@storefrontnyc #sharingmovement

Gallery Guide #manhattanisms Sharing July 15 — Models — September 2, Manhattanisms 2016 We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity. Over the last decade, emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we think about shelter and social engagement. How will the sharing movement of today affect the way we inhabit and build the cities of tomorrow? Manhattan, one of the most dense and iconic places in the world, has been a laboratory for many visions of urbanism. Sharing Models: Manhattanisms invites 30 international architects to produce models of their own visions for the city’s future. The models, each a section of Manhattan, establish analytical, conceptual, and physical frameworks for inhabiting and constructing urban space and the public sphere. Together, they present a composite figure; a territory that is simultaneously fictional and real, and one that opens a window to new perceptions of the city’s shared assets.

MODELS AND DRAWINGS

01 — Future Firm 15 — T+E+A+M Where the Borough Ends Rummage 02 — The Open Workshop 16 — MODU Peer-to-Pier Living Outside the Dome 03 — June-14 Meyer-Grohbrügge & 17 — ODA Chermayeff Sharing is Caring(?) freud unlimited, again 18 — SITU Studio 04 — Matilde Cassani | Caterina Section 581 Spadonia 19 — RICA* | Iñaqui Carnicero + Fort Tyron Park center Lorena Del Río for rituals The Golden Loop 05 — Pedro&Juana 20 — Asymptote Architecture ShaMBuF [Sharing Marring Deep_Future Bubble Flaring] Manhattan Sky_Lattice 06 — MAIO 21 — Atelier Manferdini SHARING METABOLISM The Sixth Burrow A Speculative Policy for Manhattan 22 — Archi-Tectonics UN_CRAMMING: Re-Visiting 07 — LEVENBETTS the Midtown Rezoning GAME ON! 23 — nARCHITECTS 08 — Tatiana Bilbao Estudio + Key Party: City as Home Rodolfo Díaz Cervantes Magnetic Fields 24 — SO – IL Noah’s Ark 09 — FOAM Interfacing Absorption 25 — Leong Leong A City for the Newer Age 10 — Manuel Herz Architects City of Things 26 — Dror New Rock: Terra Era 11 — TEN Arquitectos Geology/Topography/ 27 — Bureau V Territory/Density NOZI OH 12 — Huff + Gooden Architects 28 — Höweler + Yoon Spook or Architecture and Reserve Buoyancy Imitation of Life 29 — Urban Agency 13 — Büro Koray Duman Super-urbia New Babylon 2.0 30 — Renato Rizzi/IUAV 14 — SCHAUM/SHIEH InvisibHole Beyond The Totems GALLERY PLAN

01 03 05 07 09 11 13 15 17 19 21 23 25 27 29 02 04 06 08 10 12 14 16 18 20 22 24 26 28 30

FACADE INSTALLATIONS

As part of Sharing Models: Manhattanisms, five artists have been invited to produce stencils that ask us to reflect upon the sharing movement. The facade of Storefront will be transformed into a canvas that presents one artist’s work each week throughout the duration of the show. The first 100 visitors to Storefront’s gallery space will receive a stencil of the work being shown. Participating artists include Curtis Kulig, John Giorno, Lawrence Weiner, Sebastian ErraZuriz, and Shantell Martin.

Jul. 14 — Curtis Kulig We Love We Share Jul. 28 — John Giorno Sit On My Heart And Laugh Aug. 4 — Lawrence Weiner MY HOUSE IS YOUR HOUSE YOUR HOUSE IS MY HOUSE WHEN YOU SHIT ON THE FLOOR IT GETS ON YOUR FEET Aug. 11 — Sebastian ErraZuriz Something Worth Sharing Aug. 18 — Shantell Martin Share 01 Where the Borough Ends

Where the Borough Ends — Future Firm Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

In 1939, when the Bronx Borough Manhattan’s northern edge has been President, James Lyons, planted a flag shaped and reshaped, cataloging New on Manhattan’s Marble Hill and deemed it York’s evolving ambitions in its changing “Bronx Sudetenland,” referring to the Nazi forms. The waterway has been recon- annexation of regions of Czechoslovakia, figured from swirling eddies in the 17th he may have exaggerated the degree of century, before settlement by Europeans; conflict. Nonetheless, this moment marks to the wadeable Spuyten Duyvil Creek; one of many episodes in the conflicted to the severing of the landmass by the history of Manhattan’s northern border, a Harlem Ship Canal in 1895; and finally, to line bounded by the east-west waterway the filling-in of the river north of Marble that separates the borough from the Hill in 1915. mainland. However, this so-called “natural” border is far from static. Over centuries,

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T—@FutureFirm Future Firm

Where the Borough Ends investigates and city services, including the fire this liminal zone at Manhattan’s northern department, police department, and EMS, edge, including its episodic reconfigu- all hail from the Bronx. ration. It renders visible the paradox of how we think about natural landmarks Beyond New York, consider for example, as fixed demarcations—a Chinese the recurring border disputes resulting word for “border” still comprises the from the shifting of the Rio Grande at character for “river”—when they, in fact, the Mexican-US border, resulting in both are transformed at the same speed as arbitration and re-channeling of the river. urban change. Instead of showing a single Or the shifting of the Sham Chun River iteration of Manhattan’s northern edge, between Hong Kong and Shenzhen, which this sand-and-water model represents once—when its course was corrected to infinite possibilities for the divide. Viewers respond to flooding—also allocated more get their hands dirty and shape the territory to the S.A.R. collectively. These terrain between the two boroughs by are symptoms of a long shift from the molding the model’s scale landscape. An perception of landforms and waterways overlaid projection responds in live-time, as immutable wilderness, toward the extending Manhattan’s grid south and the contemporary understanding of urban Bronx’s urbanism north. Data points on and landscape edges to be perpetually the model’s sides serve as reference for changing, bureaucratically-defined, and historical datums of elevation, water level, up for reconsideration. Today, a group and average housing prices. called “The Great and Glorious Grand Army of The Bronx” performatively Where the Borough Ends aims to provoke re-enact Lyons’ flag planting annually, broader questions about how political- defending against what they consider ly-configured landscape forms often Manhattan’s “spoiled ramblings of the result in “shared” liminal territories of effete bourgeois.” both conflict and coordination. Currently, Marble Hill—the vestigial neighborhood on the North American mainland but legislatively remaining in Manhattan— represents a “shared” territory that is the urban legacy of the fluctuating border. Marble Hill residents vote for the offices of Manhattan Assemblyman, City Councilman, and Borough President, and are called for Manhattan jury duty, yet their school board representatives 02 Peer-to-Pier

Peer-to-Pier — The Open Workshop Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

If sharing requires a common collective difference into the grid itself. By not realm, it also necessitates difference in assimilating into the grid, Broadway that each person or constituency offers instead creates a series of public spaces a unique resource to be shared. At the from the anomalous parcels it forms as core of sharing, we find Hannah Arendt’s it crosses the grid. Similarly, in the far definition of human plurality as a dialec- northern reaches of Manhattan, Inwood is tical condition between our collective one of the few neighborhoods that have and individual desires. Nowhere else is not assimilated into the collective grid. this relationship so clearly depicted as in With few access points, it sits in isolation. the grid of Manhattan—which provides a Curiously, its urban grid ascribes to collective armature that enables unique Broadway’s trajectory, eliminating expression. While this difference is difference, and therefore the production typically situated in the interior of the of parcels that resist commodification. block, the avenue of Broadway inserts

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I—@theopenworkshop The Open Workshop

Topography and infrastructure have while animals are able to roam freely. At subdivided Inwood into three islands: the scale of the city, we propose that Inwood Hill Park; a series of consistent newly programmed subway cars leverage housing blocks; and a parking/mainte- the network of connectivity throughout nance train yard for the New York City the boroughs. From shared art galleries, Subway. Within this compressed swatch, libraries, markets, and gyms, the subway we see three distinct and critical pieces can distribute programs to particu- of Manhattan: its relationship with and larly underserved communities. While romanticisation of nature, its typological the train yard currently separates the development of domestic space, and its neighborhood from the Harlem River as lifeblood, the subway. a parking lot for subway cars, it can now provide Inwood with a wide selection of Our proposal recognizes that sharing amenities not being used by the larger is also a dialectic condition, requiring city. Trapped between the park and train clear delineation between the public yard is a series of housing blocks that and the private as well as the collective primarily consist of the letter-types “H,” and the individual. Furthermore, we “T,” “C,” and “I.” By addressing these contend that sharing emerges at different typologies from within the domestic scales of association—from the territory environment, we can alter over sixty of the island of Manhattan, the neigh- percent of the housing on the site. borhood, and domestic spaces. Our Renegotiating the public/private realm proposal begins by creating a common within these types, we have eliminated neighborhood datum of access, which private restrooms, kitchens, and living is aligned with the collective grid of rooms, and have consolidated larger Manhattan. Connecting across the three communal spaces. At the same time, distinct islands, this swatch provides these typologies retain a clear division of access to the water, train yard, domestic private space for sleeping and working, roofs, and park, gathering the islands into which becomes even more important a larger neighborhood. Moreover, this line when everything is shared. forms a stage for appearance that still enables each island to remain distinct.

Within Inwood Hill Park, one of the few natural forests in Manhattan, we propose a territorial sharing of nature through rewilding, vis-à-vis the introduction of native fauna and flora. An inverted zoo condition, humans are put on display 03 freud unlimited, again

freud unlimited, again — June-14 Meyer-Grohbrügge & Chermayeff Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

We need chaos in order. We’ve spent Accidentally, nostalgia is the new future in millennia creating security, but we now the 21st century. miss the mess that we imagine we once had. On a basic level, the arbitrary fear of Now that we’re in this grid, we’re modernity has passed because its reality searching for the new angle, perhaps the has arrived. The grid is not scary anymore. humanist opposition. But humanism is not In fact, it turns out that this reality does random. It is, rather, quite modern; people not look as different as society once and the body as parameters. thought it might. In this sense, we are no longer critical of (or whimsical about) an We propose a pillow for the bodies. impending technological aesthetic or any real change at all.

03 June 14 Meyer-Grohbrügge & Chermayeff

(Madelon Vriesendorp already figured this out in 1975 with Freud Unlimited) And now that we’re content, the question is actually the answer.) 04 Fort Tyron Park center for rituals

Fort Tyron Park center for rituals — Matilde Cassani | Caterina Spadoni Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

The idea that spiritual needs are an urban system of architectures, people, and issue has always been part of human ritual objects. history. One of the biggest changes to occur in this century is the pluralization Sacred spaces, attended physically, of cultural and religious references and even virtually, can be man-made that have brought about both different or naturally spiritual. There are sacred religions as well as the collective practice spaces that include non-sacred spaces, of secular rituals. or sacred spaces that, in certain occasions, may become non-sacred. The so-called “return of the sacred” is A sacred space exists when it is inter- considered one of the consequences of preted as such. For the believer, space the collapse of the absolute certainties is not homogeneous. At the point one of modernity, and implies a widespread encounters a certain place, there is a

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I—@mineralwassermc Matilde Cassani | Caterina Spadoni break in the continuity of time and space. Due to the lack of space for different cultural expressions, public spaces are the locus where collective memories, public happiness, and discontent are ostensibly manifested.

Fort Tyron Park center for rituals is a diorama for human beings in which a series of full scale replicas of desired landscapes is reproduced. It is a collection of places by which fragments of existing monuments from every part of the world are reunited in the same park. Consisting of small pavilions, temples, open air monuments, and mausoleums, each replica is inspired by existing scenarios in which man and nature interact in different ways. Fort Tyron Park is a place of wonder where, along its small alleys, man can perform his own individual and collective rituals. It is a fragmented monument to individual desires, and religious and secular memories. Fort Tyron Park envisions a future in which remote places are physically reunited in the same territory. 05 ShaMBuF [Sharing Marring Bubble Flaring]

ShaMBuF [Sharing Marring Bubble Flaring] — Pedro&Juana Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Peer to peer technologies have made that shares your thoughts and ambitions sharing available to a community of with their complementary possessions. unrelated individuals. The sharing The city becomes a cluster of groups, movement has made you and your a bubble condition of people that are belongings available to share for the evermore alike. purpose of experiencing community. Inhabitation has become a trading ShaMBuF [Sharing Marring Bubble endeavor, a marketed ideal. To meet Flaring] is a representation, or better yet someone who has similar dreams and an abstraction, of an economy; a sharing goals, please fill out the form at hand. economy; a manifesto accompanying Data interactions will match correlations a sharing economy; an example of the of taste and take you right to the action, latter. To reveal its mechanisms, the inner exactly where you belong, to a community workings and the tools inherent to our

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I—@pedroyjuana Pedro&Juana profession. A form, a diagram, a manifes- tation! A drawing and a model, a frozen moment of a work in progress. Together, they become a procedure, a dialogue, and ultimately an action that operates upon the spectator. A masquerade, a sham of sorts, an honest truth disguised that mars an object, a form, a city. 06 SHARING METABOLISM A Speculative Policy for Manhattan

SHARING METABOLISM A Speculative Policy For Manhattan

Preface* Art. 1 At the verge of the twentieth century, cities like New York were full of apartment buildings that had collective kitchens, Private spaces that are owned collectively by resident’s association and that are actually underused are potential spaces dining rooms, shared rooms, nurseries, shared domestic helpers and more. At that time, both housing and collective life to be occupied by its neighbors under Sharing Metabolism –for instance: rooftops, patios, alleys, empty services rooms, were understood as tools for social transformation. A culture of sharing run the city and affected directly, not only its etc.-. The scope of application is therefore the pre-existing private tissue, the public space is not included under this housing typologies, but basically the everyday life of its citizens. While many of the nuances and complexities of these policy. particular buildings were lost over the course of the twentieth century, they live on into the present as a valuable point of reference for innovative domestic proposals. Art. 2 Each space can be used for one or more purpose. The actual revival of the Sharing Culture is affecting, as it affected at that time, how our houses are organized and be- yond. While, hundred years ago, the city still needed to be built, actually our urban fabric is quite consolidated and the Art. 3 Sharing Culture needs to find its place in the pre-existent, mixing with it and changing it progressively. Uses may be diverse and they have to be always temporary to allow changeability and adaptability through time.

The present policy, called Sharing Metabolism, aims to encourage the collective use of residual, disused or underused spaces in our close community. Is a reenactment of those laws that shaped the city and allowed things to happen. If in Art. 4 1916 the Zoning Law shaped the growth of our constructed environment and the profile of the actual New York City, Each resident’s association has to take care of their Sharing Metabolist spaces, defining how they will be used, for how the proposed Sharing Metabolism policy will shape how we share spaces in our close community. much time and who will manage them.

This set of rules, and the spaces run by it, are metabolic because they adapt and absorb external change. Art. 5 The benefit of Sharing Metabolism has to have an impact on the whole community, going beyond the resident’s associ- ation. * The model and drawing accompanying this policy show which underused spaces could be occupied by Sharing Metabo- lism in the area of Washington Heights, Manhattan, in the following fifty years (2016-2066).

MAIO

SHARING METABOLISM A Speculative Policy for Manhattan — MAIO Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Preface* of the nuances and complexities of these particular buildings were lost over the At the verge of the twentieth century, course of the twentieth century, they live cities like New York were full of apartment on into the present as a valuable point buildings that had collective kitchens, of reference for innovative domestic dining rooms, shared rooms, nurseries, proposals. shared domestic helpers, and more. At this time, both housing and collective The revival of “sharing culture” is affecting, life were understood as tools for social as it had at the beginning of the twentieth transformation. A culture of sharing ran century, the organization of housing the city, and had a direct effect on not and beyond. Our urban fabric presently only its housing typologies, but also the is quite consolidated, and therefore this everyday life of its citizens. While many “sharing culture” must find its place in the

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I—@maiowork MAIO pre-existent structure by mixing with and Art. 2 changing it progressively. Each space can be used for more than one purpose. The present policy, called Sharing Metabolism, aims to encourage the Art. 3 collective use of residual, disused, Uses may be diverse, but they have to or underused spaces in our close be temporary to allow changeability and community. Is a reenactment of the initial adaptability over time. laws that shaped the city and allowed things to happen. If the 1916 Zoning Art. 4 Resolution could shape the growth of our Each residents’ association has to constructed environment and the profile take care of their Sharing Metabolist of New York City, the proposed policy of spaces, and must define how they will Sharing Metabolism will shape how we be used, for how much time, and who share spaces in our close community. will manage them.

This set of rules, and the spaces run by Art. 5 it, are metabolic because they adapt and The intent of Sharing Metabolism is that absorb external change. it has an impact on the whole community, beyond the residents’ association. Art. 1 Unused private spaces owned collec- tively by residents’ associations, such as rooftops, patios, alleys, and empty services rooms, are potential spaces to be occupied under the Sharing Metabolism policy. The policy applies to pre-existing private spaces, and does not apply to public space.

* The model and drawing accompanying this policy shows which underused spaces could be occupied by Sharing Metabolism in the area of Washington Heights over the next fifty years (2016–2066) 07 GAME ON!

habitats all while providing for vehicular passage that is needed for the city’s circulatory well-being. a boulevard, to process storm water, to provide shade, safe routes of cycle, pedestrian,

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GAME ON! LEVENBETTS

GAME ON! — LEVENBETTS Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

GAME ON! is a recreation focused series of large hybrid programmed parks. infrastructure that encourages Healthy GAME ON! brings a much needed dose Living and fosters interaction and sharing of Healthy Living and fun to this east-west between adjacent communities. GAME slice of Manhattan and the Bronx. ON! cuts across culture, race, and class in its provision of space and opportunities GAME ON! proposes that just and for athletics and outdoor fun in the city. equitable city-making is best done through infrastructure that is efficient, GAME ON! is comprised of several key aesthetic, and fun! Seen through the elements that formulate a healthy urban lens of current sharing cultures, GAME infrastructure: a connective tissue of ON! is an integrated urban infrastructure small and big green sites that recast the providing for the entire collective of infrastructure of city streets through a the city, defining the public realm and

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I—@levenbetts LEVENBETTS defending the city against the ravages of Village housing in the Bronx (creating solely affluent privatization. GAME ON! a new Bronx Highline over the Amtrak is an infrastructure that serves, cares railroad line that currently divides it). for, and moves all people. GAME ON! Recreation is central to GAME ON! and is posits a collective connectively conceived not only located in the parks but also in infrastructure that bundles transportation, sites such as the existing Armory Track health and community services, recre- Field House and in the bicycling culture ation, education, food networks, parks, that courses through Washington Heights and housing. GAME ON! proposes on Riverside Drive. The park of NYCHA’s that truly democratic urban infrastructure Highbridge Gardens’ “towers in the park” is also based in Healthy Living and is also an untapped site for recreation lots of fun! and for reconsideration of the often marginalized ground of the New York City Located in Washington Heights, the most Housing Authority’s communities. narrow and one of the highest parts of Manhattan, GAME ON! extends beyond This new paradigm for the healthy city the island of Manhattan, bundling together includes a more egalitarian infrastructure; the Bronx to the east as well as the greener and more beautiful housing; better Hudson and the Harlem Rivers. GAME and more connected athletic fields; closer ON!’s infrastructure of Healthy Living in and more pleasant connections between Washington Heights and the Highbridge housing, education, community facilities, neighborhood of the Bronx merges with and recreation; and safer and greener a series of existing north-south parks human powered paths of travel. as it cuts across the Bronx, the Harlem River and Manhattan, and then into the GAME ON! Hudson River toward New Jersey and the Palisades. The hospital district in Washington Heights is the institutional paradigm of health care, but the real public infrastructure of health and healthy living resides in the parks and recreational activities. GAME ON! threads together Riverside Park, the banks of the Harlem River, the housing towers in the park at Highbridge Gardens, a series of smaller parks within the grids of Manhattan and the Bronx, and the NYCHA Claremont 08 Magnetic Fields

Magnetic Fields — Tatiana Bilbao Estudio + Rodolfo Díaz Cervantes Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

As cities continue to evolve into densely adaptable configurations that enable the populated areas, they will become dense/ growth of cities while also restraining intelligent organisms. For this reason, the use of land. However, we should not cities of the future must accept gradual pursue imposing, largely scaled buildings transformations in the unpredictable shifts in order to house the ever-growing of spatial and social structures. The future expansion within cities. Instead, we must of cities is intrinsic to organic growth. embrace an organic development and render the unexpected admissible. Among others, Yona Friedman and the situationists pleaded for a compact city, The real context of this urban slice, believing that building above existing struc- Washington Heights, exemplifies a tranche tures could diminish outward expansion, of the city with a complex urban fabric that and could create an open structure for includes (mostly) mid-rise social housing,

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I—@tallertornel Tatiana Bilbao Estudio + Rodolfo Díaz Cervantes commerce, churches, schools, a cemetery, Magnetic Fields speculates metaphorically the “oldest” house in Manhattan, Riverside about the future; of how we cannot control Park, highways, middle class homes, and or predict what cities will turn into, nor very little public space (only the streets measure exactly how they will evolve. The and the cemetery, actually). magnet represents the cohesion of public space and the need for an open-source This model is sort of a “plastic poem” that collective infrastructure to consolidate speculates about the possible structure ideas into space. After all, ideas are of a projective urban scenario. Gaps fundamentally social, and cities are and agglomerations, towers and voids… spaces where ideas are incubated, moved, architecture here presents itself as an and progressed. The model reinforces the abstract registration of human thought idea that individual space (the minuscule and a powerful evaluation of the definition iron filings) is spread over a cohesively of structure. We believe in crowdsourcing consolidated tectonic space (the stone, a and organization as an ecology of ideas totem of gathered intelligence and develo- (set in practice) swarming over the solid pment and agglomerated individuality). urban topography of a multilayered The model takes shape aiming to render history. Multilayered capacity of growth visible the fragile connection between the deals with anti-segregation of ideas and two. Cities will not survive unless we find knowledge, with collaboration between ways to strengthen this connection by trans-generational individuals pursuing an looping back the gathered intelligence and active public life. It is the inhabitation and projecting it onto our immediate present. inhibition of transit spaces; densification rather than expansion. Each iron filing We present this model to stress individ- represents an individual or a housing unit. uality as an effect of crowd behavior, by The new topography takes shape because interconnecting yielding points of great of the cohesion among all the entities. density and focus The iron filings represent the crowds and their space, while the magnet represents collective space (intellectual and physical). The fluctuation of the materiality is condi- tioned by the strength of the magnet; the collective strength. 09 Interfacing Absorption

Interfacing Absorption — FOAM Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

“There has existed no avant-garde can invest in projects as financial stake- movement whose own ‘political’ objective holders with spatial assets. was not, implicitly or explicitly, the liberation from work.” — Manfredo Tafuri, Public space has shrunk to the size of Architecture and Utopia: Design and our dreams, with invisible financial forces Capitalist Development manifesting themselves as luxury living, driven by revenue and economic potential. #work#work#work#work#work#work #corporate-avant-garde FOAM begins with the negative space of the city. In the negative space there are FOAM is an equity crowdfunding platform small scale projects of urban development for the architecture industries where users that the public can invest in and the

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T—@FOAM_dao FOAM architect can envision. This is a process traded on secondary exchange markets. that will develop over time, through which An architecture that is capable of restruc- privatized space can become privately turing spatial regimes of power must be owned by the public, and a new collab- financially profitable. orative process will emerge where the lines between developer, architect, and — end user are more blurred than they have been historically, into a mesh of non- Log into FOAM on the Wi-Fi list from your hierarchal users. phone or tablet to access our interface and invest in shares of our space NAVEL. Over time, a decentralized redefinition of ownership in the city absorbs buildings, NAVEL is a test site for collective enter- with the architect orchestrating economic prise that monetizes the process of thresholds of projects funded by the end intellectual stimulation and productive user. Through the FOAM interface, the city dialogue from active agents of a is absorbed by foam space. communal cultural exchange platform.

Each layer represents the passing of time By situating NAVEL where infrastructure during which our interface has absorbed meets territory, new constituencies and more of the city. cultural diplomats will be assembled. As anyone can produce for and consume Emptiness is a structural component of air from the NAVEL workspace, it becomes suspended in individual bubbles of foam. an open-source brand. The architectural expression of FOAM manifests an appreciation of value in NAVEL operates with an understanding of material and spatial markets of exchange. the new shared economy and is managed on FOAM, a platform that returns agency Parks, streets, sidewalks, rooftops, to the Architect. Space can no longer be balconies, airspace, lawns, gardens, valued abstractly on financial markets, backyards, and inaccessible empty real and instead needs to be assessed in estate suddenly become an investment tangible, material, and spatial indicators opportunity. The notion of collectivity of value. In the sharing economy, we need and connectivity are transformed by a more than public space; we need to be communal sharing project: initiated by the absorbed by foam space. architect and completed by participants.

On a global scale, a multitude of self- initiated crowd-equity projects will prolif- erate, and shares will be held in spatial investment portfolios; a portfolio of shares in interdependent spaces that can be 10 City of Things

City of Things — Manuel Herz Architects Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Who is the “we” that we consider when just one among many other actors in the we think of sharing? Can we think urban fabric? of sharing much more radically and substantially than the way it is used by In reference to Bruno Latour’s concept the (neo-liberal) instruments of flat-share, of the “Parliament of Things,” I declare car-share, work-share, time-share, and the future of Manhattan a City of Things. similar devices that are mostly consump- The right to speak and the right to be tion-oriented? Can we radically expand represented does not belong exclusively the “we” to include animals, plants, and to humans. In a shared and truly urban even inanimate objects? Can we think of environment, this right is extended to the a truly shared city where we humans are non-human. It is extended to all things.

10 Manuel Herz Architects

We can no longer maintain the distorted dichotomy between culture and nature. We share this world with many. We are just one party, among all animals, plants, and objects. What if we welcome all things into our city?

This model represents a vision of Manhattan where all things, animate and inanimate, are given a right to represen- tation. Streets, roads, parks, and empty lots become a space for the public, for all things. Human transport is solely public, including an extensive underground system and bicycles. Cars are no longer used, freeing up an additional fifty percent of space for novel use, space to share. The model provides a habitat for a new fauna and flora to develop, a political ecology.

Given the nature of the small scale, this model partially operates on the level of illustration. It is a representation of our acknowledgement that the object-subject dichotomy does not apply in a shared city. 11 Geology/Topography/Territory/Density

Bedrock Topography

Development Potential

Bedrock

Manhattan Schist Fordham Gneiss Manhattan Schist 7th Ave. 5th Ave. Park Ave. Park Broadway Lenox Ave. Riverside Dr. Riverside Convent Ave. Madison Ave. Madison Claremont Ave. Claremont Amsterdam Ave. Amsterdam St. Nicholas Ave. Nicholas St. Henry Hudson Pkwy Henry Hudson Frederick Douglass Blvd. Douglass Frederick

Geology/Topography/Territory/Density — TEN Arquitectos Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

As technology becomes more prevalent addresses. It seems to promise the in globalized societies, the idea of shared potential for even higher spatial and social space has become a dominant factor efficiency—resulting in an ever increasing in how we consider the future of the density and proximity. built environment and the ways in which territory is best utilized. Boundaries, both We have chosen to take a macro view of physical and psychological, continue to the fundamental infrastructure of the city, blur and dissolve, so that ultimately we focusing not on the activity on the city’s might expect that a greater percentage surface, but rather how the natural under- of “shared” space will define our lives. The lying conditions—the city’s geology— “sharing movement” suggests a utopian may lend some insight as to how future vision of living harmoniously without the density may develop. As intricate need for walls or possibly even permanent and interesting the networks above

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I—@enorten_tenarquitectos TEN Arquitectos

Manhattan’s street-level may be, the layered landscape that exists below the city’s surface, from the subway down to the natural bedrock, creates fascinating economies that have the potential to shape how and where we develop density efficiently. Here, we examine the unseen landscape to understand the potentials of Manhattan’s future cityscape. 12 Spook or Architecture and Imitation of Life

Spook or Architecture and Imitation of Life — Huff + Gooden Architects Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

125th Street in Harlem, USA runs along a The conflation of this line with global- rift in the Earth’s crust (known as the 125th ization not only resulted in the gentrifi- Street Fault) from New Jersey to the East cation of Harlem beginning in the 1990s, River. The fault line runs through layers but it extends to the current conditions of Manhattan schist skirting the northern of cultural commodification, mis-appro- edge of Central Park and extending priations, and mis-appearances. These southeast towards Roosevelt Island. are played out in urban space through However, 125th Street is historically also the publicity of digital life evidenced in a line of cultural, economic, social, and social media and the event-spaces of racial demarcation. public protests, marches, festivals, rallies, memorials, disasters, vagrancy, and leisure. As this line becomes increasingly culturally ephemeral, it also becomes

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T—@mariogooden Huff + Gooden Architects

more globally ubiquitous, marked by “Spook” recalls Koolhaas’ “Exodus or the conditions of intensification, extraterritori- Voluntary Prisoners of Architecture” and ality, and contestation. proposes the re-appropriation of 125th Street as a “City with a City” including “I definitely am not white.” housing that extends from the East River — Rachel Dolezal (June 17, 2015) to the Hudson River. Yet, the urban future of this rift is imagined as a continually Significant to the conflation of 125th Street mediated event-space where urban life are a number of economic developments and digital life collapse the experience beginning when the first international retail and conceptualization of city space. chain (The Body Shop) opened on the Social media housing in the East and street in 1993, along with Ben & Jerry’s Hudson Rivers posts and broadcasts the Ice Cream in the preceding year. These minutiae of daily life and urban spectacles, were quickly followed by the introduction while parallel east / west walls of housing of the Upper Manhattan Empowerment infrastructure demarcate the zone of Zone in 1994, which brought $300 million intensification. The performance of urban in development funds and $250 million in and domestic life along and within the tax breaks for new businesses such as walls allows for slippages of identities, Starbucks, Magic Johnson AMC Theaters, resistance to the commodification of and the Harlem USA retail complex. difference, and the confoundment of social and economic disparities. Prior to 1990, the population of Central Harlem had decreased from a high of 237,468 in the 1950s to 101,026. With the advent of gentrification, the population increased significantly (approximately 17%) between 1990 and 2004. However, the black population decreased from 88% to 69% while the white population increased to nearly 7% in 2004 and to nearly 12% today. Concurrently, housing prices increased exponentially, making most housing unaffordable to long time residents. 13 New Babylon 2.0

New Babylon 2.0 — Büro Koray Duman Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

It’s 2026 and Constant is a creative order food from a common kitchen. consultant. He decides to spend the next Structures are built as rings above existing three months in Manhattan, opens his blocks. Each ring has a designated app—New Babylon 2.0, checks which function; live, work, and learn; depending neighborhood his friends are staying on the zoning the block is in. Towers are in, and reserves a pod in Harlem. New built in the empty lots that connect with Babylon 2.0 is a new online app, a and support the infrastructure above. conglomeration of various apps of the The infrastructure runs at the perimeter past (WeWork, Maple, Rent the Runway, of each block, structurally supported by Uber, etc.)—the Facebook of 2026. With existing buildings underneath, sometimes a monthly subscription, one can reserve connecting several blocks at a time. a studio to live in, have access to office Entry towers provide common services space, use a shared common closet, (common closet, kitchen, laundry, and

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I—@burokorayduman Büro Koray Duman waste management system) and the system provides units that plug into the infrastructure above as needed. New Babylon 2.0 pays a monthly rent to co-ops underneath for the use of the air rights.

Constant enters his new/ temporary living ring. He picks up the clothes he selected at the closet, and settles into his home. Soon he will meet his friends in the common living room. He knows that there are a few ‘work rings’ close by that he can work from for the next few days.

From the balcony, he looks at the strange new skyline, a new parasite living on top of an old organism. Very similar to the old New Babylon, he has the freedom to move around but he is not the same person anymore. He doesn’t like the idea of drifting around aimlessly. After all he is addicted to his gadgets, constantly connected to everything everywhere, with a schedule simultaneously updated as he moves through the city. New Babylon 2.0 gives him the fake sense of freedom that late capitalist cities provide. After all he is old now. His old anarchist self doesn’t belong to this new system. 14 Beyond The Totems

Beyond The Totems — SCHAUM/SHIEH Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

We came to this place. There is no interior space left. There is no place to be alone, except for the kind of Office space, meeting space, sleeping alone that you find amongst strangers— space—everywhere and anywhere. the sweet lonesomeness special to cities.

Want it, reserve it, book it. Buildings have become totems. Symbolic Small, medium, large. stacks of space commodity. They mark By the hour, by the night, by the week. place, but there is no admittance. There are only transactions. Like mountains, the The culmination of physical space as buildings cannot be occupied. They can fungible good. At a very fine grain. only be negotiated.

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T—@schaumshieh SCHAUM/SHIEH

The only space is outside (if we’re lucky)— in the streets, in the park, at the edges, between and beyond the totems.

Individuals are uncoupled from cars, apartments, houses—they are abandoned by objects of identification. Or maybe they’ve been freed from these objects? Free now to swarm into the streets, the park, to the edges. Here together, they build different kinds of forms. They stand in circles. They hang together in clumps, standing beside each other. They make lines. They clear a space. They make formations so they can hand things to each other easily, lean on one another, or combine their strengths.

Alone and together—an arrhythmic dance between the anonymous crowds of the city and the obligations of a small town, neither as freeing as we imagined when we departed. There is more to do. 15 Rummage

Rummage — T+E+A+M Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

The day all of our unwanted things mishmash of stuff was now sorted, relocated to the city’s open spaces was redistributed, and piled up according to the day the new commons appeared. All principles that were not readily apparent. of our idle possessions, discarded objects, However, it has been noted that some various rubbles and clutter—the stuff you areas of the piles are softer to climb on, can always find on the curb, on Craigslist, some have shaded interiors, and some or heaped up in an empty lot—was now the continue to grow into tall chalky cliffs. material of a new urban space. To everyone’s surprise, no one balked at What had been distributed across closets, the appearance of junk in the streets and garages, attics, and basements was now open spaces. Maybe this was due to the gathered into long piles that formed large sheer scale of the piles and the spaces open rooms. What had been a homely they made. Or it was the addition of

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I—@tpluseplusaplusm T+E+A+M multi-story scrims, which provided visual Some say the commons are an ecological backdrops for the piles. These suggested gesture, a last ditch effort to instill a landscapes other than those which the shared environmental consciousness city could offer on its own...in any case, in people. Some say the idea of the the immediate reaction to the commons commons has no function or message, was more of curiosity and exploration. but it simply brings together the physical stuff that is overlooked in our preoccu- People in one neighborhood began to pation with immaterial transactions and boast that the quality of light in their apart- communications. No one really knows. ments had dramatically improved with But most agree that there are ways to the mountain of CDs shimmering in the experience the city, in both its material morning light. In another neighborhood, and imaginary dimensions, that were not kids redrew the boundaries of their terri- there before. With the commons, the age torial war games according to what was of rummage urbanism began. piled where. In the park, a heap of LACK tables peeked above the tree-line. And, it was said, its nest-like quality also made it a home to all manner of wildlife.

A few intersections became destinations for tourists who wanted to experience the rainbow canyon view up Fifth Avenue. It requires a long meander or cross-town bus to follow the shifting purple hue of a long ridgeline that originates on the East Side and dies into the Hudson. 16 Living Outside the Dome

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Living Outside the Dome — MODU Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

The following story envisions an alter- the project’s completion, as Fuller’s native future for Manhattan, as well as prediction of its massive reduction of today’s “sharing economy.” This retro- energy consumption turned out to indeed active future begins with the completion be true. The economic windfall benefited of an unprecedented urban project— everyone living under the dome—the Buckminster Fuller’s “Dome Over Midtown city’s first “sharing economy”—while also Manhattan.” In 1968, a short eight producing an urban environment without years after proposing the dome, Fuller weather. As Fuller said, “windows may celebrated the installation of the last panel be open the year round, gardens in of its enclosure, which he described as a bloom and general displays practical in “wire-reinforced, one-way-vision, shatter- the dust-free atmosphere.”2 Recalling proof glass, mist-plated with aluminum.”1 Le Corbusier’s earlier vision of a “weath- All of the dome’s residents celebrated erless city,” the dome’s climate was so

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I—@moduarchitecture MODU

constant and homogeneous that the very Over time, an inverted city rises above the idea of weather was mostly forgotten. old city. The continuous roof extensions form a concave surface that extends Meanwhile, in the city outside the dome, from the Hudson River to the East River, the streets and buildings immediately rising high above the water and dropping began to overheat. Fuller’s vision of an to its lowest point at Central Park. Voids “exterior appearance of a mirrored dome, created between the continuous roof while the viewer inside will see out without extensions and empty lots are vents that conscious impairment”3 caused extreme regulate wind movement through the levels of reflected solar radiation around inverted city. The city’s zoning regulations the structure. During the summer, the are transformed; rather than building weather outside the dome increased by from the ground up, it is now possible to fifteen degrees Fahrenheit. To reduce build from the roof down. The continuous the sudden and extreme reflected heat, “rooms above the street” form an “indoor building owners began constructing city,” which combines the exterior urban extensions to their roofs to shade their scale with interior spaces. A new form of buildings below. The rules of Manhattan the “sharing economy” has emerged from real estate quickly led to converting this continuous “indoor city,” based not the roof extensions to form interior on those who are able to monetize unused spaces, creating a continuous network property and extra time, but instead on of “rooms above the street.” This ad hoc sharing an uncontrolled urban life outside construction of continuous roof exten- the dome. This life comes with all of the sions eventually led the city to rewrite its unpredictable experiences that are part of zoning regulations to adopt a new urban living in Manhattan. layer; all buildings above this datum had their floors removed to avoid the extreme weather from the dome. Below the layer, the roofs of existing buildings became a public realm accessible through the network of roof extensions.

1 Buckminster Fuller, “Choices and Challenges,” St. Louis Post Dispatch (Sept. 26, 1965), 39–41. 2 Ibid. 3 Ibid. 17 Sharing is Caring(?)

Sharing is Caring(?) — ODA Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

New York City is one of the greatest cities The street level has become crowded in the world, and we are fortunate to not and bewildered. Varied forms of traffic only be a part of it, but also to be active have monopolized the streetscape, while in shaping its future. We love this city for pedestrian presence has been relegated its intensity, multi-culturalism, accessi- to circulation. Sidewalk life is abused by bility, diversity, efficiency, and oppor- constant pedestrian flux, and persistent tunity. However, there is also an extreme noise agitates its users. With sealed doors disparity between private and public and daunting walls, buildings stand as spaces that perpetuate a passive and dead ends. Their verticality demands a persistent reduction of social commu- typical entrance sequence of street to nities. The threshold between in and out lobby, of elevator to apartment and to has been flattened to the glass curtain office. Paired with anxiety over security, wall and the brick veneer. this pattern does not accommodate

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I—@oda_nyc ODA any impromptu circulation. Movement the block instills a slow-paced network becomes as fixed as facades. Citywide, that foils the accelerated orthogonal blocks are congested and pixelated. Manhattan grid. The interior texture of Manhattan’s charm and collapse is that Manhattan is now public. its blocks have become undisciplined, sculpted by the disparate whims of Atop the buildings, a resident-controlled, owners and architects. Courtyard spaces, communal spatial fabric is created. if at all accessible, are merely residual Bridging between blocks produces an spaces organized by indifferent walls. elevated system of connectivity and establishes a network complementary New York City is faced with a bleak future to the slow ground floor network. The of imposing walls, streets, and interiors, traditional courtyard has been moved to forcing our faces ever closer to our the roof and expanded between blocks. phones and other screens as a means of Private courtyards are no longer bound escape. As an alternative to this future, by unrelated walls, but rather by the we propose a network of spaces in which horizontal and vertical surfaces of the human scale inversely governs building dwelling below and its neighbors. scale, which in turn promotes social- ization and community. The functionality of the Manhattan grid is invaluable to this pursuit and should not be compromised. Instead, our interventions revolve around the inverted space created by the grid: the city block.

Consequently, blocks are opened to the street and courtyards are carved. The street wall is extended internally, and these once leftover spaces are now places designed for public interaction. Spilling pedestrian life into the internal void of 18 Section 581

Section 581 — SITU Studio Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Anachronistic tax code, anonymous shell Michael Bloomberg’s enduring legacy of companies, and absentee residents are shoring up New York City’s standing as all distinct characteristics of New York’s a hub of international luxury real estate luxury housing market. As the veils of investment and his largely unqualified limited liability companies are pierced and conviction that concentrations of global leaks from Panama converge on the same capital are a net benefit to all citizens investments, it is illuminating to render of the City. visible the drivers of the built environment across a swath of Manhattan’s most While the inequalities engendered by the valuable real estate, and to project a real estate market leave many signatures future in which access and exchange of on New York City’s built environment, the information play a greater role in shaping arcane model of calculating property tax the City. It is also a moment to reflect on and the misalignment of this process with

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I—@situstudio SITU Studio the realities of the contemporary market captured across the entire city. As a are particularly acute. Following Section general trend, the more expensive the 581, the component of New York State sale price, the more extreme the disparity, property tax law that lends its name to this in some cases numbering in the tens of project, property taxes on condos and millions of dollars for a single unit alone.2 co-ops in New York City are calculated based on an assessment of property value Methodology: conducted by New York City’s Department Making use of NYC’s rich information of Finance, not based on sale prices. For commons, the model and drawings are reasons that are too complex to go into based on analysis of available financial here, the assessed values are often orders and geospatial datasets published by the of magnitude lower than sale prices—a City. Comparison figures for assessments condition that is concentrated in the most draw from the Department of Finance’s expensive properties in the city, many property assessment roll for fiscal year of which are located in the swath of area 2017. Sales data was gathered through covered by our model.1 Because gross the DOF’s rolling and annualized datasets undervaluation of assessments by the from the last thirteen years (2003 to 2016). Department of Finance are most extreme at the highest price points, a wealthy owner’s tax burden on luxury real estate is disproportionately low.

Accompanying this text are a model and drawing which present this skewed reality in our area of interest. In the model, the height of the resin surface above a co-op or condominium building represents the relative magnitude of difference between its sale price and assessment value. The drawing unpacks selections of the underlying data. It identifies the fifty most expensive of the 11,000 undervalued unit sales in our section, and compares their respective sale prices to the values used for property tax assessment. This study represents a small fraction of the lost property tax revenue that could be

1 Yager, Jessica, and Andrew Hayashi. “Shifting the Burden,” Furman Center, July 2013. http://furmancenter.org/research/publication/ shifting-the-burden. 2 “Olshan Realty, Inc. | Olshan Luxury Market Report.” June 20-26, 2016. http://olshan.com/marketreport.php?id=290. 19 The Golden Loop

The Golden Loop — RICA* | Iñaqui Carnicero + Lorena Del Río Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture. pied-à-terre traditional American and European buyers to cash-flush Russians, Chinese, Middle noun Easterners, and Brazilians. In recent – A small house or apartment that you years, the demand for these super-elite own or rent in a city other than that luxury apartments has increased dramat- where your primary home is located, in ically, creating a whole new typology of which you stay when visiting that city skyscraper, the “superslenders,” which for a short time. are rising on the New York skyline. – French for “foot on the ground” The purchase of these trophy apartments Owning a piece of New York or “putting is largely a status symbol, therefore a foot in the city” has become a shared competition for them arises not from a aspiration for the global rich, from necessity for dwelling but from a battle

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F—inaqui.carnicero RICA* | Iñaqui Carnicero + Lorena Del Río of the egos. The proliferation of these allowing universal access to the amenities properties has left large areas of the city that they hoard. Through the act of “owned but not used.” Ghostly towers occupation instead of inhabitation, we are stand with dark windows, seemingly left to contemplate how these two vastly abandoned but ironically “SOLD OUT.” different worlds can exist simultaneously, According to the New York Times, “In one oblivious to each other’s existence. part of [Midtown], between East 53rd and 59th Streets, more than half of the 500 To illustrate the problem with pied-à- apartments are occupied for two months terres, golden volumes have been stacked or less. That is a higher proportion than in onto the most significant residences, resort and second-home communities” representing the percentage of each The problem with this is that not only is building that consist of underutilized valuable real estate essentially wasted, homes. The volumes are, in fact, layered but a high demand for these buildings striations spaced 10 feet (3 meters) apart makes them more profitable to construct (a typical floor-to-ceiling height) to illus- than badly needed affordable housing that trate the magnitude of the phenomenon. would address the city’s rampant housing shortages. Some have suggested a tax The project’s intervention, an elevated on pieds-à-terre to deter potential buyers, promenade that circles Central Park but the logic behind this is flawed, as South and “Billionaire’s Row,” shows how, extra costs will only serve to make these through occupation instead of inhab- properties seem more elite, and therefore, itation, the city can gain back its lost more desirable. space. Through a series of catwalks and elevators that branch off towards each The Golden Loop represents a satirical building, views previously reserved for perspective on the extravagance and penthouses will be opened to the public, wastefulness of these real estate liberating vistas from empty windows. practices. As opposed to taxation or regulation, the project will engage these In a city short on space, The Golden Loop properties directly by providing access, makes use of pied-à-terres while owners both visually and physically, to otherwise are absent, blurring the lines between forbidden domains. The goal of the what is public and private, and providing project is to re-incorporate the territories a setting to contemplate how the other lost to the insatiable appetite of the half lives. super-elite back into the public sphere by 20 Deep_Future Manhattan Sky_Lattice

Deep_Future Manhattan Sky_Lattice — Asymptote Architecture Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Visionaries have often dreamed of airborne Throughout the 20th century, the and elevated structures, of cities floating growth of dense urban centers such as above the earth, and of metaphysical Manhattan have emerged out of oppor- concepts as much as physical projections. tunities provided by dense populations From Wenzel Hablik’s Colony in the Air and set against the maximization of property Georgy Krutikov’s Flying City, to Constant’s value. Consequently, urban forms have New Babylon, Buckminster Fuller’s Cloud been shaped by the extrusion of lot lines, Nine, and Paolo Soleri’s Babel IID and setbacks, and rights of way inscribed onto Hexahedron, the idea of ‘floating’ and a ground plane, as well as by the push ‘lofting’ infrastructure and city space has and pull between private and collective persevered as an asymptotic trajectory for rights to infringe upon, or protect the air architects and city planners seeking new space that is above, and in between built forms of urban inhabitation. and projected structures. However, with

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T—@ASYmptote_ Asymptote Architecture the density of cities growing in an upward matrix, a network of new public nodes trajectory, and congestion increasing and distribution links that connect and at the ground level that creates ineffi- bridge between, within, and through the ciencies, reduces productivity, diminishes upper reaches of the structures that we opportunity, and decreases quality of inhabit? Might we conceive of a shared life, we are perhaps compelled to re-think ground comprised of lightweight and high this twentieth century notion of ‘air rights’ strength long-span structures, where and instead attempt a new understanding coordinated systems of intelligent drones, of the potential for occupying urban autodrive vehicles, and a new generation ‘air space’. of robotic machines can access, service and make possible new communities, Our cities are in many ways already green space, and work and living spaces, airborne, if one is to consider the digital along with places of entertainment, information networks of Wi-Fi signals, enlightenment, and repose? satellite communications, and phone networks that bind us together and tether our structures within an invisible web. Sky_Lattice is a new conceptual approach to infrastructure, mobility, accessibility and the public realm, and can perhaps be found through an inversion of sorts that is rendered feasible with the advent of drones and intelligent vehicles. It is an urban strategy that in the physical sense is top-down as opposed to bottom-up, while also economically and socially horizontal.

Might we envision a new type of ‘citygrid’ as an elevated and seemingly floating architecture set far above Manhattan’s existing ground plane? As a new occupiable datum offering vast areas of real estate for energy production, all the while remaining immune to the impending environmental calamities that might threaten Manhattan down below? Or as an elevated three-dimensional 21 The Sixth Burrow

The Sixth Burrow — Atelier Manferdini Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture. Team: Elena Manferdini, Shawn Rassekh, Evaline Huang, Ann Gutierrez, Connor Gravelle, Meenakshi Dravid, Begum Baysun

New York City is the most populous city This proposal for Manhattan produces in the United States, with a population a new view of nature in a city that has among the top 10 highest in the world. It grown accustomed to concrete, brick, and is composed of multiple layers of grids to mortar. The site, situated along the 42nd accommodate cars, subways, and slender Street corridor in Midtown, is a network skyscrapers. Unfortunately, the city’s that connects New York’s neighborhoods current organization does not allow for and boroughs. It is a 2-mile wide strip of the addition of any new green spaces for Manhattan that contains major infrastruc- its inhabitants. tures such as the Lincoln Tunnel, Queens Tunnel, Grand Central Station, and the

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I—@atelier_manferdini Atelier Manferdini

Port Authority Bus Terminal. While these networks connect Manhattan to other areas such as New Jersey and Queens, the presence of the United Nations also connects New York to the world. It is home to the famous Theatre District, but also steps away from other cultural landmarks such as Times Square, the Chrysler Building, and Bryant Park.

Using Bryant Park as a point of departure, The Sixth Burrow proposes an alternative future for New York where public green spaces could exist. Using the public library as the anchor point, this project envisions extending the current park west to the edge of the island. In the process of the park’s extension, this new excavated park would require the removal of many existing buildings. However, in order to maintain the same volume of inhabitable space, the removed architecture would be built alongside the park directly under- neath the existing buildings in Midtown. The new park will provide 0.25 square miles of public space, and 2.75 miles of frontage overlooking it. While the properties around the periphery of the park gain a new view of nature, they not only increase in value, but begin to shift the paradigm of New York City urbanism. 22 UN_CRAMMING: Re-Visiting the Midtown Rezoning

UN_CRAMMING: Re-Visiting the Midtown Rezoning — Archi-Tectonics Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

According to a Quantierra study1 recently Penn Station, etc., the East side on the featured in the New York Times, 40 other hand is almost forgotten. percent of the buildings in Manhattan could not be built as per the current To mark the hundredth anniversary zoning today, because they’re too tall, of the New York City’s zoning code, bulky, or dense.2 Between 32nd and 42nd we propose the next dimension of Street, the grid is at its most congested zoning: a 4-dimensional framework that state, and the bustling blocks are un-crams Manhattan’s 2- and 3- dimen- crammed with old overbuilt building stock. sional congestion. By projecting the grid’s coordinates into Hypercubes, we Where the west section around 34th street developed a typology that falls between is dense with amazing activities; Chelsea, the scale of a city block and building; a the new Hudson yards with the high line, city within a city. Located at the water

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T—@winka Archi-Tectonics edge of the East river, the hypercubes become a new terminal building, a domestic haven on top of the new 2nd Ave subway line, multiple ferry lines and the LaGuardia water taxi.

This 4-dimensional framework will re- activate Manhattan’s forgotten East Side. Flanked by a large suspended public park and pool, sixty percent of the Hypercube is public and shared program, while forty percent is occupied with mixed-use space and housing. This distribution allows the 10 FAR to be at once condensed and airy; a new way of sharing and city dwelling.

1 Stephen Smith, and Sandip Trivedi. Quantierra Real Estate. 2. Bui, Quoctrong, Matt A.V. Chaban, and Jeremy White. “40 Percent of the Buildings in Manhattan Could Not Be Built Today.” The New York Times. N.p., 20 May 2016. Web. 21 June 2016. 23 Key Party: City as Home

Key Party: City as Home — nARCHITECTS Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

1. We now live dispersed: our houses no 4. Our blocks are porous, our city laced longer defined by walls, but spread with a myriad of shortcuts and public across our blocks, our city. commons. 2. Our block is our home; our city is our 5. We don’t need as much space, as house. Everything is everywhere; one almost every space unused almost all of only needs a key. We have many such the time. keys, some more and some less—keys 6. For all the large and varied places we to everything. meet in, we retreat to as many small 3. We need to move around much of ones to find ourselves alone. the time, like atoms converging and separating; delineating a different home every day.

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I—@narchitects_pllc nARCHITECTS

Key Party: City as Home represents an alternate, hypothetical Manhattan that extrapolates on a universal culture of sharing and its corollary—a retreat to small spaces affording privacy and escape from pervasive civic life. Acknowledging the potential for both utopian and dystopian consequences for a society based on sharing, the title of the project, Key Party, refers to extended (and inherently limited) access to shared services and amenities in a society with both increased opportu- nities and rising inequality.

City blocks are reimagined as overlapping, dispersed homes, comprised of larger shared buildings and slender mini-towers that allow for solitude within the crowd. A lower density, afforded by the efficiencies of sharing, results in additional networks of public space and greenery at the scales of block and city. Rather than a manifesto or proposal for urban renewal, Key Party: City as Home functions as an extrapo- lation, exposing both the excitement and peril of the sharing model of society. 24 Noah’s Ark

Noah’s Ark — SO – IL Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

The gig economy is irreversible, and spaces newly made public via engines ruptures emerge with every form of like Airbnb and Instagram? However, revolution. But as the direction of the wind an important role we must also fulfill as changes and the hardened earth loosens, architects is to guard the civic fabric it is also time to whack the weeds, plant and to imagine new ones—to foresee the bulbs, and contemplate the potentials the structural deficiencies and to mend for a new form in our gardens. them. Through constant gardening and sometimes radical interventions, we strive We are not the stubborn breed that toward a more civilized and equal society advocates the contrary for the sake of in which it is not simply that “wasted it. Afterall, haven’t architects been all resources” are harnessed for economic too eager to be the style definer of the exploitation, but one in which the benefit mushrooming incubators and domestic of a new order can invest in social and

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I—@solidobjectives SO – IL cultural values that enrich the lives of the many (ie. respite, leisure, and room for personal pursuits?).

For this sharing model, we imagine Manhattan’s great grid undone by the endlessly shrinking atomic unit and the chaotic energy embedded between floating particles. The grid–which has served to conquer the wilderness, subjugate differences and “others,” and ultimately fuel the three-dimensional anarchy that has become a hallmark of Manhattanism–can be rendered super- fluous; blocks shattering into pieces from within. Bits and pieces congest and disperse without permanent ties to each other, floating on a sheet of seductive pink fluid. Smart vehicles are expected to calculate and recalculate the fastest route, constantly avoiding congestion but never without the risk of being trapped. Landmarks old and new–the usual suspects and some unexpected–take on the role of marking the nodes, voids, and boundaries of this new landscape. Devoid of the grid, their symbolic presence becomes more agonistic and argumen- tative. What do we guard? What do we destroy? Where do we transgress? Where are our limits?

Our model is a set of questions more than anything, but also a realism rendered beautifully toxic. 25 A City for the Newer Age Leong Leong

A City for the Newer Age — Leong Leong Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture

NEWFAR proposes an unthinkable shift room, bathhouse, kitchen, spiritual cave, in the value of space, challenging citizens and floating garden. While each typology to imagine how the latent potential of the is designed for a simple activity such as real estate market could be translated eating, healing, playing, or reflecting, their into unforeseen social capital. In an shapes remain ambiguous and reveal the inconceivable twist in the history of New latent potential of the market in the form York’s real estate market, unused slivers of an alternate neo-cosmopolitan reality. of FAR (floor area ratio) are aggregated NEWFAR explores architecture’s capacity and redistributed as NEWFAR, creating to connect the individual to the collective a constellation of shared spaces in the through scaleless forms and their organi- form of fantastical communal typologies zation throughout the city. for collective urban life. The first nine programs include a forum, apothecary, sound bath, rehabilitation center, sleep

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I—@leong__leong 26 New Rock: Terra Era Dror

New Rock: Terra Era — Dror Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Buildings swell without concern. The boundary between earth and artifice Resources are extruded, exhausted, disappears. eradicated. Nature, science, technology and design It is time to end our disruption of the fuse. landscape. A new symbiotic system is born. It is time to rethink, reimagine, rebirth. An ever-changing organism that we care It is time for a new terrain. for, as it does for us. It is time for a new era. That shapes, shifts, soars to meet our It is time for a movement. evolving needs.

It is time to answer our elemental calling. Community is no longer he, she. It is time to return to nature. Community is all things alive. A new nature. A super nature.

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I—@studiodror 27 NOZI OH

NOZIH O — Bureau V Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

Canal Street, the Lower East Side, and Taking its departure from local history Five Points hold a two-century-old history as well as global challenges, the project of hyper-density, cultural complexity, and considers possible shifts in New York City environmental health hazards that have as water hyperinflation begins, caused by literally shaped lower Manhattan. The freshwater shortages from infrastructural primary of these was the squandering of and environmental failures. water resources through pollution in the early nineteenth century, which forced the The shock of global dehydration infill and reclamation of the once pictur- epidemics coupled with local water esque Collect Pond and Canal Street’s disruptions creates a climate of fear in namesake waterway. the city. The relative stability of New York City’s water system fuels a rapid

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I—@bureauv Bureau V

neo-urbanization, driving the city’s water market forms around this network, population to double in a mere decade. which tempers the water oligarchy and In this anxious climate, the city’s stabilizes a growing middle class. This collective water resources become strata collectively becomes known as the increasingly precarious. “B-Horizon.”

A parasitic network of underground The economic forces that once drove cisterns begins to emerge, driven by a Manhattan’s architecture skyward black market water economy. This network now drive it deep into the Earth. The eventually overtakes the city’s formerly frequent power failures of the overbur- paradigmatic, shared water system. dened electrical system force a vertical migration. High-rise residents flee the The most affluent begin to build large frequent dry-outs. As the street level cisterns beneath their buildings to becomes overburdened, the elite begin ensure their own water security. The to move further underground, making growth of this illegal construction quickly its cavernous spaces (spectacles in capitalizes a few leaders in geotechnical their vast structures and ornamental industries, displacing significant wealth construction) highly desirable. The value and creating a new water oligarchy. The of concealment in the literal and figural oligarchy constructs massive cisterns that underground becomes the driving penetrate deep into the bedrock, some as aesthetic of urban life.1 low as 1000 feet below the surface with capacities to fuel a hundred city blocks for months. These cisterns further destabilize New York City’s water system and secure the oligarchy as the primary supplier of water to the general population. The people and culture that surround this water market becomes known as the “R-Horizon,” named after the geological description of the deep bedrock layer that their cistern infrastructure occupies. As costs rise, a network of smaller ad-hoc cisterns also emerge, occupying building cellars and other existing subter- ranean spaces. A direct, peer-to-peer

1 While much of the city’s residents move under- ground, other communities do arise, the most notable of which are the “Stratos.” As high-rise buildings become vacant, a population of mostly lower income and queer residents begin to move skyward. Living in relative isolation, the Stratos’ cooperative living settlements flourish, supported through tight-knit, water sharing and collection communities and a relatively stable food infra- structure, subsidized by cap-gardens. 28 Reserve Buoyancy

Reserve Buoyancy — Höweler + Yoon Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

CORPSE a shared “body” of the city occurs at a The city is already an exquisite corpse, a moment where collectivity, sharing, and collective endeavor producing individual the superabundance of information data parts at the scale of the parcel that may are redefining our relationships to the city or may not add up to a coherent urban and to each other. “body.” These 30 representations of the city shift the format of the game from the CODE parcel to the precinct, from the writer to It has been 100 years since zoning first the reader. Sharing Manhattan-isms, a shaped New York City in powerful yet metropolitan exquisite corpse, hopes to subtle ways; when the 1916 Zoning reveal something unfamiliar, marvelous, Resolution introduced volumetric and perhaps surprisingly prescient. This controls to regulate building in bulk endeavor of multiple authors working on and to preserve “light and air” for the

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I—@howeleryoonarchitecture Höweler + Yoon common spaces of the street. New AIR York’s zoning instruments have evolved In New York real estate, the parcel has to create new mechanisms that “shape” historically been the primary commodity. the city through incentives and trade-offs. At a certain point of urban density, light The combination of constraints and and air become assets and commodities. incentives (privately owned public The 1916 Zoning Resolution acknowl- spaces and air rights) have produced a edged the collective value of light and unique urban morphology that manages air, and the 1961 revisions to the Zoning to strike a balance between degrees of Resolution introduced Transferable prescription and degrees of freedom. Development Rights, or Air Rights, making explicit the value of the “unbuilt.” SKYLINE Mapping the air above Lower Manhattan We acknowledge the difference between and materializing it in the physical model height and density. Manhattan possesses serves to highlight the columns of air as both. Each offer a combination of costs commodities but also as resources. The and rewards. While height is measured uniform datum neutralizes the skyline in one dimension, offering bragging rights, function of pure height and returns the visibility, and views, density is measured primary urban metrics to density. as a relational quantity. The notion of density—units relative to area—addresses Buoyancy is the quality of relative urban qualities of efficiency and economy, lightness, or the upward pressure exerted as well as intensity and proximity, by a fluid in which a body is immersed. without automatically translating into Reserve buoyancy, in nautical design, height. The height of a building and its refers to chamber of air intended to profile contribute to the urban skyline in remain above an anticipated flood line, particular ways that density does not. with enough buoyancy to ensure a vessel remains afloat in the event of flooding. POTENTIAL Our interpretation of the city in the Reserve Buoyancy recognizes the Lower Manhattan area, encompassing reserve potential of Air Rights in Lower the World Trade Center site and the Manhattan as a resource, but also as an Lower East Side, maps the potential “air emergency flotation device for the metro- rights” above existing buildings and politan ship as it confronts the precarious extends their footprints to a new datum seas of contemporary Manhattan real line defined by the Freedom Tower. The estate and the extreme climatic events of difference between the actual height, our present moment. the potential height achievable through unrealized floor area ratio (FAR), and a new datum, are modeled as columns of pure potential. 29 Super-urbia

Super-urbia — Urban Agency Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture.

A recent study showed that New York’s is the evolution of Manhattan as a series population spends up to 65% of gross of concentric rings growing into the bay. salary on housing. A city which once had This will continue with the Big U expansion reasonable land values has become a and resilience plan, which will create a center for global investment, where the much needed social and green edge to average individual is priced out by an Manhattan. institutional investor looking for capital protection. Manhattan has one of the We propose a project that links Manhattan highest land values in the world, which to the boroughs more effectively, through drives up rental and property price levels a series of habitable bridges. The water, to unsustainable levels. This increase owned by the City of New York, could be has led to native Manhattanites fleeing to considered a land value of 0, a gift from the boroughs. What is interesting to us the City to its people. The resultant built

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I— @urbanagencyarchitects Urban Agency housing could have much lower rent, and would only be accessible to those who need it most. Our project site, in Manhattan’s financial center, has some of the highest land values and costs in the world. Our proposal allows average workers on normal salaries, from young interns to a hotdog vendor, to live near their places of work; a benefit available in most cities that has become lost in New York. Rather than long commutes, we propose an affordable belt of bridges that would bring people closer to what was traditionally the New York living experience: the ability to live within walking or cycling distance from one’s office. The bridges would then become collective centers for recreation, play, residence, and work, depending on the tangential need in Manhattan. The rent in such buildings (including profit for developers, calculated with an assumed payback of 20 years and rate of 15%) would mean a rent of $1,550 dollars for an 85 square meter apartment.

This is a real possibility. Other cities (for example, Copenhagen) have stepped in to rethink how they can make housing more affordable for the average citizen. What looks like a Metabolist vision plan could turn into a reality. The question is this: is New York brave enough to do it? 30 InvisibHole

InvisibHole — Renato Rizzi/IUAV Sharing Models: Manhattanisms, 2016. Storefront for Art and Architecture. Team: Susanna Pisciella, Francesco Rigon, Stefano Gobetti, Marco Renzi, Margherita Simonetti, Marco Costa, Fabio Gardin

1 always visible; it belongs to the ambit of To reflect on the word “common” results particulars and distincts. Image is always in a twofold critical knowledge: one of the invisible; it belongs to the universal ambit paradigms of our contemporary culture of the indistinct. The indistinct shapes (microhistory), and one of the paradigms the distinct. Therefore, the structure of of Western culture (macrohistory). In other form is founded on a non-dissoluble words, we cannot ignore the twofold tie: the detail (that which is not common) epistemic structure of “form.” There is the is always tied to something universal plane of presence, the visible world, and (that which is common). there is the plane of absence, the cosmos of invisible forces; the “images.” Form is

30 Renato Rizzi/IUAV

However, the paradigm of contemporary The geology of the bottom of the Hudson culture breaks this tie (makes us think River reveals a history that anticipates that it breaks it): form becomes the the future. The strategic point of entrance mere envelope/wrapper of a presence in 1800 was controlled by four forts that dominated by individual arbitrariness. corresponded to four islands: Castle For this reason, and for quite some time Williams on Governor’s Island, Fort Wood now, form is no longer the common place on Liberty Island, Fort Gibson on Ellis where the individual makes an effort to Island, and Southwest Battery Island encounter the universal (the invisible (then a rocky islet 300 yards from the iconological forces), but instead has Manhattan coastline). Those places later become the place where the violence of became obligatory points of passage for architectural languages is the expression millions of immigrants coming to the New of arbitrary insignificance. World. Now, Castle Clinton houses the ticket office for the Statue of Liberty. The technical and scientific knowledge upon which the contemporary paradigm The Statue of Liberty now represents an is founded “believes”—and this is the absent value that, in any case, belongs violence imposed upon Architecture— to thought. That’s why the project is sunk that it has broken the (in any case indis- into the waters of the Hudson, forming a soluble) tie between the particular and circular cavity that sucks up the absence the universal, between the dominable and of a past that migrates from history to the indomitable. Believing to have broken metaphysics. Its hollow shape alludes to the tie is the presumption that forms the the invisible forces that transited there base of the violence of contemporary before, through visible bodies. Presence architectural language. drops into the void, attracted by the power of the spirit – our spirit and that Architecture is the absolute relation of all things. It is architecture dedicated between the indomitable (archai) and the to the edification of “singularity,” of dominable (tèchnai), just as individuality the community. is the absolute relation between interiority (indomitable) and exteriority (dominable). 3 Thinking to ignore the pair of opposites The title InvisibHole derives from the (indomitable–dominable) fuels the worst number 01 (assigned by the organizers), faith of the West. but it translates the binary language of the digital world into the analogical language 2 of the formal world. It not only indicates The project, situated at the southern tip the hole in the water in a direct way, but of Manhattan, reflects upon the cultural also has phonetic similarity to the phrase crisis of our times through two param- “All One.” It is a metaphor where “everyone” eters: the geohistory of the place, and the and “one” refers at the same time to epistemic relation between interiority individual singularity and to the singularity and indomitability and between absence of a community. and invisibility. PARTICIPANT BIOGRAPHIES

01 — Future Firm to holistically integrate environmental, Future Firm is a Chicago-based architecture political, economic, and social factors. office founded by Craig Reschke and Ann The Open Workshop was founded by Lui. Future Firm works at the intersections architect and urban designer Neeraj Bhatia between landscape territories and in 2013. In 2016, the office was awarded architectural spectacle. Recent research The Architectural League Prize for Young explores the relationship between finance, Architects and Designers. economy, and the built environment. 03 — June-14 Meyer-Grohbrügge & Craig Reschke is an architect interested Chermayeff in landscape practices. He is a registered June-14 Meyer-Grohbrügge & Chermayeff architect in the state of Illinois. He is a collaborative practice; Johanna Meyer- graduated from Harvard’s Graduate School Grohbrügge from Germany and Sam of Design, where his research focused on Chermayeff from New York. The two met rural American landscapes. At Harvard, at SANAA in Tokyo, where they worked he received the Jacob Weidenmann Prize. together from 2005 to 2010. June-14 is their He also holds B.Arch from University of new venture that began with a desire to Tennessee. Previously, Craig was a project make things, places, and atmospheres for architect at SOM and RODE Architects, people. Their office and work aims to have where he led the design of buildings at people relate to architecture, for architecture many scales. to relate to people, and for people to relate to themselves. June-14 searches for an Ann Lui is an Assistant Professor at the understanding of different ways of living School of the Art Institute of Chicago. She and working in the contemporary world, holds an SMArchS from MIT in History, stemming from a belief that architecture Theory & Criticism and a B.Arch from Cornell can make things happen and that things University, where she was awarded the can happen to architecture. The office is Charles Goodwin Sands Medal and the an exchange with its users, and is open to Clifton Beckwith Brown Memorial Medal. new ideas. Previously, she practiced at SOM, Ann Beha Architects, and Morphosis. Ann was On a practical level, the principals have Assistant Editor of OfficeUS Atlas (2015) and experience with a wide range of projects co-editor of Thresholds, “Scandalous” (2015). from small gardens and bespoke furniture to office towers. Based in Berlin and New York, 02 — The Open Workshop the office’s intention is to expand that range The Open Workshop is a multidisciplinary while maintaining a dynamic understanding design office focused on critically of the human scale. re-examining the concept of an open work, first posited by Umberto Eco in 04 — Matilde Cassani | Caterina Spadonia 1962. The Open Workshop operates as a Matilde Cassani moves on the border design-research practice on a variety of between architecture, installation, and event scales, from the urban to the domestic. design. Her research-based practice reflects Based in Toronto and San Francisco, the the spatial implications of cultural pluralism office has garnered recognition through in the contemporary Western context. international competitions, exhibitions, and Her works have been showcased in many publications that focus on how design- cultural institutions and galleries, and has research can renegotiate the relationship been published in several magazines such between architecture and its environment. as Architectural Review, Domus, Abitare, The firm’s approach relies on transcalar Arqa, Arkitecktur, and MONU Magazine design techniques that find opportunities on Urbanism. She has been a resident fellow at “Akademie 06 — MAIO Schloss Solitude” in Stuttgart and at the MAIO is an architectural office based in “Headlands Center for the Arts” in San Barcelona that works on flexible systems. Francisco. In 2011, Storefront for Art and The practice has developed a wide range Architecture hosted an exhibition of her work of projects, from furniture and exhibition called “Sacred Spaces in Profane Buildings. design to housing blocks and urban She also designed the National Pavilion of planning. MAIO recently completed the the Kingdom of Bahrain at the XIII Venice construction of a urban public square and Architecture Biennale in 2012, and she took an exhibition at the MACBA (Barcelona part of the XIV Venice Architecture Biennale Museum of Contemporary Art), and (Monditalia) with the piece “Countryside is currently building a housing block in Worship,” recently acquired by the Victoria Barcelona, among other projects. and Albert Museum in London. MAIO’s members combine professional She has taken part in many international activities with academic, research, and conferences and lectured at various editorial ones. They serve as head of international universities such as Columbia the magazine Quaderns d’Arquitectura University in New York and E​cole Speciale i Urbanisme and teach at the School of d’Architecture in Paris. She currently Architecture of Barcelona ETSAB/ETSAV. teaches at Politecnico di Milano and at Domus Academy. Members of MAIO have lectured at the Metropolitan Museum of Art, Columbia Collaborator: Caterina Spadonia University GSAPP, Yale School of Architecture, Piet Zwart Institute, Het Nieuwe 05 — Pedro&Juana Institut, Madrid School of Architecture Pedro&Juana, founded by Ana Paula Ruiz ETSAM-UPM, Washington University, Galindo and Mecky Reuss, is a studio Facultade de Arquitectura de Lisboa, and from Mexico City that works on a variety of Brussels School of Architecture UCL-LOCI, projects across creative professions. Dear among other places. MAIO’s work has been Randolph, the studio’s project for the 2015 published in magazines such as Domus, Chicago Architecture Biennial, consisted Frame, AIT, Volume, Blueprint, A10 and of a domestic space within a public interior Detail, and has received several awards. square composed of moving lamps, rockers, and tables of different heights MAIO exhibited in the Spanish Pavilion at along with a wallpaper, presenting objects the 2016 Venice Architecture Biennale, and in a continuous relationship with the public. was awarded with the Golden Lion. MAIO Other projects include Sesiones Puerquito also participated in the 2015 Chicago (Little Pig Sessions) in 2012, which used the Architecture Biennial and co-curated process of cooking a suckling as a pretext a “Weekend Special” at the 2014 Venice for better conversation; Archivo Pavilion Architecture Biennale together with SPACE (2012), an intervention in the gardens of CAVIAR and DPR-Barcelona. Recently, Anna Archivo Diseño y Arquitectura DF/Mexico; Puigjaner, co-founder of MAIO, was granted Hellmut (2013), a table turned bench turned the 2016 Wheelwright Prize from Harvard table for Gallery 1 of Museo Jumex DF/ Graduate School of Design. Mexico; Casa Reyes (2011–2012), an annex in an ex-colonial house in Merida/Yucatan; 07 — LEVENBETTS and Cocina DS (2013), a kitchenette LEVENBETTS is an award-winning New entrance for Dorothea Schlueter Galerie York City based architecture practice. The in Hamburg/Germany. office was founded by David Leven and Stella Betts in 1997, and it focuses on Biotecnologico, Culiacan; Centro de Artes design at all scales, including urban design, Escenicas, Guadalajara; and Ventura House public architecture, houses and housing, in Monterrey. The firm also designed the commercial workspaces, exhibitions, and Jinhua Architecture Park in Jinhua, China. furniture. Central to the firm’s work is an architecture that engages its urban and/or Rodolfo Díaz natural environment. Architecture, graphics, mechanics, coding, literature, and paintings influence Díaz’s LEVENBETTS’ work has been recognized work. The semiotics of materials and objects nationally and internationally through is an important part of his artistic search. He awards, exhibitions, and publications. understands collaboration as an essential The office has won seven New York City part of daily work for ideas to grow, cool off, AIA awards, most notably for its urban and lose control. design and housing proposal entitled “PhX caseXcase: Cactus Flower Housing,” and Since 2015, Díaz has run Taller Tornel, for a parking garage project called Chicago producing art and architecture installations. Filter Parking, which is part of a larger His work has been exhibited in many ongoing study that applies new sustainable institutions, galleries, and private venues transportation solutions and green planting and projects. systems to aging infrastructures. Currently, the office is working on three libraries, a 09 — FOAM renovation for Cornell University Rhodes FOAM is a project management and crowd- Hall, three houses in upstate New York, and equity funding platform for the architecture a 300,000 square foot commercial building industries, secured by blockchain in Harlem through the New York City technology. Architects are creatively and Economic Development Corporation. entrepreneurially constricted by their reliance on clients for work. Additionally, The work of LEVENBETTS has been architects do not retain a financial stake published in various design magazines and in the spaces they design. FOAM enables books. In 2009, Princeton Architectural architects to connect and collaborate with Press published a monograph on the firm’s each other, manage teams, initiate projects, work. LEVENBETTS is currently working on and access capital funding from crowd its second monograph. investors. FOAM allows the end user of space to become a financial stakeholder, 08 — Tatiana Bilbao Estudio increasing public accessibility to + Rodolfo Díaz Cervantes architecture. FOAM envisions an ecosystem The multicultural and multidisciplinary of empowered architects, public investors office of Tatiana Bilbao analyzes urban and and new spatial markets of value exchange social crises, as well as the rigid codes in the city. of communication and telematics. Through these strands, her office regenerates Ryan John King, spaces to “humanize” them by making Architect, co-founder of FOAM them aware and reactive to global capitalism, opening up niches for cultural Ekaterina Zavyalova, and economic development. Architect, co-founder of FOAM

Projects in Mexico include the Botanical Jonas Wendelin Kesseler, Garden Culiacan; Funeral House, San Luis Artist, co-founder of NAVEL Potosi; Universe House (designed with Gabriel Orozco), Puerto Escondido; Parque 10 — Manuel Herz Architects The resultant ideas lead to performative Manuel Herz is an architect based in Basel, buildings that impact their context on Switzerland. His recent projects include multiple scales. Guided by the belief the prize-winning Synagogue and Jewish that architecture is a public amenity and Community Center in Mainz, Germany and responsibility, TEN Arquitectos aims to housing projects in Germany, Switzerland, enhance the local communities of which their and France. He has taught at the ETH Zürich projects are a part. and at Harvard University’s Graduate School of Design. He is currently a professor of 12 — Huff + Gooden Architects urban and territorial studies at the University Huff + Gooden Architects is a collaborative of Basel. Manuel’s research focuses on the architecture practice dedicated to the design relationship between migration, architecture, and exploration of architecture and its and nation-building, and the spaces of relationships to culture and knowledge. refugee camps. He has exhibited widely, including at the 2016 Venice Architecture The firm was formed in 1997 by Ray Huff and Biennale, where he designed and curated Mario Gooden. In 2001, Huff and Gooden the National Pavilion of the Western Sahara. were recognized by The Architectural This was the first time a nation-in-exile was League of New York with the distinguished represented at the Venice Biennale. His honor of “Emerging Voices.” Huff + Gooden books include Nairobi: Migration Shaping Architects was simultaneously recognized the City, From Camp to City: Refugee by Architectural Record magazine as one Camps of the Western Sahara, and African of six leading firms practicing exceptional Modernism – Architecture of Independence. architecture outside the “Centers of Fashion.” Recently, the firm was selected to design 11 — TEN Arquitectos the $67 million renovation and expansion Founded by Enrique Norten in 1986, TEN to the California African American Museum. Arquitectos has earned a global reputation Huff + Gooden Architects is currently for bold Modernist works that push designing a 50,000 square meter urban simple geometries to surprising extremes, redevelopment project in downtown demonstrating a mastery of scale and Johannesburg, South Africa. composition. With 91 employees working in offices in Mexico City and New York, TEN Additionally, Mario Gooden is Associate Arquitectos has realized more than 60 built Professor of Practice at Columbia University works—including museums, libraries, public GSAPP and co-director of its Global Africa parks, residences, hotels, and university Lab. Gooden’s research and writings buildings—in multiple cities worldwide. frequently examine architecture and the translation of cultural landscapes defined TEN Arquitectos approaches each project by the parameters of technology, race, through a rigorous process of analysis class, gender, and sexuality. Gooden is and three primary lines of investigation: author of Dark Space (Columbia University architecture as public space; architecture Press, 2016) a collection of five essay that as infrastructure and public platform; and move between history, theory, and criticism architecture as contextual landscape; which to explore a discourse of critical spatial establish existing and proposed connections practice engaged in the constant reshaping of site, program and community. These of the African Diaspora. layers of investigation inform the firm’s projects, both built and conceptual, and 13 — Büro Koray Duman address the opportunities and power of Büro Koray Duman is an idea-driven architecture outside of its physical presence. international practice that brings together an analytical and playful approach to a broad range of projects. A thoughtful and 15 — T+E+A+M creative catalyst, Büro aims to explore the T+E+A+M is a collaboration between unexpected. We believe Architecture should Thom Moran + Ellie Abrons + Adam Fure be functional and unexpected, engaged and + Meredith Miller. Collectively, our work poetic, experimental and affordable. centers on architecture’s physicality as an agent of cultural, environmental, and Led by Koray Duman, Büro works on urban production. Most recently, T+E+A+M projects of varying scales, from a studio exhibited The Detroit Reassembly Plant renovation and new gallery building for artist in “The Architectural Imagination,” the U.S. Richard Prince, to nation-wide flagship Pavilion at the 2016 Venice Biennale. stores for Design Within Reach, art galleries, non-profit spaces and a prototype for a new 16 — MODU cultural center in New York City. Büro has MODU is an interdisciplinary architecture been internationally-honored with design practice specializing in smart design that awards and exhibitions and the studio’s connects people to their environments. projects have been widely published in The Based in New York City, MODU has New York Times, Los Angeles Times, Interior completed projects in New York, Miami, Design, New York Post, Architectural Record, Beijing, Tel Aviv, and Sydney. Co-directed New York Magazine and Dwell. by Phu Hoang and Rachely Rotem, the practice’s client list represents a diverse Koray Duman, AIA, LEED is originally from group of organizations and individuals, Turkey, where he earned a BArch from including the Design Museum Holon, Middle Eastern Technical University. Duman Creative Time, Art Basel Miami Beach, furthered his studies at UCLA Graduate Duggal Visual Solutions, and numerous School of Architecture and Urban Design private clients. MODU has won design with a master’s degree in Architecture. awards and competitions sponsored by In 2009, he established Sayigh Duman the American Academy in Rome, American Architects. In 2013, the firm transitioned into Institute of Architects, Architectural League its current form, Büro Koray Duman. He is of New York, and the Beijing Architecture an adjunct professor at Parsons School of Biennial. Phu Hoang and Rachely Rotem Design and a licensed architect in New York recently won the Rome Prize, an award and Turkey. that “represents the leading edge of contemporary American scholarship and 14 — SCHAUM/SHIEH creativity.” MODU also conducts research SCHAUM/SHIEH is a small architectural that investigates architecture and weather, collaboration operating between Houston, which has received grant funding from the TX and New York City. Rosalyne Shieh and Robert Rauschenberg Foundation and the Troy Schaum established SCHAUM/SHIEH New York State Council on the Arts. The around overlapping interests in art, form, practice’s interdisciplinary, multi-scalar and the city, and have developed a dialogue approach has led to projects that bridge through projects ranging from buildings and several disciplines of the built environment, installations to speculative projects and from architecture to urbanism to interiors. unsolicited urban plans. The practice has a particular interest in the city at the scale 17 — ODA of the building, both as a site of theoretical We design “As of Right” buildings. As such, experimentation and as a reality that may be we are not looking to create monuments, but transformed through building. to redirect the perspective of dwelling, and over time influence the city. Our immediate context has a powerful impact on our well- being, and we have the ability to shape that context. We design our city while our city breaking makerspaces at the New York Hall designs us back. As Steven Johnson said, of Science to a re-envisioning of NYC’s “our thoughts shape the spaces that we public libraries for the 21st century, SITU inhabit and our spaces return the favor.” values innovative and boundary-blurring projects. Through collaborations with a The power of the NYC architect is wide-range of practitioners in other fields, continuously relegated to the surface of interdisciplinary projects have led us to things, as our profession is dominated unanticipated but exciting applications of by numerous rules and regulations. architectural tools and methodologies that Consequently, architecture becomes less have extended our work far beyond the about the fundamental qualities of living and scope of traditional practice. more about the iconic expression. At ODA, we always strive to rearrange these priorities 19 — RICA* | Iñaqui Carnicero + and put people first. We seek to crack the Lorena Del Río surface and explode the content, allowing RICA* is a young architectural office and a more interaction and surprises. We work platform for design investigation operating within the system to exploit the system. We across many scales and searching for the employ its nuisances to create value that can potential of creativity regardless of the size be replicated and reinterpreted. We believe or budget of the project. Based in Madrid in the synergy between architect and client and San Francisco, RICA* represents a and the inclusion of as many parameters as new phase for Iñaqui Carnicero and Lorena possible. Our studio is a horizontal plane; we del Río, who together have extensive and all share the same space and all opinions are diverse building experience. heard. Design begins from the inside out: we create form from the relationships between Iñaqui Carnicero (Madrid, 1973) is an awarded people and their activities. architect with a PhD from Polytechnic University of Madrid. Carnicero has lectured 18 — SITU Studio at prestigious institutions such as Cornell, SITU Studio is an architectural design Harvard GSD, Rice, Berkeley, NJIT, Carleton, firm that develops innovative, high Roma Tre, La Sapienza, Calgary, Cervantes performing, materially rich, and enduring Institute in Prague, London Roca Gallery, spaces. Working across three branches-- Barcelona La Salle, Madrid ETSAM, Sevilla, Research, Design and Fabrication--the firm and Navarra University. He is the director of fully integrates material research, testing, “Symmetries,” an architecture platform that prototyping, and fabrication into the design relates Roman and contemporary strategies process. This approach extends from our in the city. studio in DUMBO to our 10,000 square foot space in the Brooklyn Navy Yard, and allows Lorena del Río (Madrid, 1981) is an architect the act of making to become a generative educated at Polytechnic University part of how SITU designs. of Madrid, ETSAM, where she received her degree in 2008, and where is she Our architectural solutions are driven by a also developing her PhD. Lorena has rigorous analysis of the user’s needs, values participated in reviews and lectures at and aspirations, rather than any stylistic or several universities, including MIT, Cooper formal agenda. To this end, we create spaces Union, the University of Buffalo, New York that encourage user appropriation, as well as City College, the University of Houston, energize individual and collective creativity. NYIT, and the University of Puerto Rico. She also lectured at the fouth edition of From highly flexible and engaging public Campus Ultzama, organized in the summer spaces at the Brooklyn Museum to ground- of 2015. Project Lead: Song (Steven) Ren is a 21 — Atelier Manferdini Bachelor of Architecture student entering Elena Manferdini, principal and owner of his third year at Cornell University. He has Atelier Manferdini, has over fifteen years of a keen eye for detail and broad expertise professional experience in architecture, art, in areas such as virtual reality design and design, and education. She is a licensed computer hardware. He previously worked engineer in Italy, and a licensed architect in with RICA* on the Spanish Pavilion at the Switzerland. She received a Professional Venice Biennale. Engineering Degree from the University of Civil Engineering (Bologna, Italy) and a Master of Architecture and Urban Design 20 — Asymptote Architecture from the University of California in Los Founded in 1989 by Hani Rashid and Lise Angeles (UCLA). Anne Couture, Asymptote Architecture is a leading international architecture practice Elena currently teaches at the Southern based in New York that has distinguished California Institute of Architecture (SCI-Arc) itself globally with intelligent, innovative, and and is the Graduate Programs Chair. In visionary projects that range from building 2014 she held the Howard Friedman Visiting designs to master planning projects; from art Professor of Practice at the University of installations to virtual reality environments; California Berkeley (UCB). She has also as well as interior and industrial design. held Visiting Professor positions at Cornell University, University of Pennsylvania, and Asymptote’s approach to utilizing digital Seika University. tools and technologies, contemporary theory, innovative building practices, and Elena Manferdini was recently awarded the advancements in engineering solutions and 2013 COLA Fellowship given by City of Los environmental sustainability have afforded the Angeles Department of Cultural Affairs to practice a broad and powerful perspective support the production of original artwork. on all aspects related to architectural building In 2013, she received a Graham Award for design and city planning. architecture, as well as the 2013 ACADIA Innovative Research Award of Excellence, Completed projects include the Yas and she was selected as recipient for the Viceroy Hotel in Abu Dhabi (2010); ARC Educator of the Year presidential award given Multimedia Theater in Daegu South Korea by the AIA Los Angeles. In 2011, she was one (2013); the HydraPier Cultural Pavilion of the recipients of the prestigious annual in the Netherlands (2004); 166 Perry grants from the United States Artists (USA) in Condominiums (2008), Alessi HQ (2004- the category of architecture and design. 2012), and the Carlos Miele Flagship store (2006) in New York City (2006); and the Team: Elena Manferdini, Shawn Rassekh, Univers Theaters in Aarhus Denmark (1998). Evaline Huang, Ann Gutierrez, Connor Other key unbuilt projects include; an award Gravelle, Meenakshi Dravid, Begum Baysun winning design for a luxury condominium tower, the StrataTower, in Abu Dhabi, 22 — Archi-Tectonics an Eco-Cultural Master Plan for Baku, Archi-Tectonics is a research-based Azerbaijan, commercial office towers in design practice with an expertise in LEED Budapest, Hungary, and the World Business design that works on multiple scales, Center Solomon Tower in Busan, South spanning from cities, to buildings, to Korea. object design. We aim to achieve design efficiencies that express themselves in optimized modulations resulting in original shapes and innovative structures. Built residential work includes the Greenwich award in Architecture and with the AIANY’s building in Soho, the Chelsea townhouse, Andrew J. Thomson Award for Pioneering the Brewster Building, the residential in Housing. Previous recognition includes V33 building all in Manhattan, The Dub The Architectural League’s Emerging Voices residence in Germany and the 15-story award, several AIANY Design Honor and American Loft tower in Philadelphia. We Merit Awards, the Canadian Professional recently completed several commercial Rome Prize, Architectural Record’s Design projects, including the interior for the Vanguard, and two NYFA grants. Netherlands Architecture Institute [NAI] in Rotterdam, the Tashan restaurant in Principals Eric Bunge and Mimi Hoang Philadelphia, and several flagship stores are Adjunct Assistant Professors at for Ports1961 in Paris, London and Columbia University. Shanghai. Archi-Tectonics has been chosen to be the Lead Architects on many projects 24 — SO – IL internationally, including a bottom-up SO–IL is an award winning architectural Masterplan for Downtown Bogota; the,the design firm that envisions spaces for large scale Yulin Master plan in China; culture, learning, and innovation. From their and the Waterfront Masterplan in New offices in New York, SO–IL partakes in the Rochelle, NY. production of buildings, interiors, furniture, and landscapes around the world. As a collective of diverse thinkers and makers, 23 — nARCHITECTS the office engages with the ever changing nARCHITECTS was founded by Principals social, economic, and natural environment Eric Bunge and Mimi Hoang with a goal of through active dialogue that considers addressing contemporary issues through context, function, and opportunity. SO–IL innovative concepts, social engagement, believes that physical structures have and technical experimentation. The letter “n” the power to offer a sense of wonder represents a variable, indicating the firm’s and place. They serve as platforms of interest in designing for a dynamic variety exchange, and create generous, sensorial, of experiences within a systemic approach. and visceral experiences. The firm’s work instigates relationships between architecture and public space, and 25 — Leong Leong their dynamically changing contexts. Leong Leong was established in New York in 2009. The studio’s interests are not nARCHITECTS provokes social interactions defined by a particular project type, but by that in turn question basic building types the potential to create environments and and systems, responding to evolving criteria artifacts with cultural resonance. Over the or phenomena such as weather (as in their past several years, the studio has been bamboo Canopy for MoMA PS1, 2004); light increasingly focused on projects that inhabit and views (Switch Building, 2007); rising sea the blurry boundary between culture and levels (New Aqueous City, Rising Currents, commerce, public and private, figure and MoMA, (2010); shifting demographics field, domestic and monumental, diagram (Carmel Place, 2016); and landscape and effect. The studio has completed (Chicago Navy Pier, 2016). While engaging projects in New York, Los Angeles, Tokyo, with complexity and flux, nARCHITECTS Hong Kong, Seoul, Venice, and Napa aims to create architecture with an economy Valley. Leong Leong’s work includes a wide of conceptual and material means. range of project types, including buildings, interiors, exhibitions, and furniture. In 2011, nARCHITECTS was recently honored with Architectural Record magazine featured an American Academy of Arts and Letters Leong Leong as one of seven emerging architecture firms from around the world in Bureau V projects have received support their annual “Design Vanguard” issue. Leong from Saatchi & Saatchi, the Art Production Leong was a finalist for the MoMA PS1 Fund, West of Rome Public Art, and the Young Architects Program, and was awarded Lower Manhattan Cultural Council. Bureau V a grant by the New York Council of the Arts. projects have been exhibited or performed In 2010, the American Institute of Architects at the Guggenheim Museum, the Venice selected Leong Leong for its “New Practices” Biennale of Art, Inhotim, the Sophiensaele, award. The firm’s work has been featured the Performa Biennial, MoMA PS1, and Los in The New York Times, Wallpaper, Surface, Angeles’s REDCAT Theater. Monocle, Dwell, CNN, Interior Design, Detail, A+U, Architect, Architectural Record, Pin-Up 28 — Höweler + Yoon and other international press outlets. Höweler + Yoon is an internationally recognized architecture and design studio, 26 — Dror founded by principals Eric Höweler and Dror is a holistic design practice. Meejin Yoon. Originally known as MY Studio, our multidisciplinary practice operates in We are driven by ideas. the space between architecture, art, and We imagine without limits. landscape. We believe in an embodied We experiment without fear. experience of architecture, seeing media as material and their effects as palpable We create objects, installations, architecture. elements of architectural speculation. We create poetry in structure. While our work lies at the intersection of the conceptual and the corporeal, we are 27 — Bureau V committed to both the practice-of and Bureau V designs architecture and prospects-for architecture. Engaged in experimental projects ranging from cultural projects of all scales, we are interested in and commercial buildings to performances, the material realities and material effects of installations, objects, and events. “Easily our work. From concept to construct, we are one of the most exciting and eclectic young determined to realize built ideas and to test design firms working in New York,” Bureau projects through the dynamic interaction V was founded in 2007 and is led by three between the construct and the larger public. partners, Stella Lee, Laura Trevino, and Peter Zuspan. 29 — Urban Agency URBAN AGENCY is an award-winning National Sawdust, Bureau V’s first completed architecture firm with a broad international building, opened in 2015. The New York profile. The office is based in Copenhagen, Times described National Sawdust as “the Dublin, and Lyon, with projects ongoing city’s most vital new-music hall.” It won the throughout Europe, Asia, and North Africa. AR Culture Commended Award, was included It is led by four partners: Maxime Laroussi, in Architectural Record’s Top Ten Arts Andrew Griffin, Henning Stüben, and Centers of 2015, and has been nominated for Heechan Park. the Mies Crown Hall Americas Prize. URBAN AGENCY takes pride in devising Bureau V’s clients and collaborators innovative solutions that address have included cultural institutions such contemporary challenges in cities and the as National Sawdust and the Montello built environment. In designing pragmatic, Foundation, as well as artists and designers sensitive, and innovative solutions, we create such as Assume Vivid Astro Focus, Early new possibilities for a better everyday life. Morning Opera, Arto Lindsay, and Mary Ping. We design flexible, dynamic, and powerful projects that can absorb complexity and change while simultaneously maintaining he has lectured at Harvard and in Cairo, and building upon existing qualities. La Plata, and Auckland.

URBAN AGENCY’s value add is through Team: Susanna Pisciella, Francesco Rigon, design for the betterment of society, as well Stefano Gobetti, Marco Renzi, Margherita as for the individual client. We have a proven Simonetti, Marco Costa, Fabio Gardin track record of adding monetary value to new and existing buildings. Through careful analysis, programming, and massing, we design innovative mixed-uses, providing additional square meters for end users and stakeholders. URBAN AGENCY believes in creating spaces where individuals can interact; aesthetically inviting spaces of social encounter. We develop comfortable and ecologically responsible solutions that create new value and identity, and that are economically profitable.

30 — Renato Rizzi/IUAV Renato Rizzi graduated from the University of Venice, IUAV, in 1977, with a degree in Architecture.

From 1984 to 1992, he began working in New York with Peter Eisenman on projects including the La Villette in Paris; the new headquarters of Monte dei Paschi in Siena; the Opera House in Tokyo, and recently, in 2008, the “Research Tower” in Padua. He has participated in numerous international competitions in places such as New Zealand, Warsaw, Berlin, Barcelona, ​Wellington, Copenhagen, and Krakow. In 1992, he was awarded the National Award in Architecture and in 2003, he received an honorable mention for the Gold Medal for Italian Architecture. His list of accolades include the Gold Medal for Italian Architecture of the Milan Triennale, the Landscape Award of the Council of Europe in 2009, and an Honorable Mention for ADI’s Compasso d’Oro for the House of Art Futurist Fortunato Depero in 2011. Rizzi has also exhibited his works at the Venice Biennale of Architecture in 1984, 1985, 1996, 2002, and 2010.

After working for about a decade with Peter Eisenman, he returned to Italy to devote himself to teaching, design, and theory, and ARTIST BIOGRAPHIES

Curtis Kulig In his later years, he has become well Curtis Kulig gained notoriety with his known for his confrontational readings and signature manifesto “Love Me.” His work his contributions as a gay rights activist; is a celebration of humanity in a voice that he founded the AIDS Treatment Project in ranges from the poignant to the playful 1984. In 2010, he had his first solo gallery through a wealth of mediums: rich canvases, show, Black Paintings and Drawings, which scintillating neon, 16mm films, typewritten focused on the development of poem poems, and ubiquitous prints; in cities painting. He currently lives in New York City. ranging from New York to London, Istanbul to Los Angeles, Tokyo to Berlin. As a painter, Lawrence Weiner photographer and illustrator, Kulig has Lawrence Weiner is an integral figure of the collaborated with Colette, DKNY, Pendleton, Conceptual Art movement of the 1960s. Vans and Uniqlo among others, making Best known for his text-based work, Weiner him internationally distinguished in both the creates subversive installations that alter fine art and commercial domain. He has an existing space or environment. His been featured in the New York Times, Wall early piece Declaration of Intent (1968), Street Journal, Vanity Fair, and contributes created during the heyday of Abstract regularly to charities including Free Arts, Expressionism, brings a wry criticism of the Art of Elysium and most recently Hilarity nature of art by creating a list of simplistic for Charity. Kulig lives and works in New written terminology. One such line, “The York City. piece may be fabricated,” addresses whether the imagined gesture or actual John Giorno creation of a work have any hierarchal John Giorno is a poet and visual artist. Born difference in regard to the assessment of in 1936 in New York City, Giorno attended art. Born on February 10, 1942 in the Bronx, Columbia University and worked as a NY, he went on to briefly study at Hunter stockbroker for a short time before meeting College in New York before dropping out Andy Warhol in 1962. A romantic relationship and traveling the country. Weiner was the ensued, and Giorno was featured in Warhol’s subject of the retrospective at the Museum first film, Sleep (1963). The influence of of Contemporary Art in Los Angeles and the pop art and Warhol’s Factory are evident Whitney Museum of American Art in New in Giorno’s work, which developed out of York from 2007–2008. His works are in the verbal collages of appropriated texts drawn collections of the Art Institute of Chicago, from advertising and signage. the Solomon R. Guggenheim Museum in New York, the National Gallery of Art in In the 1960s, Giorno began to record his Washington, D.C., the Centre Georges poetry, distorting the recordings with Pompidou in Paris, and the Tate Gallery in synthesizers to produce installations London, among others. Weiner lives and he called “electronic sensory poetry works in New York. environments.” In 1965, he founded Giorno Poetry Systems, a nonprofit production Sebastian ErraZuriz company designed to introduce new, New York based Artist, Designer and innovative poetry to wider audiences. In Activist Sebastian ErraZuriz has received 1967, Giorno collaborated with other artists, international acclaim for his original and including William S. Burroughs, Frank provocative works on a variety of areas O’Hara, and Patti Smith, to record poems and disciplines. Tackling everything from for his project Dial-a-Poem. The recordings political artworks to giant public art projects, made during this project were exhibited in conceptual sculptures to experimental 1970 at the Museum of Modern Art. furniture and product design, his work is always surprising and compelling, inviting the viewer to look again at realities that ways to express her art form, such as using were often hidden in front of their own eyes. drawing to visualize data. His monumental public art installations have been shown internationally to raise She is an Adjunct Professor and former awareness and create exposure on different Artist in Residence at NYU’s ITP (Tisch themes for multiples institutions. ErraZuriz’s School of the Arts) where she teaches work has been included in exhibitions and her students to integrate drawing with collections alongside the most celebrated technology, including cameras, music, and artists, architects and designers in numerous code. She is also a fellow at the Brown international exhibitions. The coverage of Institute for Media Innovation at Columbia his creations has been a successive string University. Martin was born in London and of viral responses. His collection 12 Shoes attended Central St. Martin’s University. for 12 Lovers generated 35 million hits on Google and his Wave Cabinet has over 10 million online views. ErraZuriz has been featured in multiple magazine covers and portrayed in thousands press articles. He has received critical acclaim from The New York Times, The Financial Times and The Wall Street Journal, among others. In addition, his work has been featured in mainstream TV on BBC, CNN, ABC, and NY1.

Shantell Martin The work of Shantell Martin is a meditation of lines; a language of characters, creatures and messages that invite her viewers to share a role in her creative process. Part autobiographical, and part dreamlike whimsy, Martin has created her own world that bridges fine art, performance art, technology and the everyday experience— conversations, objects and places. Her artwork has appeared in the Brooklyn Museum, Museum of the Contemporary African Diaspora, Bata Show Museum and a number of private galleries.

Martin’s diverse portfolio illustrates her gift of navigating many worlds. From early beginnings with live performance drawing in the mega clubs of Tokyo, Martin made her way to New York where she pushed the limits of her trademark continuous line. Her drawings have transformed everything from walls, found objects, sneakers, cars and circuit boards. In 2015, she became an artist in residence at the MIT Media Lab where she explores cross-disciplinary Storefront for Art and Architecture: Founded in 1982, Support: Storefront is a nonprofit organization and Storefront is a nonprofit organization that advances relies on the support of individuals like you. If you innovative and critical ideas at the intersection of would like to make a donation or become a member, architecture, art, and design. Storefront’s program of please visit: www.storefrontnews.org/support. exhibitions, events, competitions, publications, and projects provides alternative platforms for dialogue Research support provided by Juan Francisco and collaboration across disciplinary, geographic, Saldarriaga and the Center for Spatial Research at and ideological boundaries. Columbia University. Specific model support provided by Acción Cultural Española (AC/E) and Hotel For more information about upcoming events Americano. Stencil cuts provided by SOFTlab. and projects, ways to get involved with Storefront, Exhibition photography provided by Romy Rodiek. or to subscribe to our email list, visit www.storefrontnews.org, or contact us at: Storefront’s programming is made possible through [email protected] or +1 212.431.5795 general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; ODA; Roger Gallery Hours Ferris + Partners; the Foundation for Contemporary Open Tuesday–Saturday; 11 am–6 pm. Arts; The Greenwich Collection Ltd.; the Lily Closed Sunday and Monday. Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Gallery Location Cuomo and the New York State Legislature; public Storefront’s gallery space is at funds from the New York City Department of Cultural 97 Kenmare Street Affairs in partnership with the City Council; The between Mulberry and Lafayette Streets. Peter T. Joseph Foundation; and by Storefront’s Board Transit of Directors, members, and individual donors. 6 to Spring N/R to Prince B/D/F/M to Broadway/Lafayette.

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Executive Director and Board of Directors Board of Advisors Chief Curator Charles Renfro, President Kent Barwick Eva Franch i Gilabert Campbell Hyers, Vice President Barry Bergdoll Steven T. Incontro, Treasurer Stefano Boeri Director of Strategic Lauren Kogod, Secretary Jean Louis Cohen Development Beatriz Colomina Jinny Khanduja Phil Bernstein Peter Cook Belmont Freeman Associate Curator Chris Dercon Terence Gower Carlos Mínguez Carrasco Elizabeth Diller Natasha Jen Andrew Fierberg Associate Curator of Archives Amit Khurana Claudia Gould Chialin Chou James von Klemperer Dan Graham Michael Manfredi Development and Peter Guggenheimer Thom Mayne Outreach Associate Richard Haas Sara Meltzer Alexandra Axiotis Brooke Hodge William Menking Steven Holl Gallery Manager and Sarah Natkins Steven Johnson Project Coordinator Margery Perlmutter Toyo Ito Max Lauter Linda Pollak Mary Jane Jacob Interns Robert M. Rubin Mary Miss Miriam Abd El Azim, Sylvia J. Smith Antoni Muntadas Olivia Abrahao, Shefali Desai Artur Walther Shirin Neshat Andrew Emmet, Carolina Florez, Director’s Council Lucio Pozzi Hannah Han, Jessica Maposa, Kyong Park, Founder Michael Sorkin Katerina Paitazoglou, Alana Shirin Neshat Benedetta Tagliabue Rogers, Ann Mirjam Vaikla Sarah Herda Frederieke Taylor

Joseph Grima Anthony Vidler James Wines

2016