveld Pavilion (1996), an all-glass show space in Amsterdam, was filmed for the documentary De Cultuurshok: Foreign Artists in Amsterdam (1996) that aired on Dutch National Television in Holland. Other highlights include: Or Do They Wear You?, a three window installation critiquing fashion at Barneys NY Madison Avenue (1998), a four-page, gatefold photographic layout of commissioned work in Time Magazine (September, 2001), Depicting Design at The Brooklyn Arts Council (2006), inclusion in the premier edition of Artworld Digest, A Curated Printed Exhibition of 99 International Artists, published in NY (2006), and in the international architecture quarterly, Mark3: Another View (2006).

MARIE P. SAUVAITRE, born in France in 1971, graduated with an M.F.A. in Photography, from the New York School of Visual Arts in 2005.

Her work has been exhibited at the Nelson Gallery (Davis California, 2006), the Exit Art Biennial (New York, 2005), the Visual Arts Gallery (New York, 2005) and prior group shows in France and Jordan. She was selected for the Santa Fe Portfolio Review (New Mexico, 2006) and as a finalist for the International Color Awards (Fine Arts Category, 2006). She has had photographs published in Korean Photography (April, 2005), Il Corriere della Sera (January, 2004), Time Out New York (May, 2003). Academic endeavors include teaching as an adjunct professor in Graduate Photography at the School of Visual Arts and upcoming photography workshop projects with Middle Eastern children.

Terence Gower: Ciudad Moderna

2 May 2006 00:00:00 EST

Tuesday May 2, 2006 – Saturday June 10, 2006

Opening Reception: Tuesday May 2, 2006 6.30-8.30 pm

Gower explores modernity in the context of cities and buildings. His past projects have explored how architecture is represented through movement, the effects of color on modernist architecture, and the internationalist aspect of its design using video projections, site-specific digital prints, and a pavilion built on the grounds of the Jumex Factory in Mexico City.

Shown as a digital video projection, Ciudad Moderna was a composite of clips taken from a popular Mexican film released in 1966. Each film fragment contained images of 1950s and 60s Mexican Modernist architecture—either interiors, façades or streetscapes. The source film, Despedida de Casada (Dir. Juan de Orduña), was treated as a document of the contemporary city and re-edited to highlight the architecture of Mexico such as the Museum of Anthropology, the apartment buildings of Avenida de la Reforma, and the Hotel Presidente in Acapulco. The clips were interspersed with freeze-frames, each of which captured an image of the architecture in pristine black and white, or dissolved to a perspective rendering similar to an illustration from an architectural monograph. Ciudad Moderna sought to untangle the architecture from the narrative thread of the original film and recompose a story of the city as a built environment

Ciudad Moderna has been presented in Berlin, Paris, Madrid, Florence, and Mexico City. Storefront is delighted to bring this work to New York, the artist's homebase, for the first time.
Terence Gower is a Canadian artist currently living and working between New York City and Mexico City. He has exhibited his work at galleries and museums in the US (PS1 Contemporary Art Center, New York; ICA Boston; UCLA Hammer Museum, LA; Queens Museum, New York ), Mexico City (La Colecci—n Jumex; Museo del Chopo; Galer’a Arte Mexicano; Laboratorio Arte Alameda), Canada (The Power Plant, Toronto; Gallery 101, Ottawa; Artspeak Gallery, Vancouver); Germany, (Galerie M+R Fricke; Berlin Gallerie fŸr Zeitgenn‰ssiches Kunst, Leipzig); and Latin America (XIII Bienal de la Habana; XI Mostra da Gravura, Curitiba, Brazil; and Centro Recoleta, Buenos Aires). He has published seven editions and multiples, most recently Kitchen I & II, 2004. He has created public projects for Cologne, Germany, Mexico City, and New York City.

Joe McDonald/Urban A&O Architecture LLC: The Bone Wall

7 March 2006 00:00:00 EST

Tuesday March 7, 2006 – Saturday April 15, 2006

The Bone Wall by Joe McDonald/Urban A&O Architecture LCC explored “continuity and connectedness,” two indicators of topological form intrinsic to nearly all digitally generated patterns. For the installation at Storefront, McDonald used advanced algorithmic/parametric software to extend the concept of pattern to a point where the basic element or cell incrementally changed in morphology over the course of its run. All 72 cells that made up the wall were based on one single generative configuration.

Julie Ault & Martin Beck: Information

18 January 2006 00:00:00 EST

Wednesday January 18, 2006 – Saturday February 18, 2006

Ault and Beck’s exhibition Information investigated the production of poverty within the U.S. Based on government data referring to measures of poverty over the last forty years as well as the increasing income gap, Information focused on systemic parameters for what constituted poverty as a socio-economic condition, with particular emphasis on the “poverty line.” In this context, the poverty line is understood as a concrete, abstract and symbolic parameter or dividing device that points to governmental debates and policies relevant to economic divisions in American society.

Modernity in YU

15 November 2005 00:00:00 EST

Tuesday November 15, 2005 – Friday December 23, 2005

Modernity in YU is Marko Lulic’s first solo exhibition in New York City.

Modernity in YU includes video works and sculpture, and revisits the modern movement as it played out in communist Yugoslavia during the Titoist era. Modernism, as an artistic expression, was embodied in an ambitious series of monuments littered throughout the country. Lulic worked from the 1978 catalog Spomenici Revolucije 1898-1937-1977, which documents over 250 of these monuments that are dispersed over the whole of former Yugoslavia. The commission and execution of these partisan monuments were testament to utopian ideals and the particular strain of socialism practiced in Yugoslavia. Many of the original monuments are heroic, idealized forms, somewhere between sculptures and buildings, all erected in the public realm.

Over the course of the last few years, Lulic has remade these monuments in the series Improved Partisan Monuments. The works in this series are models made after the fact, not instructive maquettes or true replicas. Instead, Lulic improves these heroic monuments by building new monuments, imprecise, out of scale and in an array of cheap materials. Perversely, the monuments are stripped of their original meaning and context, left to take on a new set of values and interpretations.

In conjunction with the exhibition, Lulic has selected three films that in different ways address the failings of modernism and modernization. The program was shown at Anthology Film Archives.

10.18.05 RANI RANDOVI (Early Works) directed by Zelimir Zilnik 87 minutes / Black and White / 1969

11.20.05 THEMROC directed by Clusde Faraldo 100 minutes/color/1972

12.20.05 DIRTY WEEKEND directed by Dino Risi 105 minutes/color/1973

Marko Lulic paints New-York-School-replicants, sculpts Titoist Yugoslavian Modernism, circulates posters and invitation cards from the Kippenbergian tradition of proactive embarrassment, shoots Reichian-internationalist propaganda videos, photographs series of trash design facades and researches the life of Nikola Tesla (Serbian rival of Edison in the battle between AC and AC/DC). His system knows no boundaries. But it’s not about nostalgia. Lulic appropriated Yugoslavian partisan monuments for the project Modernity in YU (2001/02), which ran over the course of several exhibitions and Mies van der Rohe’s memorial for Karl Liebknecht and Rosa Luxemburg (which the Nazis destroyed in 1935) for the different versions of Entertainment Center Mies (2003/2004), but he did so with a full awareness of the fact that there is something profoundly “inappropriate” in transferring a public memorial as a “private” sculpture into the gallery space. The inappropriate however is precisely the leverage that allows Lulic to shake fragments of Modernism out of their historic and heroic paralysis in order to examine their potential for being reactivated for the questions of the present.

Biography taken from Joerg Heiser, Funky Lessons, Revolver Books, Frankfurt, 2005.

Can Buildings Curate

13 September 2005 00:00:00 EST

Tuesday September 13, 2005 – Saturday October 29, 2005

Can Buildings Curate is curated and designed by Shumon Basar, Joshua Bolchover and Parag Sharma of the London-based practice Newbetter (www.newbetter.co.uk /mail@newbetter.co.uk).

The modern gallery setting remains a contentious, inspirational, and problematic cultural battleground. Venerated shrine, shop window, subject matter, or an anachronism awaiting a total re-vamp, the gallery continues to be these things and more. It’s the backdrop to a fascinating love/hate triangle between artists, architects, and curators. Sometimes egos compete. Occasionally envy is engendered. And every so often love prevails as new and collaborative relationships are born.

Marcel Duchamp, Friedrich Kiesler, Alexander Dorner, Yves Klein and Arman evoke a historical trajectory of ideological provocations, provocateurs, and early twentieth century visionaries pushing the boundaries between art and the dimensions of its display. Their legacy continued through the 1960s and 70s where context became content, and ‘institutional critique’ was at the fore. Michael Asher’s now seminal installations of this period exemplify this turning point. The collected participants of Can Buildings Curate continue to provoke questions about art’s production, presentation and consumption through the irrepressible filter of the modern gallery.

London-based artist Neal Rock will produce a new large-scale work that responds to Storefront’s façade project by Vito Acconci and Steven Holl (1993), colonizing neglected areas inside and outside of the gallery, using his grotesquely beautiful silicon splatter-sculptures. Drabble + Sachs, a Swiss-based curator/artist duo, continue their research into the discourse of art’s economy by meeting with architect Isa Stürm and thrashing out the ménage-a-trois between art, architecture, and curation as a live performance-debate. Dee Ferris, a London-based painter, draws connections between her studio, and the space of the exhibition through an instructional work that is growing as the piece travels. New York painter Yuh-Shioh Wong will complete it in-situ at Storefront. The Lausanne-based architectural office, Décosterd + Rahm, present their latest built work, the Lucy Mackintosh Gallery: a building that epitomizes their fascination with the physiological effects of the ‘invisible’ dimensions of space, distorting temperature and humidity.

A collection of ‘Indicative Projects’, built and unbuilt, stir up further themes. Lina Bo Bardi, OMA/Rem Koolhaas, Diller+Scofidio, SANAA (Sejima/ Nishizawa), RßSie, AS-IF, Hirsch/Müller and Zaha Hadid represent some of the most inventive architectural approaches, all collaborating closely with notable artists, curators or art institutions in unorthodox ways. Davide Bertocchi and Goshka Macuga represent a generation of artists fuelled by twentieth-century Utopian architectures and visionary display makers. Cai Guo-Qiang escapes the curatorial limits of the gallery altogether and forges new life in half-forgotten structures. And curators Barbara Vanderlinden (Roomade, Brussels) and the late Igor Zabel (Moderna Galeria, Ljublana) with Josef Dabernig reflect on the logic of given architectural spaces in their curatorial practices.

The exhibition design engages the unique space of Storefront and is dedicated to the memory of the ‘white cube’ gone wrong. For the show, it dissolves into discernable display fragments, such as walls, floors and plinths. Fabricated from a palette of lightweight, secondary construction items culled from modern galleries and minimalist art, the ‘miscreant cube’ tampers with Storefront by colonizing and amplifying its idiosyncrasies.

Mary Ellen Carroll: Federal

29 June 2005 00:00:00 EST

Wednesday June 29, 2005 – Saturday August 6, 2005

Opening reception:
Wednesday, June 29, 6–8 pm

Screening: the New York Premier of Federal, a 24-hour movie by Mary Ellen Carroll

July 28th, 9 am – July 29th, 9 am

Cinema Village
22 East 12th Street
Tel. 212.924.3363
www.cinemavillage.com/chc/cv

Storefront for Art and Architecture is pleased to announce the opening of Federal, a new series of photographs by New York-based artist Mary Ellen Carroll, and the New York premiere of her 24-hour movie of the same title on Thursday, July 28th at Cinema Village.

The title for the project is derived from the name of a building, The Federal Building, located at 11000 Wilshire in Los Angeles, designed in 1969 by the architect Charles Luckman. Luckman returned to architecture following his successful business career as the CEO of Lever Brothers where he was inspired by commissioning SOM to build Lever House. The Federal Building has been referred to in architectural guidebooks as the ‘embodiment of bureaucracy.’ This work acknowledges both Andy Warhol’s Empire and Toni Negri’s popular book Empire, genuinely, yet ironically; but it is not a film about the building as celebrated icon, nor is it an interpretation of an au courant political theory. Federal is the articulation of an image of what is presently legally, socially and politically non-representable.

United States national security in the post-World Trade Center socio-political landscape focuses on surveillance and counter-surveillance, observing the need to protect these symbols of the Federal government’s authority and the public’s access to them. Over a period of several months Carroll accumulated a labyrinth of bureaucratic paperwork and media attention in order to gain permission to document the structure in this prolonged manner.

The movie will be shown the same day the footage was shot in Los Angeles in 2003, opening at 9 am on July 28th and ending at 9 am on July 29th. Screening simultaneously in two theatres over 24 consecutive hours, Federal evokes minimalism’s reductive qualities, stripping away the affect of bureaucratic authority through the insistence of repetition, and exposing the process of its realization through the accompanying unedited ambient soundtrack. On one screen, the north facade is viewed from the LA National Cemetery and on the other, the south façade is viewed from the rear of the building’s parking lot. At various points in the screening the viewer’s perception of the building and its surroundings morphs into differing typologies, upending the conceptual trope that has been exhausted by the now overly-familiar legacy of the school of ‘German photography.’ Given a chance to watch the movie from either of the two halves gives the appearance of a freedom of choice, yet in the end mirrors the same set of restrictions that go unnoticed in the public domain.

The screening is FREE and open to the public, with a $10 suggested donation to benefit the Storefront. To make a reservation please send an email to rsvp@storefrontnews.org and indicate the hours during which you would like to attend the screening.

Storefront’s presentation of Federal is generously supported by the Strypemonde Foundation.

Mary Ellen Carroll was born in Danville, Illinois in 1961 and lives and works in New York City. The notion of representation and identification has always been at the core of Carroll’s oeuvre and her dedication to a political and social critique that is consciously developed without a signature style. The unifying conceptual premise is self-consciousness or physical mirroring and the copy. Her work is in numerous public and private collections throughout Europe and the United States. Federal was created with the support of a Guggenheim Fellowship that Carroll received in 2003 and with technical and material contributions by the Panasonic Corporation and Outpost Digital. She spent 2004 at the Rockefeller Foundation in Bellagio, Italy, working on the project OFPC ’99—a large-scale aggregate land art piece that will be physically realized in Houston, Texas. In addition to a number of upcoming exhibitions and publications including a monograph to be published in 2007 by Mack/Steidl, she will have work in a forthcoming exhibition on architecture at MoMUK in Vienna, curated by Edelbert Köb.

Maarten Van Severen: Dimensions

13 May 2005 00:00:00 EST

Friday May 13, 2005 – Saturday June 18, 2005

Storefront for Art and Architecture and The Architect's Newspaper invite you to a special opening reception, Sunday, May 15, 2005, 4:00 p.m. – 6:00 p.m.

Gallery hours May 17 - June 18
Tuesday-Saturday, 11-6 p.m.

Special gallery hours during the International Contemporary Furniture Fair (ICFF)
Friday, May 13, 11-6 p.m.
Saturday, May 14, 11-6 p.m.
Sunday, May 15, 11-6 p.m.
Monday, May 16, 11-6 p.m.

Storefront for Art and Architecture is pleased to present DIMENSIONS an exhibition of photographs by the Belgian designer Maarten Van Severen (1956-2005). DIMENSIONS was created for the De Coker Gallery in Gent, Belgium, where Van Severen was asked to make an exhibition relating to the ideas and inspirations that informed his design work. In place of design objects, these photographs reflect the creative vision that fueled their creation.

The exhibition features the film MAARTEN VAN SEVEREN: WORK (2005, dir. by Terenja Van Dijk), produced in conjunction with a retrospective at the Design Museum Gent. Van Dijk's film consists of interviews with Van Severen about the development of various projects, from individual pieces of furniture to production on an architectural scale, and includes a flipping through of several of the magnificent booklets he created in tandem with this work.

One of Belgium's most celebrated contemporary designers, Van Severen created a body of work that reflected his quest for perfection in form, detail and execution. In addition to highly crafted furniture and objects produced in his studio in Gent, he collaborated with important furniture manufacturers including Vitra, Kartell, Edra, Alessi, and Pastoe. He also collaborated with Rem Koolhaas/OMA to create furniture and interior elements for the Villa dall' Ava in Paris and the Masion a Bordeaux, as well as the new Seattle Public Library and Casa da Musica, Porto. Other projects by Maarten Van Severen Studio include a kitchen pavilion near Gent and a library, bookshop, auditorium and restaurant for the Van Abbemuseum in Eindhoven, NL.

This exhibition is curated by Moniek E. Bucquoye from the Design Museum Gent and Johan De Coker from the De Coker Gallery in Gent, Belgium.

A limited edition catalog, FOR MY EYES ONLY, published in conjunction with an exhibition at De Coker Gallery, as well as the new book MAARTEN VAN SEVEREN: WORK, published on the occasion of the Design Museum Gent exhibition, will be available.

This exhibition is produced in collaboration with De Coker Gallery and the Design Museum Gent and made possible in part with the support of the Flemish government. The ICFF reception is made possible by The Architect's Newspaper.

above:
Window Frame, photograph by Maarten Van Severen
Courtesy of De Coker Gallery

Yves Klein: Air Architecture

8 March 2005 00:00:00 EST

Tuesday March 8, 2005 – Saturday April 30, 2005

Air Architecture presented, for the first time, Yves Klein’s architectural projects and theories with particular regard for his exploration of the void and its utopian implications as they applied to an immaterial architecture. Relying upon technology and the use of the four elements—air, water, fire and earth—Klein envisioned a world in which man lived in harmony with the natural elements through the mechanisms of Air Architecture. Famous for his blue monochromes and provocative performances, Klein had a special interest in architecture as an extension of his practice. With the help of several architects, he designed several projects that were never realized, largely due to his premature death at the age of 34.

9 Families: Emergency Architecture

11 January 2005 00:00:00 EST

Tuesday January 11, 2005 – Saturday February 19, 2005

For their first solo exhibition in New York City, Torolab explores their concept of “emergency architecture.” This work is not a response to a singular catastrophic event but rather a means to address the widespread struggle for basic necessities that characterizes daily life in cities such as Tijuana.

Tijuana is the fastest growing city in Mexico, at the heart of a trans-border metropolitan region that stretches from Los Angeles in the north to Ensenada in the south. Every year millions pass through this frontier city and use it as gateway to the United States. Few think of Tijuana as their final destination; it is rather a necessary stop en route to opportunities and a better life. However, an increasing number of this itinerant population is making Tijuana its permanent home. This phenomenon is the focus of Torolab’s project, 9 Families.

What started as a project to design a house for Carmen Duran Ponce–a maquiladora (factory worker)–has become a proposal to develop a small community for nine families in Lagunitas, an underdeveloped neighborhood in Tijuana. Traditional planning and development has not been able to keep up with the growth of the city. The demand for affordable housing far exceeds what is available. Carmen and the other families currently live in neighborhoods and houses that lack basic infrastructure such as sewage, electricity and paved streets. Instead of architects, Torolab act as facilitators, working with the families through the process of designing their own homes. From the design and construction systems to the community organization, this project proposes an alternative model to both the families’ current situation and the surrounding suburban, gated developments that remain out of their reach. The project is represented by video interviews with the families, an abstracted model of the master plan and “ruido blanco” (white noise), a video piece that illustrates the context of the project through an analysis of the building materials used: tires, shipping pallets and used garage doors from the suburbs of San Diego.

Another form of emergency architecture, included in the exhibition, is addressed in “Survival Unit 7.0,” an individual survival module. The survival unit originated from the conditions of poverty in Tijuana, which has an impact very different from that of San Diego, where the homeless population inhabit the city streets and are, to some extent, visible. A prevailing sense of danger on the streets of Tijuana makes this kind of existence impossible–the homeless population is hidden. The survival unit is a backpack that transforms into a one-person shelter. This shelter attaches to an empty billboard which both protects the individual and camouflages the user into the sky-scape of the city-a field of empty billboards and electrical poles.

These and other projects by Torolab address the possibility of achieving a better quality of life in the urban environment. As artists, architects, designers and musicians, Torolab engages in a multi-faceted practice. They conduct contextual analyses that result in proposals for social change. Whether in Tijuana or other cities, Torolab works to reveal the specific needs of an environment and develops tools to help realize a wide range of possibilities.

Torolab was established in 1995 by Raúl Cárdenas Osuna as a spatial and contextual research laboratory located in Tijuana, México (www.torolab.co.nr). Torolab’s work was the subject of a solo exhibition at the San Diego Museum of Art (2002), and their work has appeared at MACLA, San Jose; the Liverpool Biennial; and the 2002 Montreal Biennial, among other venues. New work by Torolab will also be featured at ARCO’05, in Madrid and at inSite_05 in San Diego/Tijuana.

Architecture and Revolution in Cuba, 1959-1969

14 September 2004 00:00:00 EST

Tuesday September 14, 2004 – Saturday December 11, 2004

Curated by Eduardo Luis Rodríguez

Over the course of the past 40 years Cuba's distinct political, ideological and cultural climate has produced a narrative of the built environment unique within the history of modern architecture. Following the overthrow of Batista's regime in January of 1959, the new Cuban government, led by Fidel Castro, immediately launched an ambitious national building program fueled by a sense of political optimism and the promise of social reform. Architecture and Revolution focuses on a selection of buildings produced in the first decade of the Revolution. This exhibit marks the first presentation of this material outside of Cuba.

The new building campaign was part of a national effort to reapportion wealth across a traditionally stratified society. Focusing on the construction of social housing, educational facilities and public works, new federal agencies were created to translate the Revolutionary mission into the built environment. This task fell to a younger generation of architects, since many of the more established architects had gone into exile following the Revolution. This new generation of architects - including figures such as Ricardo Porro, Mario Girona, Walter Betancourt, Hugo D'Acosta and Mercedes Álvarez - experimented with forms and materials to extend the tradition of modernism beyond the pre-Revolutionary domain of private development and the single-family house. Innovative architectural and urban projects sprang up across the country: La Coppelia/The National Ice Cream Parlor (Girona, 1966); Módulo Experimental de Vivienda de Asbesto-Cemento/Experimental Asbestos Housing Module (D'Acosta and Álvarez, 1965-68); Conjunto de Viviendas Circulares/Circular Houses Complex (de la Cova, 1963); and perhaps the most widely recognized work of this period, Las Escuelas Nacionales de Arte/The National Art Schools (Garatti, Gottardi and Porro, 1961-65), among many others.

Curated by Havana-based architect and historian Eduardo Luis Rodríguez, Architecture and Revolution introduces a body of work virtually unknown outside of Cuba. The exhibition features 172 archival images documenting close to fifty architectural projects built by the Cuban government between 1959 and 1969. The projects have been grouped into typologies such as Education, Housing, and Public Health, among others. The categories reflect specific social initiativesadopted by the Cuban government immediately following the Revolution.

Eduardo Luis Rodríguez was born in Havana in 1959. He is a practicing architect, critic and historian who has published widely in architecture journals. He is also the author of The Havana Guide: Modern Architecture 1925-1965; La Habana Colonial: Guía de Arquitectura; and La Habana: Arquitectura del siglo XX. He is a founding member of the Cuban Section of Documentation and Conservation of the Modern Movement (DOCOMOMO), for whom he is directing the forthcoming register of modern works with heritage value. He has been the editor-in-chief of the journal Arquitectura Cuba since 1996.

Architecture and Revolution has been made possible by generous contri-butions from the National Endowment for the Arts, the New York State Council on the Arts, and the Graham Foundation for the Advanced Studies in the Fine Arts.

Centro de Investigaciones y Experimentación de la Construcción (CIEC)
Center of Research and Experimentation of Construction
Hugo D'Acosta

History Images

10 June 2004 00:00:00 EST

Thursday June 10, 2004 – Saturday July 31, 2004

Sze Tsung Leong

Artist Sze Tsung Leong's work examines the spatial consequences of rapid urban development in China. The photographs in History Images reveal the seemingly instantaneous disappearance and appearance of huge swaths of urban fabric, or in some cases, entire cities. Leong records precise moments in the history of these places, such as the Xuanwu District of Beijing, where Ming and Qing Dynasty courtyard houses, partially destroyed, wait to be demolished to make way for luxury housing; or a field of rubble that is now Old Fengdu, a city razed to make way for the Three Gorges Dam. Leong captures the physical implications of this development process-landscapes imprinted with both irrevocable loss and anticipation of the future.

The scale of urban development currently underway in China is by far the greatest in the world, and yet these photographs are not only about China. As Leong says, "They are about urban erasure, historical absence, and new development of which China may currently have some of the clearest and perhaps most extreme manifestations." Though the physical outcome of these development projects may be familiar, it remains to be seen how the widespread loss of cultural heritage in built form will effect the future of these cities, and others like them all over the world.

History Images features a series of eight large-format color prints, all taken from a distant vantage point, looking out over expansive sites in cities throughout China-each one in a state of radical transformation.

History Images is the first solo exhibition by Sze Tsung Leong in New York City. Born in Mexico City (1970), he lives and works in Beijing and New York City.

Leongâs work will also be included in the exhibition:

Between Past and Future: New Photography and Video From China
Curated by Christopher Phillips and Wu Hung
June 11 - September 5, 2004
International Center of Photography and Asia Society
www.icp.org

Image: Old Fengdu, Chongqing Municipality, 2002

An Uneven Exchange of Power

8 May 2004 00:00:00 EST

Saturday May 8, 2004 – Saturday June 5, 2004

For over a decade, Milan-based photographer and filmmaker Armin Linke travelled to over 100 countries around the world, creating an archive of images about human activity in the most varied natural and man-made landscapes. The resulting archive consisted of a series of atlases that simultaneously captured intimate local situations and radical large-scale transformations in the landscape. Linke’s work as a photographer documents scenes where the boundary between fiction and non-fiction blurs or becomes invisible. An Uneven Exchange of Power, curated by Anselm Franke, presented a selection of over 200 images from Linke’s archive.

Manfred Pernice: Small Works, 1994-2004

24 February 2004 00:00:00 EST

Tuesday February 24, 2004 – Saturday April 3, 2004

Storefront for Art and Architecture is pleased to announce an exhibition by Berlin-based artist Manfred Pernice.

Small Works, 1994-2004 presents a selection of over thirty small-scale works displayed inside three vessel-like vitrines which the artist created for the exhibition at Storefront. Made of cardboard and other found materials, the works resemble architectural models and are both referential and purely formal; precise and raw.

Small Works, 1994-2004 marks the first time that these pieces have been shown together and offers a new entry point into the work Pernice has produced over the last ten years. The collection of models demonstrates both the extreme spectrum of scale in which he operates and the varying degrees of influence that existing urban structures have on his work. Some of the pieces on display have served as studies for large-scale installations such as ESTREL (2002) and 1a - Dosenfeld'00 (2000), while others exist as independent works. Here the distinction between sculpture, model, and architecture is blurred. However, it is not architecture per se that interests Pernice, but the narratives located in the built environment. Pernice's work distorts the perception of space by using the architectural model as a fictional rendering of material reality, or at least a possible reality. Pernice reads landscapes and translates their formal, social, and political meanings into his own psycho-sculptural-architectural language.

Manfred Pernice has recently exhibited his work as part of Documenta II, the 50th Venice Biennale, and at Mass MoCA. His sculpture, Sieg (2001) is currently on view in Sitings: Installation Art 1969-2002, at MOCA-LA's Geffen Contemporary. Pernice has had solo shows at Witte de With in Rotterdam, Portikus in Frankfurt, Hamburger Bahnhof in Berlin, Sprengel Museum in Hanover, and the Kunsthalle Zurich. A catalog of his work, Die Dritte Dimension, was published by Portikus with Walther Konig, in 2002.

Work for the exhibition was lent by Galerie NEU, Berlin; Anton Kern Gallery, New York; Private Collection Schroder, Hamburg; Private Collection, Berlin; and Private Collection, Bremerhaven.

Small Works, 1994-2004 was organized in conjunction with the exhibition:
Manfred Pernice
COMMERZBANK
Anton Kern Gallery
532 West 20th Street
New York, NY 10011
February 21-March 20, 2004

Superstudio/Piero Frassinelli, 1971: Dodici Citta Ideali/Twelve Ideal Cities

21 November 2003 00:00:00 EST

Friday November 21, 2003 – Saturday January 31, 2004

Founded in Florence in 1966, the radical Italian group Superstudio articulated the intellectual crisis of modernism by creating subversive and provocative visions of the future before disbanding in 1978. The exhibition at Storefront presented an installation of Superstudio’s “Twelve Ideal Cities”, a satirical vision of humanity’s search for the perfect lifestyle originally staged in 1972 at Galleria Schema in Florence. From narratives of cities with names such as “Continuous Production Conveyor Belt City”, “Spaceship City” and “New York of Brains”, the project made predictions for the future of buildings, cities, nature and the cosmos after 20,000 years of civilization. The exhibition was presented in conjunction with Pratt Manhattan Gallery and Artists Space.

Urban Renewal: The City without a Ghetto

4 September 2003 00:00:00 EST

Thursday September 4, 2003 – Sunday October 26, 2003

Urban Renewal: The City without a Ghetto was part of a constellation of projects that investigated how inhabited areas came to be labeled as officially unwanted, unneeded, or unimportant, and the various means used in attempts to remove, renew, revitalize, or redevelop these areas through planning. Using Urban Renewal as a point of departure, this exhibition examined selected episodes and themes in New York and Chicago, the primary case study cities.

By the Center for Urban Pedagogy

East New York cannot be repaired. The area must be leveled and rebuilt in stages.
Robert Moses, Summary of Proposed Brooklyn Slum Clearance Project, 1968
A ghetto can be improved in one way only: out of existence.
James Baldwin, Fifth Avenue Uptown, 1961

How do you make a City without a Ghetto? In Post WW II America, the answer was Urban Renewal. Beginning with the Housing Act of 1949, the US federal government made large sums of money available to cities to obtain, clear, and redevelop "slums and blighted areas." This program, known after 1954 as Urban Renewal, resulted in the leveling of thousands of acres across the country and the construction of a wide variety of new urban material ‰ a vast experiment where sections of city were scrubbed clean and then used as architectural petri dishes. From the gleaming white Lincoln Center arts complex on the Upper West Side to 300 vacant beachfront acres in Far Rockaway, Queens, the physical evidence of Urban Renewal in New York City is overwhelming. As massive redevelopment projects are once again under way and the vocabulary of Urban Renewal resurfaces, an overview of and contemporary commentary on the legacy of these governmental programs becomes increasingly relevant.

In this exhibition, the Center for Urban Pedagogy (CUP) examines Urban Renewal and the cultural dynamics that both gave it shape and contributed to its demise as a method for making the ideal city. Urban Renewal: The City without a Ghetto is part of a constellation of projects that address how areas of human habitat have come to be labeled as officially unwanted, unneeded, or unimportant, and how various means have been used in attempts to remove, renew, revitalize, or redevelop these areas through planning.

www.anothercupdevelopment.org

Shown in the summer of 2001, CUP's previous exhibition at Storefront, Building Codes: The Programmable City, explored how building codes function as formal intermediaries between politics and architecture. From trip hazards to zoning resolutions, this exhibition illustrated the ways in which the physical environment is designed through social activity.

The Archive Project: Storefront for Art and Architecture 1982–2003

9 May 2003 00:00:00 EST

Friday May 9, 2003 – Sunday August 3, 2003

Launched to coincide with the gallery’s 20th anniversary, The Archive Project was the first time an entire set of Storefront’s newsprints was publicly exhibited. The installation was based around a set of suspended sleeves containing newsletters, as well as a shelf of corresponding binders for each of Storefront’s 120 exhibitions. A timeline illustrating the gallery’s history was applied to the façade. Together, these materials constituted a record of the work of the over 1,000 artists and architects that had participated in Storefront’s programming, including Vito Acconci, Petra Blaisse, Andrea Blum, Peter Cook, Dan Graham, Coop Himmelb(l)au,
Diller + Scofidio, Steven Holl, Enric Miralles and Lebbeus Woods.

A Civilian Occupation: The Politics of Israeli Architecture

12 February 2003 00:00:00 EST

Wednesday February 12, 2003 – Sunday April 20, 2003

Rafi Segal and Eyal Weizman

Throughout the last century, a different kind of warfare has been radically transforming the landscapes of Israel and Palestine. The mundane elements of planning and architecture have been conscripted as tactical tools in the Israeli state strategy, seeking national and geo-political objectives in the organization of space. The landscape becomes the battlefield in which power and state control confront subversive and direct resistance. Planning decisions do not follow criteria of economic sustainability, ecology or efficiency of services; rather, they are employed to serve strategic and political agendas.

This project, developed by Tel Aviv based architects Rafi Segal and Eyal Weizman, incorporates investigations by Israeli architects, scholars, photographers and journalists addressing the political role of architecture and planning in the West Bank. Their research reveals the strategic nature of settlement planning through aerial photographs, maps, master plans and a comprehensive series of essays. The project supplements prevalent historical and political analysis of the Israeli/Palestinian conflict with a detailed description of its spatial dimension and the resulting physical transformations. Architecture is presented as a political issue - the material product of politics itself.

A Civilian Occupation was originally commissioned by the Israel Association of United Architects (IAUA) for the International Union of Architects Congress in Berlin, July 2002. However, upon completion of the catalog, the IAUA withdrew its support, canceled the exhibition and banned the catalog. The exhibition at Storefront for Art and Architecture is the first public presentation of the work. The catalog is being reprinted by Verso (London) and Babel (Tel Aviv) and will be available in the spring of 2003. The work will also be included in the exhibition Territories, at KW Institute for Contemporary Art Berlin in June 2003.

Rafi Segal and Eyal Weizman established their office in Tel Aviv in 2000. Recent projects include the redesign of the Ashdod Museum of Art (with Manuel Herz) and a set-design for the Kameri/Itim theatre company. In addition, Rafi Segal designed the internationally acclaimed Palmach Museum in Tel Aviv in partnership with Zvi Hecker. He has recently received the Young Architect Prize from the Israel Association of United Architects. Eyal Weizman is an architect based in Tel Aviv and London. He co-authored Land Grab a human rights report, and conducted a map project of the West Bank for the human rights organization BâTselem. Weizman is currently developing his doctoral thesis ÎThe Politics of Verticality / Architecture and Occupation in the West Bank and Gazaâ into a book and a documentary film.

photo: Francisca Benitez, 2003

Hive Systems

25 November 2002 00:00:00 EST

Monday November 25, 2002 – Sunday January 19, 2003

What began as an investigation of real and virtual spaces eventually manifested itself as Hive Systems, a website and physical installation that interacted with each other. The installation was powered by a central server, or brain, located in the gallery, which served as the main generator, processor and distributor of information. The server received input directly from sensors, cameras and triggers in the physical space, as well as via user input over the Internet. In some cases the installation responded directly to this input, reacting through movement, light, or sound to the physical space, or by direct response on the website. The experiences of the physical and virtual users were flexible and interdependent. Ultimately, interaction with the Hive Systems installation was both behavioral (through programmed response patterns), and democratic (through multiple user input).

Remapping

14 September 2002 00:00:00 EST

Saturday September 14, 2002 – Tuesday October 29, 2002

In his exhibition at Storefront, New York and Los Angeles-based artist Warren Neidich explored the complex relationships between architecture, film and photography and their roles in the construction of what he referred to as the ‘mutated observer.’ In the gallery, Neidich presented samplings from his work Remapping, a series of ten-foot-long composite photos of a building with a mirrored façade. Focusing on this reflective surface, Remapping identified the façade as a cinematic device capturing activity streaming by on the street. The large photographs, consisting of four or five views united as a seamless whole with imaging software, depicted a disorienting space in which reality and imagination fuse. Neidich also created a site-specific installation using the Storefront façade: by affixing a mirrored material to the inside and outside of the vertically rotating panels, he turned the façade into a large-scale perspectival device reflecting moving images of the street into the gallery and images of the gallery out onto the street.

ENDCOMMERCIAL®

18 July 2002 00:00:00 EST

Thursday July 18, 2002 – Monday August 5, 2002

ENDCOMMERCIAL® was a study of the subtle relationships that inform day-to-day life in New York City’s urban fabric. Both an index and a story of urban phenomena and street life, ENDCOMMERCIAL® portrayed usually marginalized but ubiquitous layers and patterns that define the city’s behavior. A selection of over 1,000 informal and candid photographs was organized into a multivalent classification system, from main categories of system, order and identity, to 32 subcategories that included: A Barrier (A is for barricade), Misspelling (Instant corporate identity: Dysfunctional speech act III) and Street Vendors (Trade route: Commerce III). Florian Böhm, Luca Pizzaroni and Wolfgang Scheppe extracted ENDCOMMERCIAL® from Digital Slum, a body of ongoing photographic research that includes over 60,000 digital photos taken of cities on a daily basis since 1997. Through empirical and visual means, ENDCOMMERCIAL® unveiled the contradictions and coexistence of different social and economic forces shaping urban life.

Wave Garden

16 May 2002 00:00:00 EST

Thursday May 16, 2002 – Sunday June 9, 2002

Designed to float along the California coastline, Wave Garden, a proposed 480-acre membrane made of 11,734 piezoelectric tiles, was intended to function as an alternative power plant Monday through Friday, oscillating with the ocean waves and generating energy. During the weekends, Wave Garden would be transformed into a publicly-accessible landscape whose availability to the public would be inversely proportionate to the consumption of electricity during the week. Zones of the power plant’s surface would be lifted above the surface of the ocean, and the flexible membrane transformed into a stable platform for recreational use. The exhibited model was a four foot by six foot membrane composed of over 1,800 plastic panels, suspended by a system of over 3,000 counterweights hovering four feet above the floor. This was the first solo exhibition of Obuchi’s work.

Wannaville

22 March 2002 00:00:00 EST

Friday March 22, 2002 – Saturday April 20, 2002

Wannaville was created by Megan Sullivan in Berlin over the course of one year, from September 1998 to September 1999. The project was produced by taking five to seven rolls of film per week, recording daily activities throughout the city, processing the film at a drugstore, organizing the images into a series of sequences, and color-copying each sequence to create a booklet. This process resulted in a set of 102 booklets featuring a total of over 1,500 images. The series was not conceived as a documentary; rather, it explored the architectural implications of photographic representation, using the changing German capital as a protagonist for a narrative of moving spaces. The project touched upon pressing issues in photography, German culture and aesthetics, and the relationship of the viewer to the represented space of Berlin—a city in the space of printed matter. Original books were displayed on the gallery walls, accompanied by a special edition of 32 display books for public consultation.

Emergent: 17 Projects from 306090

9 November 2001 00:00:00 EST

Friday November 9, 2001 – Saturday December 1, 2001

This exhibition presented 17 projects from the premier issue of 306090, a Journal of Emergent Architecture and Design. Proposed as an alternative to current academic and commercial publications, 306090 is dedicated to the exposure of the work of those whose active engagement in the theorizing and experimentation of architecture and aesthetic practices will guide the future of the discipline. 306090 is unique in that it specifically publishes ideologically and geographically diverse student work and directly addresses the issues of education and practical participation that effect students, young designers and educators.

Movers and Shapers

6 September 2001 00:00:00 EST

Thursday September 6, 2001 – Saturday October 13, 2001

Movers and Shapers was a critical overview of contemporary housing developments in the city of Phoenix. It examined how landscape has been employed and exploited in the definition of Phoenix’s urban identity. The show included a series of filmed interviews with landscapers, developers and city officials, and addressed the relationship between the desert and the urban community that inhabits it. The show also included photographs, drawings and models that narrated the journey of a 20-foot high saguaro cactus transplanted from its original location in Tucson to a new housing development in Phoenix. In its new context, the cactus became part of the visual simulation of the vernacular landscape, thus artificially extending the desert into a new social and urban context, and contributing to the construction of the city’s identity. The exhibition was the product of a collaboration between photographer Ines Schaber and architect Jörg Stollman, both based in Berlin.

Building Codes: The Programmable City

19 July 2001 00:00:00 EST

Thursday July 19, 2001 – Saturday August 25, 2001

Building Codes presented an in-depth tour through the frequently obscure and mystifying subject of building codes in New York City. The work in the exhibition portrayed the constantly contested process of translation between the realms of political action, legal codification, and administrative application, from social movements to built work. Presenting research into modes of representation alongside projects and proposals from building code stakeholders, the exhibit investigated processes in the programming of the city and beyond, thereby seeking to contribute to a broader appreciation, understanding and democratization of the building process. The installation included about two dozen exhibits on topics ranging from the 1901 Tenement House Act to the Rent Guidelines Board to zoning laws.

Formations of Erasure: Earthworks and Entropy

25 April 2001 00:00:00 EST

Wednesday April 25, 2001 – Saturday June 2, 2001

Formations of Erasure consisted of a series of photographs of earthworks and land art pieces across the United States, focusing on those that do not have extensive maintenance programs and thus have been altered by time and the elements. Most of the depicted pieces were constructed in the 1970s and, over time, these structures had receded from the pure, intentional form of the artist’s idea, into a new dynamic form that represents a collaboration between humans and the nonhuman world. The exhibition included documentation of works by Michael Heizer, Robert Smithson, Nancy Holt, William Bennett, and James Pierce.

Research Architecture: Selection from the Collection Orleans, France

9 February 2001 00:00:00 EST

Friday February 9, 2001 – Saturday March 17, 2001

Research Architecture was an exhibition of over one hundred architectural models, drawings, and documents from the international art and architecture collection of the Fonds Regional d’Art Contemporain (FRAC) du Centre, Orleans, France.
The exhibition was presented in three parts: at Thread Waxing Space, Part I focused on work of the 1950s and 1960s and Part II, hosted by Pratt Institute, emphasized architecture after 1983. Part III was exhibited at Storefront and traced the most immediate ramifications of this legacy of experimental work through a presentation that highlighted ARCHILAB, an annual symposium organized by FRAC that brings together cutting edge architects, designers and theorists to initiate dialogue around key issues impacting the vastly changing field of architecture. This unique collection of works focused on Post World War II experimental, research-based architecture. It explored the architectural ramifications of concepts such as utopia, anticipation and criticism—ideas of heightened interest to contemporary artists and architects.

NhEW (NorthousEastWest)

7 December 2000 00:00:00 EST

Thursday December 7, 2000 – Saturday January 13, 2001

NhEW was a joint exhibition of the work of OPENOFFICE, a New York-based group of architects, and cOPENhagenOFFICE, the firm of Danish architect Tanja Jordan. The centerpoint of the exhibition was a full-scale, portable dwelling prototype, entitled NhEW. NhEW units were intended to be adapted to the requirements of the individual, and customized from a wide range of lightweight materials for easy assembly, disassembly and transport. NhEW’s components range from packaging to composite materials, cabinetry, and apparel—each tool for living, moving, and storing is adopted as a second ‘skin’ in the living environment. Thus clothing becomes storage, storage crates become beds, backpacks become furniture, and packing material becomes insulation. First exhibited in Copenhagen, the NhEW prototype traveled to Greenland following its exhibition at Storefront.

Movements: Introduction to a Working Process

15 September 2000 00:00:00 EST

Friday September 15, 2000 – Saturday November 11, 2000

Questioning the traditional relationship between interior and exterior, Dutch designer Petra Blaisse developed a new vocabulary for experimental interior and landscape environments, frequently introducing movement into otherwise stable architecture. The instability of space, of architecture, is not only questioned; it is embraced. Movements: Introduction to a Working Process, the first exhibition devoted to the work of Petra Blaisse and her office Inside Outside, included videotapes, samples and documentation of recent projects and a large-scale textile that hung from the building’s roof to the sidewalk covering a portion of Storefront’s façade.

Cloudline, Speeline and Nurbline

6 June 2000 00:00:00 EST

Tuesday June 6, 2000 – Friday August 4, 2000

Since its formation in 1999, the collaborative architecture network Servo concentrated on the development of “system lines”, three of which were exhibited at Storefront: Cloudline, Speeline and Nurbline. The exhibition aimed to illustrate the practical application of these lines at various scales, ranging from domestic products to architectural and urban systems, as well as Servo’s investigations into urban inhabitation and development in the 21st century.

Common Places: Cultural Identity in the Urban Environment

16 May 2000 00:00:00 EST

Tuesday May 16, 2000 – Saturday June 17, 2000

Common Places explored how cultural identity is manifest in ordinary urban spaces. Selecting four typical European cities—Katrineholm, Sweden; Cambrai, France; Erfurt, Germany; Thessaloniki, Greece—that range in size from small town to small city, Mikael Levin documented the way traces of each city’s distinctive history mix with the everyday, reflecting not only current cultural and economic cross-influences, but also an ambiguity about the past and future. The exhibition consisted of two bodies of work that played off each other. One set of photographs, presented as eight large-format prints from each city, looked at the commonalities between the four cities. The second body of work, presented in four albums of various dimensions, featured photographs of one particular, distinctive aspect of the city. Levin exhibited Common Places in each of the four cities, each time soliciting response texts written from the perspective of that city.

Researching Cities: Berlin, Mexico City, Bombay, Rome, Singapore

18 April 2000 00:00:00 EST

Tuesday April 18, 2000 – Saturday May 13, 2000

Researching Cities featured the work of five architects, each focusing on a particular city and its urban and architectural specificities. Projects included Dirk Hebel’s “Architecture in Pain—Berlin 2000,” Claudia Dias’s “Urban Strategies: A 6th Layer for Bombay,” “Metropolitan Zone of the Valley of Mexico” by Fernando Romero,” Stalker’s “Rome” and Eunice Seng’s “Home-e-scapes: Housing 12 Stories,” which examined Singapore.

Neologisms

29 February 2000 00:00:00 EST

Tuesday February 29, 2000 – Saturday April 8, 2000

By exemplifying ways in which users are influenced by the technologies they use, Jeremijenko’s interactive, voice-activated installation in the gallery space questioned the belief that progress is guided by rational improvements and the market’s optimization of instrumental technologies. The project was conceived and executed to create an environment in which it would become apparent that technological innovation is preceded by social innovation, thereby affirming that users are, by their actions, complicit in the creation of the social systems that underpin technological inventions.

Tony Feher

13 January 2000 00:00:00 EST

Thursday January 13, 2000 – Saturday February 12, 2000

Tony Feher makes sculptures from everyday consumer detritus such as polyethylene shopping bags and plastic soft drink bottles, Feher employed one of his favorite materials – molded Styrofoam used for packing electronics – to create a site-specific installation at Storefront. Arranged in a grid on the floor, sometimes singly, sometimes stacked, these white forms, designed to fill negative space, became positives resembling architectural models. The ephemerality of the objects and the innocuous materials they were made of, stood in contrast to the solidity of architecture and the valuation of art. Feher draws on the tradition of Marcel Duchamp’s ready-mades and that of minimal artists such as Carl Andre, to question what we often forget to ask and reveal the latent possibility in seeing what already exists.

1982-1989

1 January 2000 00:00:00 EST

Saturday January 1, 2000 – Saturday January 1, 2000

DATE EXHIBIT
1989

11/28-12/23/1989 Too Close: Cosmos Mechanicool, Neil Denari

10/24-11/18/1989 0047 Spiral, Serpent and Sunflower, Zvi Hecker

9/19-10/14/1989 Earth, Air and Water Studies, Sandy Gellis

5/3-5/27/1989 The Architecture of Imre Makovecz

3/29-4/23/1989 The Renegade City, Ken Kaplan, Ted Krueger

2/22-3/19/1989 Speed '89, Michael Webb

1/18-2/12/1989 The Ship, Bente Stokke

1988

11/22-12/18/1988 Project DMZ, Todd Ayoung, Mo Bahc, Perry Bard, Joseph Brin, Cathleen Crabb and Taeg Nishimoto, Pei Ching Chou, David Chung, Peter Clements, Neil Denari, Russell Epprecht, Peter Fend, Alan Finkel, Ismael Frigerio, Gordon Gilbert, Gran Kester and Greig Crysler, David Hanawalt, Guisue and Mojgan Hariri, Zvi Hecker, Jack Vengrow and Laurie Bae, Jane Dodds and Scott Guerin, Gee Yung Jeong, Jud Choi and Jun Saung Kim, Tod Kabza, Kenneth Kaplan and Ted Krueger, David Kesler, Jung Hyun Kim, Joongsub Kim, Craig S. Konyk, Kyung Hoon Lee, Seung Jay Lee, Demetrius Manouselis, Marcus Margall, Ann Messner, Leo Modrcin, George Moore, Nam June Paik, Paul Virilio and Avant Travaux Studio, Pascal Quintard-Hofftein, Toshio Sasaki, Donna Selene Seftel, Mark Leonardi and Yul Lee, Hisao Shimizu, Peter Shinoda, Brode Slowik, Stiletto, Stanley Stinnett, Andrew Topolski, Joseph Wayman, David Wells, Robert Werthamer/Peter Frank/Bette Frank/Ashka Dymel, Lebbeus Woods, Jerilea Zempel

10/14-11/12/1988 Poseidon, Steve Barry, Audio: Jonathan Rosen

9/8-10/8/1988 Metamorphosis, Peter Cook, Christine Hawley

4/28-5/28/1988 From Destruction to Construction, Kawamata

3/24-4/23/1988 Coop Himmelblau: The Dissipation of Our Bodies Into the City, Wolf D. Prix, Helmut Swiczinsky

2/18-3/19/1988 Centricity: The Unified Urban Field, Lebbeus Woods

1/14-2/13/1988 Temporary Public Art: Changes and Interventions, Kate Ericson and Mel Ziegler, Jenny Holzer, Alfredo Jaar, Krzysztof Wodiczk

12/3/1987-1/3/1988 Building Projects, Chris Mcdonald, Peter Salter

1987

11/7-11/28/1987 Landscapes of Future, Othmar Zechyr

10/8-10/31/1987 Sculpture Toward Architecture, Terry Lee Dill

9/10-10/3/1987 Bodybuildings, Diller Scofidio

5/7-5/31/1987 Berlin-New York, Arnold Dreyblatt, John Fekner, Guy Martin, Ann Messner, Peter Mûnnig, Alan Moore and David Blair, BÉrbel Rothhaar, Norbert StÄck, Penelope Wehrli, Werner Zein

4/2-4/26/1987 Mexican Visions, Russell Epprecht

3/5-3/29/1987 Existence, Gordon Gilbert, Taeg Nishimoto, Kyong Park

2/5-2/28/1987 Urban Ritual, Luca Pizzorno

1/8-1/30/1987 Future of Storefront, BA BA ARC, Steve Barry, Berlin-New York, Dan Coma, Neil Denari, Elizabeth Diller, Russell Epprecht, Sandy Gellis, Gordon Gilbert, Dan Graham, Pamela Heller, Dragan Ilic, Wes Jones and Peter Pfau, Kaplan, Krueger, Scholz, Kazuko, Rebecca Martin, Shirin Neshat, Taeg Nishimoto, Deborah Ossoff, Robert Parker, Stephen Pearson, Luca Pizzorno, Howard Rosenthal, Toshio Sasaki, Peter Sebok, Leonid Sokov, Allan Wexler, Lebbeus Woods

1986

12/4-12/27/1986 Retrospective of Storefront Works featured from past exhibitions: Adam's House in Paradise, After Tilted Arc, Architecture of the Ages: Imre Makovecz, Art of Building, Before Whitney, Beneath the Face: Nancy Miller Elliot, Centers: Lebbeus Woods, Homeless at Home, Money on Money, Performance A to Z, Stencil for the Homeless

3/2-3/29/1986 Homeless at Home: A Public Project Including work by: Dennis Adams, Anderson/Schwartz Architects, David Benjamin, Christine Bengila Bevington, Victoria Bismarck, Mary Blackey, Faith/Bleecker, Diane Arndt and Joseph Bowers, Fred Calero, Carol Kahil and Richard Esterle, Daria Dorosh, Zvi Dunsky, Christopher Egan, Ellen Cox and David Haft, Francis Fan, Linda Gatter, Sandy Gellis, Janet Gillespie, Ford Kevin Greene, Wenda Habinicht, Mehrdad Haji-Sharifi, Patti Harris, William Herman, Joseph Hnizdil, J. Bacon/P. Shinoda/S. Ozalp, Wes Jones, Jorge Gomez and Guillermo, Carl Karas, Keenan/Riley/Newell, Julia Keydel, William Kline, Peter Kramer, Leavitt/Heskin, Conrad Levenson, Peggie Lowenberg, Mindy Machanic, Judy Mattingly, Mighty Dimension, William Moorhead, Jim Morgan, Mostoller/Travisano, Murphy/Parsons, Vivian Alper Ostrow, John Perkins, Peter Pfau, Anthony Pleskow, Bill Ray, Joyce Rezendes, Paul Rosenblatt, Jennifer Sage, Gido Scholten, Schwallie/Hermann, Michael Schwarting, Alice Shapiro, Alistair Standing, Susan Steindler, Steinfeld/Feuerstein, Ted and Jean Krueger, Wedgle/Ristine, Allyne Winderman, Wolfel/Neiss/Chestnutt, Yampolsky/Hansen, Laura Zelaznick

2/1-2/23/1986 Exhibition of Environmental Aesthetic, Dan Graham

1985

12/6-12/29/1985 Before Whitney, Anderson/Schwartz Architects, Todd Ayoung, David Bailey, Roger Baker, Bruce Barrett, Roger Bennett, Joseph Bower, Robert Broward, Paul Butel, Lew Chim, Christo, Eric Collier, Jeffrey Cox, Paul Damaz, Douglas Davis, Lee Dennett, Der Scutt, Ulrick Desert, David DeValeria, C. Wayne Ferrell, Eric Fiss, L.D. Fox, Free Art, Alan Gaynor, Fred Good, Larry Grantham, Julie Hacker, B. Holden, Michael Hudson, Ric Hunter, John Johansen, Wes Jones, Steven Keith, Kendrick Kellogg, Lawrence Kutnicki, Peter Lang, Alfredo Larin, Mark Leininger, Daniel Lieberman, Clark Lundell, Charles Mallea, Demetrius Manouselis, Felix Martorano, Donald McDonald, Alan McHenry, Philip McIntosh, Wendy McPhee, Peter Meyer, Miss Brooklyn, Ela Mojdehi, Michael Mostoller, Mickey Muenning, Julio Palamino, Steven Patrick, Stephen Perrella, Peter Pfau, Martin Rebholz, Feliciano Reyes, Gregory Robe, Moses Ros, Ken Saylor, William Schacht, Carolee Schneeman, Randy Shear, Ted Smith, David Tench, Eugene Tsui, George Ulpan, Dean Vollendorf, Scott Waldroff, Jane Yu

11/7-12/1/1985 After Tilted Arc, Anonymous, Bill and Mary Buchen, Dina Bursztyn, Rosemary Cellini, Dan Coma, Sandy Gellis, Kristin Jones and Andrew Ginzel, Green Market CENYC, David Hammons, HERA, Tadashi Kawamata, Kazuko, Jeffrey Kipnis, Sanford Kwinter and Francoise Schein, Ed McGowin, Deborah Ossoff, Robert Parker, Scott Pfaffman, Toshio Sasaki, Carolee Schneeman, Vernon Shetley, Leonid Sokov, Michael Sorkin, Nancy Spero, Mierle Laderman Ukeles, Allan Wexler, Hanah Wilke, Steven Woodward Curator: Tom Finkelpearl

10/12-11/2/1985 Homeless at Home: A Public Project, ABC No Rio, Linda Austin, Todd Ayoung, Maria Alicia Bonomo, Pat Brazill, James Brennan, Thomas Bucich, Onslow Carrington, Rosemary Cellini, David Celsi, Jose Ceron, Randi Chafin, Buster Cleveland, Sylvie Cochelin, Pat Collins, Mitch Corber, Tom Cote, Matthew Courtney, Caleb Crawford, Ian Crofts, Carla Davis, Russell E, Eric Eddy, Harlan Emil, Nancy Erber, Donna Evans, Kim Keever Fa Q, John Fekner, Feyo, Jill Fleishman, Carole Fleishman, Sam Formo, Betsy Friedman, David Friedman, Leslie Goldblatt, John E. Greene, Damian Grey, Doreen Halsall, Tom Halsall, Patty Harris, Deborah Heidel, Betti Sue Hertz, Kim Higgins, Josef Hnizdil, Sarah Houser, Diane Jackanin, Wes Jones, Julius, Steve Kaplan, Kazuko, Kim Keever, Tom Keough, Deborah Kleinbeast, Marjorie Koons, Gregor Kwashiokkor, Bing Lee, Sangnam Lee, Mark Levine, Kathy Lewis, Anne Lewison, Claire Lieberman, Louis Lopez, Dennis Love, John Marshall, Suzanne McClelland, Tom McDonald, Birk McGilly, Betsy McLindon, Kathleen McQuaid, Brad Melimed, DeDe Min, Carolyn Moskowitz, Shirin Neshat, The New ABC's Open Mike Cavalcade, Marion Nowacki, Deborah Ossoff, Marilyn Perez, Quintetta Perle, Robert Perody, Jeff Perren, Peter Pfau, Luca Pizzorno, Bill Ray, J. Rezendes, Janet Rezendes, Veronica Rodriguez, David Sandlin, David Schempff, Gail Schilke, Anson Seeno, Alice Shapiro, Diane Sipprell, Leonid Sokov, Alex Stein, Abigail Storm, Seth Tobocman, Carolyn Tong, Toyo, S. Leder Vay, Bismark Victoria, Conrad Vogel, Tomm Warren, Michael Will, Pamela Wye, Barbara Yoshida, Yuki Curators: Robert Costa, Carlo McCormick

9/12-10/6/1985 Return to Future: Rolland Ristine, Seymour Rutkin

8/8-8/31/1985 Homeless at Home: A Public Project
Beneath the Face: Portraits of the Poor, Nancy Milller Elliott; Curators: Mojdeh Baratloo, Clifton Balch

6/6-6/23/1985 Independent Visions in Architecture; BA BA ARC, Dan Coma, Neil Denari, Steven Holl, Bill Lane, Kyong Park, SITE, Lebbeus Woods

3/8-3/31/1985 Sculpted Soviets, Leonid Sokov

2/7-3/3/1985 Tradition of Imagination in Architecture, Neil Denari, Bart Prince

1/10-2/2/1985 Concrete Sculpture, Rebecca Martin

12/8/1984-1/6/1985 Wheel and Shadow, Kazuko

1984

11/8-12/2/1984 Centers: Three Public Building Projects, Lebbeus Woods

10/10-11/3/1984 History of Domestic Flight, Stephen Pearson

9/13-10/7/1984 Adam's House in Paradise, Baratloo and Balch, Batey/Mack, Bausman/Gill, Dan Coma, Neil Denari, David DeValeria, Elizabeth Diller, Furniture Club, Zvi Hecker, Uttam Jain, Bill Lane, Imre Makovecz, Demetrius Manaouselis, James McCuller Associates, David Mohney, Morphosis, Eric Owen Moss, Mary Pepchinski, Bart Prince, Purple/Pavlova/Saunders, Pat Sapinsley, Alison Smithson, Walczek/Standing, Ron Steiner, Shin Takamatsu, Anderson/Wheelwright, James Wines, Lebbeus Woods

5/19-6/10/1984 Architecture and Consciousness, Dan Coma

4/1-4/27/1984 Mirror Works, Howard Rosenthal

1983

4/23-5/22/1983 Portfolios in Architecture, James Bradberry, Dan Coma, Thomas K. Davis, Marleen Davis, Luc Deleu, Koen Deprez, Michael A. Manfredi, Michael Mindlin, Thomas Navin, Kyong Park, Steve Piersanti, Terence Riley, Frederic Schwartz, Chip Sullivan, Johanna Vandenbulcke, Rod W. Whatley

4/7-4/17/1983 Liberty, Group exhibition

3/3-3/30/1983 Question and Exclamation, Leonid Sokov

2/11-2/22/1983 Money on Money, Group show, 86 artists, including performances by: Kazuko/Ayoung, Peter Cummings, Kwok, Stephen Paul Miller, Iris Rose, James Sienna, Gary Williams

1/11-2/5/1983 Requiem or Same Day Dry-Cleaning System, Alex Rudansky, Jim Renvelh, Abram Nitsberg

1982

11/9-12/22/1982 Drawings in Lead: Toshio Sasaki

10/18-10/29/1982 Gowanus Canal Redefined, Todd Ayoung, Clifton Balch, Mojdeh Baratloo, Kevin Bone, Paul Bradich, Barbara Gary, Dennis Joyce (aka Claude Youngertown), Stephen Korns, Joe Levine, Joe Lewis, Brian McMahon, Kristin Steen
Curators: Frank Shifreen, Scott Siken

9/18-10/13/1982 Performance A-Z

1990-1999

1 January 2000 00:00:00 EST

Saturday January 1, 2000 – Saturday January 1, 2000

DATE EXHIBIT
1999

Nov 18 -Dec 23,1999 Hell's Kitchen South: Developing Strategies Design Trust for Public Space, Design + Urbanism, Hell's Kitchen Neighborhood Association, Briggs Knowles architecture + design, Brooklyn Architects Collective, Hell's Kitchen Neighborhood Association, Inline Studio, Life In Hell, Todd MacDonald, Marpillero Pollak Architects, Re-Imagining Hell's Kitchen South, David Rockwood and Claudia Dias, Sommer and Miller Architecture and Planning, studio a/b: Hideaki Ariizumi and Glynis Berry, Team A-UD: Brian McGrath, UN Studio: Ben van Berkel/Caroline Bos
Exhibition design: Center for Urban Pedagogy: Damon Rich, Jason Anderson

Oct 7-Nov 13, 1999 (a)way station: the Architectural Spaces of Migration, KW : a, Paul Kariouk, Mabel O. Wilson

Sep 16-Oct 2, 1999 Six Square, J Mandle performance

Jul 15 -Aug 7,1999 Jos Vulto, Curator: Adrian Dannatt

May 15-Jun 26,1999 Zuppa Inglese, Anthony Dunne, Ron Arad, Sebastian Bergne, Nigel Coates, Nick Crosbie, Tom Dixon, Wayne Hemingway, Morag Myerscough, Fiora Raby

Mar 31 -May 1,1999 Yves Brunier: Landscape Architect

Feb 12 -Mar 13,1999, Big Soft Orange, Crimson, MAX.1, NL Architects, One Architecture, Curator: Michael Speaks

1998

Dec 12, 1998 220 Minute Museum
Benjamin Aranda, Beril Guvendik, Lukas Huggenberger, Ryan Hullinger, Yanni Kaklamanis, Kak Lai, Stephen Luk, Ben Pollard, Qiang Su, Philippe Waelle, Daniel Yang
Curator: Hani Rashid

Oct 13, 1998 -Jan 11, 1999, Claude Lòvuque

May 6 -Jun 13,1998 bodywrappInc., Annette Meye

Mar 14 -Apr 25, 1998 Archigram: Experimental Architecture, 1961-74, Studio Strips and The Sets Projects, Ron Herron

Feb 10 -Mar 7,1998 Images of the Future: The Architecture of a New Geography
Shigeru Ban, Gabriele Basilico, Hannes Brunner, Stephanie Burkle, George Brugams and Rob Schroder, Yung Ho Chang, Claudia Diaz, Carlos Garaicoa, John Gollings, Emmet Gowin, Greg Girard and Aaron Tan, Harvard University Graduate School of Design/Hashim Sarkis/Rodolphe el-Khoury/Allan Seyegh, HOK Asia Ltd., Housing Generator: Academy of Architecture and Urban Planning Rotterdam/Ewoud Netten/Ronald Wall, Arata Isozaki, Toyo Ito, Shin Ji-Chul, Lim Jung-Eui, Kohn Pedersen Fox Architects, Milomir Kovacevic, John M. Y. Lee and Michael Timchula Architects, Yeud Levanon, Nicolae Margineanu, Margaret Morton, Kevin Neels, Cesar Pelli, Minn Sohn-Joo, Camilo Josú Vergara

Dec 9, 1997 -Jan 17, 1998 RUSS: Residual Urban Site Strategies, Gordon Kipping

1997

Oct 28 -Nov 29, 1997 Map the Gap, Cherise Fong, Toland Grinnell, Jenny Holzer, Ainatte Inbal, Muntadas, Matthew Ritchie, Vivian Selbo, Julia Scher, Andrea Scott, Benjamin Weil, Lawrence Weiner, Éda'web

Sep 27 -Oct 18, 1997 Landscape Urbanism, Enric Batlle and Joan Roig , Marcia Codinachs and Mercò Nadal, William Conway and Marcy Schulte, Julia Czerniak and Timothy Swischuk, DAS: 20: Omar Perez and Georgia Daskalakis, Field Operations: James Corner, Douglas Garofalo, West 8: Adriaan Geuze, Alex Hurst/Peter Testa/Ursula Schneider, Paul Kariouk, Llorens-Soldevilla: Alfons Soldevilla, Sandro Marpillero and Linda Pollak, Anuradha Mathur and Dilip da Cunha, Eric Owen Moss, Patrick Schumacher and Kevin Rhowbotham, Brian T. Rex, Shawn Rickenbacker, Manuel Ruisanchez and Xavier Vendrell, Brigitte Shim and Howard Sutcliffe, Michael Van Valkenburgh, Waldheim + Santos Studio: Maril‰ Santos-Munnò and Charles Waldheim, Alex Wall, Jason Young, Curator: Charles Waldheim

Jun 12 -Aug 2,1997 Testing 1..2..3..Lewis.Tsuramaki.Lewis aka op's

Apr 8 -May 24,1997 Liminal Bodies, Raoul Bunschoten/Chora

Feb 21 -Mar 29,1997 Basilico: Beirut, Gabriele Basilico, Curator: Francesco Bonami, CD-ROM: Rodolphe el-Khoury, Hashim Sarkis, Allen Sayegh

Nov 23 -Jan 29,1997 NY Masjid: The Mosques of New York, Jerrilynn D. Dodds and Ed Grazda with: Khader Humied, Khidir Abdalla, Leila Bahbahani, Numreen Qureshi, Justin Weiner

1996

Oct 8 -Nov 15,1996 Open Space / Public Life: Petrosino Park Redevelopment Design Competition
Winning Projects: Craig Abel, Arch. Inc.: Azin Valy and Suzan Wines, Alberto Kalach, Studio E: Patricia Owen; Honorable mentions: Sound Building Practice: Ted Sheridan, Mas Yendo
Community selections: Mark S. Clapp, Daniel Tisdale and Dennis Hadfield, Rachel Frankel
Projects selected for exhibition: Janet Abrams/Stewart Cauley/Herman Feldhaus/Skuta Helgason/Alan Hill/Debra Williams/Thomas Zummer, ARX: Frederic Levrat, Nandini Bagchee, Kathleen Bakewell/Rachel Frankel/Rakhi Jha, Boy Architect : Anthony DeSimone, Amelie Chai and Stephen Shwe, Linda Chung/Jennifer Lee/Jiyun Park, George Cooper and Eric Mailaender, Keller Easterling, 1100 Architect: J€rgen Riehm, Steve Fox and Yael Wide, Franôois & Lewis Architects: Edouard Franôois and Duncan Lewis, Gilliland/Lawler Architects: Sally Gilliland and Daniel Lawler, Julio Gonzalez/Ricardo Regazzoni, Richard Goodwin, David Green and Vicente Sauceda, Sakoto Hoshino and Stanley W. Lee, Ion, KWR Workshop: Jose Salazar and Gabriela Salazar, Maggie Mahboubian and Frederic Schwartz, Marpillero/Pollak Architects: Sandro Marpillero and Linda Pollak, Morris-Sato Studio: Michael Morris and Yoshiko Sato, Masaaki Ogasawara, Grace Ong, Tom Pen, Bill Penner, RTKL Associates, Sage, Wimer, Combe, Architects: Ross Wimer, Peter Combe, Jennifer Sage, Michael Horowitz, J. Chung, Saee Studio: Michele Saee, Pablo Samaniego, Nasrin Seraji, Ken Smith Landscape Architect: Ken Smith, Studio 1U: Sierra A. Miller, Linda Taalman and Alan Koch, Vroom: Sommer Schauer and Thaddeus Briner, Christophe Widerski/Francisco Javier De Mateo/Fred Floquet, Cassandra Wilday/Victoria Rospond/Demetri Sarantis, Mary Williams Wolfe, Abel Yee and Wai-Kong Yee, Jury: Christopher M. Crowley, Rosalyn Deutsche, M. Paul Friedberg, Mary Miss, Michael Sorkin, Billie Tsien, Coosje Van Bruggen, Krzyztof Wodiczko

May 16 -June 29, 1996 Vertical Landscape, Green Manhattanism West 8, Adriaan Geuze

Apr 3 -Apr 8, 1996 Surface Tension, James Cathcart

Feb 13 -Mar 30,1996 The Pull of Beauty, Martine Bedin, Constantin Boym, Joel Fisher, Tom Joyce, Beth Katleman, Raimund Kummer, Laurene Leon, Ted Muehling, Martin Puryear, Pino Signoretto, Richard Tuttle, Curators: Victoria Milne and Kiki Smith, Exhibition designers: Operatives, Inc. (Paul Lewis, Peter Pelsinski, Marc Tsurumaki)

Dec 12, 1995-Jan 27, 1996 Jean Nouvel's Architecture Shop

1995

Sept 15 -Oct 28, 1995 New York: City Museum?, Muntadas

May 20 -Jul 1, 1995 Detroit is Everywhere Post-Urban Landscape
Cranbrook Academy of Art: Dan Hoffman, Columbia University GSAP: Richard Plunz, Kyong Park, Camilo Josú Vergara

Apr 8 -May 9,1995 Between War and Peace, Komar & Melamid

Feb 4 -Mar 18,1995 Warchitecture-Sarajevo: A Wounded City, Association of Architects Bosnia-Herzegovina DAS-SABIH

1994

Nov 19 -Dec 31, 1994 Domestic Arrangement 2, Andrea Blum

Oct 1 -Nov 12,1994 Suburbs of Utopia, Michael Sorkin Studio

Jun 18 -Jul 30, 1994 Queer Space, Jay Critchley, Michelle Fornabai, Rocco Giannetti, Benjamin Gianni, Blake Goble, Paul Halshofer, Gordon Brent Ingram, Martha Judge, Tom Kalin, Adam Kuby, Mao-Jung Lee, Paul Lewis, J€rgen Mayer, Brian McGrath, Mitchell Owen, Cindi Patton, Peter Pelsinski, Robert Ransick, Charles Renfro, REPOhistory, Mark Robbins, Maura Sheehan, Marc Tsuiumaki, Greg Tuck, Mark Watkins
Curators: Beatriz Colomina, Dennis Dollens, Cindi Patton, Eve Kosofsky Sedgwick, Henry Urbach, Mark Wigley

May 4 -Jun 11, 1994 FreeSpace Projects, Lebbeus Woods

Mar 12 -Apr 16,1994 You Are Here: Information Drift, Laura Kurgan

Jan 15 -Feb 26, 1994 Upstairs Down: the Pit, the Tower, the Terrace-Plateau Peter Noever

Mar 12 -Apr 16, 1994 You Are Here: Information Drift, Laura Kurgan

1993

Nov 13 -Dec 30, 1993 A Collaborative Building Project, Vito Acconci and Steven Holl, Conceived by: Shirin Neshat and Kyong Park, Curator: Claudia Gould, Fabricator: Face Fabrications

May 8 -Jun 8, 1993 Discontinuous Spaces: Four Projects, Smith-Miller + Hawkinson

Apr 3 -May 1, 1993 Body Object Landscape, Michele Saee

Feb 6 -Mar 13, 1993 Distraction/Surveillance 002, John Bennett, George Bennett, Chien-Ming Chao, Adonis Cleanthous, Irena Ivanovich, Ray-Han Jin, Andrea Ljahnicky, Chung-Ting Lo, Senhiko Nakata, Jordan Parnass, Astrid Perlbinder, Eric Worcester, Curator: Hani Rashid

Dec 5 1992 -Jan 15 1993 The Art of Copy: Rereading the City, Dagmar Richter

1992

Sep 26 -Oct 31 1992 Pressure Buildings and Blackouts, Mark West

May 1 -Jun 6 1992 Future Systems, Jan Kaplicky, Amanda Levete

Mar 21 -Apr 25 1992 Memory of the Future, Gunther Domenig

Feb 8 -Mar 14, 1992 Unprojected Habit, James Keyden Cathcart, Frank Fantauzzi, Terrence Van Elslander

1991

Nov 6 -Dec 21,1991 The New American Ghetto, Camilo Josú Vergara

Sep 13 -Oct 26, 1991 Degrees of Paradise: The State of Heaven Mel Chin

Mar 25 -May 25, 1991 Empty Pedestals Project, Ron Baron, Karen Bermann and Jeanine Centuori, Carl Chu, Curtis Cravens, Caleb Crawford, Sandy Gellis, Jesse Good, Steve Greene, Sheila Klein, Stephen Korns, Michael Lalicki, Paul Landon, Linda Lindroth and Craig Newick, Nicki Logis, Peter Lynch, Mike Metz, Carolyn Moskowitz, Gary Paige, Dan Peterman, Joe Pomar, Charles Renfro and Anne Nixon, Chris Scholz and Ines Elskop, Peter Sebûk, Curator: Marc Blane

Mar 26 -Mar 20, 1991 Operation Desert Cloud, Pearson Post Industries

Feb 1 -Feb 23, 1991 Scale & Perspective, Luc Deleu

1990

Dec 18 1990 -Jan 19, 1991 Hi-no-maru 1/36, Yukinori Yanagi

Oct 19 -Nov 17, 1990 Architecture in an Inverted Field, Dan Hoffman

Sep 18 -Oct 13, 1990 Project Atlas: An International Competition and Forum, Jean-Marc Abcarius and Christopher Burns, Sargent Gardine and Christian Chambers, David Ross Dike, Dis. Jecta Associates: Edward T. McMahon and Francesca Franchi, Anthony Dunne, Reenie Elliott, Kei'ichi Irie, James Langford and Sandi Hubbard, Starling Keene, Johannes Knoops, Peter Lang, David Leclerc, Longoria/Peters: Patrick Peters, Mark Horton/Dan Pitera/David Gill/Carlos Navarrete, Mark West and Nada Subotincic, J.P. Maruszczak, Dan Willis and Merilee Meacock, Erik Morr, Shayne O'Neil, Office of Original Zone: Joey N. Shimoda, Pearson Post Industries: Defense Entertainment Technologies, Fiona Raby, Wellington Reiter, Jeff Schofield, Bob Shepherd and Ladd W. Woodland, Scott and Todd Senseny, Special Projects Office: John Bosch/Gordon Haslett/Gerard Kruunenberg, Stardust Paradise Studio, Jeff Vandeberg
Jury: Vito Acconci, Neil Denari, Elizabeth Diller, Patricia Phillips, Lebbeus Woods

Apr 26 -May 24 1990 Post-Consumerism
Part I: Designs for City Newstands
Part II: Designs and Ideas for the Waste Stream
Andrea Blum/Kenneth Kaplan/Ted Krueger, Nicholas Arbatsky, Andrea Callard, Dan Graham/Billie Tsien/Tod Williams, Patsy Norvell and Frances Halsband, Donna Selene Seftel and Craig S. Konyk, Joy Episalla, Donna Goodman, Peter Lynch, Ken Saylor, Rirkrit Tiravanija, David Wells, Robert Werthamer

Mar 27-Apr 21 1990 Formalhaut, Ottmar Hùrl, Gabriela Seifert, Gûtz Stûckmann

Feb 20-Mar 17 1990 Western Objects Eastern Fields, Julia Bolles, Peter Wilson

Jan 16-Feb 10 1990 Three Projects 1985-1990, Enric Miralles + Carme Pinös, Curator: Dennnis L. Dollens

Jan. 13, 2000-2007

1 January 2000 00:00:00 EST

Saturday January 1, 2000 – Saturday January 1, 2000

DATE EXHIBIT
2007

Nov. 14– Feb. 24, 2007 Clip, Stamp, Fold: The Radical Architecture of Little Magazines, 196x – 197x.
An exhibition at the Storefront for Art and Architecture, NYC http://www.clipstampfold.com/

2006

Sept. 19 – Oct. 28, 2006 FASCIA, by Pia Lindman. A commission by Storefront for Art and Architecture,
Curated by Yasmeen M. Siddiqui

June 28 – August 5, 2006 PORTABLE, Linda Ganjian, Kim Holleman, Marie Sauvaitre, Organized by Yasmeen M. Siddiqui, Associate Curator, Storefront

May 2 -June 10 CIUDAD MODERNA, TERENCE GOWER

March 7 - April 15 THE BONE WALL, JOE MACDONALD/ URBAN A&0 ARCHITECTURE LLC

January 18 - February 18 INFORMATION, JULIE AULT and MARTIN BECK

2005

November 15 - December 23 Modernity in YU, MARKO LULIC

September 13 -October 29 CAN BUILDINGS CURATE, designed by Shumon Basar, Joshua Bolchover and Parag Sharma

June 29 -August 6 FEDERAL, Mary Ellen Carroll

May 13 - June 19 Dimensions, MAARTEN VAN SEVEREN

March 8 - April 30 Yves Klein: Air Architecture, Curated by François Perrin

January 11 - February 19, 2005 9 Families:Emergency Architecture,Torolab

2004

Sept. 14-December 11, 2004 Architecture and Revolution in Cuba, curated by Eduardo Luis Ridríguez

June 10-July 31, 2004 History Images, Sze Tsung Leong

May 8-June 5, 2004 An uneven exchange of power, Armin Linke, curated by Anselm Franke

February 24-April 3, 2004 Small Works, 1994-2004, Manfred Pernice

November 21, 2003-January 31, 2004 Dodici Citta Ideali/Twelve Ideal Cities, Curated by Peter Lang and William Menking, with Superstudio

2003

September 4 - October 26, 2003 Urban Renewal: The City without a Ghetto, by the Center for Urban Pedagogy

May 9 - August 3, 2003 The Archive Project Storefront for Art and Architecture: 1982-2003, Curated by Sarah Herda and Kyong Park

February 12 - April 20, 2003 A Civilian Occupation, The Politics of Israeli Architecture, Rafi Segal and Eyal Weizman

2002

Sept. 14 - Oct.29,2002 Remapping, Warren Neidich

July 18 - August 25,2002 ENDCOMMERCIAL, Florian Bohm, Luca Pizzaroni, Wolfgang Scheppe

May 16 - July 29,2002 Wave Garden, Yusuke Obuchi

March 22 - April 20, 2002 Wannaville: Berlin Book Project, Megan Sullivan

2001

Nov. 9 - Dec. 22, 2001 Emergent: 17 Projects from 306090, Monte Antrim, Talia Braude, Elana Bresciani, Alexander Briseno, Savinee Buranasilapin, Amy Donohue, Julie Eng, Ted Givens, David L. Hays, Ziad Jamaleddine, Makram el-Kadi, Janette Kim, L.E.FT., Liminal Projects, Naji Moujaes, Scott Paterson, Carlos R. Setterberg, Monica Tiulescu, Amy Wai Yee Lam

Sept. 6 - Oct. 27,2001 On Movers and Shapers, Ines Schaber, Jorg Stillman

July 19 - Aug. 25, 2001 Building Codes: The Programmable City, Center for Urban Pedagogy, Jason Anderson, Satish Babbar, Francisca Benitez, Stella Bugbee, Winka Dubbeldam, Marcos Durantt, Chelsea Housing Group, Marie Christopher, Common Ground, Duany Plater-Zyberk & Company, Fifth Avenue Committee, Jack Freund, Mari Fujita, Good Old Lower East Side, Eva Hanhardt, Honest, Housing First, Institute for Advanced Architecture, Costas Kondylis, KW : a, Matt Lamm, Vito Lopez, Peter Marcuse, Martin-Baxi Architects, MVRDV, MFY Legal Services, Andrea Meller, Richard Murdock, Oliver Neumann, Nils Norman, Felise Nguyen, Place in History, Pratt Area Community Council, Irene Popkin, David Powell, Michael Rakowitz, REPOHistory, Damon Rich, Joseph Rose, Martha Rosler, Sandra Rutherford, Harold Schultz, Shirley, Scott Schnall, Douglas Sarini, Neil Smith, Michael Sorkin, Frank Soto, SHoP, Sam Stark, Tamara Sussman, Oscar Tuazon, Robert Werthamer, Rosten Woo, Dan Wiley, Sharon Zukin

April 25 - June 2,2001 Formations of Erasure: Earthworks and Entropy, The Center for Land Use Interpretation

Feb. 9 - March 17,2001 Research Architecture: Selections from the Collection Fonds Regional d'Art Contemporain du Centre, OrlÎans, France, Archi-Tectonics, Asymptote, Odile Decq - Berno”t Cornette, Pierre Du Besset and Dominique Lyon, Didier Fiuza Faustino, IaN+, Mathias Klotz, Kengo Kuma, Tarek Naga, Nishimoto Atelier: Taeg Nishimoto, Marcos Novak, Roche, DSV, & Sie, Curators: Marie-Ange Brayer, Lia Gangitano, Bill Menking, Frederic Migayrou Exhibition designers: Julie Ault, Martin Beck

Dec. 7,2001 - Jan. 13, 2001 NhEW (NorthousEastWest). OPENOFFICE and cOPENhagenOFFICE/Tanja Jordan

Feb. 9 - March 17,2001 Research Architecture: Selections from the Collection Fonds Regional d'Art Contemporain du Centre, OrlÎans, France, Archi-Tectonics, Asymptote, Odile Decq - Berno”t Cornette, Pierre Du Besset and Dominique Lyon, Didier Fiuza Faustino, IaN+, Mathias Klotz, Kengo Kuma, Tarek Naga, Nishimoto Atelier: Taeg Nishimoto, Marcos Novak, Roche, DSV, & Sie, Curators: Marie-Ange Brayer, Lia Gangitano, Bill Menking, Frederic Migayrou Exhibition designers: Julie Ault, Martin Beck

2000

Sept. 15 - Nov. 25,2000 Movements: Introduction to a Working Process Inside Outside: Petra Blaisse

May 16-June 17,2000 Common Places: Cultural Identity in the Urban Environment, Mikael Levin

April 18 - May 13, 2000 Researching Cities: Berlin, Mexico City, Mumbai, Rome, Singapore, Claudia Dias, Dirk Hebel, Fernando Romero, Eunice Seng, Stalker

Feb. 29 - Apr. 8, 2000 Neologisms, Natalie Jeremijenko

Jan 13 - Feb. 12,2000 Tony Feher

Hell's Kitchen South: Developing Strategies

18 November 1999 00:00:00 EST

Thursday November 18, 1999 – Thursday December 23, 1999

Hell’s Kitchen South: Developing Strategies illustrated how a collaborative design model involving a variety of parties from different disciplines could creatively manage the development of a neighborhood facing increased market pressure.

The exhibition was the culmination of work initiated five years earlier by the Hell’s Kitchen Neighborhood Association (HKNA), a group of residents working to have an active voice in determining the future of their neighborhood. HKNA’s efforts included a conference and workshop in 1998, co-organized by the Design Trust for Public Space and the firm Design + Urbanism. The event provided an interactive setting where residents, urban planners, designers, developers, public health specialists and public officials worked together to discuss planning and design ideas for the community.

Thirteen design teams were invited to participate and contribute proposals for the future development of Hell’s Kitchen South. Storefront hosted the first public exhibition and hearings for these proposals.

D+U

BriggsKnowles architecture + design

Brooklyn Architects Collective

Inline Studio

Life In Hell

Todd MacDonald

Marpillero Pollak Architects

Re-Imagining Hell's Kitchen South

David Rockwood and Claudia Dias

Sommer and Miller Architecture and Planning

studio a/b: Hideaki Ariizumi and Glynis Berry

Team A-UD: Brian McGrath

UN Studio: Ben van Berkel/Caroline Bos

Exhibition design by the Center for Urban Pedagogy

(a)way station: the Architectural Spaces of Migration

7 October 1999 00:00:00 EST

Thursday October 7, 1999 – Saturday November 13, 1999

(A)way Station was a traveling exhibition that investigated the psychological and physical dimensions of migration in relation to domestic space and the city.

The installation was comprised of freestanding plywood structures that housed domestic possessions, including clothing and furniture, cast in resin. Together, these elements represented interim domestic spaces for migrants and refugees—men, women and children who, due to political, economic and natural disaster, found themselves in transition, caught between nations, cultures and dwellings.

With the understanding that the exhibition would travel, it was designed for no exact place, and transformed itself as it was unpacked according to the conditions of its host institution, and thus reflected the migrant’s inherent condition of transience. Collapsing the experience of migrants and immigrants into one striking architectural framework, the artists compressed the space of migratory inhabitation into the scale of architectural representation.

Six Square

16 September 1999 00:00:00 EST

Thursday September 16, 1999 – Saturday October 2, 1999

Six Square, a site-specific dance performance conceived by the Brooklyn-based experimental arts company J Mandle Performance, turned the space of Storefront inside-out. Dancers manipulated the positions of the rotating façade panels as they navigated between the threshold of the interior and the exterior of the gallery. This spatial investigation was mirrored in the multi-layered costumes worn by the dancers. Similar to the panels, the costumes were transformed by the dancers throughout the duration of the piece, calling into question the convergence of interior and exterior space, whether physical or psychological. As the performance took over the gallery and sidewalk, the audience was relocated to the street, challenging the traditional experience of viewing a performance.

Jos Vulto: Smoking Buildings

15 July 1999 00:00:00 EST

Thursday July 15, 1999 – Saturday August 7, 1999

Smoking Buildings was a retrospective of Dutch artist Jos Vulto, curated by Adrian Dannatt. Photographs, works on paper and smoke-imprinted shrouds documented Vulto’s process of “smoking” or “rooking” buildings, a labor-intensive process normally applied to Dutch food production. Vulto’s projects entailed securing a site, sealing its orifices with cloth and burning sawdust in its interior. Lasting anywhere from one hour to several weeks, Vulto’s “rookings” infused the chosen sites with a dimension of temporality, manifest in the resulting gradations in texture, darkness and depth of the physical effects of smoke.

Zuppa Inglese

15 May 1999 00:00:00 EST

Saturday May 15, 1999 – Saturday June 26, 1999

The exhibition Zuppa Inglese—or “English soup,” a popular Italian dessert—explored the ideas, approaches and inspirations of eight British designers whose disciplines range from architecture, fashion and graphics to furniture and product design. Featured designers included Dunne & Raby, Tom Dixon, Sebastian Bergne, Nick Crosbie, Nigel Coates, Wayne Hemingway, Morag Myertscough and Ron Arad. The exhibition provided insight into the much-celebrated UK design scene, but with less emphasis on objects, and more focus on the designers’ inspirations. Additionally, the show identified a number of common issues that informed the design scene of the 1990s: design and mass production; collaboration and interdisciplinarity; manufacturing investigations, and most importantly a critical, even radical undercurrent that used design to influence the evolution of culture in relation to wider social, political, and economic conditions.

Yves Brunier: Landscape Architect

31 March 1999 00:00:00 EST

Wednesday March 31, 1999 – Saturday May 1, 1999

Co-curated by Linda Pollak and Dutch landscape architect Paula Meijerink, Landscape Architect presented an overview of Yves Brunier’s collage representations of landscape architecture proposals. Throughout his brief career, curtailed by his death in 1991 at age 29, Brunier reinvented the notion of the garden in the city, illustrating his ideas with collages steeped in interpretative imagination.

BIG SOFT ORANGE curated by Michael Speaks

12 February 1999 00:00:00 EST

Friday February 12, 1999 – Saturday March 13, 1999

BIG SOFT ORANGE featured the work of four young Dutch architectural offices—Crimson, Max.1, NL Architects and One Architecture—all participating in the development of Leidsche Rijn, a planned community of over 30,000 houses in the Netherlands.

220 Minute Museum

12 December 1998 00:00:00 EST

Saturday December 12, 1998 – Saturday December 12, 1998

With work by Benjamin Aranda, Beril Guvendik, Lukas Huggenberger, Ryan Hullinger, Yanni Kaklamanis, Kak Lai, Stephen Luk, Ben Pollard, Qiang Su, Philippe Waelle, and Daniel Yang.

Claude Lèvêque

13 October 1998 00:00:00 EST

Tuesday October 13, 1998 – Monday January 11, 1999

In conjunction with the exhibition Premises: Invested Spaces in Visual Arts, Architecture and Design from France, 1958–98 at the Guggenheim Museum, Storefront presented a site-specific installation by artist Claude Lèvêque. The exhibition proposed a speculative and thematic approach to the past forty years of artistic and architectural practices concerned with the notions of site, location, territory and the built environment.

bodywrappInc.

6 May 1998 00:00:00 EST

Wednesday May 6, 1998 – Saturday June 13, 1998

Questioning the relationship between art and fashion, consumerism and waste, bodywrappInc. by Annette Meyer consisted of 100 archetypal business suits made from disposable plastic packaging. By displaying the hand-tailored clothing, made from brilliantly patterned packaging from three continents, in a gallery setting, Meyer sought to highlight the disconnect between the familiarity of the garments themselves and the alien nature of the chosen material.

Ron Herron: Studio Strips and The Sets Projects

14 March 1998 00:00:00 EST

Saturday March 14, 1998 – Tuesday April 14, 1998

Experimental Architecture, presented in conjunction with Thread Waxing Space, Pratt Institute, Columbia and Cornell Universities, was the first major exhibition of the work of experimental British architecture collaborative Archigram in North America. Storefront presented the work of Ron Herron, including over 400 drawings, models, multi-media installations, magazines and re-created environments across the five institutions.

Images of the Future: The Architecture of a New Geography

10 February 1998 00:00:00 EST

Tuesday February 10, 1998 – Saturday March 7, 1998

Images of the Future examined the reconfiguration of social boundaries within the globalization of labor, commerce and culture in 22 cities around the world. Although this exhibition was primarily comprised of images of buildings and spaces, it did not seek to catalogue innovations in architecture and city planning. Urbanism and architecture, observed in relation to political and economic forces, were seen as a means of investigating the cyclical process of destruction and redevelopment of urban landscapes. The Storefront installation was a condensed version of an exhibition previously curated by Kyong Park at the Kwangju International Art Biennale, South Korea.

RUSS: Residual Urban Site Strategies

9 December 1997 00:00:00 EST

Tuesday December 9, 1997 – Saturday January 17, 1998

Gordon Kipping’s solo exhibition RUSS (Residual Urban Site Strategies) presented a prototypical building conceived for narrow sites on Manhattan’s Lower East Side. Through the application of electronic screens to the panelized interior surfaces of this prototypical building, the potentially uncomfortable narrow spaces were transformed into visually stimulating environments. Conveniently, the proportions of Storefront closely resembled the proportions of the proposed residential unit, allowing the gallery space to be transformed into a full-scale mock-up for the duration
of the exhibition.

Map the Gap

28 October 1997 00:00:00 EST

Tuesday October 28, 1997 – Saturday November 29, 1997

Founded in late 1994, äda ‘web was one of the earliest artist collectives to focus on the Internet as its medium. Acting as a “digital foundry,” the studio was structured as a dialogical interface between a network of practitioners, as well as providing design and technogical expertise to enable artists to participate in online experiments. Map the Gap traced the collaborative process between äda ‘web and these artists, which led to the production of medium-specific projects presented on the äda ‘web site. Selected documents, including sketches, magazine cut-outs, story-boards, maquettes, audio samplings and drawings were also included in the exhibition.

Landscape Urbanism

27 September 1997 00:00:00 EST

Saturday September 27, 1997 – Saturday October 18, 1997

Landscape Urbanism sought to redefine urban infrastructure as a category of landscape design in its own right. The exhibition examined landscape architecture in the context of contemporary urban development and public works, as opposed to being defined as an art historical genre, an environmental science, or an applied art; as such, traditional disciplinary distinctions between architecture, landscape architecture and urban design were suspended in favor of an infrastructural and systematic understanding of the built environment.

Participants: Enric Batlle and Joan Roig , Marcia Codinachs and Mercò Nadal, William Conway and Marcy Schulte, Julia Czerniak and Timothy Swischuk, DAS: 20: Omar Perez and Georgia Daskalakis, Field Operations: James Corner, Douglas Garofalo, West 8: Adriaan Geuze, Alex Hurst/Peter Testa/Ursula Schneider, Paul Kariouk, Llorens-Soldevilla: Alfons Soldevilla, Sandro Marpillero and Linda Pollak, Anuradha Mathur and Dilip da Cunha, Eric Owen Moss, Patrick Schumacher and Kevin Rhowbotham, Brian T. Rex, Shawn Rickenbacker, Manuel Ruisanchez and Xavier Vendrell, Brigitte Shim and Howard Sutcliffe, Michael Van Valkenburgh, Waldheim + Santos Studio: Maril‰ Santos-Munnò and Charles Waldheim, Alex Wall, Jason Young
Curator: Charles Waldheim

Testing 1…2…3…

12 June 1997 00:00:00 EST

Thursday June 12, 1997 – Saturday August 2, 1997

In this exhibition, Storefront presented ten speculative architectural projects by Op’s, a cross-disciplinary collaboration between Paul Lewis, Marc Tsurnamaki and David Lewis. Works in the exhibition ranged from executed designs, such as the “Pull of Beauty” installation, to conceptual urban projects. Seemingly banal and usually overlooked architectural artifacts such as movie theaters, health clubs and video stores formed the centerpieces of their investigations, becoming sites for tactical architectural reconfigurations. The projects in the exhibition drew out irrational desires from the apparently rational conventions of architecture by pursuing the perversity of these conventions to nearly illogical ends.

Raoul Bunschoten/Chora: Liminal Bodies

8 April 1997 00:00:00 EST

Tuesday April 8, 1997 – Saturday May 24, 1997

The idea for the exhibition Liminal Bodies evolved from the work of Raoul Bunschoten and CHORA, a non-profit London-based organization focusing on urban studies. Their research, often commissioned by universities, architects, community groups and civic authorities, were instrumental in developing new models and positions, and theoretical and critical analysis on the state of urban environments in the 1990s. Their work ranged from theoretical, educational and investigative projects to cultural and physical urban propositions in various countries. The exhibition at Storefront was organized in four parts: “Proto-urban Conditions: Mapping of displaced desires and submerged forces,” “Meta Space: Dynamic modeling, strategy formulations,” “City Project Space: The scripting of scenarios,” and “Stirring the Skin: The constitution of liminal bodies.”

Basilico: Beirut

21 February 1997 00:00:00 EST

Friday February 21, 1997 – Saturday March 29, 1997

Curator: Francesco Bonami
CD-ROM: Rodolphe el-Khoury, Hashim Sarkis, Allen Sayegh

In 1991, one year after the end of a 15-year civil war, Italian photographer Gabriele Basilico was invited by writer Dominique Eddie to take part in a project documenting the devastated architectural landscape of war-torn Beirut. Basilico’s photographs did not express judgement on war, but rather a reflection on what a city is left with once war eventually ends, and a reference point for the subsequent reconstruction of the city. Storefront presented a selection of Basilico’s black and white photographs along with a CD-ROM of a collaborative work-in-progress by Rodolphe el-Khoury, Hashim Sarkis and Allen Sayegy from Harvard University’s Graduate School of Design.

NY Masjid: The Mosques of New York

23 November 1996 00:00:00 EST

Saturday November 23, 1996 – Wednesday January 29, 1997

The Mosques of New York was a collaborative project aimed at documenting the mosques that each of the city’s Muslim communities has built at its center. Its goal was to highlight the ways in which these buildings reflect and create identities for Muslims within a dense and diverse urban fabric. The project reflected a desire to defuse a polarized image of Islam as an alien culture, while documenting the emergence of an American Muslim architectural identity. Headed by Professor Jerrilynn D. Dodds and photographer Edward Grazda, and including a team of young Muslim architects, The Mosques of New York compiled testimonies of builders and users of mosques, analysis of the spaces and images they create and photo documentation of a community occupying and transforming that architecture to explore these issues.

Open Space / Public Life: Petrosino Park Redevelopment Design Competition

8 October 1996 00:00:00 EST

Tuesday October 8, 1996 – Friday November 15, 1996

In collaboration with the Lower Manhattan Cultural Council, Storefront initiated a competition to redesign Lt. Petrosino Park, a wedged-shaped open space at the intersection of Lafayette, Centre and Kenmare Streets and Cleveland Place. Like Storefront itself, Petrosino Park is an offcut of urban space, measuring approximately 160 feet in length and 40 feet at its widest point. The redesign was intended to turn this under-used traffic island into an active and articulated public space for the surrounding community. Over 200 artists, architects and landscape architects from across the U.S. and around the world contributed proposals for the future park. From these, four projects were selected by a multidisciplinary jury including Mary Miss, Krzyztof Wodiczko, Billie Tsien and Coojse van Bruggen, for presentation to City officials and community leaders. Selected entries from the competition were exhibited at Storefront.

Winning Projects: Craig Abel, Arch. Inc.: Azin Valy and Suzan Wines, Alberto Kalach, Studio E: Patricia Owen

Honorable mentions: Sound Building Practice: Ted Sheridan, Mas Yendo
Community selections: Mark S. Clapp, Daniel Tisdale and Dennis Hadfield, Rachel Frankel

Projects selected for exhibition: Janet Abrams/Stewart Cauley/Herman Feldhaus/Skuta Helgason/Alan Hill/Debra Williams/Thomas Zummer, ARX: Frederic Levrat, Nandini Bagchee, Kathleen Bakewell/Rachel Frankel/Rakhi Jha, Boy Architect : Anthony DeSimone, Amelie Chai and Stephen Shwe, Linda Chung/Jennifer Lee/Jiyun Park, George Cooper and Eric Mailaender, Keller Easterling, 1100 Architect: J€rgen Riehm, Steve Fox and Yael Wide, Franôois & Lewis Architects: Edouard Franôois and Duncan Lewis, Gilliland/Lawler Architects: Sally Gilliland and Daniel Lawler, Julio Gonzalez/Ricardo Regazzoni, Richard Goodwin, David Green and Vicente Sauceda, Sakoto Hoshino and Stanley W. Lee, Ion, KWR Workshop: Jose Salazar and Gabriela Salazar, Maggie Mahboubian and Frederic Schwartz, Marpillero/Pollak Architects: Sandro Marpillero and Linda Pollak, Morris-Sato Studio: Michael Morris and Yoshiko Sato, Masaaki Ogasawara, Grace Ong, Tom Pen, Bill Penner, RTKL Associates, Sage, Wimer, Combe, Architects: Ross Wimer, Peter Combe, Jennifer Sage, Michael Horowitz, J. Chung, Saee Studio: Michele Saee, Pablo Samaniego, Nasrin Seraji, Ken Smith Landscape Architect: Ken Smith, Studio 1U: Sierra A. Miller, Linda Taalman and Alan Koch, Vroom: Sommer Schauer and Thaddeus Briner, Christophe Widerski/Francisco Javier De Mateo/Fred Floquet, Cassandra Wilday/Victoria Rospond/Demetri Sarantis, Mary Williams Wolfe, Abel Yee and Wai-Kong Yee

Jury: Christopher M. Crowley, Rosalyn Deutsche, M. Paul Friedberg, Mary Miss, Michael Sorkin, Billie Tsien, Coosje Van Bruggen, Krzyztof Wodiczko

Vertical Landscape, Green Manhattanism

16 May 1996 00:00:00 EST

Thursday May 16, 1996 – Saturday June 29, 1996

In their exhibition at Storefront, West 8 proposed the idea that nature could be harnessed in the city to create vertical habitats not dissimilar from skyscrapers. These proposed vertical landscapes were exemplified by a design proposal for Petrosino Park, a public park adjacent to Storefront, in which an enclosure of vegetation that would create an interior environment was envisioned.

Surface Tension

3 April 1996 00:00:00 EST

Wednesday April 3, 1996 – Monday April 8, 1996

One hundred fifteen discarded objects were collected from the streets of downtown Manhattan, Williamsburg, Brooklyn, and Long Island City, Queens over one day. A self-supporting structure spanning the interior columns of the Storefront was built with these objects working in compression, and supported only by industrial saran wrap, working in tension as an exterior skin.

The Pull of Beauty

13 February 1996 00:00:00 EST

Tuesday February 13, 1996 – Monday April 8, 1996

Martine Bedin, Constantin Boym, Joel Fisher, Tom Joyce, Beth Katleman, Raimund Kummer, Laurene Leon, Ted Muehling, Martin Puryear, Pino Signoretto, Richard Tuttle

Curators: Victoria Milne and Kiki Smith

Exhibition designers: Operatives, Inc. (Paul Lewis, Peter Pelsinski, Marc Tsurumaki)

The Pull of Beauty, curated by Victoria Milne and Kiki Smith, examined the role of decoration and ornament in modern design, and posited the existence of forms of decorative perception that are not visual. Featuring prototypes and drawings for new functional hardware designs by eleven artists, architects and designers, the exhibition was intended to reassess the prevailing prejudice against decoration and to consider the possibility of a renewed ornamental vocabulary.

Jean Nouvel's Architecture Shop

12 December 1995 00:00:00 EST

Tuesday December 12, 1995 – Saturday January 27, 1996

Jean Nouvel’s Architecture Shop attempted to recreate in a gallery setting the creative energy palpable in Jean Nouvel’s Parisian atelier. Racks of postcards, plastic tubes of posters, packets of slides and books displaying Jean Nouvel’s buildings entirely occupied Storefront’s gallery space for the duration of the exhibition. Beyond highlighting Nouvel’s work as an architect, the show frequently referenced its surroundings—SoHo’s shopping district—in an attempt to question the city’s identity as a place of exacerbated consumption.

New York: City Museum?

15 September 1995 00:00:00 EST

Friday September 15, 1995 – Saturday October 28, 1995

City Museum embraced a series of works that explore the relationship between the city and the culture industry, between tourism and spectacle, and also examined the function and status of the monument in a society where memory is no longer embedded in carved stone or the bronze of commemorative statues.

Detroit is Everywhere: Post-Urban Landscape

20 May 1995 00:00:00 EST

Saturday May 20, 1995 – Saturday July 1, 1995

Once hailed as the model of urban productivity and later maligned as an example of inner-city decay, Detroit served as an empirical model for every North American city in transition. Much of what emerged in Detroit’s urbanism over the decades was without precedent; as such, it was a case study against which other cities could measure themselves and from which they could learn, as well as an opportunity to test strategies of urban regeneration. The exhibition Detroit is Everywhere was a collaborative inquiry by Camilo José Vergara, Richard Plunz, Dan Hoffman and Storefront for Art and Architecture, consisting of urban studies and proposals for the city of Detroit.

Between War and Peace

8 April 1995 00:00:00 EST

Saturday April 8, 1995 – Tuesday May 9, 1995

Between War and Peace was an exhibition dedicated to the 50th anniversary of the end of World War II. In 1945, at the end of the war, and at the beginning of the U.N. era, a final meeting between Winston Churchill, Franklin Delano Roosevelt and Josef Stalin convened. The exhibition was inspired by an old photograph, taken on this occasion, of the world’s leaders posing for history’s camera. Fifty years later, Komar and Melamid returned to the image and incorporated it in their plans for a mural entitled “Allies,” which was to be painted near the United Nations Building. Their proposals were rejected by city officials, but plans for several versions of the public artwork, created over the years, were displayed in this exhibition at Storefront. A ballot box which allowed the viewer to vote for his or her favorite version was an integral part of the installation.

Warchitecture-Sarajevo: A Wounded City

4 February 1995 00:00:00 EST

Saturday February 4, 1995 – Saturday March 18, 1995

Warchitecture-Sarajevo: A Wounded City was an extensive multi-media exhibition documenting the destruction of architecture in Sarajevo through photographs, films, audio-tape and personal testimony. Created by the Bosnia-Herzegovina Association of Architects (Das-Sabih) in Sarajevo between May 1992 and October 1993, Warchitecture described the combined physical and psychological assault against the civilian population by presenting one of the main forms of aggression: the destruction of the city’s architecture. On March 16, 1994, five members of Das Sabih—Midhat Cesovic, Borislav Curic, Nasif Hasanbegovic, Darko Serfic and Sabahundin Spilja—escaped the city with the exhibition packed in two crates. In the following months, they used the materials collected to inform the general public and the design community about the degeneration of Sarajevo, and to begin a process of planning for the reconstruction of the city.

Domestic Arrangement 2

19 November 1994 00:00:00 EST

Saturday November 19, 1994 – Saturday December 31, 1994

Domestic Arrangement, Andrea Blum’s first solo show in New York City, presented a group of works that used furniture to explore issues around the relationship between public and private space. Moving away from large public projects that have a direct sociological and/or historical relationship to the site, Blum focused instead on the investigation of site and audience on a more intimate scale, choosing to examine psycho-social behavior through the iconography of furniture. By addressing the social situations in which one is placed as a result of design (such as the “love seat” or “gossip chair”), Blum encouraged the viewer to examine the inherent complexities of design in public and private settings.

Suburbs of Utopia

1 October 1994 00:00:00 EST

Saturday October 1, 1994 – Saturday November 12, 1994

In Suburbs of Utopia, Michaels Sorkin explored possibilities for new forms of cities grown from pure suburban habitats. He exhibited projects conceived for four sites—Brooklyn Waterfront, the Souks of Beirut, Tokaj, and Weed, AZ—in which four diverse understandings of utopia were proposed. These proposals were largely inspired by the history of the people and the land they inhabited.

Queer Space

18 June 1994 00:00:00 EST

Saturday June 18, 1994 – Saturday July 30, 1994

Jay Critchley, Michelle Fornabai, Rocco Giannetti, Benjamin Gianni, Blake Goble, Paul Halshofer, Gordon Brent Ingram, Martha Judge, Tom Kalin, Adam Kuby, Mao-Jung Lee, Paul Lewis, Jurgen Mayer, Brian McGrath, Mitchell Owen, Cindi Patton, Peter Pelsinski, Robert Ransick, Charles Renfro, REPOhistory, Mark Robbins, Maura Sheehan, Marc Tsurumaki, Greg Tuck, Mark Watkins

Curators: Beatriz Colomina, Dennis Dollens, Cindi Patton, Eve Kosofsky Sedgwick, Henry Urbach, Mark Wigley

Propelled by the urgent necessity to rethink the politics of space, Queer Space sought to uncover various definitions of the terms “queer” and “space” and the conceptual bonds that unite them. The exhibition was centered around a set of crucial interrogatives that defined the spatial politics of the early '90s: How can minorities define their rights to occupy spaces within the city? How can such space be legitimized, given a history and a future? Is it even physical space that is in question, or is it the space of discursive practices, texts, codes of behavior and the regulatory norms that organize social life? The installations, interventions and proposals at Storefront and at other locations around the city were an attempt to generate new ways of thinking about the social politics of space in the city.

Freespace Projects

4 May 1994 00:00:00 EST

Wednesday May 4, 1994 – Saturday June 11, 1994

After a six year hiatus from presenting his work publicly, Lebbeus Woods returned with an exhibition proposing a manifesto for the citizens of Sarajevo who on a daily basis were confronted by the destruction of the built environment they inhabited. Woods’s manifesto proposed methods of incorporating change into daily routines and embracing transition as an unavoidable force in
daily life.

You Are Here: Information Drift

12 March 1994 00:00:00 EST

Saturday March 12, 1994 – Saturday April 16, 1994

Laura Kurgan’s You Are Here: Information Drift was a computer-based multimedia installation that sought to question the relationship between digital environments and built spaces by playing on orientation and disorientation in this interaction. Using what were at the time new technologies primarily for military applications, such as satellite-based real-time mapping, early implementations of the Global Positioning System (GPS) and Head Up Displays (HUD), the installation aimed to locate, mark and map specific places, in this case Storefront, and then test the interactions between digital maps and the built space they sought to represent.

Upstairs Down: the Pit, the Tower, the Terrace-Plateau

15 January 1994 00:00:00 EST

Saturday January 15, 1994 – Saturday February 26, 1994

An exhibition highlighting various projects by Peter Noever on a site in Burgenland (Breitenbrunn, Austria) such as The Pit and The Tower, as well as the Terrace-Plateau, an intervention located on the grounds of MAK in Vienna. This exhibition was the first to be presented in the gallery after the installation of Acconci and Holl’s redesigned facade.

Vito Acconci and Steven Holl: A Collaborative Building Project

13 November 1993 00:00:00 EST

Saturday November 13, 1993 – Thursday December 30, 1993

Fabricator: Face Fabrications

In 1992, architect Steven Holl and artist Vito Acconci were commissioned by co-directors Kyong Park and Shirin Neshat and curator Claudia Gould to transform Storefront for Art and Architecture’s aging facade through a collaborative architectural intervention. Seeking to introduce improbability and to puncture the façade, Acconci and Holl inserted a series of hinged panels arranged in a puzzle-like configuration into the façade. When the panels are locked in their open position, the façade dissolves and the interior space of the gallery expands out on to the sidewalk. As an interdisciplinary collaboration, the façade blurred not only divisions between public and private space but also the line between art object and architectural artifact, suggesting ways that artists and architects can reciprocally engage with each other to benefit their respective fields of knowledge.

Architecture + Art: Steven Holl and Vito Acconci from The Architecture Foundation

Discontinuous Spaces: Four Projects

8 May 1993 00:00:00 EST

Saturday May 8, 1993 – Tuesday June 8, 1993

This exhibition presented models, drawings and other representations of four architectural projects: Suspension at La Guardia Airport, Altered Residence for a Neurobiologist, Imperfect Utopia: A Park for the New World and Un-Occupied Territory: An Economic Ecology. The configuration of the space within the gallery
was intended to raise questions around issues of contingency, discontinuity and interval.

Body Object Landscape

3 April 1993 00:00:00 EST

Saturday April 3, 1993 – Saturday May 1, 1993

In Body Object Landscape, Michele Saee examined architecture as a spatial extension of all of the senses of the body, not only visual. His architectural work evidenced and emphasized the role of the human hand in the creative process and attempted to counteract the proliferation of manufactured forms created by machines.

Distraction/Surveillance 002

6 February 1993 00:00:00 EST

Saturday February 6, 1993 – Friday March 19, 1993

John Bennett, George Bennett, Chien-Ming Chao, Adonis Cleanthous, Irena Ivanovich, Ray-Han Jin, Andrea Ljahnicky, Chung-Ting Lo, Senhiko Nakata, Jordan Parnass, Astrid Perlbinder, Eric Worcester

Distraction/Surveillance was an installation created by final year students from the Graduate School of Architecture at Colombia University under the supervision of Hani Rashid. The aim of the projects in the exhibition was to question the role of architecture and image-making in an era of uncontrolled proliferation of information.

Dagmar Richter: The Art of Copy: Rereading the City

5 December 1992 00:00:00 EST

Saturday December 5, 1992 – Friday January 15, 1993

The Art of Copy, an exhibition by Los Angeles-based architect Dagmar Richter, was an exploration for alternative readings of cultural and urban patterns. Using the extreme conditions of cities—the fragmentation of Los Angeles, the staticism of Berlin and the destruction of Beirut—her work introduced horizontal interconnections, imploding boundaries and attempting to stitch environmental wounds. Richter’s intent was to mediate conflicts between urban and cultural realities, and to delineate a feminist language in architectural form and urban practice.

Pressure Buildings and Blackouts

26 September 1992 00:00:00 EST

Saturday September 26, 1992 – Saturday October 31, 1992

Pressure Buildings and Blackouts was a site-specific installation that engaged Storefront’s gallery space, its façade and the street. Employing a technique he developed to cast concrete with fabric tension membranes, West created a series of sensual, organic concrete forms that flowed onto the street through specially-carved openings in the gallery’s façade. These experiments allude to an entirely new, unexplored territory of organic form in architecture that carrys with it the promise of less rigid built forms. For “Blackouts,” a series of drawings exhibited inside the gallery, West started with collages of found photographs that he then redrew by selectively blackening and erasing them. Obscuring the authority of the perspectival system, “Blackouts” suggested blindness and indeterminacy as a new way of seeing the world.

Future Systems

1 May 1992 00:00:00 EST

Friday May 1, 1992 – Saturday June 6, 1992

Headed by Jan Kaplicky and Amanda Levete, London-based architecture practice Future Systems explored the application of advanced and adaptive technology in architecture. Influenced by the automotive, marine, aviation and space industries, Future Systems envisaged a new generation of ecological architecture defined by its versatility, efficiency and performance. Merging technology with organicism, their projects utilized advanced industrial materials such as satinised light-reflectors, PVC coated polyester membranes and tubular steel, and frequently challenged conventional notions of architectural form, introducing unprecedented typologies such as blobs and pods. Sixteen Future Systems projects were presented in the exhibition through a series drawings, montages and models.

Memory of the Future

21 March 1992 00:00:00 EST

Saturday March 21, 1992 – Saturday April 25, 1992

Memory of the Future presented two major projects by Austrian architect Gunther Domenig: the Steinhaus in Steindorf and the Funder Factory. The projects were presented with drawings, photographs, models and video documentation of the construction sites.

Unprojected Habit

8 February 1992 00:00:00 EST

Saturday February 8, 1992 – Saturday March 14, 1992

In Unprojected Habit, James Keyden Cathcart, Frank Fantauzzi and Terrence Van Elslander installed five functioning portable toilets directly into Storefront’s façade. Normally used at construction sites and fairgrounds, these prefabricated metal units were accessible from the street, while their bodies, together with the fragments of the removed façade, projected into the exhibition space. The role of the gallery was inverted: the general public became the user/ viewer, while the traditional gallery visitors were exposed to the rear end of toilets. By turning a space of higher aesthetics into a service station for public needs, Unprojected Habit usurped the exclusivity of cultural space and suggested an art that can embrace social and urban functionality.

The New American Ghetto

6 November 1991 00:00:00 EST

Wednesday November 6, 1991 – Saturday December 21, 1991

The New American Ghetto was a collaborative, multi-media project that addressed the crisis in public housing and urban community development in North American cities. Based on the extensive research and documentation of photojournalist Camilo José Vergara and including contributions by the Municipal Art Society, the Graduate School of Architecture at Columbia University and the staff of Storefront itself, the joint exhibition demonstrated how the legacy of urban development, undertaken in an attempt to reclaim deteriorating neighborhoods, had instead resulted in new ghettos— bleak tracts of public housing surrounded by community service facilities, creating what have been called “reservations for the poor.”

Degrees of Paradise: The State of Heaven

13 September 1991 00:00:00 EST

Friday September 13, 1991 – Saturday October 26, 1991

As questions around humanity’s responsibility towards the natural environment took on added urgency in the early 1990s, Storefront embarked on a series of ecologically-themed exhibitions. To accommodate Mel Chin’s installation The State of Heaven, two triangular spaces were created within the gallery space. In the west end of the gallery, a large hand-knotted carpet floated above the heads of the viewers; its condition represented global meteorological conditions according to data collected by satellites. Throughout the course of the exhibition, the rug was destroyed or repaired to parallel the condition of the ozone layer. In the eastern gallery, a canopy of suspended monitors played back images
of meteorological dynamics generated in real time by a fractal program.

Empty Pedestals Project

25 April 1991 00:00:00 EST

Thursday April 25, 1991 – Saturday May 25, 1991

the Empty Pedestals Project was an experimental forum aimed at examining the role of public art in the urban environment of the late twentieth century. the project focused on ‘predesignated public art sites,’—spaces that had been designated by the government as spaces for art. Four of these sites in New york city served as the sites for new proposals.

Empty Pedestals Project
Ron Baron, Karen Bermann and Jeanine Centuori, Carl Chu, Curtis Cravens, Caleb Crawford, Sandy Gellis, Jesse Good, Steve Greene, Sheila Klein, Stephen Korns, Michael Lalicki, Paul Landon, Linda Lindroth and Craig Newick, Nicki Logis, Peter Lynch, Mike Metz, Carolyn Moskowitz, Gary Paige, Dan Peterman, Joe Pomar, Charles Renfro and Anne Nixon, Chris Scholz and Ines Elskop, Peter Sebûk
Curator: Marc Blane

Operation Desert Cloud

26 March 1991 00:00:00 EST

Tuesday March 26, 1991 – Saturday April 20, 1991

In response to Operation Desert Storm, the US-led war that had recently broken out in the Persian Gulf, Pearson Post Industries (a group specialized in ‘defense entertainment technologies’) inaugurated Operation Desert Cloud at Storefront and called for the ‘special deployment of an unmanned, automated gallery and multimedia low-definition broadcast-quality music video.’ The main components of Operation Desert Cloud were the Experimental Prototype Gallery of Tomorrow (E.P.G.O.T.), the Tele-Podium Launcher 2 (PTL-2), the Gulfbag TM, the Mobile Multiple Monitor Audio/Video Broadcasting Systems (MMABS) and the Emergency Broadcasting Network (EBN).

Scale & Perspective

1 February 1991 00:00:00 EST

Friday February 1, 1991 – Saturday February 23, 1991

In his exhibition at Storefront, Belgian architect, artist and urban theorist Luc Deleu presented a range of projects illustrating his principle of urban development, Scale and Perspective. For Deleu, an understanding of the fundamental principles of scale and perspective were the necessary prerequisites through which the eschewal of axial, symmetrical configurations in architecture—the standard means of achieving monumentality since antiquity—was possible. Deleu’s work explored the use of standing and lying volumes, inspired by the positions of a sleeping and waking man; he believed this concept offered a ‘more playful and dynamic monumentality that invites the visitor to explore the entire building from ever changing angles.’

Hi-No-Maru

18 December 1990 00:00:00 EST

Tuesday December 18, 1990 – Saturday January 19, 1991

Sculptor Yukinori Yanagi’s installation at Storefront took advantage of the gallery’s triangular shape by hanging mirrors on the converging walls to create the illusion of a circular space. The reflection was layered with colored light reflected from red panels installed on half of the floor and ceiling to symbolize the rising sun.

Architecture in an Inverted Field: Recent Works

19 October 1990 00:00:00 EST

Friday October 19, 1990 – Saturday November 17, 1990

The works by Dan Hoffman shown at Storefront demonstrated a reawakened concern with the circumstances of material building processes and the increasing separation of the architect from the site and conditions of building. Hoffman’s obsession with the reestablishment of the body’s relation to building activity was reflected in six studies of building formwork to contain and direct liquid loads of materials such as concrete, resin, lead and wax. The relationship between load and formwork structure in these studies suggested an architecture that demonstrates the forces of its own construction. The exhibition also included photo documentation and a section entitled “Vision without Inversion,” an experiment that explored the phenomenon of retinal inversion. For the exhibition, Hoffman designed and tested simple devices to achieve vision without inversion.

Project Atlas: An International Competition and Forum

18 September 1990 00:00:00 EST

Tuesday September 18, 1990 – Saturday October 13, 1990

Launched shortly after the collapse of the Berlin Wall and the consequent disintegration of the Eastern Bloc, Project Atlas was an international design competition soliciting proposals for the reuse and transformation of one of the iconic architectural artifacts of the Cold War, the Atlas nuclear missile silos. The site of the competition was a group of twelve newly-decommissioned silos located in the region surrounding Plattsburg Air Force Base, at the edge of Lake Champlain and the Adirondack Mountains in New York State. Of the 140 proposals submitted, 27 were selected for inclusion in the exhibition. The jury included Vito Acconci, Neil Denari, Elizabeth Diller, Patricia Phillips and Lebbeus Woods.

Post-Consumerism

26 April 1990 00:00:00 EST

Thursday April 26, 1990 – Thursday May 24, 1990

In 1986 the Art Commission of the city of New York forged a partnership between the Public Art Fund and the 14th Street–Union Square Local Development Corporation in an attempt to solicit new design proposals for the city’s newsstands. In an effort to provide the City with innovative design alternatives, the Public Art Fund’s Project Committee decided to sponsor a design competition involving artists and architects. The goal of the competition was
to create prototypical newsstand designs providing tangible alternatives to the standard box. Designs from over 20 artist/ architect teams were reviewed; proposals from three were selected and exhibited at Storefront as Part I of Post-Consumerism. Part II, Designs and Ideas for the Waste Stream, exhibited ten proposals for managing garbage, or the urban ‘waste stream,’ and its distribution and flow through public space.

Formalhaut

27 March 1990 00:00:00 EST

Tuesday March 27, 1990 – Saturday April 21, 1990

This exhibition of Formalhaut, a West German team comprised of architects Gabriela Seifert and Götz Stöckmann and artist Ottmar Hörlat, featured an installation of 100 toy robots that “performed” during the opening. Formalhaut’s other projects took the form of temporary installations that alter perceptions of space and scale. Through their constructions they sought to challenge supposedly self-evident qualities of the built environment. The exhibition
also included videos of a lecture given by Volker Fischer of the Deutsches Architeturmuseum in Frankfurt, Formalhaut’s project “Double Knight Game,” and photo documentation of their other projects.

Western Objects Eastern Fields

20 February 1990 00:00:00 EST

Tuesday February 20, 1990 – Saturday March 17, 1990

The exhibition Western Objects Eastern Fields presented a selection of projects for Europe and Japan by architects Peter Wilson and Julia Bolles. Their work maintained a critical position at the boundary of the theoretical and practical realms of architecture. Works exhibited included their first-prize winning entry for the Munster New City Library, which questioned traditionalist assumptions about the role of the library in the age of electronic information.

Three Projects 1985-1990

16 January 1990 00:00:00 EST

Tuesday January 16, 1990 – Saturday February 10, 1990

Three Projects 1985–90 presented a series of drawings, models and photographs of recent works by Barcelona-based architects Enric Miralles and Carme Pinós, designers well known in Europe but relatively unfamiliar to the American audience at the time.

Too Close: Cosmos Mechanicool

28 November 1989 00:00:00 EST

Tuesday November 28, 1989 – Saturday December 23, 1989

Too Close: Cosmos Mechanicool presented drawings, models, photographs and texts for three projects by Neil Denari’s Los Angeles-based practice COR-TEX Architecture. These projects included a theoretical world library, a project for the Los Angeles Gateway Competition and a project for the Tokyo International Forum Competition.

Spiral, Serpent and Sunflower

24 October 1989 00:00:00 EST

Tuesday October 24, 1989 – Saturday November 18, 1989

Spiral, Serpent and Sunflower was a retrospective exhibition of projects by Israeli architect Zvi Hecker. Works in the exhibition included “Spiral,” an apartment house in Ramat-Gan, Israel; “Serpent,” The Museum of Art in Palm Springs, California, and “Sunflower,” Ramat-Hasharon City Center, Israel. Frequently incorporating spirals, polyhedric forms and logarythmic ordering, these works were experiments in the generation of organically- formed architectural entities.

Earth, Air, and Water Studies

19 September 1989 00:00:00 EST

Tuesday September 19, 1989 – Saturday October 14, 1989

Earth, Air and Water Studies presented large-scale drawings, photo studies and models for public and private projects by Sandy Gellis. The thesis implicit in the work presented in the exhibition was that the city, the suburb and the countryside must be viewed as a unitary system in constant evolution.

The Architecture of Imre Makovecz

3 May 1989 00:00:00 EST

Wednesday May 3, 1989 – Saturday May 27, 1989

Influenced by the philosophy of Rudolf Steiner and by the folk art of his native Hungary, Imre Makovecz produced innovative organic architecture that posed a challenge to formulaic modernism. Makovecz insisted that architecture go beyond generic limitations by giving shape to universal, divine phenomena. The exhibition presented a wide range of works: churches, residential projects, the Sarospatak Cultural Center and other community centers, as well as projects created by Makovecz and architecture students during experimental summer sessions he held at a camp in the Visegràd forest beginning in 1981. Although Makovecz was well known in Europe, Finland and Japan at the time, this was the first exhibition of his work in the United States.

The Renegade City

29 March 1989 00:00:00 EST

Wednesday March 29, 1989 – Sunday April 23, 1989

Towards the end of the 1980s, developments in technology raised for the first time the prospect of the birth of a new type of city, one that is geographically isolated yet linked electronically with the rest of humanity. The Renegade City, an installation of mechanical sculptures by architects Ted Krueger and Ken Kaplan, alluded to this new urban typology. The project envisioned a city populated by
a self-selected community of technocratic innovators, scavengers, opportunists and ultimately renegades, that existed in an aquatic environment. Since designing such an ocean city is fundamentally against its nature, Kaplan and Krueger represented this urban entity through a series of interacting kinetic analog devices.

Speed ‘89

22 February 1989 00:00:00 EST

Wednesday February 22, 1989 – Sunday March 19, 1989

Speed '89 showcased selected drawings, models and texts from a number of Michael Webb’s projects, including “Just a House” (1989), “Rotating Garage House” (1988), “Temple Island” (1977– 78), “Drive-in House” (1970s), “Up and Over House” (1966), “House of Doors” (1964) and “Sin Palace” (1962–89).

The Ship

18 January 1989 00:00:00 EST

Wednesday January 18, 1989 – Sunday February 12, 1989

On the occasion of his exhibition at Storefront, Bente Stokke, a Norwegian artist whose material of choice was ash from a combustion plant, wrote: “my motive for working / lies in the uncovering / of a space / which reveals itself / in shifts and layers of reality.” Stokke’s installations emerged from the confrontation of a found space with an idea concealed in the history of that particular place. At Storefront, this approach resulted in The Ship, a dramatic reappraisal of the gallery’s trademark wedge form. Successive layers of ash applied to the gallery’s walls at its tapering west end evoked the interior space of ship’s bow, referencing the ancient craft and forms of Scandinavian wooden shipbuilding.

Project DMZ

22 November 1988 00:00:00 EST

Tuesday November 22, 1988 – Sunday December 18, 1988

Project DMZ was an extensive Storefront project aimed at addressing from an architectural standpoint the effects of conflict by proposing alternative spatial strategies in relation to the Korean Demilitarized Zone. Taking the DMZ as an exemplification of political, military and economic polarization, the project called for the use of design strategies rather than military force to initiate paths toward reunification of the Korean peninsula and its people. Project DMZ was structured as an open forum that encouraged the participation of individuals of different generations, cultures and disciplines of practice. Participants included Nam June Paik, Paul Virilio and Avant Travaux Studio, and Lebbeus Woods.

Poseidon

14 October 1988 00:00:00 EST

Friday October 14, 1988 – Saturday November 12, 1988

Poseidon was an installation that was designed in direct response to Storefront’s unique architectural form. The long triangular shape of the gallery suggested to the artist the relative increase in scale of a projected image over distance. The installation included a series of works referred to by Steve Barry as “mechanical performances” that remained static until the presence of an individual was detected. The arrival of a visitor triggered a sequence of mechanical movements, cinematic images, and audio effects.

Metamorphosis

8 September 1988 00:00:00 EST

Thursday September 8, 1988 – Saturday October 8, 1988

The exhibition Metamorphosis showcased three projects by UK- based architects Peter Cook and Christine Hawley. Works in the exhibition included Way Out West, a housing project in Berlin by Cook, and Burnt Iron-Rotting Wood, a housing project designed by Hawley for the London suburb of Peckham. The third project, The Glass Museum, an art center for the town of Lagen, Germany, was designed as a collaboration between the two architects. The exhibition was as much about the model of collaboration proposed by Cook and Hawley as about the buildings themselves: the couple used one another as critics for each other’s individual projects, and frequently collaborated on joint projects.

From Destruction to Construction

28 April 1988 00:00:00 EST

Thursday April 28, 1988 – Saturday May 28, 1988

From Destruction to Construction presented an overview of the work of Japanese-born artist Tadashi Kawamata, known for using scrap wood to build precarious scaffolds around vacant lots and buildings. The projects in the exhibition responded to the history of human interaction with various sites around New York ranging from a median strip between Grand and Broome Streets to a group of semi-demolished buildings in Harlem. Often shaped like twisters, the scaffolds moved organically through a site, evoking both destruction and creation, development and demolition.

The Dissipation of Our Bodies Into the City

24 March 1988 00:00:00 EST

Thursday March 24, 1988 – Saturday April 23, 1988

The Dissipation of Our Bodies Into the City was the first gallery exhibition in the United States by the Austrian office Coop Himmelb(l)au. Their visionary work incorporated criticism, sculpture, prose poems, urban plans, manifestos, projects, actions, statements, sketches and commentary to suggest experiments in space, both internal and external. The exhibition included photographs of three previous projects, manipulated blueprint images titled The First New Step into New York: the bodies disappear, the structure remains, and a series of large photocopy-based drawings and collages.

Centricity: The Unified Urban Field

18 February 1988 00:00:00 EST

Thursday February 18, 1988 – Saturday March 19, 1988

This exhibition, the second by Lebbeus Woods at Storefront, included over 50 pen and ink drawings that aimed to focus public and critical attention on the concept of centrality as it applies to architecture and social existence. Among the works shown were Citylimit, QUAD, Geomechanical Tower and Neomechanical Tower.

Temporary Public Art: Changes and Interventions

14 January 1988 00:00:00 EST

Thursday January 14, 1988 – Saturday February 13, 1988

Temporary Public Art explored the work of five artists who embrace ephemerality and temporary conditions as inspiration for the production of public art works. The exhibition included documentation of and elements from temporary projects by Jenny Holzer, Alfredo Jaar, Krystof Wodiczko, Kate Ericson and Mel Ziegler. Presenting themselves as critics of the professionalization of the production of public art, these artists sought to question assumptions about the nature of artistic intervention in public space.

Building Projects

3 December 1987 00:00:00 EST

Thursday December 3, 1987 – Sunday January 3, 1988

This selection of projects represented the majority of work completed since Peter Salter and Chris Macdonald began working together in 1982 while teaching at the Architectural Association School of Architecture in London. Initially using the vehicle of open competitions and commissioned work to define their ideas, they used their project work as a ‘diary of shifting interests’, the trajectory of which was presented in this exhibition.

Landscapes of Future

7 November 1987 00:00:00 EST

Saturday November 7, 1987 – Saturday November 28, 1987

The installation Landscapes of Future by Austrian artist Othmar Zechyr included many of the artist’s intricate pencil drawings and a wooden, skeletal structure of beams dissecting the gallery. His visionary and monumental detailed line drawings of towers and mounds were deeply rooted in an interest in the natural evolution of organic structures.

Sculpture Toward Architecture

8 October 1987 00:00:00 EST

Thursday October 8, 1987 – Saturday October 31, 1987

The sculptures of Terry Lee Dill presented in this solo exhibition drew inspiration from the characteristic shapes of familiar structures of New York City’s urban landscapes—primarily utilitarian artifacts like bridges, oil derricks, highway billboards and factories—in the search for poetry in the city’s struts and trestles, beams and buttresses.

Bodybuildings

10 September 1987 00:00:00 EST

Thursday September 10, 1987 – Saturday October 3, 1987

Bodybuildings was the first solo exhibition of New York-based practice Diller + Scofidio, a collaborative architecture studio whose work frequently involved performance, bodily apparatuses and architectural sets. The body of work presented in this exhibition, poised between architectural and artistic practice, included a selection of Diller + Scofidio’s early projects in the form of drawings, models, photographs, installations, objects and texts.

Berlin-New York

7 May 1987 00:00:00 EST

Thursday May 7, 1987 – Sunday May 31, 1987

The Berlin–New York exhibition was a collaboration between five pairs of Berlin and New York artists. Each pair of artists worked within a separate discipline, creating new collaborative work for the show. The exhibition was one of many scheduled that year to celebrate the 750th anniversary of the founding of Berlin.

Mexican Visions

2 April 1987 00:00:00 EST

Thursday April 2, 1987 – Sunday April 26, 1987

Mexican Visions, a solo exhibition at Storefront, presented the work of painter and writer Russell Epprecht. The exhibition featured paintings inspired by a sojourn in Hautla, located in the Sierra Mazateca mountains of Mexico. The paintings, which were completed in New York, combined figural abstraction with emotional intensity. The works formed what Epprecht refers to as ‘an incomplete post-modern Tarot deck’; titles of the works included “Fire God,” “Rape,” “Revolution,” “Judgment” and “Resurrection.”

Existence

5 March 1987 00:00:00 EST

Thursday March 5, 1987 – Sunday March 29, 1987

Existence was an exhibition of drawings and models by three New York architects: Gordon Gilbert, Taeg Nishimoto and Kyong Park. Through different design approaches, the architects explored the phenomenological potential of architecture. The common impetus for such exploration was the abstract concept of existence, which instigated further discussion of the dynamic relationships of the seen and unseen and of participation and experience. With the shared conviction that architecture is an “act of existence,” the featured architects used the exhibition as a platform for philosophical inquiry.

Urban Ritual

5 February 1987 00:00:00 EST

Thursday February 5, 1987 – Saturday February 28, 1987

Luca Pizzorno’s theatrical installation centered around playfully composed cut-outs wrought from discarded pieces of tin and sheet metal. The figures loosely referenced Egyptian, Mayan, African and Etruscan mythology, interpreted through an elegant yet deceptively simple aesthetic style. Like many other urban primitivists, Pizzorno’s work called for a re-examination of the role of ancient archetypes within our contemporary psychic landscape—connections made all the more apparent in the street-survival settings of the Lower East Side.

Future of Storefront

8 January 1987 00:00:00 EST

Thursday January 8, 1987 – Friday January 30, 1987

In conjunction with Retrospective of Storefront and celebrating the opening of the new space at 97 Kenmare Street, Future of Storefront was an exhibition of the work and portfolios of artists and architects to be featured in upcoming Storefront programs. These artists and architects included Ba Ba ARC, Neil Denari, Diller + Scofidio, Shirin Neshat and Lebbeus Woods.

Retrospective of Storefront

20 November 1986 00:00:00 EST

Thursday November 20, 1986 – Saturday December 27, 1986

To celebrate its fifth year of programs and the move to a new location at 97 Kenmare Street, Storefront for Art and Architecture presented a comprehensive retrospective of past projects, exhibitions, performances and other programs hosted in its former space at 51 Prince Street. The exhibition featured Homeless at Home, Adam’s House in Paradise, After Tilted Arc and Centers by Lebbeus Woods, among others. Works by artists and architects involved with Storefront were on sale to benefit the organization.

Homeless at Home: A Public Project, New Proposals

2 March 1986 00:00:00 EST

Sunday March 2, 1986 – Saturday March 29, 1986

To close the collaborative project Homeless at Home, Storefront presented an exhibition of designs for shelters and alternative housing for the homeless by 65 artists and architects, as well as video documentation of the lives of homeless people from the streets. Prior to the exhibition, information packages were distributed to the participants to inform them about the homeless issue in America, and an architectural response was solicited.

Homeless at Home: A Public Project included works by Dennis Adams, Anderson/Schwartz Architects, David Benjamin, Christine Bengila Bevington, Victoria Bismarck, Mary Blackey, Faith/Bleecker, Diane Arndt and Joseph Bowers, Fred Calero, Carol Kahil and Richard Esterle, Daria Dorosh, Zvi Dunsky, Christopher Egan, Ellen Cox and David Haft, Francis Fan, Linda Gatter, Sandy Gellis, Janet Gillespie, Ford Kevin Greene, Wenda Habinicht, Mehrdad Haji-Sharifi, Patti Harris, William Herman, Joseph Hnizdil, J. Bacon/P. Shinoda/S. Ozalp, Wes Jones, Jorge Gomez and Guillermo, Carl Karas, Keenan/Riley/Newell, Julia Keydel, William Kline, Peter Kramer, Leavitt/Heskin, Conrad Levenson, Peggie Lowenberg, Mindy Machanic, Judy Mattingly, Mighty Dimension, William Moorhead, Jim Morgan, Mostoller/Travisano, Murphy/Parsons, Vivian Alper Ostrow, John Perkins, Peter Pfau, Anthony Pleskow, Bill Ray, Joyce Rezendes, Paul Rosenblatt, Jennifer Sage, Gido Scholten, Schwallie/Hermann, Michael Schwarting, Alice Shapiro, Alistair Standing, Susan Steindler, Steinfeld/Feuerstein, Ted and Jean Krueger, Wedgle/Ristine, Allyne Winderman, Wolfel/Neiss/Chestnutt, Yampolsky/Hansen, and Laura Zelaznick.

Exhibition of Environmental Aesthetic

1 February 1986 00:00:00 EST

Saturday February 1, 1986 – Sunday February 23, 1986

Using performance, video, photography, film, models and constructed environments, Dan Graham’s work investigates space and perception, the actor and the audience, as well as the role of the mechanics of vision in shaping public and private life. His projects do not confirm the dialectics of art and architecture, public and private, but throw these distinctions into renewed inquiry. This exhibition—the first to be held at Storefront’s new gallery space at 97 Kenmare Street—featured three projects by Graham: “Two Adjacent Pavilions”, first shown at Documenta 7, “Pavilion/ Sculpture”, created for a site at the Argonne National Laboratory, and “Alteration to a Suburban House”. All three incorporated reflective mirror, and opaque and transparent surfaces to create new patterns of visibility and perception.

Before Whitney

6 December 1985 00:00:00 EST

Friday December 6, 1985 – Sunday December 29, 1985

The controversial addition to the Whitney Museum proposed by Michael Graves in 1985 presented an opportunity to investigate critical issues relating to the tradition of American architecture and the relationship between art and architecture. Storefront invited artists and architects to submit their visions of the Whitney Museum in the form of a drawing or model to create a visual forum for discussing these fundamental questions. The proposals addressed the challenge of a museum to creatively synthesize physical structure with the works that are on display. How can architecture frame and house the spirit of the art within, and how could the new design for the Whitney, as the Museum for American Art, reveal a specifically American architecture? Among the 70 respondents were Christo, Todd Ayoung, Eugene Tsui and Carolee Schneemann.

After Tilted Arc

7 November 1985 00:00:00 EST

Thursday November 7, 1985 – Sunday December 1, 1985

In response to the controversy surrounding Richard Serra’s Tilted Arc, Storefront invited 29 artists and critics to address the issue of public art in relation to the Federal Plaza site. The exhibition was an attempt to bridge the gap between the intellectual elite and the public, as well as to constructively reframe the debate surrounding the sculpture. While the highly emotional public debate focused on whether the Arc had the legal and moral right to a future in the Federal Plaza, few had sought to clarify the issues behind the controversy: What is public art? What work can be accepted and understood by the average viewer? What is the artist’s responsibility when proposing a work for a public place? Curated by Thomas Finkelpearl, After Tilted Arc included contributions from David Hammons, Sanford Kwinter, Carolee Schneemann, Michael Sorkin, Nancy Spero, Mierle Laderman Ukeles and Hannah Wilke.

Homeless at Home: A Public Project, Images and Words about Homelessness

12 October 1985 00:00:00 EST

Saturday October 12, 1985 – Saturday November 2, 1985

As part of the ongoing Homeless at Home project, Storefront invited artists and members of the public to create simple stencil graphics dramatizing the widespread problem of homelessness in New York City. The project’s initiators encouraged artists to use these stencils on streets and in public places to attract public awareness to the issue; supplementary materials provided by Storefront included contact information for lawyers who would offer assistance should the artists be challenged by the police. The exhibition at Storefront showcased all the designs produced in response to the open call coordinated by Glenn Weiss, Barbara Yoshida, Shirin Neshat and Carla Davis.

Return to Future

12 September 1985 00:00:00 EST

Thursday September 12, 1985 – Sunday October 6, 1985

In Return to Future, independent New York architects Seymour Rutkin and Rolland Ristine exhibited a collection of proposals for houses, parks, stadiums, theaters, office buildings and landscapes. Rutkin’s work originated in a synthesis of organic form with concrete and steel building methods, thus expressing nature’s laws of compression, tension and gravity. The exhibition included drawings, scrapbooks, sketchbooks and explanatory pamphlets. The title of the exhibition played off Zemeckis’s movie Back to the Future, released a few months before the show opened.

Homeless at Home: A Public Project Beneath the Face: Portraits of the Poor

8 August 1985 00:00:00 EST

Thursday August 8, 1985 – Saturday August 31, 1985

Homeless at Home, a collaboration between Mojdeh Baratloo, Clifton Balch, Rebecca Martin, Glenn Weiss and Kyong Park, began in 1984 as a collective endeavor to attract attention to the plight of the rapidly-growing number of homeless people in New York City. This group of artists and architects participating in Homeless at Home undertook to use artistic practice as a means of social action and engagement. Portraits of the Poor, a series of photographs by Nancy Miller Elliot documenting the everyday life of New York’s homeless, was a typical example of the works produced and exhibited by the group.

Independent Visions in Architecture

6 June 1985 00:00:00 EST

Thursday June 6, 1985 – Sunday June 23, 1985

Independent Visions featured the work of BA BA ARC, Dan Coma, Neil Denari, Steven Holl, Bill Lane, Kyong Park, SITE, and Lebbeus Woods, picking up where Portfolios in Architecture, a previous Storefront exhibition, left off.

Sculpted Soviets

8 March 1985 00:00:00 EST

Friday March 8, 1985 – Sunday March 31, 1985

Sculpted Soviets was the second Storefront exhibition by Russian- born artist Leonid Sokov. Using political imagery such as a bear clashing with an eagle and busts of former Soviet leaders, Sokov continued the artistic tradition of the early 20th-century Russian avant-garde. Whereas his predecessors aimed to celebrate Russian political identity and military power, Sokov’s roughly carved sculptures critically reinterpreted the heroic imagery and mythology dear to the Russian political elite.

Tradition of Imagination in Architecture

7 February 1985 00:00:00 EST

Thursday February 7, 1985 – Sunday March 3, 1985

Tradition of Imagination in Architecture was a retrospective exhibition presenting the works of then up-and-coming architects Bart Prince and Neil Denari. The work of the two designers exemplified the adoption of unconventional thought processes and non-architectural sources of inspiration to create a new chapter in American architectural theory. Prince’s contribution to the show was centered on models and documents of his anthropomorphic designs; the rest of the exhibition space was devoted to Denari’s visionary drawings.

Concrete Sculptures

10 January 1985 00:00:00 EST

Thursday January 10, 1985 – Saturday February 2, 1985

Concrete Sculptures was an exhibition of molded and poured concrete works by artist Rebecca Martin. Using a medium that dominated post-World War II cityscapes, Martin subverted the monumentality normally associated with concrete through sculptures of amorphous and organic forms. The exhibition provided an alternative perspective medium often overlooked for its urban ubiquity.

Wheel and Shadow

8 December 1984 00:00:00 EST

Saturday December 8, 1984 – Sunday January 6, 1985

Japanese-born sculptor Kazuko identified the wheel as an object of motion that bridged elements of Eastern spiritualism and Western technology. For his exhibition at Storefront, Kazuko installed two 8-foot high cardboard carriage wheels in the gallery space. Visible through the spokes of the wheels were wall paintings of a baby carriage, bicycles and women with parasols, images that together evoked the various stages of human development. In one corner of the exhibition space, suspended scarves were used to evoke clouds. The wheel was intended as a metaphor for cyclical movement through time and space.

Centers: Three Public Building Projects

8 November 1984 00:00:00 EST

Thursday November 8, 1984 – Sunday December 2, 1984

In response to the conflict between a building’s capacity to operate as a nodal center of urban activity and the increasing obsolescence of such centers in the wake of a growing culture of telecommunications, visionary architect Lebbeus Woods proposed three public projects. Centers featured Woods’s designs for an International Communications Center in Paris, a conversion of the Times Tower in New York for the Third Millenium, and the Epicyclarium, a structure that would continuously process computerized data to generate an evolving global image. Each of these projects was comprised of a centralized form—such as a tower or a sphere—that would create a hub of human interaction and activity, and that would simultaneously challenge conventional urban grids. These works aimed to elicit critical attention to the concept of centrality as it may be applied to contemporary architecture and urbanism, and to its potential social ramifications.

History of Domestic Flight

10 October 1984 00:00:00 EST

Wednesday October 10, 1984 – Saturday November 3, 1984

For four years, artist Stephen Pearson worked on a project centered on the design of flying domestic structures. Throughout the course of the project he designed and built numerous small, house-like frames out of bass wood as study models for larger, full-scale flying constructions, some of which were actually tested in flight. The exhibition at Storefront showcased several prototypes in Pearson’s Domestic Flight series.

Adam’s House in Paradise

13 September 1984 00:00:00 EST

Thursday September 13, 1984 – Sunday October 7, 1984

Built on an abandoned property over the course of ten years, Adam Purple’s Garden of Eden was an elaborately designed oasis amidst the rubble of the neglected Lower East Side in New York City. In 1984, this public garden was facing demolition as a result of the proposed construction of a low-income housing project by the New York City Housing Authority. Storefront invited 30 architects—including Lebbeus Woods, Elizabeth Diller and Ricardo Scofidio, Zvi Hecker, Neil Denari, Eric Owen Moss and others—to design two city blocks of public housing around Purple’s Garden of Eden. The exhibition presented these alternative designs to integrate the garden within the housing project and envisioned future environments that would improve basic urban shelter through accompaniment with nature. The proposals were forwarded to the Housing Authority in an attempt to preserve Purple’s Garden of Eden; the effort ultimately proved unsuccessful, and Purple’s garden was destroyed.

Robert Parker

3 September 1984 00:00:00 EST

Monday September 3, 1984 – Sunday September 30, 1984

Exhibition of the work of New York-based artist and sculptor Robert Parker, who also participated in After Tilted Arc, a group exhibition held at Storefront the following year.

Architecture and Consciousness

19 May 1984 00:00:00 EST

Saturday May 19, 1984 – Sunday June 10, 1984

The work in Dan Coma’s exhibition Architecture and Consciousness, the second solo architecture exhibition at Storefront, was largely influenced by the juxtaposition of oriental and occidental elements in the culture of his native Transylvania (Romania). The exhibition was constituted primarily of drawings of unrealized projects and critical essays intended to exemplify a perception of architecture as a form of spiritual flight and a means of redemption.

Mirror Works

1 April 1984 00:00:00 EST

Sunday April 1, 1984 – Friday April 27, 1984

In the exhibition Mirror Works, Howard Rosenthal examined mirrors and reflections as a means to explore the human perception of self and peripheral surroundings. Mirror Works included a helmet to which four mirrors were attached, allowing the wearer to simultaneously observe his or her full surroundings, as well as a rocking chair with its legs extending into a frontal reflection panel.

Soup Kitchen

10 July 2010 13:26:48 EST

Sunday October 2, 1983 – Saturday October 15, 1983

As the first in a series of events conceived to raise funds for New York City’s poor, Soup Kitchen presented a performance series hosted every night at 8pm in the gallery space from October 2 through October 15, 1983. A photography exhibition of the Twentieth Anniversary Jobs, Peace, and Freedom March on Washington, D.C. by Paula Berg, Mary Agnes Smith and Linda Schoenheimer was on display and for sale to benefit the needy. Soup Kitchen was presented at Storefront for Art and Architecture and Fashion Moda by the Food for the Soup Kitchens Committee in cooperation with the Coalition for the Homeless.

Portfolios in Architecture

23 April 1983 00:00:00 EST

Saturday April 23, 1983 – Sunday May 15, 1983

Portfolios in Architecture featured the work of young architects from the United States and Belgium. Each of the 15 participants displayed a portfolio of works comprised of full-sized drawings and photographs.

Liberty

7 April 1983 00:00:00 EST

Thursday April 7, 1983 – Sunday April 17, 1983

As the Statue of Liberty’s centennial approached and extensive celebrations were being prepared to mark the occasion, Storefront launched a call for ideas soliciting designs for a new symbol of collective freedom and equality that would resonate more distinctly with contemporary culture, thereby inviting a critical appraisal of the role of the monument in contemporary society.

Question and Exclamation

3 March 1983 00:00:00 EST

Thursday March 3, 1983 – Wednesday March 30, 1983

Leonid Sokov’s exhibition ? and !, or Question and Exclamation, was developed around the notion that these two punctuation marks constitute the two poles in a process that defines creative human behavior. Together, according to the artist, they established the capacity and the will of the human thought process to question or exclaim upon an issue. Leonid Sokov, an artist of Russian origin, identified these two symbols as fundamental reference points in the creative tradition of his people, and after emigrating to America embarked upon a reexamination of this tradition. The exhibition was centered around two large sculptures in the form of a question mark and an exclamation mark, and from these two pieces radiated others, completely occupying Storefront’s exhibition space.
6.25" × 5", postcard

Money on Money

11 February 1983 00:00:00 EST

Friday February 11, 1983 – Tuesday February 22, 1983

The exhibition Money on Money was the result of an open call for ideas issued by Storefront aimed at generating discussion around what was perceived as a culture of capital-centric consumption. Participants in the competition were asked to send in redesign the one-dollar bill to reflect the true social values of the contemporary era. Instructions on the flyer, which featured partially blanked-out reproductions of both sides of a U.S. one-dollar bill, read: “Step 1: Fill in Blanks. Step 2: Hand deliver finished work to Storefront. Step 3: Opening Feb. 11, $1.00 donation accompanying each work. Bring your own refreshments.” Featuring currency redesigned by 86 artists, the exhibition closed on February 22nd, George Washington’s birthday.

Requiem or Same Day Dry Cleaning System

11 January 1983 00:00:00 EST

Tuesday January 11, 1983 – Saturday February 5, 1983

Requiem or Same Day Dry-Cleaning System was an installation- based exhibition conceived by Abram Nitsberg, Jim Renvelh and Alex Rudansky, three Russian—born artists living in New York City. The project, intended as a critique of the idolization of iconic historical figures within the contemporary context, was centered around a revolving conveyor system similar to those used by commercial dry cleaners to store cleaned garments. Cardboard cutouts of blue jeans—ostensibly belonging to these icons of world history—were hung from the conveyor. The project thus served as a metaphor for the cyclical nature of history, while also conflating pop culture with past historical events.

Drawings in Lead

9 November 1982 00:00:00 EST

Tuesday November 9, 1982 – Wednesday December 22, 1982

Storefront’s first solo exhibition, Drawings in Lead, focused on the work of Japanese-born, Brooklyn-based artist Toshio Sasaki. Sasaki’s work consisted largely of reliefs and sculptures created by molding sheet lead around wooden framed forms. Referred to by Sasaki as ’drawings in lead,’ these works investigated the diverse applications of the material, its malleability, strength, color and texture. Incorporating motifs such as waves, seashells, waterfowl and fish in geometric fields, Sasaki’s sculptures explored philosophical and mathematical dynamics in nature. The exhibition at Storefront included several freestanding works and wall-hung reliefs.

Gowanus Canal Redefined

18 October 1982 00:00:00 EST

Monday October 18, 1982 – Friday October 29, 1982

Organized by the Gowanus Memorial Artyard, Gowanus Canal Redefined presented proposals from an architectural competition that called for critical reinterpretations of the Gowanus Canal area in Brooklyn, New York. Once a vital industrial complex, by the early 1980s the area was suffering from neglect. In addition to a multitude of under—used factory buildings, the neighborhood featured a seawater canal, open park spaces and close proximity to Manhattan and public transportation. It was requested that proposals address and incorporate these elements.

Gowanus Canal Redefined was intended to facilitate interaction between artists and their community, stimulating analyses of geographical, economic and social conditions. Participants included Todd Ayoung, Dennis Joyce, Stephen Korns, Joe Lewis, Brian McMahon, Kristin Steen
Curators: Frank Shifreen, Scott Siken

Performance A-Z

18 September 1982 00:00:00 EST

Saturday September 18, 1982 – Friday October 1, 1982

Storefront for Art and Architecture’s inaugural event series, Performance A–Z, commenced on September 18, 1982 at 51 Prince Street, the gallery’s original location. Each of the 26 participating artists, performers and musicians was assigned a letter of the alphabet; every evening at 7pm, for 26 consecutive nights, a different artist carried out a performance in the gallery space or the nearby sidewalk. All performances were free and open to the public. Teching Hsieh, whose piece consisted of entering his home after having lived outdoors in New York City for one year, was the only artist to execute his performance at another location.

A. 9/18 Arlene Schloss

B. 9/19 Billy Bell

C. 9/20 Kwok Mang Ho

D. 9/21 Ilona Granet

E. 9/22 Tzvia Stein

F. 9/23 Angela Hans

G. 9/24 Barbara Held

H. 9/25 Des Refuses

I. 9/26 Teching Hsieh

J. 9/27 Phoebe Legere

K. 9/28 R & V Gerlovin

L. 9/29 We-Lo

M. 9/30 Hugh Levick

N. 10/01 Sandra McKee

O. 10/02 Dragan Ilic

P. 10/03 Yoshiko Chuma

Q. 10/04 Richard Hambleton

R. 10/05 Ken Friedman

S. 10/06 Aigars Kildiss

T. 10/07 Paul Boyd

U. 10/08 Eric Schmidt

V. 10/09 Carolee Schneeman

W. 10/10 Stephen Paul Miller

X. 10/11 RL Seltman

Y. 10/12 Claire Fergusson

Z. 10/13 Horizontal Vertical Band