Book Launch: Juan Downey, 1940–1993

 

97 Kenmare St

Saturday, June 29th, 2019

From 3 to 5 PM

 

[RSVP]

 

The relationship of culture to territory and political power is loaded with complexity and layered with history. Through a fluency in various forms of media and an interest in political and social engagement, Chilean artist Juan Downey channeled an interweaving dynamic of people, narrative, and place within his body of work. During his emblematic career, Downey developed an interdisciplinary practice that addressed environmental and anthropological concerns, examining the nuances and cultural shifts of society through video and interactive art, architecture, and cybernetics.

 

Presented as part of a new year-long public program called Building Cycles, Storefront for Art and Architecture partners with Ediciones MP to host the book launch of Juan Downey: 1940-1993. With the participation of book editor Javier Rivero Ramos, editor and contributor Julieta González, and contributor Felicity Scott, the event follows the structure of the publication, chronologically positioning Juan Downey’s legacy against a historical background that frames his practice within a wider artistic and political context. Participants will also present their own novel critical approaches, as well as those of co-contributors Francesco Pelizzi and Edward Shanken, which are elucidated within the book’s essays.

 

Prior to the event, Aquí vive gente—Storefront’s first exhibition as part of Building Cycles—will be on view to the public. Both Aquí vive gente and the book launch of Juan Downey, 1940-1993 contribute to Storefront’s investigations into building community, understanding  place, and presenting work that challenges contemporary views of our built environments.

 

RSVP here.

 

About Juan Downey: 1940-1993

Dedicated to one of the most emblematic Chilean artists of the second-half of the twentieth century, this publication features the most comprehensive compilation of Juan Downey’s works to date together with novel critical approaches by leading specialists.

 

The first section gathers the work of Juan Downey in a chronological structure that emphasizes the dexterity with which he moved across media. Sketched against a historical background that frames his practice within a wider artistic and political context, the section also anthologizes the texts written by Downey and presents a varied collection of ephemera such as photographs, invitations and excerpts from his journal.

 

Responding to the history and work of Juan Downey are four essays by Julieta González, Felicity D. Scott, Francesco Pellizzi, and Edward Shanken. The essay by Julieta González maps Downey’s career according to his profound investment in cybernetic theory in order to posit the concept and phenomenon of feedback as central to his entire praxis. Felicity D. Scott places Downey in the context of Cold War geopolitics— –alongside American participation in the 1973 Chilean coup—– to highlight the tensions and stakes that run through Downey’s performative harnessing of telecommunications. The essay by Franceso Pellizzi delves into Downey’s journey to the Amazons and his time dwelling with the Yanomami foregrounding the mediatic unintelligibility deployed by Downey as a means to riddle anthropology’s subject/object dyad. Edward Shanken examines the iconic video The Laughing Alligator through the lens of surrealist ethnographic critique, recuperating the latent mysticism that animates not only Downey but also anthropologists ascribed to the Collège de Sociologie such as Michel Leiris.

 

About Juan Downey

Chilean artist Juan Downey is known primarily as a pioneer of video art and interactive art, although his oeuvre spreads across many mediums, examining the efficacy of technology in forms of expression. Born in 1940 in Santiago, Chile, Downey trained as an architect at the Pontificia Universidad Católica de Chile. Upon graduation, he traveled to Europe to practice the fine arts, working with printmaking, until he moved to the United States. He became interested in media and feedback, as well as how they influence identity and representation. Working with emerging technologies, he was able to investigate these concepts, most famously in Video Trans Americas (1973-1977). Downey also worked as an Associate Professor at the School of Architecture and the School of Art and Design at the Pratt Institute in Brooklyn. Throughout his life, his work was exhibited internationally, and it still remains in the collections of institutions throughout Europe and the Americas. Downey died in New York in 1993.

 

About the Contributors

 

Julieta González works within the intersection of anthropology, cybernetics, architecture, design, and the visual arts, and has recently undertaken research and exhibitions addressing decolonial aesthetics in Latin America. She is the artistic director of the Museo Jumex in Mexico City, and has previously held curatorial positions at the Museu de Arte de São Paulo, São Paulo; Museo Tamayo, Mexico City; the Bronx Museum of the Arts, New York; Tate Modern, London; and the Museo Alejandro Otero and Museo de Bellas Artes in Caracas, Venezuela. She has curated more than 60 exhibitions in these venues and elsewhere. Her essays have been published in exhibition catalogues, books, magazines, and journals including Afterall.

 

Javier Rivero Ramos is a doctoral candidate at Princeton University’s Department of Art and Archeology, studying modern and contemporary art with a focus on Latin America. His research interests include international networks for artistic exchange in the latter half of the twentieth century and art under political and social duress. He is currently working on a monograph on Raphael Ortiz Montañez with El Museo del Barrio and a doctoral dissertation on the link between experimental poetry and mail art in South America.

 

Felicity D. Scott is the director of the PhD program in Architecture (History and Theory), and co-director of the program in Critical, Curatorial and Conceptual Practices in Architecture (CCCP) at Columbia University’s Graduate School of Architecture, Planning and Preservation. Seeking to expand and complicate the subject matter and methodological frameworks through which modern and contemporary art, architecture, and media practices are addressed, her work attends to the institutions, discourses, and media-technical formats (exhibitions, publications, time-based media, etc.) that, along with broader social, economic, scientific, environmental, political, and geopolitical forces, have helped shape and define these disciplines. In addition to publishing numerous articles in journals, magazines, and edited anthologies, she has published Outlaw Territories: Environments of Insecurity/Architectures of Counter- Insurgency (Zone Books, 2016), Disorientation: Bernard Rudofsky in the Empire of Signs (Sternberg Press, 2016), Living Archive 7: Ant Farm (ACTAR, 2008), and Architecture or Techno-Utopia: Politics After Modernism (MIT Press, 2007).

 

Francesco Pelizzi is an Associate in Meso-American Ethnology and Editor of the multidisciplinary journal RES–Anthropology and Aesthetics at Harvard University’s Peabody Museum of Archaeology and Ethnology. Additionally, he is a Co-Chair of the University Seminar on the Arts of Africa, Oceania, and the Americas at Columbia University.

 

Edward Shanken writes and teaches about contemporary art and new media. His recent writings include essays about art and software, sound art, ecological art, collaboration and innovation, and bridging the gap between new media and contemporary art. Since 2016, he has been an associate professor at the University of California, Santa Cruz, and has previously held teaching positions at the Rhode Island School of Design, University of Washington, and University of Amsterdam. His publications include: Systems (Whitechapel/MIT Press, 2015), Inventar el Futuro: Arte – Electricidad – Nuevos Medios (Departamento de Ficción, 2013), Art and Electronic Media (Phaidon, 2009), and Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (University of California Press, 2003). He holds an MA and PhD in Art History from Duke University, an MBA from Yale University, and a BA in Studio Art from Haverford College.

 

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This event is presented as part of Storefront for Art and Architecture’s year-long program of exhibitions and events, Building Cycles. Founding support of Building Cycles is generously provided by Linde-Griffith Construction Company and the Graham Foundation.

 

 

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; KPF; ODA; Rockwell Group; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

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Aquí vive gente:
Museum of History and Community
of Puerta de Tierra

 

Aquí vive gente: Museum of History and Community of Puerta de Tierra

Brigada Puerta de Tierra

June 1st – September 7th, 2019

97 Kenmare Street, New York, NY

 

See photos from the opening here. 

 

#aquívivegente          @brigadapdt         @storefrontnyc

 

Aquí vive gente (people live here). Throughout the neighborhood of Puerta de Tierra in San Juan, Puerto Rico, murals with this refrain brighten the walls and convey to passersby the self-determination of a community that is taking agency over the future development of its neighborhood.

 

This vision of collective action and cultural preservation—born out of hope and necessity—has been channeled toward efforts to realize a groundbreaking new organization in Puerta de Tierra. Storefront for Art and Architecture is honored to host the Museum of History and Community of Puerta de Tierra (MHC PDT). Previously housed only in the minds and living rooms of community members, this nascent museum is presented publicly for the first time ever at Storefront’s gallery space.

 

The museum emerged after years of work by Brigada Puerta de Tierra (BPDT), a multigenerational group of artists and activists. It puts forth the vision that the lived experiences of the people of Puerta de Tierra matter, and that they can uniquely tell the rich and complex histories of a community undergoing intense urban pressures that would drastically alter the character of its social fabric.

 

Brigada Puerta de Tierra is structured as a horizontal organization that uses art and storytelling as a tool for education. The group has its foundations in grassroots and collective action; it was formed in 2015 as a response to the construction of the controversial Paseo Puerta de Tierra, a major redevelopment project that lacked citizen involvement. With the goal of reclaiming the neighborhood, BPDT has been active ever since. Its members have cleaned, maintained, and transformed abandoned sites in Puerta de Tierra through creative initiatives such as mural-making, gardening, and other outdoor programs that bring neighbors together.

 

The Museum of History and Community of Puerta de Tierra is BPDT’s most ambitious initiative to date. Over the last few months, Storefront has provided institutional support intended to help fulfill the museum’s mission (developed through self-led workshops) “to affirm, care for, and carry with pride and dignity the cultural legacy of the neighborhood through community participation, and to preserve the cultural heritage and collective memory of Puerta de Tierra.”

 

Currently without a long-term venue for the museum, Brigada Puerta de Tierra has been working toward rehabilitating and legally gaining access to the Edificio Infanzón, a historic building in Puerta de Tierra that has been abandoned for decades. After its presentation at Storefront, the MHCPDT will launch an international tour to create awareness of both the fragility and power of the neighborhood’s identity. Eventually, Brigada Puerta de Tierra aims to present the museum at its permanent home at the Edificio Infanzón.

 

Storefront for Art and Architecture and Brigada Puerta de Tierra welcome you to the inaugural public presentation of the Museum of History and Community of Puerta de Tierra.

 

About Brigada Puerta de Tierra

Brigada Puerta de Tierra began in 2015, when a group of residents of Puerta de Tierra and Viejo San Juan joined in protest against the controversial Paseo Puerta de Tierra project for the lack of citizen inclusion in the design and planning process and for the environmental and cultural damages caused on the north coast of San Juan. Over the summer of 2015, the group, along with children and young people from the neighborhood who immediately showed interest in collaborating, began to create murals and engage in other activities in response to the Paseo Puerta de Tierra project.

 

This group, now known as Brigada Puerta de Tierra, focuses on the reactivation of abandoned areas and preservation of the neighborhood’s history and living culture. Uniting under the slogan “aquí vive gente,” BPDT is organized horizontally and collectively, and operates through four key concepts: self-management, awareness, strategic planning, and collective decision-making. For its various neighborhood initiatives and community activities since 2015, BPDT was recognized with the Merit and Dedication Award of the 46th edition of the Fiestas of San Sebastián Street for its commitment to its community and national culture.

 

In addition to this exhibition, Brigada Puerta de Tierra is being honored at Storefront’s 2019 Spring Benefit on Wednesday, May 29th at La Marqueta. For more information and to purchase tickets, visit www.storefrontbenefit.org.

 

CREDITS

Aquí vive gente: Museum of History and Community of Puerta de Tierra by Brigada Puerta de Tierra. Storefront for Art and Architecture, 2019.

 

A Project by Brigada Puerta de Tierra (BPDT)

Collectively developed by members of BPDT and residents of Puerta de Tierra, with special thanks to www.puertadetierra.info.

 

Hosted by Storefront for Art and Architecture

José Esparza Chong Cuy, Executive Director and Chief Curator

Jinny Khanduja, Deputy Director

Jessica Kwok, Gallery and Operations Manager

Patrick Jaojoco, Development and Communications Associate

Iara Pimenta, Curatorial Fellow

Chialin Chou, Associate Curator of Archives

Interns: Lin Sen Chai, Ellen Eberhardt, Ramses Gonzalez, Hana Halilaj, Caroline Taylor Koh Smith, Ipek Kosova, Daniel Li, Adela Locsin, Amora McConnell, Karen Wang

Graphic Design Assistance by Estudio Herrera

 

 

SUPPORT

 

Brigada Puerta de Tierra is the recipient of the 2017 Visible Award (Cittadellarte – Fondazione Pistoletto, Fondazione Zegna), funding from which has supported this exhibition.

 

 

Aquí vive gente is the first exhibition of Storefront for Art and Architecture’s year-long program of exhibitions and events, Building Cycles. Founding support of Building Cycles is generously provided by Linde-Griffith Construction Company and the Graham Foundation.

 

 

 

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; KPF; ODA; Rockwell Group; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

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Open Archive: Project DMZ, 30 Years After

Newsprint from Storefront for Art and Architecture’s 1988 exhibition, Project DMZ.

 

 

OPEN ARCHIVE: PROJECT DMZ, 30 YEARS AFTER

With Kyong Park, Dongsei Kim, Jungyoon Kim, Jinhyun Jun, Kangil Ji, Minkyung Song, Yehre Suh, Youngkyu Shim

 

Saturday, April 20th, 2019

97 Kenmare Street, New York, NY

 

Symposium

3 pm – 5 pm

 

Book Signing by Kyong Park

Imagining Eurasia: Visualizing a Continental History

5 pm – 6 pm

 

[RSVP]

 

Imagine the Korean Demilitarized Zone as a tiger farm or an airport, as an amulet for the reunification of the peninsula, or covered in a blanket of metal.

 

In November 1988, Storefront presented Project DMZ, an exhibition organized by Kyong Park and Cathleen Crab that imagined how the Korean DMZ might be occupied for non-military and anti-political uses. At the brink of South Korean democracy and right after the Seoul Summer Olympics, when it seemed almost possible that the DMZ could be the next geopolitical line to be removed, artists and architects such as Paul Virilio, Nam June Paik, Mo Bahc, and Lebbeus Woods proposed strategies for inventive use of the space, rather than for its outright elimination.

 

Today, 30 years later, the political divide between the two Koreas remains. However, recent and dramatic political rapprochement between North and South Korea and the United States hint at the potential for radical transformations to take shape in and around the DMZ.

 

Drawing upon Storefront’s extensive exploration of its own archival material, Project DMZ, 30 Years After brings together contemporary voices that address the DMZ in their own work and places them in conversation with works from the original exhibition in 1988.

 

Together, participants will question the urgency and agency of art and architecture to build new visions that engage socio-political predicaments such as the political division of the Korean Peninsula. Through the study of the unique landscapes and architectures of the DMZ, Project DMZ: 30 Years After identifies borders as one of the most fundamental structures that function to define “us” and “them.” In the wake of this divide, participants will imagine new futures that better serve the commons.

 

Project DMZ: 30 Years After is presented as part of the programming for Storefront’s current exhibition, State of Tyranny by Theo Deutinger, which examines the objects and spatial manifestations of tyranny both worldwide and locally in New York City. The event is also the first in a series of open archive events that Storefront will present periodically as part of its upcoming program, utilizing materials and documentation from the organization’s 36-year history of exhibitions, events, competitions, publications, and projects, in conjunction with the organization’s ongoing effort to arrange, digitize, and preserve its archive for broad public access. To learn more about Storefront’s archive, see here.

 

The event also launches the publication Imagining Eurasia: Visualizing a Continental History by Storefront’s founding director, Kyong Park.

 

ABOUT IMAGINING EURASIA: VISUALIZING A CONTINENTAL HISTORY

Imagining Eurasia visualizes the historical precedents and contemporary reconstructions of Europe and Asia as one continent, envisioning a new relationship between East and West. The book highlights the significance of cities, networks, and territories within urban, regional, and continental geopolitics. Through his research, Park questions whether greater trade, migration, and cultural exchange bring about greater empathy and communion between different societies, or they instead deepen distinctions and result in conflict. The book also uses photographs, videos, graphics, animations, and texts to examine the constitution of points, lines, and areas that have morphologically shaped the space and time of Eurasia. Learn more here.

 

ABOUT THE PARTICIPANTS

Kyong Park is Professor of Public Culture at University of California, San Diego, as well as the founder and first Director of a number of institutions, including Storefront for Art and Architecture (1982–98), the International Center for Urban Ecology in Detroit (1998–2001), and the Centrala Foundation for Future Cities in Rotterdam (2005–06). Park has also served as curator of the Gwangju Biennale (1997), Artistic Director and Chief Curator of the Anyang Public Art Project (2010), and Project Director of Imagining New Eurasia at the Asia Culture Center (2015–17). He has exhibited at the Museo de Arte Contemporaneo de Castilla y León (Spain), the Kunsthalle Graz, the Deichtorhallen (Hamburg), the Kunst-Werke Berlin, and the Nam June Paik Art Center (Seoul). He is the editor of Urban Ecology: Detroit and Beyond (2005) and the author of Imagining Eurasia: Visualizing A Continental History (2019).

 

Dongsei Kim is an architect, urbanist, and educator. He is an Assistant Professor at the New York Institute of Technology. His research examines nation-state borders across multiple scales that explore the ways we define “us” and ‘them’ through architecture and urbanism’s spatial “inclusion” and “exclusion.” His research on the Korean Demilitarized Zone and urbanism has been widely exhibited and published internationally in Topos, Volume, Inflection, Landscape Architecture Frontiers, and The North Korean Atlas. He contributed to the Golden Lion award-winning “Crow’s Eye View” exhibition at the 14th International Architecture Exhibition in Venice. He has taught at Korea University, Columbia University, Carleton University, RMIT, and Victoria University of Wellington (VUW). He received an MDesS (distinction) from Harvard University, MSAUD from Columbia University, and a B.Arch (honors) from VUW.

 

Jungyoon Kim is the Founding Principal of PARKKIM, a Seoul-based landscape architectural firm, and a Design Critic in Landscape Architecture at Harvard GSD. She founded the firm with Yoon-Jin Park in Rotterdam upon their winning entry in the Taiwan Chichi Earthquake Memorial Design Competition (2004). She has also completed projects with diverse scales and landscapes, including Yanghwa Riverfront (2011), CJ Blossom Park (2015), SBS Prism Tower (2012), and Triple Street Shopping Mall (2016). Current ongoing projects include the H Zen Center in Chicago and Hyundai Motors Training Facility. PARKKIM’s work has been recognized widely by contemporary design professionals and thinkers. Kim and Park also collaboratively published a book called Alternative Nature (2016) the compilation of articles in various media since 2001. Kim received a Master of Landscape Architecture from the Harvard University Graduate School of Design and Bachelor of Agriculture from Seoul National University with distinction.

 

Jinhyun Jun was educated in both fine art and landscape architecture, and brings exceptional attention to the perception of users in three-dimensional experience. He attempts to use diverse media, as he believes that both fine art and design can serve to renew people’s perspectives. Jun received a Master of Landscape Architecture from Harvard University and holds a Bachelor of Fine Art and Master of Landscape Architecture from Seoul National University. He is currently an Associate at Field Operations and a founder of Studio M.R.D.O. Jun has designed many diverse spaces and typologies, such as urban developments, theme parks, public parks, and gardens.

 

Kangil Ji is a registered architect and co-founder of the design research studio DOH-GAM, founded with Namjoo Kim. While using his studio practice to investigate the relationship between environment, geometry, and human perception, he is concurrently working on higher education projects at Perkins+Will. He has won international design competitions including the Seoul Hall of Urbanism & Architecture (2015, for which he also was a lead-designer), Hongdae Culture Platform (2016), and Arch Out Loud (2017). He has participated in the Elements of Architecture publication and exhibition for the 2014 Venice Biennale. He is a member of the AIA and holds an M.Arch from Harvard University Graduate School of Design.

 

Minkyung Song is an architect, urban designer, and researcher specializing in large-scale urban design solutions. Minkyung received a Master of Architecture in Urban Design from Harvard University and a Bachelor of Architecture from Yonsei University in Seoul. Before co-founding Studio M.R.D.O, she had worked on numerous interior design, architecture design, and urban design projects with renowned design offices including Kohn Pedersen Fox Associates; Skidmore, Owings & Merrill; and CAZA Architects. Minkyung also has been involved in research projects in Korea with AURI (Korea Architecture and Urban Research Institute) and LH (Korea Land and Housing Corporation).

 

Youngkyu Shim is the founder and director of Project-DAY. He is also the Editor-in-Chief of GARM Magazine. He studied at Architectural Engineering at Hanyang University, and has been a reporter for the Joongang Daily Newspaper and Assistant Manager at SPACE Magazine. His research article on the DMZ, “A Flexible Expansion of Space to Resolve Conflicting Borders: The Demilitarized Zone of the Korean Peninsula” was published in the Journal of Territorial and Maritime Studies in 2014.

 

Yehre Suh is an Assistant Professor of Urban Design at Seoul National University’s Graduate School of Environmental Studies, as well as Director of Urban Terrains Lab and the Office of Urban Terrains. She was the Curator of Asian Urbanism at the Asia Culture Center in Gwangju, Korea and has previously taught at Cornell University, Barnard College, City College of New York, and Pratt Institute. Suh’s research work focuses on the parallel urbanisms of North and South Korea. She is a registered architect in New York and New Jersey, and is a LEED AP BD+C accredited professional. She received a B.F.A. and an M.F.A. in Industrial Design from Seoul National University in Seoul, Korea, and a Masters in Architecture at the Harvard University Graduate School of Design.

 

CREDITS

OPEN ARCHIVE: PROJECT DMZ, 30 YEARS AFTER is organized by Dongsei Kim, with research assistance and project management by Yisoo Choi. The event is based on ongoing research on the Korean Demilitarized Zone and original archive materials from Storefront for Art and Architecture’s 1988 exhibition, Project DMZ, organized and curated by Kyong Park and Cathleen Crab.

 

SUPPORT

PROJECT DMZ: 30 YEARS AFTER is supported by the New York Institute of Technology’s Institutional Support for Research and Creativity (ISRC) Grants.

 

The digitization of Storefront’s archive is made possible by a major grant from the National Historical Publications and Records Commission (NHPRC). The archive has also received generous support from the Documentary Heritage Program of the New York State Archives, a program of the State Education Department; the National Endowment for the Humanities (NEH); the Council on Library & Information Resources (CLIR); and Mr. Robert M. Rubin.
 
 
Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; KPF; ODA; Rockwell Group; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 

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Tyranny Trail


Presented as part of
State of Tyranny by Theo Deutinger

March 29th – May 4th, 2019

97 Kenmare Street, New York, NY

 

Tyranny Trail Guided Tour Dates:

Saturday, April 13th:

11 am–1 pm

3 pm–5 pm

with Ingrid Burrington

 

Friday, April 19th

3 pm–5 pm

with John Michael Kilbane

 

Saturday, April 20th

11 am–1 pm

with John Michael Kilbane

 

Friday, April 26th

11 am–1 pm

3 pm–5 pm

with Rebecca Manski

 

[READ ABOUT TOUR GUIDES BELOW]

 

[RSVP HERE]

 

All tours are free of charge. Guided tours depart from Storefront for Art and Architecture’s gallery space and end at the 9/11 Memorial. The estimated duration of the tours is two hours. Please wear comfortable shoes and be prepared to walk in areas with high pedestrian and vehicular traffic.

 

How do we understand tyranny? Tyranny defines contemporary culture, and though it is often talked about conceptually, its more subtle spatial manifestations have a real impact on our cities and public spaces. Despite a steady rise in street-level activism, hostile and defensive design have gradually and quietly transformed our buildings, parks, and homes into sites of surveillance and societal control.

 

As part of the exhibition State of Tyranny, Storefront presents the Tyranny Trail, which follows a route through the streets of Lower Manhattan, beginning at Storefront’s gallery space and ending at the 9/11 Memorial. The trail, developed by Theo Deutinger, highlights methods of control such as roadblocks, wedge barriers, and other anti-terror measures. It also highlights smaller-scale “quality of life” interventions that are more inconspicuous in our urban context, such as anti-skateboarding devices, anti-homeless bench design, and anti-graffiti paint.

 

On four dates in April, guided tours will be led by experts whose work addresses related issues. Guides include: Ingrid Burrington, a researcher and writer who explores the often-overlooked physical landscapes of internet and surveillance infrastructures; John Michael Kilbane, a photographer who has recently documented hostile architecture in New York City; and Rebecca Manski, an independent researcher and educator whose work in the Wall Street area considers issues of displacement, occupation, and decolonization.  

 

For those who cannot attend scheduled tour times, the Tyranny Trail can be walked as a self-guided tour. Detailed maps of the route, available at Storefront’s gallery space, contextualize each stop of the tour, enabling visitors to explore the Tyranny Trail on their own.

 

A PDF map of the trail is also available for self-guided tours here.

 

Read more about State of Tyranny here.

 

ABOUT THE TOUR GUIDES

Ingrid Burrington writes, makes maps, and tells jokes about places, politics, and the weird feelings people have about both. Much of her work focuses on mapping, documenting, and studying the often-overlooked landscapes of the internet (and the ways in which the entire planet has become, in effect, a “landscape of the internet”). Her areas of inquiry vary widely, from the open-pit mines where minerals are extracted to create hardware, to the quiet insinuation of fiber optic cable and antennae into urban environments. By examining the political geography and embodied realities of living on a networked planet, she seeks to demystify these technologies for non-technical publics and to reframe technology’s underlying politics and power dynamics. Her writing has appeared in The Atlantic, The Nation, Popula, e-flux journal, and other outlets. She is also the author of Networks of New York: An Illustrated Field Guide to Urban Internet Infrastructure. Ingrid has previously taught at Rhode Island School of Design, the Cooper Union, and the School for Poetic Computation.

 

John Michael Kilbane is a photographer from Illinois. He studied literature at Marquette University and University College London and has since held jobs in publishing and at an independent bookstore in Brooklyn before entering the General Studies program at the International Center of Photography in 2016. His photographs are made out of a close observation and attention to the human-shaped world. See his work at www.johnkilbane.com.

 

Rebecca Manski is an independent researcher and educator specializing in the history of the Wall Street area, currently based at the South Street Seaport Museum. She first became intrigued by Lower Manhattan during her years with Occupy Wall Street’s Press Working Group. Before moving to New York to complete an Interdisciplinary Masters in Public History and Middle Eastern Studies, Rebecca lived in Palestine, doing media and advocacy work with a plethora of Palestinian organizations between 2003-2008. Having also lived the first five years of her life in Jerusalem, Rebecca’s thinking has always been informed by issues of displacement, walls, borders, liminal spaces, zones of indistinction, the Commons, and decolonization.

 

SUPPORT

State of Tyranny is supported by Creative Industries Fund NL and the Federal Chancellery of Austria.

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; KPF; ODA; Rockwell Group; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 
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State of Tyranny

CSR_Mon_Mar_27

STATE OF TYRANNY

Theo Deutinger

March 29th – May 4th, 2019

97 Kenmare Street, New York, NY

 

TYRANNY TRAIL GUIDED TOURS:

Saturday, April 13th: 11 am–1 pm / 3 pm–5 pm

Friday, April 19th: 3 pm–5 pm

Saturday, April 20th: 11 am–1 pm

Friday, April 26th: 11 am–1 pm / 3 pm–5 pm

 

All tours are free of charge and depart from Storefront for Art and Architecture’s gallery space. Learn more and RSVP here.

 

#stateoftyranny      #tyrannytrail      @storefrontnyc

 

How do we understand tyranny? Its global presence is felt and heard daily. It permeates news cycles, it defines the plots of television shows, and it has to be explained to our children. Tyranny defines contemporary culture, and though it is often talked about conceptually, its more subtle spatial manifestations have a real impact on our cities and public spaces.

 

Throughout the world, people, communities, and territories are at risk due to the design of the spaces they inhabit. Despite a steady rise in street-level activism, hostile and defensive design have gradually and quietly transformed our buildings, parks, and homes into sites of surveillance and societal control.

 

State of Tyranny unveils the methods and tools of urban design that seek to disable public agency in the name of public safety. The exhibition reorients our understandings of the power of the city and state-and the architectures they employ-through an installation in Storefront’s gallery space and a series of walking tours through Lower Manhattan called the Tyranny Trail.

 

Expanding upon research conducted by Theo Deutinger for his recent publication, Handbook of Tyranny, the exhibition and tours call attention to the spatial effects of tyranny, ultimately aiming to identify methods of control commonly used around the world, and to contextualize their embeddedness within New York City’s urban fabric.

 

ABOUT THE INSTALLATION

State of Tyranny displays seven categories of control and design used in the service of power, from walls and fences to crowd control to prison cells and more. Through objects and tools such as passports and defensive tree plantings, the installation brings to attention to the ubiquity of oppressive design on global and local scales.

 

Detailed descriptions of the objects–sourced in part from the dry and technical language used by manufacturers praising the efficiency of these tools–gloss over the fact that their purpose is for the direct or indirect harm of human beings. Subdued by their coldness, the descriptions bring awareness to the ways in which design is abstracted through language that serves to normalize and obscure the objects’ inherent power.

 

Alongside the installation, videos that display particular objects such as skate deterrents and surveillance cameras will underscore the detrimental impacts of their use in public space. By focusing on the micro-scale tools of tyranny and control, State of Tyranny seeks to recontextualize design-based manifestations of power scattered throughout the city, and to highlight to the specific ways in which the culture of tyranny is present in urban and public spaces around the world.

 

ABOUT THE TYRANNY TRAIL:

The Tyranny Trail situates the objects and tools of tyranny locally, providing a new lens through which seemingly innocuous elements of buildings and neighborhoods are illuminated to participants as directly harmful to collective, communal, and politically active public life.

 

The Tyranny Trail follows a route through the streets of Lower Manhattan, beginning at Storefront’s gallery space and ending at the World Trade Center Memorial. The trail reiterates and expands upon the examples present in the installation, further conveying their implications for urban development and public use.

 

The tours, guided by local artists and researchers whose work addresses related issues, will highlight methods of control such as roadblocks, wedge barriers, and other anti-terror measures. Tours will also highlight smaller-scale “quality of life” interventions that are more inconspicuous in our urban context, such as anti-skateboarding devices, anti-homeless bench design, and anti-graffiti paint.

 

A map of the Tyranny Trail, provided at Storefront’s gallery space, will outline the route and contextualize each stop on the tour, enabling visitors to explore the Tyranny Trail on their own outside of scheduled tour times.

 

ABOUT HANDBOOK OF TYRANNY

State of Tyranny and the Tyranny Trail are an expansion upon the research conducted for Handbook of Tyranny by Theo Deutinger, which addresses how elements of power are present in both the visual and logistical language of our cities and spaces. Through graphic illustrations, maps, diagrams, and other visualizations, the publication provides insight into the relationship between political power, territoriality, and systematic cruelties.

 

ABOUT THEO DEUTINGER

Theo Deutinger is an architect, writer, and designer of socio-cultural studies. He is the founder and head of TD, an office that combines architecture with research, visualization, and conceptual thinking at all scales, from global planning, urban master plans, and architecture to graphic design and journalism. Deutinger has written about the transformation of urban cultures through the consumption and influence of contemporary media. His work has been published in Mark, Wired, and Domus, and has been exhibited in Future Fictions Z33 (Hasselt, 2014), the Bi-City Biennale of Urbanism/Architecture (Shenzhen/Hong Kong, 2014) and the 2014 Venice Architecture Biennale. Deutinger has held teaching positions at Bauhaus (Dessau), Harvard GSD (Cambridge) and the Strelka Institute (Moscow). Currently, he teaches at the University of Art and Design Linz (Austria) and the Design Academy Eindhoven (Netherlands).

 

CREDITS

 

State of Tyranny by Theo Deutinger. Commissioned by Storefront for Art and Architecture, 2019. Based on research presented in Handbook of Tyranny, 2018 by Theo Deutinger and Lars Müller Publishers.

 

Exhibition Concept and Design: Theo Deutinger and Brendan McGetrick

Exhibition Design Assistance: Stefanos Filippas, Jolande Kirschbaum

Research Assistance: Filip Arnsberg, Marlene Deutinger, Marie-Luise Muyselaar, Arseniy Sverdlov

Graphic Design: Studio Lin

State of Tyranny Team: Theo Deutinger and Brendan McGetrick, with Filip Arnsberg, Marlene Deutinger, Stefanos Filippas, Jolande Kirschbaum, Marie-Luise Muyselaar, Arseniy Sverdlov

Handbook of Tyranny Team: Joan Alcobé Alonso, Liam Cooke, Theo Deutinger, Stefanos Filippas, Marilia Kaisar, Jolande Kirschbaum, Eliza Mante, Vasiliki Mavrikaki, Tomasz Świetlik, Ekaterina Vititneva

 

Storefront for Art and Architecture

José Esparza Chong Cuy, Executive Director and Chief Curator

Jinny Khanduja, Deputy Director

Jessica Kwok, Gallery and Operations Manager

Patrick Jaojoco, Development and Communications Associate

Iara Pimenta, Curatorial Fellow

Chialin Chou, Associate Curator of Archives

 

Interns: Mila Broomberg, Gregory Carroll, Lin Sen Chai, Nadia Chan, Ellen Eberhardt, Daniel Li, Amora McConnell, Yuanyi Zhang

 

SUPPORT

State of Tyranny is supported by Creative Industries Fund NL and the Federal Chancellery of Austria.

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; KPF; ODA; Rockwell Group; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by Storefront’s Board of Directors, members, and individual donors.

 
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Letters to the Mayor: Barcelona

Letters to the Mayor: Barcelona

March 28th, 2019 – May 5th, 2019

In collaboration with the Architects’ Association of Catalonia (COAC) and urbanNext

 

#letterstothemayor #letterstothemayorbarcelona @storefrontnyc

 

Storefront presents Letters to the Mayor: Barcelona in collaboration with the Architects’ Association of Catalonia (COAC) and urbanNext as part of the global project, Letters to the Mayor. Each iteration of Letters to the Mayor presents a collection of letters by more than 100 architects, addressing the most pressing issues facing their city.

 

Letters to the Mayor: Barcelona invites architects to write to the mayor of Barcelona, Ada Colau.

 

Participants

Archikubik/Marc Chalamanch/Miquel Lacasta/Carmen Santana, Irma Arribas, Carolina B. García Estévez, Anna Bach, Teresa Batlle Pagès, Sandra Bestraten i Castells, Ibon Bilbao, Josep Bohigas Arnau, Marta Bugés i Aragonés, Denise Castro, Marina Cervera/Students Màster Paisatge UPC, Chiara Cesareo, Curro Claret, Jaume Clèries, Ana Cocho Bermejo, CollLeclerc/Jaime Coll/Judith Leclerc, Comando Señoras, Marc Conangla, Carles Crosas, Ignasi Cubiñá, Nu Diaz, Tomas Diez, Dobooku, Julia Doz/Cristina Garriga/My Bookcase, Expósito Expósito, Ramon Faura, Fulleda Arquitectes, Toni García, Mariona Genís Vinyals, Kathrin Golda-Pongratz, Daniela Hartmann, Sonia Hernández-Montaño, Alex Ivancic, Imma Jansana, Montsa Jovani/Caves Berdié/Jovani Vins, LaCol Arquitectura Cooperativa, Xarxa La Pera/Toni Sonalas/Cristina Casali, Josep Maria de Llobet, Marta Llorente, Areti Markopoulou, Rafael Martínez/Esther Ribas, Mayorga + Fontana arquitectos/Pia Fontana/Miguel Mayorga, MIAS Architects/ Josep Miàs/Marc Subirana, Nerea Mota, Zaida Muxí, NUA arquitectures/Maria, Simone Orso, Roger Paez, Jaume Prat Ortells, Eva Prats, Teresa del Pozo, Moisés Puente, Carmen Rodríguez Pedret, Marina Romero, Maria Rubert, Àfrica Sabé Dausà, Tomoko Sakamoto, Eduard Sancho Pou, Helena Sanz Palau, Glòria Serra Coch, Erica Sogbe, Son Canciones/ Mabel Alonso/Lieven Scheerlinck, Soon in Tokyo/ Angelo Palma, Olga Subirós, Judit Taberna Torres, Daniel Torres, Sara Torres/Víctor Betriu, Jon Tugores, Teresa Urroz/Chus Gómez, José Luis de Vicente, Vora/Pere Buil Castells/Toni Riba Galí

 

PROJECT TEAM

 

Local Curators

Ricardo Devesa, Xavier González, Núria Moliner (members of the urbanNext platform)

 

Mayoral Desk and Architect’s Table Design

L’estoc

 

Graphic Design and Wallpaper Design

Marga Gibert

 

Exhibition Design

Ricardo Devesa, Xavier González, Núria Moliner

 

Exhibition Organizers and Coordinators

Architects’ Association of Catalonia (COAC), Josep Ferrando (member of the Governing Board at COAC), and Gemma Molas (Cultural Events Assistant at COAC)

 

ABOUT LETTERS TO THE MAYOR

 

Letters to the Mayor is an itinerant exhibition that displays letters written by architects to their city mayors. Initiated by Storefront for Art and Architecture in 2014, the project has traveled to more than 20 cities across the globe, including Bogotá, Mexico City, Athens, Panama City, Taipei, Mariupol, Madrid, Lisbon, and Buenos Aires, among others. See here for a list of iterations.

 

Letters to the Mayor invites 100 architects in each city to write a letter to their mayor as a means of bringing innovative ideas and visions of the city closer to the decision-makers, and vice versa.

 

Throughout history, architects have addressed this responsibility by navigating the structures of economic, political, and cultural power in different ways, and with varying degrees of success. With the rise of globalization and the homogenization of the contemporary city, the political role of the architect has often been relegated to providing answers to questions that others have asked.

 

Letters to the Mayor questions this dynamic by inviting local and global architects to deliver their thoughts directly to the desks of elected officials and, simultaneously, into the public consciousness.

Call for Ideas: Independent Projects

Totora Reed Floating Islands of the Uros, Peru. Enrique Castro-Mendivil / @castromendivilphoto. From Ancient Innovations, Julia Watson, 2018. 

 

This year, Storefront will sponsor twenty independent architecture and design projects through NYSCA.

 

WHAT IS THE GRANT?

 

The Architecture + Design Program of the New York State Council on the Arts (NYSCA) awards project grants for individuals or teams through its Independent Projects category. These grants, of up to $10,000, are awarded to architects, landscape architects, graphic designers, fashion designers, industrial designers, and interior designers to “creatively explore or research an issue or problem in the design, planning, and/or historic preservation fields that advances the field and contributes  to the public’s understanding of the built environment.”

 

NYSCA seeks projects that are innovative in nature and emphasize the artistry of design excellence. Projects may lead to the creation of design prototypes, explore new technology that impacts design, research a topic in design or architectural history, or engage in critical or theoretical analyses.

 

Storefront will sponsor up to 20 projects for the 2020 calendar year. Priority will be given to applications that align with Storefront’s organizational mission to advance innovative and critical positions that go beyond disciplinary and ideological boundaries.

 

Learn more about the program here, and read about NYSCA’s FY2020 guidelines here.

 

HOW DO I APPLY?

 

  1. Complete the initial application form and send it to apply@storefrontnews.org with the subject line “NYSCA Independent Project Application Request” no later than 6 pm on Friday, March 1st, 2019.
  2. If you are selected as one of the 20 projects sponsored by Storefront, you will be asked to submit a full project proposal to Storefront for Art and Architecture no later than 6 pm on Friday, March 22nd.
  3. Additional application materials may be required in order to complete the submission. All additional materials must be received no later than 4pm on March 26th, 2019.

 

AM I ELIGIBLE?

 

Grants are for individuals or groups, and applicants must be New York State residents at the time of application and while the project is being implemented. Student and faculty work that serves as part of a course curriculum is ineligible. Projects submitted by current students or faculty must demonstrate that the work was not part of a course curriculum. Note that individuals or teams may not apply for another NYSCA project with another team or with another fiscal sponsor organization. If individuals appear on more than one request, both requests will be ineligible for support. Further eligibility requirements may apply.

 

WHAT IS THE TIMELINE?

 

NYSCA Independent Project Grants cannot be used to support past work or current client work. They are intended to support new ideas and explorations that further the evolution of relevant design fields. Therefore, projects must take place between January 2020 and December 2020.

 

HOW CAN I LEARN MORE?

 

The complete program guidelines and application instructions are available here. For additional information, visit www.nysca.org.

Members Tour: United Nations

UNtour

 

Friday, January 25th, 2019

4 – 6 pm

 

United Nations

 

With Ginni Wiik of the Royal Norwegian Consulate General

 

[Members RSVP]

 

#sfmembership @storefrontnyc

 

Members of Storefront for Art and Architecture are invited to a tour of the United Nations, led by Norwegian Consul Ginni Wiik.

 

Attendees will learn about the history of the UN complex, as well as how politics, architecture, and art have come together in the making of one of the most important political spaces in our city and across the globe. The tour will also make connections between the buildings and their surroundings, contextualizing the structures of the UN—as well as unseen aspects of their interiors—within the broader architectural history of Manhattan.

 

HOW TO RSVP

 

This tour is open to members of Storefront for Architecture. To attend, please RSVP here by Tuesday, January 22nd, 2019.

 

If you’d like to join Storefront’s membership program in order to attend the tour, see here for more information or email membership@storefrontnews.org.

Members Tour: ALL THAT IS SOLID by Pablo Gómez Uribe

Membership Tour Proxyco
 
Thursday, December 13th, 2018
7 pm 
 
PROXYCO Gallery
168 Suffolk Street, New York, NY
 
With Pablo Gómez Uribe
 
 
#sfmembership          @storefrontnyc
 

Members of Storefront for Art and Architecture are invited to a tour of ALL THAT IS SOLIDthe current exhibition at PROXYCO Gallery. The tour will be led by artist Pablo Gómez Uribe. 

 
Pablo Gómez Uribe uses his practice to investigate manifestations of social and political conflicts in urban environments, highlighting how traumatic events create new literal and psychological landscapes in cities. Gómez Uribe has previously worked with Storefront as the designer of the mayoral desk and architect’s table for Letters to the Mayor: Bogotá.
 
ALL THAT IS SOLID showcases recent work by Gómez Uribe that explores the notion of architecture as progress. The exhibition presents material tests for the building of a new fictional city, “Medenyal,” which has roots that lie in the demolished buildings of the artist’s hometown of Medellín. The show also puts forth proposals for new types of bricks made from the ruins of buildings and other materials, as well as exploratory artworks that problematize the relationships between memory and industry, culture and displacement, and dilapidation and development. 
 
HOW TO RSVP
 
This tour is open to members of Storefront for Architecture. To attend, please RSVP here by Tuesday, December 11th, 2018. A wine reception will follow the event. 
 
If you’d like to join Storefront’s membership program in order to attend the tour, see here for more information and email membership@storefrontnews.org.
 
Read more about the exhibition here.

Manifesto Series: Closed Worlds

CSR_Mon_Mar_27

Graphic design by Pentagram.

 

97 Kenmare Street

Thursday, December 6th, 2018

7 – 9 pm

 

With Lydia Kallipoliti, Peder Anker, Ross Exo Adams, Anna Dyson, Andrés Jaque, Anthony Vidler, and Mark Wigley

 

What do space capsules, submarines, and office buildings have in common? Each was conceived as a closed system: a self-sustaining physical environment demarcated from its surroundings by a boundary that does not allow for the transfer of matter or energy.

 

The history of twentieth-century architecture, design, and engineering has been strongly linked to the conceptualization and production of closed systems. As partial reconstructions of the world in time and in space, closed systems identify and secure the cycling of materials necessary for the sustenance of life. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems.

 

From the space program to countercultural architectural groups experimenting with autonomous living, The Architecture of Closed Worlds, Or, What is the Power of Shit? (Lars Müller, 2018) documents a disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism, wherein the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings. While these ideas derive from a deeply rooted fantasy of architecture producing nature, The Architecture of Closed Worlds displays their integration into the very fabric of reality in our contemporary cities and buildings.

 

Manifesto Series: Closed Worlds brings together a panel of architects, building technologists, and historians to discuss the complex and divergent legacies of sustainable design practice as a bodily reality, beyond the statistics of resource management. Participants will be asked to present manifestos that convey counter histories and projected futures of closed systems in order to consider the potential impact of designing environments that simultaneously provide enclosure, sustainability, and sustenance. In order to challenge the established sustainability axiom “cradle to cradle,” one may need to look at shit.

 

About the Manifesto Series

 

The Manifesto Series format invites participants to denounce a present or past condition, proclaim an alternative present, past or future situation, and indicate a strategy or method of action.  

 

About the Book

 

The Architecture of Closed Worlds, Or, What is the Power of Shit?

 

The Architecture of Closed Worlds, Or, What is the Power of Shit? presents an archive of 37 historical living prototypes from 1928 to the present that put forth an unexplored genealogy of closed resource regeneration systems. Prototypes are presented through unique discursive narratives accompanied by historical images, and each includes new analysis in the form of a feedback drawing that problematizes the language of environmental representation by illustrating loss, derailment, and the production of new substances and atmospheres. Each drawing displays a feedback loop, wherein the human physiology of ingestion and excretion becomes the combustion device of an organizational system envisioned for humans, animals, and other live species. The moments of failure portrayed when closed worlds escape the designed loop cycles raise a series of questions about the ontology of autonomous enclosures.

 

The book also showcases a timeline of the 37 prototypes, illuminating the ways in which they have contributed to the idea of “net zero” in our contemporary culture of sustainability. The timeline highlights the evolution of total circular resource regeneration, from military research and the experiments of NASA’s space program, to more contemporary manifestations such as the benefits of the housing industry, countercultural practice for autonomous living in the city, nostalgia for the homesteading movement, and ecological tourism and environmental capitalism.

 

This book examines ecological questions viscerally, via the raw ecology of our bodies and their excrement. It studies recycling not as a statistical problem related to the management of urban resources but as a basic bodily reality affecting the water we consume and the air we breathe. To write a counter-history to the established sustainability axiom “cradle to cradle,” one needs to look at shit. Only through this raw confrontation may the ecology of life be somehow useful. To avoid clichés of sustainability, shit might be our only way out.

 

This book is supported by the Robert S. Brown ’52 Fellows Program at Rensselaer Polytechnic Institute, Elise Jaffe & Jeffrey Brown, and Pentagram Design. It is based on the exhibition Closed Worlds, presented at Storefront’s gallery space in 2016.

 

Book design by Pentagram / Natasha Jen. Afterword essays by: Michelle Addington, Bess Krietemeyer, and Mark Wigley. Comments by: Peder Anker, Daniel Barber, Wulf Böer, Christina Ciardullo, Beatriz Colomina, Ross Exo Adams, Mitchell Joachim, Janette Kim & Eric Carver, Caroline Maniaque-Benton, Jonathan Massey, Albert Narath, and Theodora Vardouli.

 

About the Author

 

Lydia Kallipoliti is an architect, engineer, and scholar whose research focuses on the intersections of architecture, technology, and environmental politics, and more particularly on recycling material experiments as well as theories of waste and reuse. She is an Assistant Professor of Architecture and the Director of the Master of Science Program at Rensselaer Polytechnic Institute. She has also taught at Syracuse University, Columbia University (GSAPP), Pratt Institute and the Cooper Union, where she also served as a Senior Associate at the Institute for Sustainable Design and as the Feltman Chair in Lighting.

 

Her work has been published and exhibited widely including the Venice Biennial, the Istanbul Design Biennial, the Shenzhen Biennial, the Onassis Cultural Center and the Royal Academy of British Architects. Kallipoliti was the founder of EcoRedux, an innovative online open–source educational resource documenting the history of ecological experimentation, for which she received a silver medal in the W3 awards for environmental awareness, an honor at the 14th Webby Awards in Digital Arts and Sciences, the High Meadows Sustainability Fund, and the Lawrence Anderson Award for the creative documentation of architectural history. EcoRedux was also a traveling exhibition (including museums in Athens, New York and the Design Hub in Barcelona) and an issue of Architectural Design magazine (AD) edited by Kallipoliti in 2010.

 

Recently she authored The History of Ecological Design for Oxford English Encyclopedia of Environmental Science (2018) and the book The Architecture of Closed Worlds, Or, What is the Power of Shit (Lars Muller Publishers/Storefront for Art and Architecture, 2018), based on the exhibition, Closed Worlds, at Storefront for Art and Architecture in 2016, and supported by the Graham Foundation, the New York State Council for the Arts, as well as the ACSA award for creative achievement. Kallipoliti holds a Diploma in Architecture and Engineering from the Aristotle University of Thessaloniki, Greece, a Master of Science (SMArchS) in design and building technology from MIT and a PhD in history and theory of architecture from Princeton University.

 

Participant Bios

 

Ross Exo Adams is the FRK Faculty Fellow Assistant Professor of Architecture & Urban Theory at Iowa State University. His research looks at the history and politics of urbanization. He has published and presented widely on social and political relations between architecture, urban design, geography, and climate change. His research has been supported by fellowships and grants from the Royal Institute of British Architects, The London Consortium, Iowa State University and The MacDowell Colony. He has taught at the Bartlett, the Architectural Association, the Berlage Institute in Rotterdam, and the University of Brighton and is the Reviews Editor for The Journal of Architecture. His monograph, Circulation and Urbanization, is forthcoming this winter.

 

Peder Anker is Associate Professor at the Gallatin School of Individualized Study at New York University. His teaching and research interests lie in the history of science, ecology, environmentalism and design, as well as environmental philosophy. He has received research fellowships from the Fulbright Program, the Dibner Institute and the Max Planck Institute for the History of Science, and been a visiting scholar at both Columbia University and University of Oslo. He is the co-author of Global Design: Elsewhere Envisioned (Prestel, 2014) together with Louise Harpman and Mitchell Joachim. He is also the author of From Bauhaus to Eco-House: A History of Ecological Design (Louisiana State University Press 2010), which explores the intersection of architecture and ecological science, and Imperial Ecology: Environmental Order in the British Empire, 1895-1945 (Harvard University Press, 2001), which investigates how the promising new science of ecology flourished in the British Empire. Professor Anker’s current book project explores the history of ecological debates in his country of birth, Norway. Peder Anker received his PhD in history of science from Harvard University in 1999.

 

Anna Dyson teaches design, technology, and theory at the School of Architecture at Rensselaer. She is the director of The Center for Architecture, Science and Ecology (CASE) which hosts the Graduate Program in Architectural Sciences, concentration is Built Ecologies. She has worked as a design architect and product designer in several offices in Canada, Europe, and the United States. Her work has been exhibited in the MoMA Young Architects Series, and was a finalist in the international Next Generation Design Competition. Dyson holds multiple international patents for building systems inventions and is currently directing interdisciplinary research sponsored to develop new systems for on-site energy generation. Dyson received a Baccalauréat Général from Université Laval and a Master of Architecture from Yale University.

 

Andrés Jaque, Phd Architect (ETSAM), is an Associate Professor of Professional Practice at Columbia GSAPP, where he directs the Master of Science program in Advanced Architectural Design. Jaque is the founder of the Office for Political Innovation, an architectural practice based in New York and Madrid, Spain, and has been teaching advanced design studios at Columbia GSAPP since 2013. His architectural work includes ‘Plasencia Clergy House’, ‘House in Never Never Land’, ‘TUPPER HOME’, ‘ESCARAVOX’ or ‘COSMO, MoMA PS1’. The Office for Political Innovation has been awarded with the SILVER LION to the Best Research Project at the 14th Venice Biennale, the Dionisio Hernández Gil Award, London Design Museum’s Designs of the Year Selection, Mies van der Rohe Award (finalist) and Architectural Record’s Designers of the Year Selection. Their publications include PHANTOM. Mies as Rendered Society, Different Kinds of Water Pouring into a Swimming Pool, Dulces Arenas Cotidianas or Everyday Politics; and their work has being included in the most important media, including A+U, Bauwelt, Domus, El Croquis, The Architectural Review, Volume or The New York Times; and exhibited at the Museum of Modern Art MoMA, London Design Museum, MAK in Vienna, Tel Aviv Museum of Art, RED CAT Cal Arts Contemporary Art Center in Los Angeles, Z33 in Hasselt, Schweizerisches Architektur Museum in Basel, the Cité de l’Architecture et du Patrimoine de Paris, the Hellerau Festspielhaus in Dresden, Princeton University SoA.

 

Anthony Vidler received his professional degree in architecture from Cambridge University in England, and his doctorate in History and Theory from the University of Technology, Delft, the Netherlands. Dean Vidler was a member of the Princeton University School of Architecture faculty from 1965–93, serving as the William R. Kenan Jr. Chair of Architecture, the Chair of the Ph.D. Committee, and Director of the Program in European Cultural Studies. In 1993 he took up a position as professor and Chair of the Department of Art History at UCLA, with a joint appointment in the School of Architecture from 1997. Dean Vidler was appointed Acting Dean of the Irwin S. Chanin School of Architecture of The Cooper Union in 2001, and Dean of the School in 2002. A historian and critic of modern and contemporary architecture, specializing in French architecture from the Enlightenment to the present, he has consistently taught courses in design and history and theory and continues to teach a wide variety of courses at The Cooper Union. He stepped down from the Deanship in 2013. As designer and curator he installed the permanent exhibition of the work of Claude-Nicolas Ledoux in the Royal Salt Works of Arc-et-Senans in Franche-Comté, France, as well as curating the exhibition, Ledoux et les Lumières at Arc-et-Senans for the European year of Enlightenment. In 2004 he was asked to curate the portion of the exhibition Out of the Box dedicated to James Stirling, for the Canadian Center of Architecture, Montreal, and in 2010 installed the exhibition Notes from the Archive: James Frazer Stirling, in the Yale Centre for British Art, an exhibition that then travelled to the Tate Britain and the Staatsgalerie, Stuttgart in 2011. His publications include The Writing of the Walls: Architectural Theory in the Late Enlightenment (Princeton Architectural Press, 1987), The Architectural Uncanny: Essays in the Modern Unhomely (MIT Press, 1992), Warped Space: Architecture and Anxiety in Modern Culture (MIT Press, 2000), James Frazer Stirling: Notes from the Archive (Yale University Press, 2010), and The Scenes of the Street and other Essays (Monacelli Press, 2011). He is a Fellow of the American Academy of Arts and Sciences, and received the architecture award from the American Academy of Arts and Letters in 2011.

 

Mark Wigley is Professor and Dean Emeritus at Columbia GSAPP. He served as Dean from 2004 to 2014. Wigley has written extensively on the theory and practice of architecture and is the author of Constant’s New Babylon: The Hyper-Architecture of Desire (1998); White Walls, Designer Dresses: The Fashioning of Modern Architecture (1995); and The Architecture of Deconstruction: Derrida’s Haunt (1993). He co-edited The Activist Drawing: Retracing Situationalist Architectures from Constant’s New Babylon to Beyond (2001). In 2005 he co-founded Volume magazine with Rem Koolhaas and Ole Bouman as a collaborative project by Archis (Amsterdam), AMO (Rotterdam), and C-lab (Columbia University). Wigley curated the exhibition Deconstructivist Architecture at The Museum of Modern Art, and others at The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Museum, Rotterdam. Mark Wigley was awarded the Resident Fellowship, Chicago Institute for Architecture and Urbanism (1989), International Committee of Architectural Critics (C.I.C.A.) Triennial Award for Architectural Criticism (1990) and a Graham Foundation Gran (1997). He received both his Bachelor of Architecture (1979) and his Ph.D. (1987) from the University of Auckland, New Zealand.