[upcoming] Listening Series: Playing Spaces

Saturday January 6, 2018

Jenny Chen performing under Domo at the Tippet Rise Art Center, 2016. 

Design by Ensamble Studio (Anton Garcia-Abril and Debora Mesa). Photograph by Iwan Baan.




In the meantime, you can listen to Attention Issue 4: “How Musicians Think About Space” upon its release on January 6th.




Listening Series: Playing Spaces

Saturday, January 6th, 2018

3 – 5 pm


#listeningseries   #playingspaces   #storefrontseries   @storefrontnyc


With Argeo Ascani, Anne Guthrie, Zev Greenfield, Margaret Anne Schedel, Elaine Sisman, and Peter Zuspan


Moderated by Willem Boning and Curt Gambetta


Performance by Daniel Neumann


In architecture, spatial thinking is at the core of the design process. In music, however, space is often considered a surface effect, a veneer of “good” or “bad” acoustics that is applied to sound rather than grounding it. But music is inherently spatial. As it travels from a source to our ears, music is transformed by the air, the surrounding architecture, and the shape of our own bodies. A number of musicians from across time periods, genres, and traditions have acknowledged this gap, and have exploited spatial phenomena to enrich their musical languages.


Listening Series: Playing Spaces is presented in parallel with the launch of How Musicians Think About Space, an issue produced by architectural designer and acoustician Willem Boning for Attention-The Audio Journal for Architecture that documents musical experiments with the spatial dynamics of architecture and landscape. Through interviews, musical excerpts, and acoustical examples, How Musicians Think About Space illuminates the role of space in the imagination of composers, performers, and producers. 


In order to make the interaction of sound and space legible in new ways, this first iteration of Storefront’s Listening Series expands on topics from the journal issue, including the physical phenomena of sound, its reproduction and representation, and the design and occupation of acoustical environments. A performance by sound artist Daniel Neumann will set the stage for a panel discussion with historians, architects, musicians, and acousticians about how musicians engage space as a means for invention. Participants will introduce audio excerpts that capture and communicate a spatial phenomenon, followed by a group discussion on the spatial aspects of musical performance.


About the Performance

For Listening Series: Playing Spaces, Daniel Neumann will perform CHANNELS APPLIED #1, an original spatial sound work that responds to the environment of the event, applying the sonic “raw” material of CHANNELS, a concurrent installation at Fridman Gallery in NYC, to Storefront’s ground floor gallery space and basement. Neumann frequently uses given sonic material as a compositional strategy. In what he calls a “continual concrète practice,” Neumann stages multiple iterations of given material in different sites, systems, and situations, layering, staggering, cutting, and merging sonic traces and imprints. Inspired by the Musique Concrète movement, he proposes that musical composition begins with concrete sounds instead of an abstract idea. But, in contrast to the fixed media compositions of Musique Concrète, Neumann’s pieces do not result in a finished, hermetic work. Rather, each iteration is responsive to its concrete surroundings and different speaker types and systems. The altered sonic material is subsequently re-applied to new listening situations. In this way, Neumann’s performances are temporary concretions that weave different spatio-temporal fragments and layers together.


About the Listening Series

Storefront’s newest event format, the Listening Series, invites close listening and reflection on aural histories, practices, and imaginaries from the real to the virtual. To make the interaction of sound and space legible in new ways, the format examines the ways sound is experienced, how it interacts with the hegemonies of visual media, and the ways in which it mediates perception across physical and psychological domains. To transform hearing into listening, the series invites the public to tune their ears to the performance of spaces, voices, instruments, and machines to capture, interpret, synthesize, produce, sonify, broadcast, and engage in feedback with information and environments.


About the Participants

Argeo Ascani first became interested in music with a childhood dream of playing the theme song to the Pink Panther. Since then, much has happened. As a performer, he traveled to many places, played many pieces, and worked with many people – sometimes even enjoying himself. He has taught in the Music History and Contemporary Performance Practice departments at the Manhattan School of Music and has given talks in over a dozen countries. Currently, Argeo can be found in the position of Curator, Music at EMPAC – the Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute in Troy, NY. (oegra.com)


Willem Boning is an architectural and acoustical designer at Arup. He works at the intersection of architecture, sound simulation and virtual reality and has pioneered new tools for acoustical analysis, optimization and reverse-engineering. Willem led the design of the Tiara, an innovative outdoor music structure at the Tippet Rise Art Center, and has done acoustical design and consulting for clients including Steinway & Sons, the Frick Collection, the American Museum of Natural History, WeWork, Google and the Archdiocese of New York. Willem received his Masters of Architecture degree from Princeton University, and previously worked with Rem Koolhaas at the Office for Metropolitan Architecture in Rotterdam and Hong Kong. Willem has been invited to speak about his work at various institutions and conferences, including RWTH Aachen, Rice University, PUCP Lima and the IoA Auditorium Acoustics Conference, and he writes about music, acoustics and architecture on his blog, www.fromthesoundup.com.


Curt Gambetta is a scholar, architectural designer and editor of Attention audio journal, together with Joseph Bedford. He is a fourth year PhD student in the School of Architecture at Princeton University, and holds a Bachelor’s degree from Vassar College and a Master of Architecture from Rice University. Prior to his studies at Princeton, he was the Peter Reyner Banham Fellow at the University at Buffalo School of Architecture and Planning, a teaching fellow at Woodbury University School of Architecture in Los Angeles and a resident of the Sarai program of the Centre for the Study of Developing Societies in Delhi, India. His design and research practice has included a number of public installations, salons and curatorial residencies at Lawndale Art Center in Houston, CEPA Gallery in Buffalo and WUHO Gallery in LA, as well as ongoing research about the architecture and urbanism of waste infrastructure (http://assemblyoftrash.net/).


Zev Greenfield is a not-for-profit arts manager, curator and fundraiser with an MBA from Columbia Business School (’05) and over 15 years of progressive global experience across the not-for-profit and arts/entertainment industries. Zev is the Executive Director of the pioneering Brooklyn-based ISSUE Project Room and has a long-standing commitment to artists, devising new and inventive programming, plus coordinating critical operating and capital projects, such as the construction of The Orchestra of St.Luke’s DiMenna Center for Classical Music (New York’s first orchestral rehearsal and recording studio). Prior to ISSUE, Zev led the turnaround of the Byrd Hoffman Water Mill Foundation, worked with NY-based orchestras on the development of alternate revenue streams and has served a number of US and International arts organizations as a Strategic and Fundraising Consultant.

Anne Guthrie is an acoustician, composer, and French horn player living in Brooklyn, NY. She studied music composition and English at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she completed her Ph.D in 2014. She works as an acoustic consultant at Arup in New York City. Her music combines her knowledge of acoustics and contemporary composition/improvisation. While Guthrie’s electronic music focuses on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings, her composition explores the orchestration of non-musical sounds, speech in particular. Guthrie’s French horn playing focuses on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Further, her acoustics research centers on the use of ambisonics for stage acoustics.


Daniel Neumann is a Brooklyn-based sound artist, organizer and audio engineer. He holds a master’s degree in media art from the Academy of Visual Art Leipzig and studied electronic music composition. Neumann’s practice engages hybrid installation-performance formats to explore how sound interacts with space and how spaces can be shaped by sound. He thinks of sound as an interdisciplinary field enabled by audio procedures. Neumann’s works have been presented at Pinacoteca Bellas Artes Universidad de Caldas, Loop Barcelona, MoMA PS1, Knockdown Center, Pratt Institute, Eyebeam, Sculpture Center and many other venues. As a curator, he runs an event series in NYC and Berlin (CT::SWaM) that engages in spatial sound works and focused listening. As a sound engineer, Neumann is the acoustic designer of The World Is Sound at the Rubin Museum and head engineer for Blank Forms, Alarm Will Sound, Diamanda Galás and David Guetta. In 2013-16, he was the head engineer for live events at MoMA PS1. See Daniel’s website http://danielneumann.org/ for samples of his work.


Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media whose works have been performed throughout the United States and abroad. As an Associate Professor of Music at Stony Brook University she ran SUNY’s first Coursera Massive Open Online Course (MOOC), an introduction to computational arts. Schedel holds a certificate in Deep Listening and is a joint author of Cambridge Press’s Electronic Music.  Her research focuses on gesture in music, the sustainability of technology in art, and sonification/gamification of data. In her spare time she curates exhibitions focusing on the intersection of art, science, new media, and sound and runs www.arts.codes, a site celebrating art with computational underpinnings.


Elaine Sisman is the Anne Parsons Bender Professor of Music at Columbia University. Her numerous publications on Haydn, Mozart, and Beethoven include the recent articles “Haydn’s Solar Poetics: The Tageszeiten Symphonies and Enlightenment Knowledge” in the Journal of the American Musicological Society and “Music and the Labyrinth of Melancholy” in the Oxford Handbook of Music and Disability Studies. She received the Ph.D. from Princeton University and has taught at the University of Michigan and Harvard University. A member of the Joseph Haydn-Institut (Cologne) and the Mozart-Akademie (Salzburg), she served a term as president of the American Musicological Society, which elected her to Honorary Membership (2011). In 2014 she was elected a Fellow of the American Academy of Arts and Sciences.


Peter Zuspan is a founding principal of the architecture and design studio Bureau V. Bureau V’s recently completed work, National Sawdust, a nonprofit incubator and performance space for new music in Brooklyn, New York, has been described by The New York Times as “the city’s most vital new-music hall,” and has won numerous awards, including Architectural Review’s Culture Award Commended, Architecture Record’s Top 10 Art Centers of the World in 2015, and was nominated for the Mies Crown Hall America’s Prize. In addition to his architectural work, Zuspan is a trained opera singer and musician and has performed in genre-spanning projects in numerous spaces, including Lincoln Center’s Alice Tully Hall, the Venice Biennale of Art, the Musée d’Art Moderne de la Ville de Paris, the Gwangju Biennale, the Guggenheim Museum, and Brazil’s Inhotim. Zuspan currently sits as the Secretary of the Board of Directors of National Sawdust. He has taught architecture at Columbia University, the University of Pennsylvania, and Syracuse University. 


About Attention Audio Journal

Attention is an audio journal for architectural culture that uses the medium of sound and spoken word to capture a dimension of architecture otherwise lost in print. By precluding visual media, Attention strikes a distance between the distraction economy of much online media, creating an intimate and reflective space for the in-depth development of ideas and issues. Through interviews, roundtable debates, oral histories, field recordings, the exploration of archival recordings, experimental music and soundscapes, reportage and audio essays, Attention investigates issues of concern to contemporary architectural culture, theory and practice. Attention is edited by Joseph Bedford and Curt Gambetta, with assistance from production consultant Griffin Ofiesh.


Attention is a sister project of The Architecture Exchange www.thearchitectureexchange.com, a platform dedicated to fostering debate and exchange in architectural culture that was founded by Joseph Bedford and Jessica Reynolds. Since 2013, the Architecture Exchange has organized numerous public events and peer-to-peer workshops between architects, theorists and historians, as well as a book series with Bloomsbury Press.


Attention is available through its website www.attentionjournal.com, iTunes  https://itunes.apple.com/us/podcast/attention-audio-journal-for-architecture/id1103549975?mt=2= and other podcast applications such as Stitcher and Mixcloud.


About Attention Issue 4: How Musicians Think About Space

Produced by Willem Boning, featuring Jürgen Meyer, Elaine Sisman, Emily Thompson, John Harvith, Susan Edwards Harvith, John Culshaw, Glenn Gould, Paul Théberge, Yasuaki Shimizu, and Daniel Neumann.

Episode Summaries


1 – Introduction

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyer and musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.


2 – The Sound of Absence

What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio.


3 – Even Better than the Real Thing

In the 1950s, classical record producers were fixated on realism, aspiring to put listeners in the ‘best seat of an acoustically perfect hall.’ Not so for John Culshaw, however, a maverick producer who used new stereophonic technology to produce operas that were more dramatic, more spatially immersive and (so he claimed) more faithful to a composer’s intentions. Sonic highlights from Culshaw’s producing career accompany a reading from his two memoirs, ‘Ring Resounding’ and ‘Putting the Record Straight.’


4 – The Acoustic Orchestrations

The pianist Glenn Gould was dogmatic about his recording setup, placing the microphone as close as possible to his piano to exclude the sound of the surrounding room. That is, until he encountered the music of Alexander Scriabin—Gould felt that no one acoustic could do justice to Scriabin’s mystical musical language, and devised a system of ‘sound cameras’ that could zoom into or zoom out of his piano. Gould’s ambitious ‘Acoustic Orchestrations’ experiment remained unfinished, however, until music professor Paul Théberge discovered it in an archive and brought the project to completion.


5 – Bach, Sax, Space

One day, while practicing the prelude to Bach’s Cello Suite #1, Yasuaki Shimizu accidentally ran his tenor saxophone through a reverb machine. The sound so moved him that he embarked on an odyssey to record each of the six Cello Suites in a different acoustical environment. In this piece, Shimizu takes us into a warehouse, a stone quarry, a mine, a concert hall, a Baroque villa and a Gothic palazzo, showing us how the unique acoustics of each site drew out the emotional nuances of each suite in Bach’s masterwork.


6 – Free Field/Pressure Field/Diffuse Field

Bad acoustics inspired Daniel Neumann to become a composer and sound artist. After struggling to tame echoes, flutter and too much reverberation as a sound engineer at a nightclub in Leipzig, Daniel embraced these and other acoustical peculiarities and made them the focus of his work. In this piece, Neumann talks about how he uses sound to raise awareness of the idiosyncratic sounds of architectural spaces and plays us an iteration of his piece, “Free Field, Diffuse Field, Pressure Field.”



Attendance and Seating

All Storefront events are free and open to the public. Seating is on a first come, first served basis, with priority seating available for members of Storefront. If you are a member and would like to reserve a seat, contact jk@storefrontnews.org.


To become a member, see here.




Listening Series: Playing Spaces is supported by Arup.
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.


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Productive Disagreement Series: Syntax vs. Agency

Tuesday May 9, 2017

Productive Disagreement Series: Syntax vs. Agency

Tuesday, May 9th, 2017

7 – 9 pm


#syntaxvsagency    #productivedisagreement   @storefrontnyc




With Centro de Operações Rio (Alexandre Cardeman), Heather Dewey-Hagborg, Habidatum (Alexei Novikov & William McCusker), Lev Manovich, Rodrigo Rosa, Blake Shaw, and Mark Wasiuta


Governments and private corporations have an increasing interest and investment in big data. From social media posts and network usage to urban occupation, every activity produces data to be quantified, analyzed, and optimized in the production of new marketable and optimized forms of citizenship and governance. However, the data that is produced does not necessarily constitute an objective representation of all citizens. While smart-city governance is based upon formal logic and syntax, the question remains: How can big data meaningfully impact people’s lives or even accurately reflect their behavior and experiences?


What effect does computational urbanism and smart city technology have on the identity of a city? How can policies incorporate big data to positively contribute to the social well-being of urban populations? 


Productive Disagreement Series: Syntax vs. Agency opens up the discussion about analytical and design biases within contemporary forms of computational governance and city making. What identities, forms of citizenship, and politics are produced within current forms of digital representation and analysis? What kind of agency do this new forms of representation produce? Who is empowered as a result of digitally based forms of civic knowledge?  A panel of urban policymakers and analysts, technology theorists, and media arts experts take on the current implications and short-term impacts of digital infrastructure on the construction of the built environment.


This event is presented as part of the Storefront’s exhibition Control Syntax Rio, in collaboration with Habidatum.


About the Productive Disagreement Series:

Each iteration of Storefront’s Productive Disagreement Series develops conversations between ideologically opposed individuals, teams, or institutions. The events avoid compromise and agreement as a methodology of dialogical exchange, and promote confrontation and dialogue in order to generate a responsive audience, increase participation, and obtain a multiplicity of viewpoints and strategies.


About the Participants


Alexandre Cardeman is the CEO of Centro de Operações Rio (COR), and a technology project manager with more than 30 years of experience in the public sector. Cardeman is directly engaged in the COR project since the first steps of planning, through to its construction and operations implementation. Cardeman is specialized in public policy and smart city technologies.   


Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places. Her work has been shown internationally at events and venues including the World Economic Forum, Shenzhen Urbanism and Architecture Biennale, the New Museum, the Centre Pompidou and PS1 MOMA. Projects by Dewey-Hagborg have been widely discussed in the media, from the New York Times and the BBC to TED and Wired. She is an Assistant Professor of Art and Technology Studies at the School of the Art Institute of Chicago and a 2016 Creative Capital award grantee in the area of Emerging Fields.


Habidatum, a group of urban data analysts, will present Rio Semantic Landscapes: Beyond Control Syntax?. The project presents alternative methods of surveillance, collection, and analysis of urban data gleaned from social media usage in Rio to question if ‘smart city’ technologies lead to safer or happier cities, if individual expression may subvert larger systems of control beyond the purview of the state, and how emerging cartographic softwares provide new tools for understanding spatial syntax and the organization of the city.


Alexei Novikov, is President of Habidatum and holds a PhD degree in Regional and Urban Studies. He has been research fellow and visiting professor of urban science in American and European universities. Novikov launched two other startups: EA-Ratings and Geograffity. Prior to Habidatum he was a Managing Director at Standard & Poor’s and at Thomson Reuters. He also consulted the World Bank and other international financial organizations on infrastructure finance.


William McCusker is Product Lead & Business Development Director at Habidatum, and leads product strategy, project management, and business development initiatives. Prior to Habidatum, William coordinated the development of The Atlas of Urban Expansion, an online data visualization tool for an initiative involving New York University, the Lincoln Institute of Land Policy, and the United Nations Human Settlements Programme.


Lev Manovich is one the leading theorists of digital culture worldwide, and a pioneer in application of data science for analysis of contemporary culture. He is the author and editor of ten books including Cultural Analytics (forthcoming), Instagram and Contemporary Image, Data Drift, Software Takes Command, Soft Cinema: Navigating the Database, and The Language of New Media. Manovich is a Professor of Computer Science at The Graduate Center, CUNY, and a Director of the Cultural Analytics Lab. The lab created projects for MoMA (NYC), New York Public Library, Google, and other organizations. Manovich received an M.A. in Visual Science and Cognitive Psychology at NYU and a Ph.D. in Visual and Cultural Studies from University of Rochester. Manovich has been working with computer media as an artist, computer animator, designer, and programmer since 1984.


Rodrigo Rosa is currently Visiting Scholar for Columbia University, after eight years working as Special Advisor of the Mayor’s Office of the City of Rio de Janeiro under the administration of former Mayor Eduardo Paes. As part of that administration, Rosa was involved with major transformative projects including the Port Renovation (a large expansion of health care, education, and transportation) and the Rio Resilient City plan. He took part in high level coordination of major international events, such as the World Cup in 2014, the Summer Olympic Games in 2016, the United Nations Conference Rio+20, TED Global, among others.


As Special Advisor of Chairman Eduardo Paes during the C40 Cities Climate Leadership Group, Rosa executed strategies to largely expand the network, connecting to cities in China and in the developing world. Rosa was intensely engaged in international city diplomacy, advocating the voice of cities on the global stage. Previously, he worked in the public sector as a legislative consultant to the Brazilian Federal Senate, where he worked crafting legislation in Brazilian Congress before joining Rio City Hall. Rodrigo holds a Masters Degree in Economics and environmental management and is a PhD candidate at the Federal University of Rio de Janeiro on energy and sustainable planning.


Blake Shaw is a media artist who works at the intersection of video, critical pedagogy, telecommunication technology, and public space intervention. His work involves the construction of situations that facilitate collaborations between activists and artists around experimental media in attempts to instigate political novelty. His works and performances have been exhibited at a wide range of venues, including: The Akademie der Künste Berlin, The National Gallery of Denmark, The Centre for Art on Migration Politics, The Museum of Contemporary Art Zagreb, Den Frie Centre of Contemporary Art, Qalandyia International, The Media Architecture Biennale, The Museum of the Moving Image, among others. He has won numerous awards for his work, including a Vimeo Award. His works have been featured in a variety of publications including The Atlantic, Huffington Post, The Creators Project and The New York Times.


Mark Wasiuta is Co-Director of the MS degree program Critical, Curatorial and Conceptual Practices in Architecture at Columbia GSAPP. Over the last decade, as Director of Exhibitions at GSAPP, he has developed a body of research and archival exhibitions that focus on under-examined practices of the postwar period. Recent exhibitions, produced with various collaborators, include  “Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation,” “Environmental Communications: Contact High,” “Information Fall-Out: Buckminster Fuller’s World Game,” and “Les Levine: Bio-Tech Rehearsals 1967-1973.” His work has appeared at the Graham Foundation, the Istanbul Design Biennial, the Venice Architecture Biennale, Het Nieuwe Instituut, the Chicago Architecture Biennial, and elsewhere. He directs Collecting Architecture Territories, a multi-year research program that analyses global art institutions that have emerged from private collections. Wasiuta is recipient of recent grants from the Asian Cultural Council, the Graham Foundation, and NYSCA.



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; Roger Ferris + Partners; 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.




Cabaret Series: The Public is in Bits and Bubbles

Thursday May 4, 2017

Cabaret Series: The Public is in Bits and Bubbles

Thursday, May 4th, 2017

7 – 9 pm


#bitsandbubbles    #cabaretseries   @storefrontnyc


With Dennis Adams, BB (Francisca Benítez and Christina Bueno), Colby Chamberlain, Lucas Freeman, Marisa Jahn, Ann Lui, Jill Magid, Antoni Muntadas, Alan Ruiz, and Gediminas Urbonas


Public space is perpetually being lost and found in accordance with constant changes to the social and technical makeup of our lives. We desire public space because we want our shared landscapes and institutions to reflect and respond to the facts governing our lives. We want our spaces to be contemporary—to be present in our time, to value important cultural heritage, and to perceive common threats obscured by scale and technical complexity or by greed and indifference. Part of our civic selves yearns to be not just collective, but connective.


However, therein lies the problem: this swirling mess of connectivity troubles our sense of public and private, on-time and off-time, and inside and outside, changing our orientation toward common sense and common ground.


Cabaret Series: The Public is in Bits and Bubbles presented a series of performances by artists, architects, and cultural producers that explored the changing states of public space in the age of oversharing, overexposure, and post-fact politics.


The event was hosted by Storefront in collaboration with Lucas Freeman, Ann Lui, and Gediminas Urbonas, editors of “Public Space? Lost and Found” (MIT Press, 2017).


About the Book:

Public Space? Lost and Found explores the contemporary evolution of public space from the milieu of design and artistic thinking and practice at the civic scale. It gathers an eclectic cast of practitioners and theorists of the public domain and welcomes all readers interested in how the production of public space plays out (or could play out) under interrelated, accelerating conditions shaping the present, such as ubiquitous computing, climate change, economic austerity, and the rise of various stripes of political extremism and isolationism.


This publications is edited by Lucas Freeman, Ann Lui, and Gediminas Urbonas, and produced by the MIT Program in Art, Culture and Technology (ACT).


About the Cabaret Series:

Each iteration of Storefront’s Cabaret Series develops modes of expression that engage with contemporary discourses, the audience, and the social, political and physical space of Storefront in a playful, and sometimes humorous manner. The events have the aim to produce new modes of communication between speakers, performers and spectators through provocation, seduction and immediacy.


About the Participants


Dennis Adams has produces site-specific installations,  in highly visible locations, such as bus shelters and city streets, that focus on the phenomenon of collective amnesia in the late twentieth century. A survey of ten years of site-specific interventions was published in a monograph entitled Dennis Adams: The Architecture of Amnesia (1989) written by Mary Anne Staniszewski. The publication was followed by two mid-career surveys organized by the Museum van Hedendaagse Kunst Antwerpen and the Contemporary Art Museum of Houston.


BB (Francisca Benítez and Christina Bueno) is a Deaf/hearing duo performing in American Sign Language. Their work builds on Deaf poetry, political chants, ASL rhyme structures and resistance songs. Recent shows include “Trilingual Choir of Resistance” at El Museo del Barrio and “Flush Trump” at the House of Justice Deaf Club at The Shrine. Composed by Christina Bueno and Francisca Benítez, BB was born in New York City in 2017.


Colby Chamberlain is a Core Lecturer for Art Humanities at Columbia University and a founding editor of Triple Canopy. His scholarship and criticism focuses on intersections of art and other fields of professional practice, in particular the law. His book project, Fluxus Administration, draws on recent media theory to argue that the artist George Maciunas combined experimental aesthetics with bureaucratic procedures, leading to a consequential realignment between the neo-avant- garde and a range of postwar institutions. The recipient of a Jacob K. Javits Fellowship, a Helena Rubinstein Fellowship at the Whitney Independent Study Program, and the College Art Association Art Journal Award, he contributes to publications including Art in America, Artforum, Cabinet, and Parkett.


Lucas Freeman is a writer, editor, and programmer with training in political theory and the history of architecture and urbanism. His research and editorial activities involve him in a wide range of events, exhibits, and publications. He has a particular interest in the spatial consequences of political ideas and the rapid, technologically driven shifts in our modes of privacy and publicity. In recent years, Freeman has contributed to several journals including Scapegoat: Landscape, Architecture, Political Economy and the Harvard Design Magazine, and to many book projects in the field of critical artistic research, including the book series Intercalations (K. Verlag, 2015–) and Art in the Anthropocene (Open Humanities Press, 2015). He is currently Writer in Residence in MIT’s Program in Art, Culture and Technology.


Marisa Morán Jahn is an artist who founded Studio REV-, a public art + creative media non-profit organization whose key projects include El Bibliobandido (a masked, story-eating bandit), Video Slink Uganda (experimental films slipped or “slinked” onto pirated dvds that circulate in Uganda’s bootleg cinemas), several books about art and politics, and the CareForce, a public art project, film, + mobile studios (the NannyVan and CareForce One) amplifying the voices of America’s fastest growing workforce — caregivers. Jahn’s work has been reviewed in The New York Times, Art Forum, Univision, BBC, CNN; presented at The White House, Museum of Modern Art, worker centers, public spaces; and awarded grants from Creative Capital, Tribeca Film Institute, Sundance, NEA, Rockefeller Foundation, and more. She teaches at MIT and The New School.


Ann Lui is an assistant professor in Architecture, Interior Architecture, and Designed Objects at the School of the Art Institute of Chicago. Ann is also a founding partner of Future Firm, a Chicago-based architecture office, which works at the intersection of landscape territories and curatorial experiments. Previously, Ann practiced at SOM Chicago, Ann Beha Architects, and Morphosis Architects. She cofounded Circus for Construction, a mobile exhibition space on the back of a truck, part of Storefront for Art & Architecture’s WorldWide Storefront program and was Associate Curator of HACLab Pittsburgh: Imagining the Modern (Carnegie Museum of Art, 2015–2016). Ann was assistant editor of OfficeUS Atlas (Lars Müller, 2015); co-editor of “Scandalous,” the 43rd issue of Thresholds (MIT SA+P, 2015); and recently contributed to The Avery Review, Journal of Architectural Education, and Drawing Futures (UCL Press, 2016).


Jill Magid is an artist and writer based in New York City. Her practice is deeply interrogative, forging intimate relationships within bureaucratic structures—flirting with, seducing, and subverting authority. By infiltrating and unsettling powerful institutions, she locates unexpected habits and openings within the structures of bureaucracy. Magid has exhibited at the San Francisco Art Institute; Kunst Halle Sankt Gallen, Switzerland; Berkeley Museum of Art, California; Tate Modern, London; Whitney Museum of American Art, New York; Stedelijk Museum Bureau Amsterdam; Gagosian Gallery, New York; and the Security and Intelligence Agency of the Netherlands, and currently at MUAC, Mexico City. She has participated in Manifesta and Performa, and in the Liverpool, Bucharest, Singapore, and Gothenburg Biennials, as well as the Oslo Architecture Triennial. Her four books include: Failed States (2012), Becoming Tarden (2010), Lincoln Ocean Victor Eddy (2007), and Once Cycle of Memory in the City of L (2004). Sternberg Press recently published The Proposal inspired by her recent engagements with the archives of Mexican architect Luis Barragán.


Antoni Muntadas addresses the social and political power encoded in contemporary media. His projects engage a range of forms, including photography, video, installation, audio recording, and urban intervention. Since 1971, the year of his first solo show, in Madrid, and the year he moved to New York, Muntadas has been a vibrant contributor to a global critical conversation around structures of power. He is currently Professor of Practice at MIT’s Program in Art, Culture, and Technology (ACT). He has received many honors, including fellowships from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts, and the New York State Council on the Arts; awards from Arts Electronica in Linz and Laser d’Or in Locarno; and the Premi Nacional d’Arts Plàstiques de la Generalitat de Catalunya. In 2009 he was awarded the prestigious Premio Velásquez, given by the Spanish government in recognition of the contributions to Spanish and Spanish-American culture.


Alan Ruiz is a visual artist whose work explores the way space is produced as both material and ideology. His architectural interventions have been shown in exhibitions at the Queens Museum, The Elizabeth Foundation for the Arts, Wave Hill, and the Bronx Museum of the Arts.  His writing has been featured in Archinect, TDR, BOMB Magazine, InVisible Culture, and Women & Performance: a journal of feminist theory. He received an MFA from Yale University and was a 2015 – 2016 fellow in the Whitney Independent Study Program. He teaches at Pratt Institute and The New School.  Alan is a current artist-in-residence at Abrons Arts Center.


Gediminas Urbonas is director of the MIT Program in Art, Culture and Technology, associate professor in the Massachusetts Institute of Technology Department of Architecture, and co-founder with Nomeda Urbonas of Urbonas Studio, an interdisciplinary research practice that facilitates exchange amongst diverse nodes of knowledge production and artistic practice in pursuit of projects that transform civic spaces and collective imaginaries. Combining new and old media, their work frequently involves collective activities contributing to the cross-disciplinary exchange between several nodes of knowledge production: network and participatory technologies; sensorial media and public space; environmental remediation design and spatial organization; and alternative planning design integration. They also collaborate with experts in different cultural fields to develop practice-based artistic research models that allow participants—including their students—to pursue projects that merge urbanism, new media, social sciences and pedagogy to critically address the transformation of civic space.



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; Roger Ferris + Partners; 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.

Special support for Cabaret Series: The Public is in Bits and Bubbles was provided by Spain Arts and Culture, Consul General of Spain in New York.


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Manifesto Series: At Extremes

Tuesday March 21, 2017

Manifesto Series: At Extremes

Tuesday, March 21st, 2017

7 – 9 pm


#atextremes    #manifestoseries   @storefrontnyc


With Jordan Carver, Mitchell JoachimJanette Kim, Lola Sheppard, Andy Vann, and Srdjan Jovanovic Weiss


The condition of extremes suggests a tipping point: a moment in which a system shifts from one state to another (often unpredictable) state. 


Ulrick Beck, in Risk Society, argues that “being at risk is the way of being and ruling in the world of modernity…global risk is the human condition at the beginning of the twenty-first century.” Until recently, the developed world has largely been successful in displacing the economic, environmental, and political impact of its development to other nations and peoples, or in directing externalities of development toward other groups and stakeholders within their own nations, rendering the risk invisible in its original context.


However, with the financial crisis of 2008 and the increasingly tangible impacts of climate change, complete displacement of risk is no longer possible. When one group or region seemingly achieves stability, another will likely lose it. A key factor in understanding extreme systems is the ability to interpret their relationship to risk. The further we move away from a state of equilibrium, the more volatile the extremes, the more exposed we are to danger and loss, and the more risk we take on. 


Manifesto Series: At Extremes discussed how architecture, infrastructure, and technology negotiate limits and operate in conditions of imbalance. Do the risk/reward models prevalent on the trading floors of global financial markets and in speculative real estate projects hold up in disciplines related to design?


How can the entangled relationship between risk and extreme conditions be leveraged in a new and productive model; one that emphasizes speculation as a way to test scenarios, outcomes, and tools? What is the role of design in such contexts? To document? To redress? To mitigate? To capitalize on new opportunities? Does the progressive destabilization of political, social, and environmental conditions render design more relevant, or less so?


Participants were asked to draw upon Bracket Vol 3. At Extremes, edited by Lola Sheppard and Maya Przybylski, to present a manifesto for or against the positive correlation of risk and extreme circumstances as a productive tool for models in architecture.


About the Book:

Bracket is an almanac that highlights emerging critical issues at the juncture of architecture, environment, and digital culture. The series looks at thematics in our age of globalization that are shaping the built environment in unexpected yet radically significant ways.


About the Manifesto Series:

Each iteration of Storefront’s Manifesto Series 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 Participants


Jordan Carver

Jordan H. Carver is a writer, researcher, and educator who writes on space, politics, and culture. He is the author of the upcoming book Spaces of Disappearance: The Architecture of Extraordinary Rendition (Urban Research, 2017). Jordanis a contributing editor to the Avery Review, a core member of Who Builds Your Architecture? and a Henry M. MacCracken Doctoral Fellow in American Studies at New York University.


Mitchell Joachim

Co-Founder, Terreform ONE and Associate Professor of Practice, NYU. Formerly, an architect at Frank Gehry and I.M. Pei. Selected by Wired magazine for “The Smart List” and Rolling Stone for “The 100 People Who Are Changing America”. His honors include; ARCHITECT R+D Award, Fulbright Scholarship, TED Fellowship, Moshe Safdie Fellow, AIA NY Urban Design Merit Award, 1st Place International Architecture Award, Victor Papanek Social Design Award, Zumtobel Group Award, History Channel Award, and Time magazine’s Best Invention with MIT Smart Cities. Co-authored books, “XXL – XS: New Directions in Ecological Design,” “Super Cells: Building with Biology,” and “Global Design: Elsewhere Envisioned”. PhD at Massachusetts Institute of Technology, MAUD Harvard University, MArch Columbia University.


Janette Kim

Janette Kim is an architectural designer, researcher, and educator based in the San Francisco Bay Area. Her work focuses on design and ecology in relationship to public representation, interest, and debate. Janette is assistant professor of architecture and co-director of the Urban Works Agency at California College of the Arts, founding principal of the design practice All of the Above, and founding editor of ARPA Journal, a digital publication on applied research practices in architecture. Janette was also Assistant Professor at Syracuse University from 2015-2016 and Adjunct Assistant Professor from 2005-2015 at Columbia University, where she directed the Applied Research Practices in Architecture initiative and the Urban Landscape Lab.


Lola Sheppard / Lateral Office

Lola Sheppard is co-founder, together with Mason White, of Lateral Office, a design practice that operates at the intersection of architecture, landscape, and urbanism. The studio describes its process as a commitment to design as a research vehicle to pose and respond to complex, urgent questions in the built environment, engaging in the wider context and climate of a project– social, ecological, or political. Lateral Office have been pursuing research and design work on the role of architecture in remote regions, particularly the North, for the past seven years.


Lateral’s work has been exhibited and lectured extensively across the USA, Canada and Europe.  Lateral Office are the authors of the upcoming book Many Norths: Spatial Practice in a Polar Territory (Actar 2017) and of Pamphlet Architecture 30, COUPLING: Strategies for Infrastructural Opportunism, published by Princeton Architectural Press (2011). Sheppard and White are also co-editors of the journal Bracket, together with Neeraj  Bhatia and Maya Przybylski.


Andy Vann

Andy Vann is an organizer, educator, parent and architect based in Brooklyn. He has taught at City Tech, City College and Columbia GSAPP and is currently working at Paul Castrucci Architect.


Srdjan Jovanovic Weiss

Srdjan Jovanovic Weiss is a research architect producing exhibitions, books, lectures, installations and buildings. He founded NAO for design and co-founded SMS (School of Missing Studies) for urban studies. He researched for Herzog & de Meuron, designed for Richard Gluckman as well as collaborated with Jenny Holzer, Robert Wilson and Marjetica Potrc. He was a swimmer competing within the national junior league of Yugoslavia.





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; Roger Ferris + Partners; 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.



Cabaret Series: ha ha ha (The Funny, the Witty, and the Grotesque)

Tuesday February 14, 2017

Cabaret Series: ha ha ha (The Funny, the Witty, and the Grotesque)

Tuesday, February 14th, 2017

7 – 9 pm


#funnywittygrotesque    #cabaretseries   @storefrontnyc


With Beverly Fre$h, Brian Hubble, Vivian Lee, Tucker Marder, Thom Moran, and Mike Perry


Laughter, giggles, grins, and smirks – actions that often originate as spontaneous and instinctive expressions of amusement – create a sense of self-awareness. That which we find funny can be genuinely ground-breaking, changing people’s perspectives by signaling common spaces of understanding.


Humor is a subversion of conventions. Seldom the focus in dominant discourses of art, design, and architecture, there is a recurring interest in the explorations of irony, satire, and the grotesque as a means of critique of the status quo. Humor has a unique and particular potency in responding to turbulent political moments. It can deflect anger, serve as therapy in the face of traumatic events, and undermine prevailing ideologies. Can humor also promote new forms of a more optimistic practice, able to overcome anger, yet effective enough to produce change?


Presented during Paranoia Man in a Rat Fink Room, an installation by Freeman & Lowe, Cabaret Series: ha ha ha (The Funny, the Witty, and the Grotesque) invites artists, architects, designers, and curators to explore the intersections between humor, art, and architecture through performance and discussion.


About the Cabaret Series:

Each iteration of Storefront’s Cabaret Series develops modes of expression that engage with contemporary discourses in a playful and humorous manner. The events have the aim to produce new modes of communication between speakers, performers, and spectators through provocation, seduction, and immediacy.


About the Participants


Beverly Fre$h has broken several Guinness Book World Records; including breaking the most eggs on his head and compiling the tallest stack of rap tapes. Beverly has exhibited throughout the US and internationally, including China, Japan, Peru, Poland, Ukraine, Czech Republic, France and Germany. Recent exhibitions include, MR MDWST – A REAL GOOD TIME (2015), a solo exhibition at the Cranbrook Museum of Art. He is co-founder of sUPERIORbelly, a record label based in Detroit; cofounder of WILD AMERICAN DOGS; and co-founder of the Archive of Midwestern Culture. He is an Associate Professor and Area Head of Graphic Art at DePaul University in Chicago.


Brian Hubble lives and works in Brooklyn, New York.  Recent exhibitions include MOCA in Los Angeles, Fastnet in Brooklyn, and Less is More Projects in Paris and Brussels. He is the co-director of Unisex Salon, an artist-run contributive platform for voices of the multi-disciplinary community. Hubble completed his MFA at The School of the Art Institute of Chicago, where he was the recipient of the William Merchant R. French Fellowship.


WH Vivian Lee is the co-founder of LAMAS, a studio that is currently really excited by ornament, optical illusions, and lazy forms. Together with her partner James Macgillivray, they have experimented on these topics through school research, in temporary installations, and on permanent buildings. Lee is a U.S. registered architect who lives in Toronto.


Tucker Marder is an artist, filmmaker and plantsman. He has collaborated with institutions such as The National Aviary, The Nature Conservancy and Phipps Conservatory. Tucker is a recipient of the Frank Ratchye Grant for Art at the Frontier and in 2016 was named a Redford Center Grant Honoree. Tucker’s performance “STAMPEDE!”, comprised of over 200 live Crested Runner Ducks and large motorized abstract puppets premiered as part of the 2015 Parrish Road Show. Tucker is the founder of the Folly Tree Arboretum, a collection of over 175 rare and unusual trees intent on showcasing nature’s sense of humor. Tucker received his MFA from Carnegie Mellon University.


Thom Moran is an American architect, designer, and educator. He joined the University of Michigan’s Taubman College as the 2009-2010 Muschenheim Fellow where he is currently an assistant professor. Humor and lightheartedness are at the center of his practice, which involves solo projects and several ongoing collaborations that each explore particular issues. THING THING is a Detroit-based design collaborative that makes things with plastic, using novel fabrication methods to hijack post-consumer material ecologies. With Meredith Miller he works on an architectural scale, exploring media and environment as sources for multiple, simultaneous effects. Thom and Michael Savona collect designs that engage the relationship between people, interiors, and objects at Frontieriors.


Mike Perry is an artist, animator, creative director, brand consultant, poet, and designer. His work encompasses paintings, drawings, sculptures, art installations, books, murals, all of which are made to conjure that feeling of soul-soaring you have when you stare into distant galaxies on a dark night, when you go on long journeys into the imagination, when you laugh and can’t stop laughing. Key to Mike’s working method is the recognition that art and objects, go through many iterations—discoveries, coverings, uncoverings—until they’re finished; people do the same until they are fully revealed. He likes to cultivate collectives of celebration, exhibition, and revelation.



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; Roger Ferris + Partners; 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.


Cabaret Series: Old Methods for New Wars

Tuesday February 7, 2017


Cabaret Series: Old Methods for New Wars

Tuesday, February 7th, 2017

7 – 9 pm


#oldmethodsnewwars    #cabaretseries   @storefrontnyc


With A.Bandit, Mahdi Gilbert, Matt Holtzclaw, Wally Ingram, Noah Levine, Prakash Puru, and special guests


We begin the year in a time of heightened crisis, a moment of contradiction during which our belief systems about the world are being challenged daily. Today, more than ever before, there is a need to explore the paradoxical, to be present while being invisible, and to escape while infiltrating.


Letters from Prison,” Antonio Gramsci’s seminal work, presented to the world an understanding of the conflicted and complex functions of cultural hegemony, and was a critical tool for freedom that was created in a moment of confinement.


Cabaret Series: Old Methods for New Wars will present several magical performances as metaphorical “letters from prison.” The performances demonstrate the power of magic as a tool to understand the nature of transformation, freedom, and ultimately, hope.


This special evening, conceived of by A.BANDIT, will bring together dialogue and magic, with performances from some of the most noteworthy magicians in the field.


About the Cabaret Series:

Each iteration of Storefront’s Cabaret Series develops modes of expression that engage with the social, political, and physical space of Storefront in a playful and humorous manner. The events aim to produce new modes of communication between speakers, performers, and spectators through provocation, seduction, and immediacy.


About A.Bandit:

A.Bandit is an experimental performance art group started by conceptual artist Glenn Kaino and conceptual magician Derek DelGaudio. Formed as an alliance with the intention of creating a new performative medium between the worlds of art and magic, A.Bandit has performed their spectacular psycho-spatial interventions at such venues as The Kitchen, NYC; The Geffen Playhouse, Los Angeles; Pershing Square Signature Center, NYC; Soho House, Los Angeles; Art LA Contemporary in Santa Monica; and LAXART Annex in Hollywood, where they have taken residence for six months opening up what they called a conceptual magic shop called ‘The Space Between.” Their first artist monogram will come out this year from Prestel/Delmonico, and their most recent production “In & Of Itself” just finished a 16-week sold out run at the Geffen Playhouse in Los Angeles and is coming to New York in Spring 2017.


Follow the links below for more information about the participants:


Mahdi Gilbert



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; Roger Ferris + Partners; 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.



Drawing Series: A Line

Wednesday January 25, 2017

Drawing Series: A Line

Wednesday, January 25th, 2017

7 – 9 pm


22 West 19th St, 11th Floor, New York, NY


#aline    #fastbuildings   #drawingseries    


With Koray Duman, Michael Manfredi, Sandro MarpilleroMargery Perlmutter, and Charles Renfro


What constitutes a line? A vector, a division, a labyrinth, a world?

On the occasion of the closing of Fast Buildings, Storefront presented Drawing Series: A Line. The program invited participants to draw a single, continuous line for seven minutes while articulating the ideas behind their drawing decisions.


Fast Buildings was a pop-up show at FXFOWLE’s gallery space that presented works from recent iterations of Storefront’s drawing show, including Aesthetics / Anesthetics (2012), POP: Protocols Obsessions Positions (2013), Measure (2015), and Sharing Models (2016). The drawing show invited a select group of participants to interrogate the architectural drawing, using Storefront’s gallery space or the island of Manhattan as a site to explore and reflect upon specific topics—from aesthetic clichés to disciplinary obsessions to data visualization—in order to present innovative architectural ideas.


A Line was part of Storefront’s Drawing Series in which scholars and practitioners engage in the simultaneous acts of narration and drawing, using tools that range from pen and paper to digital devices. The events invoke a discussion around the relationship between modes of production and their representation. A real-time video feed of the drawing process records and displays the performance for the audience.




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; Roger Ferris + Partners; 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.



Salon Series: Urban Data Operations

Wednesday January 18, 2017

Salon Series: Urban Data Operations  

Wednesday, January 18th, 2017

– 9 pm



#storefrontseries     #salonseries     #urbandataoperations     @storefrontnyc


With Geoff Manaugh and Nicholas de Monchaux


As the contemporary city is increasingly and massively quantified, visualized, and analyzed, untapped territories are revealed. Data visualization makes tangible urban spaces that may previously have been latent, challenging existing strategies of urban design and planning.

Two days before the inauguration of a president who has promoted his own role as a master rebuilder, Storefront’s Salon Series: Urban Data Operations brought together key thinkers and practitioners for an informal discussion around the agency of data driven micro-interventions in the development and understanding of the city.

The event presented Nicholas de Monchaux’s latest publication, Local Code: 3,659 Proposals About Data, Design, and the Nature of Cities, a compendium of designs for networked micro-interventions in American cities. The book served as a point of departure for a conversation about whether systems of information and infrastructure can serve those beyond their builders—or even how they can be built by those that they serve.


About the Book:

Local Code: 3,659 Proposals About Data, Design, & The Nature of Cities (Princeton Architectural Press) presents a collection of data-driven tools and design prototypes for understanding and transforming the physical, social, and ecological resilience of cities. Written by Nicholas de Monchaux, associate professor of architecture and urban design at UC Berkeley, the book arranges drawings of 3,659 digitally tailored interventions for vacant land in San Francisco, Los Angeles, New York City, and Venice, Italy. Critical essays offer essential links between these innovative design experiments and the seminal works of the urbanist Jane Jacobs, the artist Gordon Matta-Clark, and the digital mapping pioneer Howard Fisher, as well as the developing science of urban networks and complexity. Designed in collaboration with the Dutch information-design studio Catalogtree, and featuring a foreword by Keller Easterling, the book combines many thousands of drawings, images, and critical and historical texts into a complex and timely manifesto for 21st-century infrastructure and urbanism.


About the Salon Series:

Storefront’s Salon Series is a informal gathering at Storefront’s gallery space promoting dialogue connecting art and architecture to a series of contemporary issues. Each of these events are free and open to the public. Seating is available on a first come, first served basis, and members of Storefront can RSVP to reserve a seat. If you would like to become a member, please see here. To reserve your seat please contact us.



About the Participants


Geoff Manaugh:

Geoff Manaugh is author of A Burglar’s Guide to the City, about the relationship between crime and architectural design, as well as the long-running website BLDGBLOG. Manaugh is also the editor of Landscape Futures: Instruments, Devices and Architectural Inventions. Previously, he was senior editor of Dwell and a contributing editor at Wired UK, as well as director of Studio-X NYC, an urban think tank and event space at Columbia University’s Graduate School of Architecture, Planning and Preservation.


Nicholas de Monchaux:

Nicholas de Monchaux is associate professor of Architecture and Urban Design at UC Berkeley, where he is director of the Berkeley Center for New Media, and is a fellow of the American Academy in Rome. He is a partner in the Oakland-based architecture practice ModeM / Moll de Monchaux. De Monchaux’s first book, Spacesuit: Fashioning Apollo (MIT Press, 2011), was named a best book of the year on numerous design and technology lists. His design work has been exhibited internationally, at venues including SFMOMA, the MCA Chicago, the Venice Architecture Biennale, and the Lisbon Architecture Triennial.



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; Roger Ferris + Partners; 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.



Part III: Manifesto Series: The Sharing Movement

Tuesday November 22, 2016

Part III: Manifesto Series: The Sharing Movement

Tuesday, November 22nd, 2016
7 – 9 pm
97 Kenmare St, New York, NY
#storefrontseries     #manifestoseries     #sharingmovement     @storefrontnyc     @seoulbiennale

With Emily Abruzzo, Elvira Barriga, Adam Frampton, Soik Jung, Jimenez Lai, Laura Y. Liu, Hyungmin Pai, and Alejandro Zaera-Polo


The expansion of non-stop processes of twenty-first-century capitalism has accelerated the proliferation of digital sharing platforms for the exchange of goods, information, and spaces. Today, apartments, cars, work-spaces, and all kinds of services can be exchanged, opening the possibilities for new understandings of the city. But the promises of the so-called “sharing economies” come along with controversies around the unequal consequences of such a process.


How design and architecture can adapt to the sharing urban transformation? How can the discipline of architecture stop lagging behind the new technologies industry for a life of sharing? How can the architect intervene in the different economic, legal, and design arguments provoked by the sharing market?


Part III – Manifesto Series: The Sharing Movement was the third installment of a series of events initiated by Storefront for Art and Architecture and The Metropolitan Museum of Art, and now followed up with a collaboration with the Seoul Biennial of Architecture and Urbanism. The series brings together leading practitioners and scholars within the sharing movement to explore its spatial, social, public, and private consequences, many of which are changing the future of urban life.





About the Participants


Emily Abruzzo is a partner in Abruzzo Bodziak Architects, a New York based-practice with experience ranging from civic and cultural projects to homes, exhibitions, and research-based initiatives. ABA has been recognized by, among others, the Architectural League of New York (the 2010 Architectural League Prize for Young Architects and Designers), the AIA (New Practices New York 2012 and a 2013 AIA New York Design Award), Wallpaper Magazine (Architects Directory 2013: “The world’s best young practices”), and the New York City DDC (Design + Construction Excellence Program).

In addition to her practice, Ms. Abruzzo is a critic at the Yale School of Architecture, a founding editor and publisher of the book series 306090, a 2014 MacDowell Fellow, and a Fellow of the Forum and Institute for Urban Design. Ms. Abruzzo received a B.A. from Columbia University and an M.Arch. from Princeton University, where she also received a Certificate in Media and Modernity and was named a Fellow at The Center for Arts and Cultural Policy Studies.


Elvira Barriga is a Creative Director at Local Projects and heads the Department for Visual Experience Design. The Spanish Austrian blend has been practicing internationally for fifteen years at the intersection of experience design, culture, brands, and environments. She is always looking for powerful concepts that enrich our lives and environments with meaning, beauty, and surprise.


Elle was a Creative Director at Imprint Projects NYC and the Creative Director for the Brands and Environments team at Bruce Mau Design in Toronto. Prior to moving to North America she was a partner at Blotto Design, Berlin and a freelance Art Director for Meiré und Meiré, Berlin and taught typography and editorial design at the University of Arts in Berlin and at the University of Applied Sciences in Hamburg.


Adam Frampton is the Principal of Only If, a New York City-based design practice for architecture and urbanism. Only If was founded in 2013 and is currently engaged in a range of projects, from the design of a single-family housing prototype to larger-scale urban planning, research and speculation. Adam Frampton is also an Adjunct Assistant Professor at Columbia University GSAPP, and he previous worked for seven years as an Associate at OMA in Rotterdam and Hong Kong. He holds an M.Arch from Princeton University and is a registered architect in the Netherlands and the United States. His independent research on Hong Kong urbanism has been published as the co- authored Cities Without Ground: A Hong Kong Guidebook, which maps the city’s three- dimensional networks of pedestrian circulation and public space.


Jimenez Lai lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. In 2008, Lai founded Bureau Spectacular in Los Angeles, which imagines other worlds and engages the design of architecture through telling stories. Lai worked for various international offices, including OMA. Lai is widely exhibited and published around the world, including the MoMA-collected White Elephant. His first manifesto, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. Lai has won various awards, including the Architectural League Prize for Young Architects and Debut Award at the Lisbon Triennale. Lai designed the Taiwan Pavilion at the 14th Venice Architectural Biennale, organized the Treatise exhibition and publication series at the Graham Foundation, and constructed a 52′ tall structure at the 2016 Coachella Valley Music Festival.


​Laura Y. Liu is Associate Professor of Global Studies & Geography at The New School. Her research focuses on community organizing, labor, migration, and urban development. She has written on the connection between geography and industry in the art exhibit Anne Wilson: Wind/Rewind/Weave (2011); the influence of digital technologies on urban space in Situated Technologies Pamphlets 7: From Mobile Playgrounds to Sweatshop City (2010, with Trebor Scholz); and the impact of September 11 on Chinatown (Indefensible Space, 2007, Ed. Michael Sorkin). Her articles have appeared in Urban Geography; Gender, Place, and Culture; and Social and Cultural Geography. She is writing a book, Sweatshop City,which looks at the continuing relevance of the sweatshop in New York City and other post-Fordist, globalized contexts. She holds a doctorate and master’s degree in Geography from Rutgers University, and a bachelor’s degree in Architecture from the University of California at Berkeley.


Soik Jung is an urbanist and currently the director of Seoul Biennale of Architecture and Urbanism Division at Seoul Design Foundation. She studied Architecture in Yonsei University and received her Ph. D in Urbanism at Politecnico di Milano and Gwangju. After a wide range of design, architectural, urban design practices in Seoul, New York, Milan and Gwnagju, she has focused on urban communication projects – she was curator for the Governance Project for Great Hanoi, the Anyang Public Art Project 2010, the 4th Gwangju Design Biennale and the Culture Station Seoul 284; she also organized different urban pedagogy programmes as well as citizen programmes working with local institutions such as Haja Center, Daelim Museum.


Hyungmin Pai is an architectural historian, critic, and curator. He received his Ph.D. from the History, Theory, and Criticism program at MIT. Twice a Fulbright Scholar, he has taught at the Rhode Island School of Design and Washington University in St. Louis and was visiting scholar at MIT and London Metropolitan University. He is author of The Portfolio and the Diagram, Sensuous Plan: The Architecture of Seung H-Sang, and The Key Concepts of Korean Architecture. For the Venice Biennale, he was curator for the Korean Pavilion (2008, 2014), and a participant in the Common Pavilions project (2012). In 2014, the Korean Pavilion was awarded the Golden Lion for best national participa­tion. He was Visiting Director of the Asia Culture Center (2014–15) and Head Curator for the Gwangju Design Biennale (2010–11). He is presently a professor at the University of Seoul. He serves as a member of the Presidential Committee for the Hub City of Asian Culture, the Mayor’s Committee for the Future of Seoul, and is the chair of the Mokchon Architecture Archive.


Alejandro Zaera-Polo is an award-winning architect and a tenured professor at Princeton University. His career has consistently merged the practice of architecture with continued theoretical and academic engagement. He was trained at the Escuela Técnica Superior de Arquitectura de Madrid (Hons), and holds a Master in Architecture from the Harvard GSD (with Distinction). He worked at OMA in Rotterdam (1991–93), prior to establishing FOA in 1993, and AZPML in 2011. He was the dean of Princeton School of Architecture (2012–14) and of the Berlage Institute in Rotterdam (2000–5). He was the inaugural recipient of the Norman Foster professorship at Yale University School of Architecture (2010–11), and has lectured widely and internationally at institutions such as the AA School, Columbia GSAPP, UCLA, and Yokohama University. His texts can be found in many professional publications such as El Croquis, Quaderns, A+U, Arch+, Log, AD and Harvard Design Magazine, and many of them are collected in The Sniper’s Log (2012).



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; 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.



Reading Images Series: Beyond the City  

Tuesday November 15, 2016


Reading Images Series: Beyond the City  

Tuesday, November 15th, 2016

7 – 9 pm



#storefrontseries     #readingimages     #beyondthecity     @storefrontnyc


With Bruno Carvalho, Felipe Correa, Catherine Seavitt, and Marion Weiss


Transnational projects for resource extraction have motivated the development of massive infrastructural corridors. The strategic siting of mining towns, petrochemical encampments, and industrial developments aims to integrate vast geographical and political entities. These experiments promise to advance economic development on a national scale, but their influence on regional and urban constructs tests the agency of architecture and planning at smaller scales.


Colossal projects like the Initiative for the Integration of Regional Infrastructure in South America (IIRSA), is one of the most ambitious transcontinental integration projects planned for South America, with the participation of twelve countries in the region. IIRSA serves as the point of departure for conversations about issues of territory, resource extraction urbanism, and transnational negotiations. What is the role of architecture in shaping territories defined by raw resources? How can architecture develop tools to operate beyond the bounds of the traditional metropolis?


Reading Images Series: Beyond the City invited a panel of architects and theorists to examine images of existing and projected urban settlements in the South American continent to reflect upon topics of knowledge transfer, Developmentalism, authorship, and territory.


Reading Images Series: Beyond the City was organized on the occasion of the launch of Beyond the City: Resource Extraction Urbanism in South America by Felipe Correa.


About the Book:

During the last decade, the South American continent has seen a strong push for transnational integration, initiated by the former Brazilian president Fernando Henrique Cardoso, who (with the endorsement of eleven other nations) spearheaded the Initiative for the Integration of Regional Infrastructure in South America (IIRSA), a comprehensive energy, transport, and communications network. The most aggressive transcontinental integration project ever planned for South America, the initiative systematically deploys ten east-west infrastructural corridors, enhancing economic development but raising important questions about the polarizing effect of pitting regional needs against the colossal processes of resource extraction.



Providing much-needed historical contextualization to IIRSA’s agenda, Beyond the City: Resource Extraction Urbanism in South America by Felipe Correa, ties together a series of spatial models and offers a survey of regional strategies in five case studies of often overlooked sites built outside traditional South American urban constructs.


Implementing the term “resource extraction urbanism,” Correa takes us from Brazil’s nineteenth-century regional capital city of Belo Horizonte to the experimental, circular, “temporary” city of Vila Piloto in Três Lagoas. In Chile, he surveys the mining town of María Elena. In Venezuela, he explores petrochemical encampments at Judibana and El Tablazo, as well as new industrial frontiers at Ciudad Guayana. The result is both a cautionary tale, bringing to light a history of societies that were “inscribed” and administered, and a perceptive examination of the agency of architecture and urban planning in shaping South American lives.


About the Author

Felipe Correa is a New York based Architect and Urbanist. He is currently Associate Professor and Director of the Urban Design Degree Program at Harvard University’s Graduate School of Design. Correa is the author of multiple books including Beyond the City: Resource Extraction Urbanism in South America (University of Texas Press, 2016). In addition Correa is also the co-founder of Somatic Collaborative, a research based design practice, which focuses on a trans-scalar approach to architecture and urbanism. Somatic, has developed design projects and consultancies with the public and private sector in multiple cities and regions across the globe.



About the Participants


Bruno Carvalho:

Bruno Carvalho’s research and teaching interests range from the early modern period to the present, and include literature, culture, and the built environment, with emphasis in Latin American and Iberian contexts. He has published widely on topics related to poetry, film, architecture, cartography, city planning, environmental justice, race and racism. Carvalho’s Porous City: A Cultural History of Rio de Janeiro (2013) won the Brazilian Studies Association Roberto Reis Book Award in 2014. He is co-editor of O Livro de Tiradentes: Transmissão atlântica de ideias políticas no século XVIII (2013), Occupy All Streets: Olympic Urbanism and Contested Futures in Rio de Janeiro (2016), and Essays on Hilda Hilst: Between Brazil and World Literature (2017). Currently, he is working on two new books: the first is tentatively titled Partial Enlightenments: Race, Cities, and Nature in the Luso-Brazilian Eighteenth Century. The second, The Future Revisited, will examine how designers, writers and artists have imagined urban futures in Brazil. At Princeton he is Associate Professor of Spanish and Portuguese, co-director of the Princeton-Mellon Initiative in Architecture, Urbanism & the Humanities, and Associated Faculty in African American Studies, Architecture, Comparative Literature, Latin American Studies, and Urban Studies.


Catherine Seavitt:

Catherine Seavitt Nordenson is an Associate Professor of Landscape Architecture at the City College of New York and principal of Catherine Seavitt Studio, a practice integrating the design of landscape and infrastructure. A registered architect and landscape architect, she is a graduate of the Cooper Union and Princeton University, a Fellow of the American Academy in Rome, and a recipient of a Fulbright Fellowship for study in Brazil. Her research includes design adaptation to sea level rise in urban coastal environments, as well as the novel transformation of landscape restoration practices given the dynamics of climate change. She is also interested in the intersection of political power, environmental activism, and public health, particularly as seen through both the design of public space and the written word. Her current work on the depositions of the Brazilian landscape architect Roberto Burle Marx, delivered during his tenure as cultural counselor during the military dictatorship in Brazil, examines this narrative of cultural construction, environmental conservation, and nationalist political power. Seavitt Nordenson’s forthcoming book with the University of Texas Press examines Burle Marx’s early didactic public parks as well as his role as advisor to the military regime in Brazil from 1966-1974.


Marion Weiss:

Marion Weiss is the Graham Chair Professor of Architecture at the University of Pennsylvania’s School of Design and the co-founder of WEISS/MANFREDI Architecture/Landscape/Urbanism, a multidisciplinary design practice based in New York City known for the dynamic integration of architecture, art, infrastructure, and landscape. Noted projects include the Olympic Sculpture Park, Brooklyn Botanic Garden’s Visitor Center, Barnard’s Diana Center, and Penn’s Center for Nanotechnology. Current projects include the U.S. Embassy in New Delhi and a research and development hub for Cornell Tech’s groundbreaking new campus on Roosevelt Island in New York City.

Weiss has also taught design studios at Harvard University, Cornell University, and was the EeroSaarinen Visiting Professor at Yale University. She has been honored with the Academy Award for Architecture from the American Academy of Arts and Letters, the Architectural League’s Emerging Voices Award, Harvard’s International VR Green Urban Design Award, the New York AIA Gold Medal of Honor, and her work has been exhibited at the Museum of Modern Art, the Venice Architecture Biennale, the Louvre, and the Guggenheim Museum. Weiss received her Master of Architecture at Yale University. She is a fellow of the AIA and a National Academy inductee.



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; 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.