Convocatoria abierta de ideas – Museo de Historia y Comunidad de Puerta de Tierra

Friday September 6, 2019 – Friday December 20, 2019

 

To read about the call in English, click here.

 

¿Cómo podemos imaginar un museo que sirve a su comunidad? ¿Cómo podemos crear nuevas lecturas sobre el papel de la institución cultural y su función pública?

 

Storefront for Art and Architecture y Taller Creando Sin Encargos anuncian una convocatoria abierta de ideas para reimaginar el histórico Edificio Infanzón, ubicado en San Juan, Puerto Rico. El edificio, que lleva abandonado más de dos décadas, está planeado para ser la sede permanente del Museo de Historia y Comunidad de Puerta de Tierra (MHC PDT). 

 

Este llamado para recibir propuestas es una extensión de la exposición Aquí vive gente de Brigada Puerta de Tierra, presentada en la galería de Storefront del 1 de junio al 7 de septiembre de 2019. La exposición es la primera presentación pública del naciente MHC PDT, cuya misión es “afirmar, cuidar y continuar con orgullo y dignidad la trayectoria histórica cultural de barrio a través de la participación comunitaria, y preservar el patrimonio y la memoria colectiva de Puerta de Tierra.”

 

La convocatoria tiene el objetivo de apoyar a Brigada Puerta de Tierra, un colectivo comunitario y grupo activista que trabaja con artistas, jóvenes y residentes del barrio de Puerta de Tierra en su misión de convertir el Edificio Infanzón en el MHC PDT. Desde 2016, el colectivo ha estado trabajando con la comunidad de Puerta de Tierra para limpiar, restaurar y preservar el edificio para este uso.

 

¿Cómo funciona?

El MHC PDT es una iniciativa autogestionada que utiliza estrategias horizontales para hacer comunidad e imaginar un centro comunitario vibrante para la gente de Puerta de Tierra. La convocatoria refleja los valores de la comunidad y los principios de organización de Brigada Puerta de Tierra, el grupo que inició el proyecto.

 

Este es un llamado para todos: arquitectos y diseñadores, artistas y activistas, niños y adultos y cualquiera que quiera compartir su creatividad con propuestas para adaptar, revitalizar y reimaginar un espacio de preservación cultural junto con los residentes de Puerta de Tierra. La convocatoria busca ideas para transformar el Edificio Infanzón en el Museo de Historia y Comunidad de Puerta de Tierra, imaginando el edificio más allá de su estado actual y presentando ideas para albergar la colección del museo, así como espacios para reuniones y talleres comunitarios.

 

Las propuestas pueden ser dibujos detallados, collages conceptuales, manifiestos visuales o provocaciones gráficas que cuestionen el papel del museo. Las presentaciones exitosas despertarán la imaginación colectiva sobre el futuro del museo y generarán respuestas que están en diálogo con las necesidades de la comunidad de Puerta de Tierra. Se priorizará la visión y la creatividad sobre las habilidades profesionales, y las propuestas seleccionadas reflejarán una mezcla de proyectos recibidos, tanto de miembros de la comunidad de Puerta de Tierra como de otras personas interesadas en la convocatoria.

 

Las propuestas recibidas serán expuestas en San Juan, y la comunidad de Puerta de Tierra seleccionará los tres proyectos que mejor se alineen con su visión para el el uso del Edificio Infanzón. Los autores de las propuestas seleccionadas serán invitados a refinar sus proyectos con la ayuda de asesores invitados, locales e internacionales, quienes ofrecerán comentarios y sugerencias. 

 

Los tres proyectos finalistas serán presentados por los mismos autores en la Asamblea Building Cycles, un encuentro de gran escala que se llevará a cabo durante el verano de 2020 y que marca la culminación del año de programación de Storefront. 

 

Final proposals will be presented by their creators at the Building Cycles Assembly, a large-scale gathering in the summer of 2020 that marks the culmination of Storefront’s year-long series of exhibitions and public events. Adicionalmente, estas propuestas se publicarán en las plataformas digitales de Storefront y en medios asociados locales e internacionales.

 

Sobre los asesores

Storefront for Art and Architecture y Taller Creando Sin Encargos han invitado a un grupo de asesores multidisciplinarios cuyo trabajo engloba temas comunitarios, planeación urbana, historia y trabajo institucional con un enfoque en el contexto de Puerta de Tierra y de San Juan, Puerto Rico. Más información sobre los asesores se anunciará próximamente. 

 

Calendario  

Septiembre 6, 2019: Anuncio de la convocatoria abierta

Diciembre 20, 2019: Fecha límite para entregar propuestas

Febrero 2020: Exposición pública de todas las propuestas recibidas en San Juan, Puerto Rico

Marzo 2020: Anuncio de tres proyectos seleccionados por la comunidad

Marzo – Julio 2020:  Talleres con asesores para los tres proyectos seleccionados 

Agosto 2020: Presentación de proyectos seleccionados en la Asamblea Building Cycles en Nueva York. 

 

Materiales solicitados

Los participantes deberán enviar los siguientes materiales: 

 

  • Póster: Un documento tamaño póster en formato A1 (594 x 841 mm o 23.4 x 33.1 in) que comunique los conceptos principales del proyecto. Es importante considerar que los pósters se presentarán públicamente en versión impresa en San Juan, Puerto Rico para el proceso de selección comunitaria. 
  • Imágenes: 3-7 imágenes adicionales que representen el proyecto. Las imágenes pueden ser dibujos, renders, collages, pinturas, fotografías, etc. 
  • Concepto: Un breve texto en inglés o español indicando las ideas principales del proyecto y describiendo las estrategias propuestas para transformar el edificio actual en un museo. Puede incluir ideas para espacios de exposición y áreas para talleres y programas comunitarios. (Máximo 500 palabras).

 

Materiales de apoyo

Leer más sobre el Edificio Infanzón aquí.

 

El Edificio Infanzón está ubicado en la esquina de Calle San Agustín con Tadeo Rivera. Ver aquí el Google Street View del edificio. Para imágenes de la limpieza y el estado actual del Edificio Infanzón, presione aquí.

 

Información para enviar propuestas

Correo electrónico (Preferido): Las propuestas deberán ser enviadas en tres archivos PDF separados a competitions@storefrontnews.org indicando “Convocatoria abierta de ideas – MHC PDT – [Título del proyecto]” en la línea de asunto. Cada archivo deberá ser de 5 MB máximo. Favor de titular archivos de la siguiente manera: 

1. Póster: [Título del proyecto_Póster]

2. Imágenes (en un archivo PDF): [Título del proyecto_Imágenes]

3. Concepto: [Título del proyecto_Concepto]

 

Correo postal: Favor de enviar todo el material solicitado en un solo paquete a la dirección indicada abajo. Favor de incluir en el paquete la dirección de remitente y un documento indicando su nombre y contacto (teléfono y/o email). 

 

Brigada Puerta de Tierra

Falansterio, Apt. N-9

Puerta de Tierra

San Juan, PR 00901

 

Para recibir noticias y actualizaciones sobre la convocatoria abierta, regístrese aquí.

 

¿Preguntas? Mandar email a competitions@storefrontnews.org.

Call for Ideas – Museum of History and Community of Puerta de Tierra

Friday September 6, 2019 – Friday December 20, 2019

 

Para leer sobre el llamado en español, presione aquí.

 

What does a museum that serves its community look like? How can we create new understandings of the role of a cultural institution and its public purpose?

 

Storefront for Art and Architecture and Taller Creando Sin Encargos announce an open call for ideas to reimagine the historic Infanzón Building, located in San Juan, Puerto Rico. The building, which has been abandoned for over two decades, is poised to serve as the permanent home of the Museum of History and Community of Puerta de Tierra (MHC PDT).

 

This open call for proposals is an extension of the exhibition Aquí vive gente (People Live Here) by Brigada Puerta de Tierra, presented at Storefront’s gallery space from June 1st-September 7th, 2019. The exhibition is the first public presentation of the nascent MHC PDT, which has a mission “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.”

 

The open call aims to support Brigada Puerta de Tierra, a community collective and activist group that works with artists, youth, and residents of the neighborhood of Puerta de Tierra, in their mission to convert the Infanzón Building into the MHC PDT.  Since 2016, the collective has been working with the community of Puerta de Tierra to clean, restore, and preserve the building for this use.

 

Open Call Format

The MHC PDT is a self-organized neighborhood initiative that has used horizontal principles of community building to imagine a vibrant community center for the people of Puerta de Tierra. This open call reflects the values of the community and the organizing principles of Brigada Puerta de Tierra, the group that initiated the project.

 

The call is open to everyone: architects and designers, artists and activists, children and adults, and anyone who wants to share their creativity through proposals to adapt, revitalize, and reimagine a space of cultural preservation alongside the residents of Puerta de Tierra. The call asks for proposals to transform the Infanzón Building into the Museum of History and Community of Puerta de Tierra, envisioning the building beyond its current state and presenting ideas to host the museum’s collection and spaces for community meetings and workshops. 

 

Submissions can be detailed drawings, conceptual collages, visual manifestos, or graphic provocations that question the role of the museum. Successful submissions will spark collective imagination about the future of the museum and generate responses that are in dialogue with the needs of the Puerta de Tierra community. Vision and creativity will be prioritized over professional skills, and the final selected entries will reflect a mix of submissions from community members and others who are interested in the prompt.

 

Open call entries will be exhibited locally in San Juan, and the community of Puerta de Tierra will make a selection of three projects that best align with their visions for the potential use of the Infanzón Building. The creators of the selected entries will be invited to participate in one-on-one workshop sessions with local and international reviewers, who will provide commentary and feedback to further refine proposals.

 

Final proposals will be presented by their creators at the Building Cycles Assembly, a large-scale gathering in the summer of 2020 that marks the culmination of Storefront’s year-long series of exhibitions and public events. Entries will additionally be published on Storefront’s digital platforms and released in partnership with local and international media.

 

About the Reviewers

Storefront for Art and Architecture and Taller Creando Sin Encargos have invited a multi-disciplinary group of reviewers whose work addresses community engagement, urban planning, history, and institution-building with a focus on the context of Puerta de Tierra and San Juan, Puerto Rico. More information about the reviewers will be made public throughout the call.

 

Application Calendar 

September 6th, 2019: Announcement of the open call

December 20th, 2019: Deadline for entries

February 2020: Exhibition of all entries in San Juan, Puerto Rico

March 2020: Public vote and announcement of the three selected projects

March – July 2020: Workshops with reviewers for selected projects

August 2020: Presentation of selected projects at the Building Cycles Assembly in NYC

 

Application Materials

Applicants are requested to submit:

 

  • Poster: A poster-size document in A1 format (594 x 841 mm or 23.4 x 33.1 in) that communicates the main concepts behind the entry. Please note that printed versions of these posters will be displayed in San Juan, Puerto Rico for community selection.
  • Images: 3-7 additional images that represent the project. Images can be produced in different media such as drawing, rendering, collage, painting, photography, etc.
  • Statement: A brief statement in English or Spanish about the key concepts behind the proposal that describes strategies to transform the current building into a museum, including ideas for exhibitions spaces and areas for workshops and community programs. (Maximum word count = 500).

 

Background Materials

Read more about the Edificio Infanzón here.

 

The Infanzón Building is located at the corner of San Agustín and Tadeo Rivera streets. See here for a Google Street View of the building. For images of the cleanup and the current state of the Infanzón Building, please see here

 

Submission Information

Email (Preferred): Applications should be sent as three separate PDF files to competitions@storefrontnews.org with the subject line “Call for Ideas – MHC PDT – [Title of Project].” Each file should be a maximum of 5 MB. Please title files as follows:

1. Poster: [Project Title_Poster]

2. Images (in a combined PDF file): [Project Title_Images]

3. Statement: [Project Title_Statement]

 

Mail: Please mail all documents in a single package to the address below. Please include a return address as well as a cover sheet with your name and contact info (phone number and/or email) in the package.

 

Brigada Puerta de Tierra

Falansterio, Apt. N-9

Puerta de Tierra

San Juan, PR 00901

 

To receive ongoing news and updates about the open call, sign up here.

 

Questions? Email competitions@storefrontnews.org.

Nominated Publications: Architecture Books – Yet to Be Written

Tuesday June 19, 2018 – Saturday August 25, 2018

 

The New York Architecture Book Fair is an initiative by Storefront that brings together authors, designers, publishers, critics, and readers to consider what constitutes the most fundamental body of publications in architecture and design. Questioning the idea of the canon, this project seeks to broaden the existing references for architecture culture, which have served to homogenize architectural discourse. 

 

With the purpose of opening up the conversation to new ideas, Storefront launched a Global Survey of Architecture Books that reached more than 1600 scholars, critics, museum directors, historians, and others from 98 countries, asking them to contribute nominations of books from the past 35 years that are fundamental to the development of ideas and culture in architecture.

 

Of the nominated books, a selection of 135 publications were presented in the exhibition as the structural support for a series of bookshelves that will be populated by additional publications throughout the duration of the exhibition, with brief statements that contextualize their relevance. 

 

The below titles form the final list of selected books:

 

Phylogenesis by Foreign Office Architects

Oxymoron and Pleonasm by Kenneth Frampton, Monika Mitášová

The Metapolis Dictionary of Advanced Architecture: City, Technology and Society in the Information Age by Willy Müller

Blue Monday: Stories of Absurd Realities and Natural Philosophies by Kazys; Sumrell Robert Varnelis

The World of Madelon Vriesendorp by Beatriz Colomina, Douglas Coupland, Charles Jencks

Translations from Drawing to Building and Other Essays by Robin Evans

Real Estates: Life Without Debt by Jack Self

Le Corbusier: Complete Works (Eight Volumes) by Willy Boesiger

Wege der Moderne und die Folgen / Ways to Modernism And Their Impact (German and English Edition) by Josef Hoffmann, Adolf Loos

Digital Culture in Architecture by Antoine Picon

A rua da estrada by Álvaro Domingues

Eduardo Souto de Moura: Atlas de Parede, Imagens de Método by Eduardo Souto de Moura, Philip Ursprung, Diogo Seixas Lopes, Pedro Bandeira

Architectural Guide: Riga by Jānis Krastinš, Ivars Strautmanis

El Habitar by Juhani Pallasmaa

La Buena Vida (Spanish Edition) by Iñaki Ábalos

Atlas pintoresco Vol. 2: los viajes by Iñaki Ábalos

Arquitectura y politica / Architecture and Politics: Ensayos para mundos alternativos / Essays for Alternative Worlds (Spanish Edition) by Josep Maria Montaner, Zaida Muxi

El Croquis 94: Neutlings Riedijk 1992-1999 by Richard Levene and Fernando Marquez Cecilia (ed.)

Distinction: A Social Critique of the Judgement of Taste by Pierre Bourdieu

Four Walls and a Roof: The Complex Nature of a Simple Profession by Reinier de Graaf

We Have Never Been Modern by Bruno Latour

Office: Kersten Geers David Van Severen: Seven Rooms by Enrique Walker

Museum of the Future by Cristina Bechtler, Dora Imhof

“Основания культуросоциологии

The Foundations of the Culture of Sociology: Selected Works by Владимир Леонидович Абушенко

Vladimir Leonidovich Abushenko”

Made in Tokyo: Guide Book by Momoyo Kaijima, Junzo Kuroda, Yoshiharu Tsukamoto 

The Kampung Boy by Lat

Are We Human? by Beatriz Colomina and Mark Wigley

Roberto Burle Marx Lectures: Landscape as Art and Urbanism by Gareth Doherty (Editor)

Leonardo Finotti: A Collection of Latin American Modern Architecture by Leonardo Finotti

Geneaology of Modern Architecture: A Comparitive Critical Analysis of Built Form by Kenneth Frampton

From Camp to City: Refugee Camps of the Western Sahara by Edited by Manuel Herz in collaboration with ETH Studio Basel

The Air from Other Planets: A Brief History of Architecture to Come by Sean Lally

Solid Objectives: Order, Edge, Aura by SO-IL

Elements of Architecture by Rem Koolhaas

Fundamentals: 14th International Architecture Exhibition– La Biennale di Venezia by Rem Koolhaas

Exhibiting the Postmodern by Léa-Catherine Szacka

Atlas Of The Conflict: Israel-Palestine by Malkit Shoshan

Deventer by Matthew Stadler

Constant’s New Babylon: The Hyper-Architecture of Desire by Mark Wigley

Coral Stone Mosques of Maldives: The Vanishing Legacy of the Indian Ocean by Mauroof Jameel, Yahaya Ahmad

The Good Life by Iñaki Ábalos

Before Publication: Montage in Art, Architecture, and Book Design by Nanni Baltzer, Martino Stierli (ed.)

Paris Haussmann by Benoît Jallon, Umberto Napolitano, and Franck Boutté (ed.)

Melancholy and Architecture: On Aldo Rossi by Diogo Seixas Lopes

Composition, non-composition (French Edition) by Jacques Lucan

Points and Lines: Diagrams and Projects for the City by Stan Allen

Project of Autonomy: Politics and Architecture Within and Against Capitalism by Pier Vittorio Aureli

Citizens of No Place: An Architectural Graphic Novel by Jimenez Lai

Atlas of Novel Tectonics by Jesse Reiser and Nanako Umemoto 

Kissing Architecture by Sylvia Lavin

Victimas by John Hejduk

The Architectures of Atelier Bow-Wow: Behaviorology by Atelier Bow-Wow

Ten Canonical Buildings 1950-2000 by Peter Eisenman

Tadao Ando: Buildings, Projects, Writings by Kenneth Frampton

John Hejduk: Mask of Medusa: Works 1947-1983 by JOHN). Hejduk, John. Kim Shkapich, Editor (HEJDUK

Greg Lynn Form by Greg Lynn and Mark Rappolt (ed.)

Architecture Culture: 1943-1968 (Columbia Books of Architecture) by Joan Ockman

Architecture and Identity by Chris Abel

Heterotopia and the City: Public Space in a Postcivil Society by Lieven De Cauter, Michiel Dehaene (Editor)

Building Capitalism: Historical Change and the Labour Process in the Production of Built Environment by Linda Clarke

Le Corbusier: Beton Brut and Ineffable Space (1940 – 1965): Surface Materials and Psychophysiology of Vision by Roberto Gargiani, Anna Rosellini

Architectural Principles in the Age of Cybernetics by Christopher Hight

Architecture, Crisis and Resuscitation: The Reproduction of Post-Fordism in Late-Twentieth-Century Architecture by Tahl Kaminer

Rethinking Architecture: A Reader in Cultural Theory by Neil Leach

Junya Ishigami: Another Scale Of Architecture by Junya Ishigami

Utopie: Texts and Projects, 1967–1978 (Semiotext(e) / Foreign Agents) by Craig Buckley, Jean-Louis Violeau (Editors)

Manifeste du tiers paysage by Gilles Clément

Weak and Diffuse Modernity: The World of Projects at the beginning of the 21st Century by Andrea Branzi

Forensis: The Architecture of Public Truth by Forensic Architecture (Editor)

Less is Enough: On Architecture and Asceticism by Pier Vittorio Aureli

Content by Rem Koolhaas

Words and Buildings: A Vocabulary of Modern Architecture by Adrian Forty

Modern Architecture: A Critical History by Kenneth Frampton

The Possibility of an Absolute Architecture (Writing Architecture) by Pier Vittorio Aureli

INDEX Architecture: A Columbia Architecture Book by Matthew Berman, Bernard Tschumi (Editors)

Dreaming The Rational City: The Myth of American City Planning by Christine Boyer

Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory by Mario Carpo

The Alphabet and the Algorithm (Writing Architecture) by Mario Carpo

Privacy and Publicity: Modern Architecture as Mass Media by Beatriz Colomina

5 Petites Pieces Classiques – Various – Gerard Billaudot Editeur – Piano – 510-01881 by Various

Noah’s Ark: Essays on Architecture by Hubert Damisch

Differences: Topographies of Contemporary Architecture by Ignasi de Sola-Morales

Organization Space: Landscapes, Highways, and Houses in America by Keller Easterling

Enduring Innocence: Global Architecture and Its Political Masquerades by Keller Easterling

The Projective Cast: Architecture and Its Three Geometries by Robin Evans

Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture by Kenneth Frampton

The Architecture of Science by Peter Galison, Emily Thompson

Concrete and Clay: Reworking Nature in New York City by Matthew Gandy

Architecture Theory Since 1968 by K. Michael Hays

Architecture and Modernity: A Critique by Hilde Heynen

A Prehistory of the Cloud by Tung-Hui Hu

Japan-ness in Architecture by Arata Isozaki,David B. Stewart

Good City Form by Kevin Lynch

Nissan Pick-ups: Frontier pick-ups (1998 thru 2004), Xterra (2000 thru 2004), Pathfinder (1996 thru 2004) (Haynes Repair Manual) by Ken Freund

The Organizational Complex: Architecture, Media, and Corporate Space by Reihnold Martin

Theoretical Anxiety and Design Strategies in the Work of Eight Contemporary Architects by Rafael Moneo

Nightlands: Nordic Building by Christian Norberg-Schulz

Architecture School: Three Centuries of Educating Architects in North America by Joan Ockman and Rebecca Williamson

The Portfolio and the Diagram by Hyungmin Pai

Architecture and the Crisis of Modern Science by Alberto Perez-Gomez

The Architecture of the City by Aldo Rossi 

As I Was Saying by Colin Rowe, Alexander Caragonne

Toward A Minor Architecture by Jill Stoner

The Sphere and the Labyrinth: Avant-Gardes and Architecture from Piranesi to the 1970s by Manfredo Tafuri

Venice and the Renaissance by Manfredo Tafuri

Architecture Depends by Jeremy Till

The Historiography of Modern Architecture by Panayotis Tournikiotis

Architecture and Disjunction by Bernard Tschumi

Architecture in the Age of Divided Representation: The Question of Creativity in the Shadow of Production by Dalibor Vesely

The Architectural Uncanny: Essays in the Modern Unhomely by Anthony Vidler

Histories of the Immediate Present; Inventing Architectural Modernism by Anthony Vidler 

The Architecture of Deconstruction: Derrida’s Haunt by Mark Wigley

S, M, L, XL: Small, Medium, Large, Extra Large by Rem Koolhaas, Bruce Mau

Rafael Moneo: Remarks on 21 Works by Rafael Moneo

Atelier Bow: Wow – Graphic Anatomy by Atelier Bow: Wow

Little White Houses: How the Postwar Home Constructed Race in America by Dianne Harris

Architecture Since 1400 by Kathleen James-Chakraborty

Seizing Jerusalem: The Architectures of Unilateral Unification by Alona Nitzan-Shiftan

Henri Lefebvre on Space: Architecture, Urban Research, and the Production of Theory by Lukasz Stanek

Atlas of Emotion: Journeys in Art, Architecture, and Film by Giuliana Bruno

City of Quartz: Excavating the Future in Los Angeles by Mike Davis

Extrastatecraft: The Power of Infrastructure Space by Keller Easterling

Rebel Cities: From the Right to the City to the Urban Revolution by David Harvey

A Guide to the New Ruins of Great Britain by Owen Hatherley

Hollow Land: Israel’s Architecture of Occupation by Eyal Weizman

Cities of Change: Addis Ababa by Marc Angélil, Dirk Hebel (Editors)

Vladimír Dedeček: Interpretations of His Architecture by Monika Mitásová (Editor)

Oswald Mathias Ungers: Morphologie: City Metaphors by Oswald Mathias Ungers 

Questions of Perception: Phenomenology of Architecture by Steven Holl, Juhani Pallasmaa, Alberto Perez-Gomez

Eero Saarinen: Shaping the Future by Eeva-Liisa Pelkonen, Donald Albrecht (Editors)

Taking Measures Across the American Landscape by James Corner

Alvar Aalto: Architecture, Modernity, and Geopolitics by Eeva-Liisa Pelkonen

Ancient Churches of Ethiopia by David W. Phillipson

Lina Bo Bardi by Zeuler R. M. de A. Lima

Architect and Engineer: A Study in Sibling Rivalry by Andrew Saint

The Craftsman by Richard Sennett

Pornotopia: An Essay on Playboy’s Architecture and Biopolitics by Paul B. Preciado

Outlaw Territories: Environments of Insecurity/Architectures of Counterinsurgency by Felicity D. Scott

Forensic Architecture: Violence at the Threshold of Detectability by Eyal Weizman

 

See the full list of recent and upcoming programs associated with the New York Architecture Book Fair here.

 

The first edition of the New York Architecture Book Fair is supported by the New York Architecture Book Club, an invitation-based network of individuals and firms that serve as the key group behind the book fair.

 

Bookstores or cultural institutions interested in participating in the Bookstore Network should send an email to jk@storefrontnews.org.

 

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SUPPORT

 

The first edition of the New York Architecture Book Fair is supported by the New York Architecture Book Club, an invitation-based network of individuals and firms that serve as the key group behind the book fair. For a full list of members, see here.

 

Architecture Books – Yet to Be Written and the Bookstore Network are supported by the Royal Norwegian Consulate General, the Consulate General of Switzerland in New York, JESCO Lighting Group, Architectural Association Publications, ACTAR, Artbook | D.A.P., Dafne Editora, Harvard University Press, I. B. Tauris, Lars Müller Publishers, Park Books, Rizzoli Publications, University of California Press, University of Minnesota Press, Verso Books, Thames & Hudson, Reaktion Books, Editorial Gustavo Gili, Routledge Taylor & Francis Group, Marsilio,The MIT Press, The Monacelli Press, Tongji University Press, University of Chicago Press, Yale University Press, and Zone Books.

 

Programming partners for the New York Architecture Book Fair include The Cooper Union, the Graduate School of Architecture, Planning, and Preservation at Columbia University, e-flux Architecture, and the New York Public Library.

 

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; 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; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

 

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Winners – Souvenirs: New New York Icons

Saturday December 9, 2017

 
#souvenirs   #newnewyorkicons   #modelshow   @storefrontnyc
 
Souvenirs: New New York Icons, the second iteration of Storefront’s model show, commissioned 59+ objects that redefine New York’s iconic imagery. Inspired by each of the city’s Community Districts, more than 59 artists, architects, and designers reimagined the referential images that constitute the global perception of the city, proposing new understandings of the urban experience.
 
Members of the public for the models that best represent new visions and values of the city. See below for the names and descriptions of the winning souvenirs, which will be presented to the Mayor Bill de Blasio as new icons for New York City. Members of the public can also order a miniature version of each souvenir to take home at cost price.
 
Souvenirs: New New York Icons is a program of Storefront’s Competitions of Competitions.
   
Manhattan Community District #2:
Pop-Up City by Kwong Von Glinow Design Office

Souvenirs: great at recalling the singular, not so great with multitudes.Manhattan’s second Community Board, stretching from Chinatown to Gansevoort Market by way of Noho, Soho, and Greenwich Village, is a cultural salad. What constitutes a souvenir for one of the richest and most diverse set of cultural histories in New York City?
 
Eschewing the readily iconic, we take a look into just how one remembers CB-2’s eclectic array of neighborhoods: streetscapes awash in romantic hues of dusk and dawn, the silhouette of their rooftops, and the intersections where these cultures converge.
 
A souvenir that captures such richness cannot assume a singular form. Pop-Up City embraces multiplicity with sixteen intersecting streetscapes that collapse and expand the souvenir from flat visage to a city-in-miniature. Like a pop-up children’s book, the souvenir of the city begins as folded upon itself, with Greenwich Village pressed flatly against Little Italy, and Soho finding itself next to the West Village. As the souvenir unfolds, the intersection of each streetscape acts as an urban hinge; neighborhoods collide as the full view of the street comes to life. The angles that the intersections pass through are reminiscent of the negotiating grid system of the area, holding traces of Manhattan’s early grid system relative to the Hudson River and the 1811 grid that trickles down from Central Park. Unfolded, the city is restored, its streetscapes washed in the pinkish orange of the rising sun, presenting more than a memory of what it looks like, but rather how the city is experienced.
 
As to what is it for? For that existential crisis afflicting all souvenirs, there are just as many answers as the Pop-Up City has facades. We suggest a pencil holder, but that is by no means the sole function that one could find!    
 
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Brooklyn Community District #2:
Un-Sheduled by Al-Hamad Design
There is nothing new under the old sun. Although things do come and go, what makes those things do not. New York’s sidewalk shed is so highly defined in its physical construction and in its symbolism to the piece of land it defiantly stands in front of. It laps up the notion that it is literally supporting proof of current change; a figure of progress and metamorphosis. New York has always adapted, imagined, and followed through; it thrives on this rapid strife for evolution, for non-stagnation. New York is thrilled by rapid movement. It can’t stop swimming upstream, especially if it couldn’t.   
 
We fall in love with its constant disappointment because it is simultaneously a tremendous source of surprise. Aren’t we? Deeply in love with it.    
 
The sidewalk shed gives us no promise or certainty, but neither does New York. That is why we live through the discomfort of it all-discomfort motivates and pushes us. It makes us care. This simple shed brings out emotion like no other object in this great city can, and it is everywhere. Often an accidental shelter, it may be terrifying, or perhaps even annoying. Yet it is a sign of prospect; it is a human being trying her very hardest all on her own.
 
______
 
Brooklyn Community District #8:
The HotH: House of the Homeless by ZUS [Zones Urbaines Sensibles]
 
New York is represented through a large number of “souvenired” buildings that together shape the collective memory of the city. Most of these buildings are office towers. Very few contain housing, with the recent wave of slender luxury towers being a notable exception – those have actually turned into marketable icons even before being built.
 

Ironically not a single one of these souvenirs is affordable.

 

To genuinely represent New York, we must imagine the city beyond the obvious. We should visualize the unseen against a backdrop of the enlarging gap between rich and poor, manifested through the spreading of the luxury condominium, on the one hand, and the impoverished circumstances of many of the city’s inhabitants, on the other. Currently, more than 60,000 citizens don’t have a house to live in. Therefore, the next New York souvenir is a House for the Homeless: the HotH.

 

The City of New York should be able to provide shelter for all its inhabitants, and the HotH does exactly that. It is conceived of 60,000 apartments within a public infrastructure of 155 collective gardens. It offers a place for all those who are currently sleeping under bridges and in cardboard boxes. The HotH is brutally big, yet human and romantic.

 

This house is the ultimate understatement: it is a building that is far larger than New York’s largest. It shows a prosperous metropolis that is incapable of distributing its wealth fairly among its citizens.

 

The HotH is a metropolitan souvenir that does not simply highlight obvious architectural splendor, but instead marks an era where societies and cities are at the crossroads of either becoming territories of segregation or places of shared welfare.   

 

With the HotH, New York will choose to be the latter, adding the first truly affordable souvenir to its collective memory.
 
 

___________________________________________________________________

Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; 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; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

 

         nyc cultural affairs logo _small

Call for Ideas: Independent Projects

Friday February 3, 2017 – Monday February 20, 2017

Apply for a NYSCA Grant through Storefront
 
 
Closed Worlds, 2016. Storefront for Art and Architecture. Photo by Jake Naughton.
 
Do you have an idea for a project that promotes alternatives? 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 2018 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.
 
To read more information, see page 48 of NYSCA’s funding guidelines.
 
HOW DO I APPLY?
1. Complete the initial application form and send to Andrew Emmet, Development and Outreach Associate at Storefront, by emailing ae@storefrontnews.org with the subject line “NYSCA Independent Project Application Request” no later than midnight on February 20, 2017.
 
2. If you are selected as one of the 20 projects sponsored by Storefront, you will be asked to submit a full project proposal no later than midnight on March 10, 2017
 
3. Additional application materials may be required in order to complete the submission. All additional materials must be received before March 20, 2017.
 
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 2018 and December 2018.
 
HOW CAN I LEARN MORE?
The complete program guidelines and application instructions are available here. NYSCA also produced an Independent Projects Webinar, embedded below. For additional information, visit www.nysca.org.
 

 

Winners: Taking Buildings Down Competition

Monday March 7, 2016

Storefront for Art and Architecture is pleased to announce the results of the Taking Buildings Down Competition, juried by Jeff Byles, Keller Easterling, Pedro Gadanho, Jorge Otero-Pailos, Annabelle Selldorf, and INCA.

 

Taking Buildings Down, the winner of Storefront’s Competition of Competitions, was a call for ideas that sought proposals for the production of voids; the demolition of buildings, structures, and infrastructures; or the subtraction of objects and/or matter as a creative act.

 

The competition received over 160 qualified submissions. The members of the jury elected to give three ex aequo awards as well as five honorable mentions. Each of the three ex aequo awards will receive $1,000 and each of the five honorable mentions will receive $100.

 

 

Ex Aequo Awards:

 

Empty University

Antonas Office (Aristide Antonas, Katerina Koutsogianni, Yannikos Vassiloulis, Chara Stergiou)

 

Empty University

 

Jury Statement:

The jury values the proposal’s demand for a new spatial and educational paradigm achieved through the strategic elimination of the non-bearing walls of a building in Athens. This process of removal allows for and insinuates the emergence of new forms of collective learning. The project’s site and program within Greek contemporary politics makes this proposal of spatial and ideological erasure a very timely one, and one that makes us reflect not only about Greece, but also about the architectures that sustain and produce educational environments around the world.

 

The Life of a Building

Maciej Siuda, Rodrigo Garda Gonzalez, Madej Siuda, Rodrigo García González, Aleksandra Borçecka, Agnieszka Wach, Katarzyna Dabkowska

 

The Life of a Building

The Life of a Building

 

Jury Statement:

The jury values the specific use of erasure as a form of spatial narration, storytelling, and memory production. “The Life of a Building” presents a series of interventions before the total demolition of the building. In a highly saturated built environment, where buildings are being demolished too often just at once, the project presents a much layered understanding of the built environment and its history.

 

 

Man’s Temple and The Forgotten Canyon

Untitled Studio (William Smith, Hiroshi Kaneko)

 

Man's Temple and the Forgotten Canyon

Man’s Temple and the Forgotten Canyon

 

Jury Statement:

The jury values the strategic implications of this proposal in its local scale and global consequences. Taking as its site the Glen Canyon Dam, a global referent for land engineering, the project produces a clear and direct criticism of 20th century forms of energy production and land manipulation. The project, proposing the restoration of the site by demolition, takes into account the animal species affected and displaced throughout the history of the project. The proposal thus navigates between the material, historical, and biologic architectures of the site and the planet.

 

 

 

Honorable Mentions:

 

Demolition Bonds

wOS (A.J.P. Artemel, Swarnabh Ghosh, Lauren McQuistion, Samuel Medina)

 

Demolition Bonds

 

 

Desertion

Alex Fuller and Teddy Planitzer with Shannon Starkey

 

Desertion

 

 

Dustification

Lindsey Petersen

Dustification

 

 

 

Juan Jesus and his Sledgehammer

Scott Claassen, Gabrel Gonzales, Robert Hutchison, Cory Mattheis, Gregory Hicks

 

Juan Jesus and His Sledgehammer

 

 

 

Urban Reefs

Decentralized Design Lab (David Kennedy, Jacob Mans, Benjamin Peek)

 

Copy of 0020_Benjamin Peek_Urban Reefs_Page_03_c

Call for Ideas: Producing Alternatives

Thursday March 3, 2016 – Thursday March 24, 2016

Apply for a NYSCA Grant through Storefront 
 
PFPFPast Futures, Present Futures, 2012. Storefront for Art and Architecture. Photo by Naho Kubota.
 
Do you have an idea for a project that promotes alternative ideas in art and architecture? 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 is looking for 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 this year’s NYSCA grants. 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.
 
To read more information, see page 48 of NYSCA’s funding guidelines.
 
PROCESS
1. Complete the initial application form and send to Alexandra Axiotis, Development and Outreach Associate at Storefront, by emailing aa@storefrontnews.org with the subject line “NYSCA Independent Project Application Request” no later than midnight on March 17, 2016
 
2. If you are selected as one of the 20 projects sponsored by Storefront, you will be asked to submit a full project proposal no later than midnight on March 24, 2016.
 
3. If you are selected, you may be asked to submit additional application information before March 30, 2016. By submitting a full application form, you agree to submit any additional application materials by Storefront by this date. 
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.
 
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. 
To determine further eligibility, click here and see the section entitled “Independent Projects Webinar.”
 
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 2017 and December 2017.
 
HOW CAN I LEARN MORE?
For additional information, visit www.arts.ny.gov.

Winners: Closed Worlds Design Competition

Tuesday February 16, 2016

 

Storefront is pleased to announce the winner and finalists of the Closed Worlds Design Competition. A jury comprised of Michelle Addington, Mitchell Joachim, Lydia Kallilpoliti, Michael Young, and Eva Franch selected the winning installation, Some World Games.

 

Some World Games is a virtual reality installation displayed at Storefront for Art and Architecture as part of Closed Worlds, an exhibition curated by Lydia Kallipoliti that presents an archive of 41 living prototypes of closed resource regeneration systems built over the last century. The archive represents an unexplored genealogy of closed systems in architectural practice. Some World Games brings a virtual reality installation to the gallery as a contemporary 42nd prototype of a closed system.

 

WINNING INSTALLATION

 

Some Worlds Games by Farzin Farzin

[Farzin Lotfi-Jam, Sharif Anous, John Arnold]

 

Some World Games is an immersive environment that urges visitors to explore and experiment with virtual prototypes generated from the archive of 41 closed systems exhibited as part of the larger Closed Worlds exhibition. Participants are guided through the installation on a looped track that channels their kinetic motion through an orbiting virtual environment.

 

Some World Games harnesses the expended energy of exhibition exploration—the acts of reading, viewing, and wandering—and puts this agency on display. Entering the installation is a decisive act in which the visitor consents to a moment of vulnerability, plugging into the universe of the archive and engaging with its content through virtual immersion in physical space.

 

FF_SomeWorldGames

Some World Games. Image by Farzin Farzin.

 

About the Installation Designer

Farzin Farzin designs spaces, software, and media. Founded and led by Farzin Lotfi-Jam since 2008, the studio operates from New York City. Farzin Lotfi-Jam (b. 1984, Tehran) is an adjunct professor at Columbia University. He holds advanced degrees from Columbia University and RMIT University in Melbourne Australia.  He is a 2015-2017 Fellow of the Akademie Schloss Solitude in Stuttgart and was a 2013-2014 Sanders Fellow at the University of Michigan. His work investigates the means by which objects, sites and systems acquire cultural value and examines the representation of value in architectural form.

 

————————————

 

FINALISTS

 

Runner-Up:

Two Naughts by Ibañez Kim

[Mariana Ibañez, Simon Kim, Mark Yim, Chris Johnson]

 

Two naughts is a prototype transitioning from a closed circle into a different lofted circle, producing a curving, vaulted surface – a strange object that rocks but doesn’t fall, created from a simple transformation of formal geometries. Inside the object, there are embedded electronics and hydronics in a feedback system of piezo-electric film, which activates radiant heating. To access the heat, visitors must physically push the object, much like a weeble-wobble.

 

 

Two Naughts. Image by Ibañez Kim.

 

 

Honorable Mention:

Safe House by APTUM

[Julie Larsen, Roger Hubeli]

 

Safe House is a global vault, a safe keep for architectural ideas as seeds for alternative worlds. Materially, the Safe house is a depository in a hermetically enclosed chamber where the exhibition is located. There is only one air-lock entry to the vault and a hidden emergency exit door.

Safe House

 

Safe House. Image by APTUM.

 

 

Honorable Mention:

Breathe Box by CASE

[Anna Dyson, Josh Draper, Nancy Diniz, Naomi Keena, Mohamed Aly, Berardo Mattalucci, Benjamin Feagin, Kenton Phillips, Mae-Ling Lokko]

 

Breathe Box is an apparatus for a series of public experiments that will test health parameters and executive function relative to IAQ (Internal Air Quality). Participants will sign releases, fill out medical questionnaires and don wearable biometric devices. With AMPS switched off, up to four people at a time will sit in the Breathe Box for up to several hours. As CO2 levels reach a critical point, artificial lighting will activate and a series of fans will draw the air in the Breathe Box through the roots of each AMPS module. Healthier, more breathable air will be returned to the Breathe Box.

 

Breathe Box

 

Breathe Box. Image by CASE.

Call for Ideas: Taking Buildings Down

Tuesday January 12, 2016 – Wednesday January 20, 2016

(The Competition of the Competition of Competitions)

NOTE: The registration deadline for Taking Buildings Down has been extended until Wednesday, January 20th.

 

TBD_Intro

 

What does it mean to build? Traditionally, building has been defined as the assembly of parts or materials toward the creation of a whole. While to build is often perceived as an Apollonian pursuit, to destroy appears to be its Dionysian counterpart. Understanding that our built environment is the product of many forces, it can dialectically be reduced to the tensions between creation and destruction, addition and subtraction, and erection and demolition.
 
In a design culture focused on the superlative (the tallest, the newest, the priciest), in which destruction is often perceived of or produced by an act of violence, the processes of removal appear as secondary concerns or collateral damage. However, if we are to better understand the life cycles of our built environment, we must explore the possibilities and implications of Taking Buildings Down.
 
This competition of ideas is simultaneously a political act, a means of criticism, and a method of speculation.
 
Taking Buildings Down asks proposals for the production of voids; the demolition of buildings, structures, and infrastructures; or the subtraction of objects and/or matter as a creative act. Removal is all that is allowed.

 

ELIGIBILITY

This call is open to anyone interested in articulating visions for the future of our built environment.

 

CONTENT AND CRITERIA

Each proposal should consider and present three items:

 

1)  A pre-existing current condition

2)  A process of removal

3)  A resultant condition of removal

 

Proposals should consider contemporary contexts. There are no limitations in scale or scope. The focus of the proposal may be on the process of removal, the resultant condition, or both.

 

Projects will be judged on their ambition, vision, methodology, and clarity.

 

AWARDS

Three monetary prizes will be awarded to the winners of Taking Buildings Down. These include:

 

1st Prize: $2000

2nd Prize: $1000

3rd Prize:  $500

 

PUBLICATION

Winning entries and any additional entries deemed to be worthy of publication will be included in a printed competition compendium released by Storefront for Art and Architecture.

 

QUESTIONS

Below are answers to questions we have received:

Q: Does the submission require both physical and digital copies be submitted?

A: Yes.

Q: Can the format of the submission be Landscape orientation?

A: Yes, as long as the size is 8.5″ x 11″.

Q: I want to submit a video, but file upload limit is 15MB, how do I do this?

A: Please submit a PDF with a still frame image and a link to download the video through Vimeo, YouTube, or your preferred web service.

 

JURY

Jeff Byles

Jeff Byles is the author of Rubble: Unearthing the History of Demolition, a wide-ranging investigation of “unbuilding” as a culture-shaping force. Deeply engaged in public design and its role as a catalyst for cultural innovation, Jeff has explored the built environment in his nearly 20 years as a writer, journalist, editor, and urban thinker. Jeff’s expertise in public design includes leadership roles at Van Alen Institute, where he oversaw research initiatives focused on urban form and well-being and helped lead design competitions and public programs devoted to transforming cities and public spaces. 

 

Through his role in the design and consulting practice Being Here, Jeff works at the intersection of site and society to inspire ecological, social, and economic vitality in communities through creative collaboration. Jeff is the co-author of A History of Design from the Victorian Era to the Present, and he has lectured internationally on architecture, landscape, and the future of the city. Since 2014, Jeff has served as President of The Fine Arts Federation of New York, an advocate for design excellence in New York City and beyond.
 

Keller Easterling

Keller Easterling is an architect, writer and professor at Yale University. Her most recent book, Extrastatecraft: The Power of Infrastructure Space, examines global infrastructure networks as a medium of polity. Another recent book, Subtraction, considers building removal or how to put the development machine into reverse. An ebook essay, The Action is the Form: Victor Hugo’s TED Talk previews some of the arguments in Extrastatecraft.

 

Other books include: Enduring Innocence: Global Architecture and its Political Masquerades, which researched familiar spatial products in difficult or hyperbolic political situations around the world, and Organization Space: Landscapes, Highways and Houses in America, which applied network theory to a discussion of American infrastructure.

 

Easterling is also the co-author (with Richard Prelinger) of Call it Home: The House that Private Enterprise Built, a laserdisc/DVD history of US suburbia from 1934–1960. She has published web installations including: Extrastatecraft, Wildcards: a Game of Orgman and Highline: Plotting NYC. Easterling’s research and writing was included in the 2014 Venice Biennale, and she has been exhibited at the Rotterdam Biennale and the Architectural League in New York, among other venues. Easterling has lectured and published widely in the United States and abroad. The journals to which she has contributed include Domus, Artforum, Grey Room, Cabinet, Volume, Assemblage, e-flux, Log, Praxis, Harvard Design Magazine, Perspecta, and ANY.

 

Pedro Gadanho

Pedro Gadanho is the Artistic Director of the forthcoming Museum of Art, Architecture and Technology (MAAT) in Lisbon, Portugal. Previously, he served as Curator of Contemporary Art and Architecture at the Museum of Modern Art (MoMA) in New York.During his time with MoMA, Gadanho was involved in the Young Architects Program (YAP), whim aims to foster new ideas in young architects through installations at MoMA PS1, the MAXXXI Museum, the Istanbul Modern Museum, and CONSTRUCTO

.



From 2000 to 2011, Gadanho was a professor and architecture faculty member at the University of Porto in Porto, Portugal. He also previously served as director and curator for ExperiementaDesign for three years.



 

Gadanho attended Politecnico di Milano before earning his master’s degree at the University of Kent and his Ph.D in architecture and mass media from the University of Porto.

 

Jorge Otero-Pailos

Jorge Otero-Pailos (b. 1971) works at the intersection of art, architecture and preservation. He has been exhibited at major museums, festivals, galleries, and foundations; notably, Manifesta7 and the 53rd Venice Art Biennial. In 2009, he was listed as one of ten young Spanish artists to watch in Architectural Digest and was featured that same year in the BBC TV’s documentary Ugly Beauty alongside Damien Hirst, Anish Kapoor, Carl Andre, and Yoko Ono. He has received awards from major art, architecture, and preservation organizations, including the Kress Foundation, the Graham Foundation, the Fitch Foundation, and the Canadian Center for Architecture. In 2012, he received the UNESCO Eminent Professional Award. He is a member of the Academy of Arts and Sciences of Puerto Rico.

 

Otero-Pailos studied architecture at Cornell University and holds a PhD from MIT.  He is Associate Professor of Historic Preservation at Columbia University’s Graduate School of Architecture in New York. He is the founder and editor of the journal Future Anterior

 

 

Annabelle Selldorf

Annabelle Selldorf is the Principal of Selldorf Architects, a 65-person architectural practice that she founded in New York City in 1988. The firm has worked on public and private projects that range from museums and libraries to exhibition design and a recycling facility. 

 
Selldorf Architects recently completed the Sunset Park Material Recovery Facility, a new recycling facility and education center on the Brooklyn waterfront. The firm’s renovation of The Clark’s Museum Building in Williamstown, Massachusetts opened to critical acclaim in 2014. Selldorf has designed numerous galleries including the ground-up 30,000 SF LEED Gold building for David Zwirner on West 20th Street, as well as projects for Hauser & Wirth, Barbara Gladstone, and Gagosian among others. 
 
Ms. Selldorf designed the installation of the 2013 Venice Biennale at the Arsenale in collaboration with curator Massimiliano Gioni. Selldorf Architects is currently designing an expansion for the Museum of Contemporary Art San Diego and Luma Arles, a new center for contemporary art in France. Born and raised in Germany, Ms. Selldorf came to the United States to study architecture and received degrees from Pratt Institute and Syracuse University. Ms. Selldorf is a Fellow of the American Institute of Architects and serves on the Board of the Architectural League of New York and the Chinati Foundation.
 

INCA

David Bench (INCA) is a registered architect in New York. He works for Selldorf Architects, where he is project architect for the Luma Foundation in Arles, France, the Mwabwindo School in Zambia for the 14+ Foundation, and a private residence.  He is interested in the intersection of architecture and politics, and has explored these themes in writings for Uncube and Clog and in seminars at Abrons Art Center. He is a graduate of the University of Texas at Austin and Yale University.

 

Jonathan Chesley (INCA) works as a designer at Selldorf Architects in New York City. He first became interested in demolition while completing his MArch at the University Oregon. He assisted his Professor Erin Moore in researching notable architectural projects designed to consider the full lifecycle of buildings. These concepts informed his design work focused around the role of temporary and mobile architectures on the evolution of urban form. After graduation, he collaborated on a design/build project on the St. Lawrence River in which a boat house was renovated into a guest house. This served as the first practical application of ideas surrounding deconstruction. Other structures on the property were harvested for building materials. This slow removal was in the interest of the site’s landscape ecology. Along with working at Selldorf, Jonathan is an active volunteer of the Gowanus Canal Conservancy and Arts East New York, organizations that promote the social, cultural, and natural ecology of the city. Through these experiences, he continues to explore the pragmatic and conceptual effects of creation and destruction on urban morphology.
 

NOTIFICATION

Winning entries will be announced in February 2016.

 

REGISTRATION

Registration is now closed. For questions please contact takingbuildingsdown@storefrontnews.org

 

SUBMISSION REQUIREMENTS

Applicants will submit an application package. The package should be in 8 1/2″ x 11″ page portrait layout, with no more than 20 single-sided pages. It should be delivered in the following formats:

 

– A digital PDF (15 MB or less), uploaded to the competition platform no later than 11:59 p.m. on January 20th, 2016.

 

– A bound proposal documentation book, delivered no later than January 21st, 2016 at 6 pm to Storefront’s office at 611 Broadway, Suite 634, New York, NY 10012. Proposals received after this date and time will not be accepted. (Note that Storefront’s office is located at a different address from its gallery space).

 

 

APPLICATION PACKAGE CONTENTS

Physical applications must be packaged in a sealed envelope with registration number written clearly and legibly on the outside. The package should contain the following contents:

 

A: COVER SHEET

Please fill out and include the cover sheet as the first page of your submission. Access the Cover Sheet.

 

B: PACKAGE

Please include the following materials in a bound letter-size booklet (maximum 20 pages, including supplemental material):

 

  1. Application Cover (with proposal title and registration number)
  2. Location/Context
  3. Mission Statement (500 words or less)
  4. Three images/plans/diagrams depicting:
  1. The current condition
  2. The process and methodology of removal
  3. The resultant condition

 

FORMAT:

Participants can submit support material in the following formats:

 

  • Videos (maximum 3 minutes in length)
  • Models (maximum size 10”x10”x10”)
  • Additional documentation material as considered essential by the applicants (maximum 10 pages)

 

SCHEDULE

Thursday, November 5————————Competition Launch

Tuesday, December 1————————-Deadline for Submission of Questions

Tuesday, December 22———————–Publication of Questions and Answers

Tuesday, January 12————————–Registration Deadline

Wednesday, January 20———————-Digital Submission Deadline

Thursday, January 21————————-Physical Submission Deadline

Late February / Early March—————–Results Announced

 

ANONYMITY

Entrants may not communicate with members of the Jury about the competition in any way or form until there is a public announcement of the winner.

 

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

 

Any entrant who violates these rules will be disqualified.

 

DEADLINE

Digital submissions must be entered through the competition platform by January 20th, 2016 at 11:59 pm.

 

Physical submissions must be delivered to the Storefront for Art and Architecture office on or before January 21st, 2016 between 11 am and 6 pm EST.

 

Please note the office address below:

 

Storefront for Art and Architecture

611 Broadway, Suite 634

New York, NY 10012

 

Mailed submissions must arrive at the office by the submission deadline (note that the deadline is the date of receipt, not a postmark date).

 

NOTIFICATION

Winning entries will be announced in February 2016.

 

SUGGESTED READINGS

Participants interested in additional academic, cultural, and philosophical references can consult the Taking Buildings Down bibliography (created by INCA):

http://storefrontnews.org/programming/party-bibliography-on-demo/

 

ADDITIONAL INFORMATION

Copyrights for project submissions shall remain the property of the author.

 

Submitted materials shall not be released nor exposed to the public, press, or other media before the announcement of a winning entry or the cancellation of the Competition. Applicants who violate this will be disqualified.

 

Participants agree to permit Storefront to use the submitted materials in public posts, publications, or exhibitions, or for archival, promotional, educational, and other purposes at its discretion. 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.

 

Storefront for Art and Architecture assumes no responsibility for postal, email, electronic, technical, or natural conditions that prevent the receipt or judging of a Competition submission or any part thereof.

 

Storefront for Art and Architecture 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.

 

CREDITS

This competition is curated by INCA, the winners of the Special Prize for Storefront’s Competition of Competitions. INCA is a collaboration between David Bench and Jonathan Chesley, architects at Selldorf Architects in New York who have an interest in conceptual work as a complement to practice.

 

You can read more about the competition and the winners here: http://storefrontnews.org/archive/winners-competition-of-competitions/

 

ABOUT THE COMPETITION OF COMPETITIONS

Launched in 2013, Storefront for Art and Architecture’s “Competition of Competitions” asks participants to create a brief that formulates the questions of our time and defines the agents that should pursue the task of commissioning visions for the future.

 

The competition provides a space for critical thought about the way competitions and commissions are organized, and allows participants to rethink the structure, content, and stakeholders of competition briefs. In doing so, participants deliver new and provocative forms of engagement with the economic, political, and social context surrounding the development of our cities.

 

For more information, please see: http://storefrontnews.org/programming/competition-of-competitions/

Call for Ideas: Closed Worlds Design Competition

Saturday October 17, 2015 – Tuesday November 17, 2015

Call for Ideas: Design Competition for CLOSED WORLDS

Submission Deadline: Monday, November 16, 2015 11:59 ppm

 

Earth as seen on July 6, from a distance of almost one million miles by a NASA scientific camera on board the Deep Space Climate Observatory spacecraft. CreditNASA

Earth as seen on July 6, from a distance of almost one million miles by a NASA scientific camera on board the Deep Space Climate Observatory spacecraft. Credit: NASA.


What do outer 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 interpretations of the world in time and in space, closed systems identify and secure materials necessary for life. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems.

 

In February 2016, Storefront for Art and Architecture will open Closed Worlds, an exhibition of 41 living prototypes built over the last century that present an unexplored genealogy of closed resource regeneration systems. From the space program to countercultural architectural groups experimenting with autonomous living, the exhibition documents a larger disciplinary transformation in the postwar period and the rise of a new environmental consensus in the form of a synthetic naturalism, where the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings.

 

For this exhibition, Storefront for Art and Architecture is looking for a designer to produce the 42nd piece of the chronology of experiments. The selected designer(s) will have the opportunity to use the installation as a testing ground for a new closed system. The designer will work closely with the Closed Worlds curatorial team. Once the proposal of a Closed System is selected, the designer will be responsible for the development of the installation and for the display of related exhibition materials into the space of the gallery, leading the overall exhibition design. You can find exhibition research information and documentation samples in the right column, in “Documents”.
 

ELIGIBILITY

 

This call is open to anyone with demonstrated experience in the conceptualization, design, and production of spatial prototypes, including architects, artists, designers, engineers, and environmental scientists, among others.

 

The winning team will be based in New York or be able to easily produce and manage the final design and construction of the installation and hold regular meetings with the Closed Worlds curatorial team. The winning team will be able to work intensely within a given time frame for the preparation and installation of the exhibition between November 2015 and February 2016.

 

Applications will be accepted from individuals and firms, and architects need not be licensed. Interdisciplinary collaborations are strongly encouraged. Applicants outside of New York City are eligible to apply, but housing and transportation will not be provided.

 

CRITERIA

 

Conceptual Framework

The jury will value the originality and poignancy of the elements to be considered essential in the definition of a closed system. From human waste (excrement, sweat, skin particles) to digital/electronic waste (data, hardware) to forms of capital (energy generation, organic remediation, light), the proposal should clearly identify the essential sources that drive the closed system. Although the closed system (digestive machine) should perform certain conversions, feedback efficiency will not be the primary criteria of the jury, as disobedient machines – critical devices – will also be valued.

 

Site Specificity

Proposals should take in consideration the specific location and space of Storefront’s gallery in New York, and should demonstrate an understanding of the various forces and constituencies at play on the specific site (including, but not limited to: temperature, sound, pollution, noise, etc.)

 

Design Flexibility

The content of the Closed Worlds exhibition is extensive and includes an archive of 41 projects (including images, texts, logos, drawings, bibliography, and other data for each project), 41 respective speculative feedback drawings, a large-scale graphic timeline, and an extensive lexicon of keywords in environmental history. Applicants are encouraged to experiment with and suggest different formats of display, but final layout will be determined in collaboration with the exhibition’s curatorial team.

 

BUDGET/PRIZE

 

The winning designer(s) will be awarded a production budget of $12,000 for construction, assembly, and disassembly of the closed system. Additionally, the selected team will be awarded a design/managing fee in the amount of $1,500. All other production and fabrication expenses related to the closed system exceeding $12,000 shall be assumed by the winner. An independent budget will be allocated for the printing of the archival materials and exhibition signage.

 

The winner will work with the Storefront for Art and Architecture production team to realize the design, and will work with the Closed Worlds curatorial team to fulfill all exhibition requirements. The winning team will be responsible for project management of any manufacturers/vendors involved in production. The completed project is scheduled to open to the public in February 2016. The project will be widely publicized through Storefront’s media channels and social networks.

 

SUBMISSION PROCESS

 

Background Materials and Questions

All questions should be emailed to closedworlds@storefrontnews.org by November 3rd, 2015. Relevant questions and answers will be posted on Storefront’s website (www.storefrontnews.org) on the Closed Worlds exhibition page before or on November 6th, 2015.

 

Storefront’s gallery is open to the public from Tuesday through Saturday, 11:00 AM to 6:00 PM.

 

On October 29th from 5 to 6 pm, Max Lauter, Storefront’s Gallery Manager and Project Coordinator, will conduct a walk-through of the gallery space for interested applicants and will answer any questions in person.

 

To download Storefront for Art and Architecture’s gallery plan, click here.

 

To see photos of past installations at Storefront for Art and Architecture, see our online archive or photo gallery.

 

Registration 

Competitors are required to register for the competition in advance of the submission date. Registrations must be received by November 10th, 2015 before midnight.

 

Applicants can register online at https://storefront.submittable.com/submit

 

There is a $50 registration fee ($25 for members of Storefront). Projects that have not registered by the November 10th deadline will not be reviewed. After registration, each applicant will receive an email with registration confirmation.

 

Submission
Applicants will submit an application package. The package should be in 8 1/2″ x 11″ page portrait layout, with no more than 23 single-sided pages. It should be delivered in the following formats:

 

  • A digital PDF (15 MB or less), uploaded to the competition platform no later than 11:59 p.m. on November 16, 2015.

 

  • A bound proposal documentation book, delivered no later than November 17 at 6 pm to Storefront’s office at 611 Broadway, Suite 634, New York, NY 10012. Proposals received after this date and time will not be accepted. (Note that Storefront’s office is located at a different address from its gallery space).

 

 

APPLICATION CONTENT

 

COVER SHEET / Page 1

 

Page 1: Contact Information. Please fill out and include the competition cover sheet as the first page of your submission.

 

APPLICATION / Pages 2-12

 

Page 2: Project title and mission statement of no more than 300 words, summarizing the proposal (1 page).

 

Page 3: Feedback drawing or diagram that represents the proposed closed system. Representationally, the identification of closed systems is linked to arrows and movement, with clear understandings of their context in both spatial and temporal frameworks (1 page).

 

Page 4-9: A series of images (up to six) including a plan, elevation, and section that collectively provide an understanding of the material, spatial, and programmatic qualities of the proposal (6 pages).

 

Page 10: Material specifications, production processes, and production times for the materialization of the project (1 page).

 

Page 11: Preliminary budget (1 page).

 

Page 12: Dispersal material plan or afterlife plan (1 page).

 

PORTFOLIO / Pages 13-22

 

Up to ten (10) digital images of recent work. (These images are in addition to images submitted as part of the project proposal). For each image, include the title, date and a brief description of the work.

 

RESUME / Page 23

 

Individual or team resume (1 page)

 

 

SCHEDULE:

 

Registration Deadline————————————————November 10, 2015

Deadline to Submit Questions————————————-November 3, 2015

Answers to Submitted Questions Posted Online————-November 6, 2015

Digital Submission Deadline—————————————November 16, 2015

Physical Submission Deadline————————————November 17, 2015

Design/Management/Construction Period———————-Dec 2015 – Jan/Feb 2016

Exhibition Opening—————————————————–February 2016

 

JURY

 

  • Michelle Addington, Hines Professor of Sustainable Architectural Design at Yale University
  • Eva Franch, Director of Storefront for Art and Architecture
  • Mitchell Joachim, Associate Professor of Practice at New York University and Principal of Terreform One
  • Lydia Kallipoliti, Assistant Professor of Architecture at Rensselaer Polytechnic Institute and Curator of Closed Worlds exhibition
  • Michael Young, Assistant Professor of Architecture at the Cooper Union and Principal of Young/Ayata Architects

 

The Jury reserves the right to cancel the competition and/or reject any and all proposals received in response to the call for ideas.

 

Closed Worlds is curated by Lydia Kallipoliti and is supported by the Graham Foundation and the New York State Council for the Arts.

 

DEADLINE

 

Digital submissions must be entered through the submission website by November 16, 2015 at midnight.

 

Physical submissions must be delivered to the Storefront for Art and Architecture office on or before November 17, 2015 between 11 am and 6 pm EST. Mailed submissions must arrive at the office by the submission deadline (note that the deadline is the date of receipt, not a postmark date).

 

Please note the office address below (and note that this is a different address from Storefront’s gallery space).

 

Storefront for Art and Architecture

611 Broadway, Suite 634

New York, NY 10012

 

NOTIFICATION

 

The winning entry will be notified in late November 2015.

 

ADDITIONAL INFORMATION

 

Copyrights for project submissions shall remain the property of the author.

 

The structure created for the Closed Worlds exhibition will become the property of Storefront for Art and Architecture and the Closed Worlds curatorial team.

 

Submitted materials shall not be released nor exposed to the public, press, or other media before the announcement of a winning entry or the cancellation of the Competition. Applicants who violate this will be disqualified.

 

Participants agree to permit Storefront to use the submitted materials in public posts, publications, or exhibitions, or for archival, promotional, educational, and other purposes at its discretion. 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.

 

Storefront for Art and Architecture assumes no responsibility for postal, email, electronic, technical, or natural conditions that prevent the receipt or judging of a Competition submission or any part thereof.

 

Storefront for Art and Architecture 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.