Gallery Copy Selldorf Bernard Khoury pneumastudio + POOL Ekene Ijeoma

Kohn Pedersen Fox Landscapes The Architecture Lobby Assoc. + POOL Citygram of Profit

James Ramsey, Giorgia Lupi + Barozzi / Veiga KUTONOTUK RAAD Studio CartoDB Stefanie Posavec

Víctor Enrich Erika Loana Reiser + Umemoto

Fake Industries Jon Lott / PARA Architectural Agonism Project Mark Robbins

FIG Projects MAIO Malkit Shoshan 02 04 06 08 10 12 14 16 18 20 22 24 26 28 30 32 29 31 Nader Tehrani / 01 03 05 07 09 11 13 15 17 19 21 23 25 27 FleaFollyArchitects NADAAA Anthony Titus

Formlessfinder m-a-u-s-e-r Urban-Think Tank

Grimshaw Architects, 01 02 03 04 05 06 Rickie Cheung MILLIØNS Ross Wimer

Michelle Fornabai James Wines Nicholas de Monchaux

Anna Neimark+ Andrew Steven Holl Atwood, First Office Selldorf Architects The Architecture Lobby

“Multiple Exposure,” Selldorf Architects. Measure, 2015. Storefront for Art and Architecture. “Measuring Work,” The Architecture Lobby. Measure, 2015. Storefront for Art and Architecture.

“Multiple Exposure” uses the human figure Storefront, and as a common measure of both. “Measuring Work” takes the photograph of as a device to measure Storefront for Art and The resultant drawing is composed of rows the Storefront facade and identifies all the Architecture. Proportion, scale, and units of of photography with multiple exposures that estimated workers and work that went into measurement are all derived from our physi- relates the Storefront space and the work producing it. cal presence, and our practice creates spaces of Selldorf Architects. Each row of images in which a harmony exists between the body explores a specific topic: form, structure, and the elements of our built work. This opening, and material – each through a composition relies on a relationship of units different project. relative to one another. Our measure-ment explores the body related to our own work, to

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Barozzi / Veiga Víctor Enrich

“Measure,” Barozzi / Veiga. Measure, 2015. Storefront for Art and Architecture. “Measure,” Víctor Enrich. Measure, 2015. Storefront for Art and Architecture.

“Whatever profits man is true. […]. He is the The virtual world depicted in the piece justifying the existence of this new system of measure of all things and his salvation is the shows buildings that are no longer being measurement. criterion of truth.” measured in the metric system or in U.S. cus- tomary units. Instead, it was decided to give the gallery a new role: a measuring system In order to accomplish the aforementioned Excerpt from “The Magic Mountain,” by whose main unit is the ‘Storefront.’ premise, research has been conducted in the Thomas Mann (1924). Translation by John architectonic field, particularly in and around E. Woods. Barcelona, where Enrich lives. Research Taking into consideration that a context in was focused on analyzing and comparing the which buildings are measured in ‘Storefronts’ shapes and proportions of several buildings, must be adopted by the community, it is with the sole goal of finding perfect matches. essential to find masterpieces of architec- ture whose dimensions and proportions rely precisely on this brand new unit system. “The Spanish Republic Pavilion,” designed by Even architects not aware of the existence of Catalan Josep Lluis Sert and built in this unit system used it in their designs, thus Paris for the 1937 “Exposition Internationale des Arts et Techniques dans la Vie Moderne”

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Fake Industries Architectural Agonism (Urtzi Grau + Cristina Goberna) and Georgia Jamieson has been chosen because evidence amazingly files provided by the gallery and found on the shows that the front façades of both the internet, respectively (but only as reference pavilion and the Lower Manhattan building documents). The real volumetric information where Storefront is located share the same has been extracted from photography. dimensions in length and in height. This set The piece shows a layout in which the of coincidences relates not only to overall famous pivotal doors designed by Steven shape, but also includes the height of the Holl and are opened, reveal- corresponding floors as well as the rhythm of ing their intrados, which are covered by an the cornice. irregular colour gradient that pays a tribute to procedural mapping, a common technique The first placing tests were based on a right- used in 3D computer graphics. side-up layout, which unfortunately hid one of the most astonishing characteristics of Storefront’s Lower Manhattan building: its tremendous decreasing narrowness. This could only manifest itself if the building was adopting a flying attitude, definitely not an architectural attitude. However, taking advantage of the existence of a utilities room located on the terraced roof, the upside- down layout lets the building adopt a natural attitude with enough gap between buildings “Supporters,” Fake Industries Architectural Agonism (Urtzi Grau + Cristina Goberna) and Georgia Jamieson. to reveal its very best while it still assumes Measure, 2015. Storefront for Art and Architecture. its measuring role.

General support for Storefront for Art in The result of this layout is a tremendous Architecture is made possible by the Andy cantilevered solution that, far from being Warhol Foundation for the Visual Arts; achievable by today’s engineering solu- The Greenwich Collection Ltd.; the Lily tions for this sort of masonry buildings, is Auchincloss Foundation; the yet more architectural than a building that State Council on the Arts with the support of literally flies. Governor Andrew Cuomo and the New York State Legislature; public funds from the New 3D replicas of both the New York building York City Department of Cultural Affairs in and the pavilion have been created with the partnership with the City Council; The Peter aim to assure the best virtual interaction T. Joseph Foundation; the Foundation for between them in terms of global illumination Contemporary Arts; by its Board of Direc- and perspectival deformations. tors, members and by individuals. Storefront thanks its dedicated members. In both cases, the 3D models have been cre- ated using plans, façades and section CAD

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Bid Online: https://m.24fundraiser.com/m/storefront

FIG Projects FleaFollyArchitects MEASURING STOREFRONT - 18” x 24” - V7819 - AUG 2015 © 2015 AUG - V7819 - 24” x 18” - STOREFRONT MEASURING

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“XYZ,” FIG Projects. Measure, 2015. Storefront for Art and Architecture. “Measuring Storefront,” FleaFollyArchitects. Measure, 2015. Storefront for Art and Architecture.

Everything counts. “XYZ” is a selection of ‘FleaFolly’s Guide to the Perfect Gallery and values are why our customers consider recent numerical data and measures about Suit’ us more than just a tailor; we are the tailor. Storefront for Art and Architecture.

We at FleaFollyArchitects value quality, 1. Entrance: Measure around the base of comfort, and perfection; we know that every the entrance, placing a visitor between the gallery is different, and every gallery is an tape measure and the available opening. You individual. Your size, light quality, materi- should not restrict the entrance by the tape ality, and shape of space all change the way for a comfortable fit, and should be able to your suit will fit. This is why, as one of the put two visitors inside the tape. Remember: oldest architectural tailors in the UK, we you only get one chance to make an entrance, have prepared a guide to help you take the so make it a good one! perfect measurements, to create the perfect gallery. 2. Stair Core: Measure around the widest part of the stair core. The measuring tape is We believe that our knowledge, traditions, usually positioned at handrail level, above

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Formlessfinder the 12th step. Do not overpopulate your to the top of their heads (hairstyle included) core; you should be able to fit two staff without restricting their views. members comfortably between the tape and the core exit. Do not obstruct the stair with unseasonable objects such as potted plants or 7. Bathroom Area: Measure space at full skateboards. capacity and always consult the Metric Handbook, or national equivalent. Remember privacy is key here. 3. South Wall: Measure around the widest part of the gallery’s south elevation, placing a visitor between the gallery and the tape. Take 8. Floor: With an average amount of visitors, measurements with the panels in full swing measure from one edge to the other both and ensure the tape is at the same height at laterally and along the length of the gallery. all times. The widest part of the wall usually Take several readings and calculate the coincides with the middle puncture. Do not average. This measurement will determine hold the panels in. the strategic placement of works in relation to viewing comfort, and remember: always measure twice and place once! 4. Main Space: With the building at full capacity, put the tape around the perimeter of the internal space. Adjust the tape to the gallery’s designed ‘snug-ness,’ with room for at least two visitors. Make sure the tape does “Fig, 1,” Formlessfinder. Measure, 2015. Storefront for Art and Architecture. not ride over the walls and does not restrict the flow of the gallery. Keep the light levels constant throughout the measuring process for a clean and clear measurement. “Fig. 1” is part of Formlessfinder’s ongoing ing, and value. We look for an alternative exploration into alternative efficiencies. efficiency. 5. Services: With the gallery at full capacity, measure the light, noise, and air-levels inside As the saying goes, “One person’s trash is “Fig. 1” is a working drawing using a model the main space. Make sure you take several another person’s treasure,” so why should (and to be perfectly honest, we don’t think readings, as these can vary greatly across the we presume to leave certain materials there’s much of a difference) that is about course of an opening, and then calculate the and processes out of the picture, or out of space, volume, and cost. Just like light, average. Make sure visitors are not restricted architecture altogether?...What is heavy grains of sand scale 1:1 - so we can work during the measuring process; a happy visitor is sometimes cheap – what is massive is quick to understand what you can build with equals a happy gallery. sometimes cool – what fills up one space an island’s worth of sand. We calculate the can create another of unexpected value. If value of a single cup ($00.049), in tons, and 6. Ceiling: Measure across the top of the you don’t want it, we do. This is exactly the go from there... space from one edge to the other, taking into domain we operate in – even if it doesn’t account the contours of the services. With make you think of architecture. And in the your best audience located inside, measure middle of all this, we look for what we think is the sweet-spot of innovation, space-mak- 08

Bid Online: https://m.24fundraiser.com/m/storefront Michelle Fornabai Grimshaw Architects, Rickie Cheung

“4x4 Measures,” Michelle Fornabai. Measure, 2015. Storefront for Art and Architecture. “Carving Through Constraints,” Grimshaw Architects. Measure, 2015. Storefront for Art and Architecture.

As part of her “Synesthesia Series”, Fornabai a rhythmic play between alternating strong Openings, spaces, and forms are often meas- has painted upon 16 measures of the Frank and weak beats (a duple pulse) as sums are ured and regulated by stringent national Loesser song “The Inchworm” in ink on repeated, coupled with a triple-time strong, building standards. Inspired by the theme of mylar, a pre-digital convention of architectural weak, weak pattern (slow waltz) as the worm ‘Measure’, an accumulation of text sourced drawing. Synesthesia, an experience by which inches along the marigolds. from UK planning documents offers an one sensory or cognitive pathway leads to an artificial / imaginary plane in which the automatic, involuntary experience in another-- Upon exhibition at Storefront, the drawing elevation of New York’s Storefront for Art sound to color, form, texture, text--is engaged may be played by viewers while two Lep- and Architecture is carved into. This drawing by painting, literally, on a song. idoptera Gemetridae (commonly known symbolizes the rigorous processes of making as “inchworms”), released into the gallery, architecture whilst addressing constraints set The 16 musical measures of “The Inchworm” kinesthetically measure the space with their out by legal requirements. act as both medium (paper support) and acous- movements. The drawing’s title, “4x4 Measures tic milieu for Fornabai’s process of painting | 2 to 4th,” refers to four sensory measures over a defined duration. The original song, a taken of the space–acoustic, tactile, kinesthetic, mnemonic device for children (“2 and 2 are 4, and cognitive–whose trace is indicated visually 4 and 4 are 8, 8 and 8 are 16...”), evinces two in the drawing at four scales–by minute, inch, metrical patterns which structure the drawing, foot, and geometric measure. 09 10

Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Steven Holl Bernard Khoury

“Hinged Space,” Steven Holl. Measure, 2015. Storefront for Art and Architecture. “Storefront Carpet Bombing,” Bernard Khoury. Measure, 2015. Storefront for Art and Architecture.

This work is a watercolor that illustrates the […] also known as saturation bombing, has idea of “hinged space” – the main concept for been done in a progressive manner to inflict the portals of the Storefront façade. damage maximum influence […] in the same way that a carpet covers a floor.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Kohn Pedersen Fox Assoc. KUTONOTUK

“1π—∞ (or 180 degrees of separation),” Rutger Huiberts (KPF). Measure, 2015. Storefront for Art and Architecture. “All You Need to Know,” KUTONOTUK (Matthew Jull + Leena Cho). Measure, 2015. Storefront for Art and Architecture.

How to measure the practically immeasur- “All You Need to Know” is a visualization able rotations of the doors in the façade of of the binary data set that describes the the Storefront for Art and Architecture? How complete three-dimensional geometries of to describe the blurring of boundaries that Storefront for Art and Architecture, provided occurs when its doors are (semi)opened? by the organization in the file “Storefront How to quantify the seemingly infinite inter- RHINO MODEL_1-2-.3dm.” Every possible action between the institution and the city? measurable quantity of the gallery space is Rather than quantifying an exact measure- encoded in this drawing. ment of these rotations in time, this drawing makes use of the number π to represent Storefront’s social interface—its façade—as an endless loop; to qualitatively “measure” the relation between inside and outside, between architectural pidgin and street talk, between architecture and the city.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Erika Loana Jon Lott / PARA Project

“1 coca 2L y 1 churrumais (wishes),” Erika Loana. Measure, 2015. Storefront for Art and Architecture. “!,” Jon Lott / PARA Project. Measure, 2015. Storefront for Art and Architecture.

A pesar de las innovaciones que pueda I’m only think: no matters how the architec- Storefront exclamation point! haber en la representación arquitectónica ture take the capacity to represent anything en México tenemos una forma particular de we want, the drawings there show us how the hacer las cosas – la arquitectura se hace en architecture is built. sitio. Así el dibujo, en sus diferentes escalas, toma la forma para lo cual es creada y como manifestación de lo que somos capaces (y with hand to hand. deseamos) contar, medir, y dibujar. even there is a wishes: one coke and churru- The history of the piece: mais (some king of mexican chips) for me it’s ironic, funny and precisely for the title of this show “measure.” This piece of wood, I found it in the con- struction of the Juan Soriano Museum, this project are made by JSA (Javier Sanchez architects) there are important in México, so

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront MAIO Nader Tehrani / NADAAA

“STOREFRONT ARK - THE MEASURE OF THE WORLD,” MAIO. Measure, 2015. Storefront for Art and Architecture. “Kinetic Measures,” Nader Tehrani / NADAAA. Measure, 2015. Storefront for Art and Architecture.

Architecture, understood as a condenser or as rigid built limits into elastic membranes The term “data visualization” supposes that made visible through the orthogonal, oblique, a shelter, has been throughout history both a which can safeguard life and objects that data is not already visible but must be made or conical projections, each in their own way symbolic and real archetype of Survival. constitute the human universe. so; for this reason, the mechanisms of repre- giving weight to varied visions. sentation, the means of communication, and the protocols of that transmission become That is the case of those buildings that aim But all this supposed autonomy is subverted instrumental in their depictions. It is no secret It is a rare case where these media come to contain the world, buildings understood by its own representation. Precisely the possi- that with information comes bias and ideo- into confluence, as their individual agencies as a city within the city. Of all those human bility of an exterior and ironic observer – the logical taint, and to that end, each mode of give innate emphasis to certain tropes that edifices that claim to contain the memory possibility of a possible narrator – reminds us visualization may cast a shadow of some per- reinforce their strengths; from the mono-cu- lar conical projections of Masaccio to the and the vastness of human knowledge, or that beyond that “Theatrum Mundi,” there is suasion. Historically, we have witnessed the worm’s eye bias of the Choisy oblique even life itself, ranging from Noah’s Ark, to another world; no representation can contain vicissitudes of the emergence of the architect projections, all manifest a revelation that is the theaters of memory, and to the immense itself. in relation to the instruments of the disci- digital cloud-archive around us. routed through the salient quality of a par- pline, especially in the arena of measure and ticular means of representation. It is maybe The measure of the world is thus the measure projection. At the same time, the descriptions only the cinematic that captures the dynamic These kind of architectures subvert the notion of the understandable. they have made possible are part of a process connection between these media, sometimes of quantitative measures and transform the of abstraction, distortion, and tinting, as in the most devious of means.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront m-a-u-s-e-r (Mona Mahall + Asli Serbest)

The dolly shots of Spike Lee and their con- trol of the camera lens is one example where the measures of constraint are methodically shifted to radical results, but only potent through an animate format.

“Kinetic Measures” undertakes such an analysis of Storefront for Art and Architec- ture. It begins by orthogonally orienting Storefront, axially aligning its façade parallel to the picture plane as a descriptive means of projecting the dimensional criteria of the elevation and the traces of structural and mechanical motive. Using transitions within the limits of planar projection to approxi- mate the conditions of conical perspective, different stages of the animated drawing enable different alignments between projec- tion and architecture. The kinetic medium of animation is a practice used to produce a biased way of seeing—from the analytical to the experiential. Agency, in this case, derived through specific alignments between “One Palm Tree Long,” m-a-u-s-e-r (Mona Mahall + Asli Serbest). Measure, 2015. Storefront for Art and Architecture. medium and subject, allows for a temporal and deliberate playing of projection drawing, an instrument for giving value to architecture and the city through measure. Different objects have been used to attempt to measure Storefront: a slice of pizza, a party hat, a jamón, a saw. Yet, the length of the Storefront gallery space equals exactly the maximum height of an average palm tree, when measured according to Ameri- can national standards (overall height is the perpendicular height from the ground to the top of the arc made by the uppermost arching frond). To show the relationship between both objects (that is, to measure them) the palm tree has to be eased into Storefront.

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Bid Online: https://m.24fundraiser.com/m/storefront MILLIØNS James Wines

“There’s No Such Thing as a Computer Drawing,” MILLIØNS. Measure, 2015. Storefront for Art and Architecture. “Measurable and Immeasurable,” James Wines. Measure, 2015. Storefront for Art and Architecture.

The technical substrate of architecture’s This work’s theme “measurable and orthographic reasoning has now disappeared immeasurable” is a tribute to Storefront’s and cannot be brought back as anything ever-expanding impact and as a sort of other than historical reenactment. Unlike commentary on architecture’s conventional orthographic drawings, post-orthographic obsession with formalism and prescriptive digital models contain a running analysis notions of ‘measure.’ of all possible future object-scenarios; not just formal possibilities, but increasingly also tectonic specifications, construction and maintenance costs, energy consumption metrics, etc. The “real time analysis of all possible future states” is a very different imaginative framework than the orthographic imagination, which always wanted to use the past to make sense of the future.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Anna Neimark + Andrew Atwood, First Office pneumastudio (Cathryn Dwyre + Chris Perry)

“Elevation Storefront,” Anna Neimark, Andrew Atwood / First Office. Measure, 2015. Storefront for Art and Architecture. “Storefront 2115: (not) OUT THERE,” pneumastudio (Cathrym Dwyre + Chris Perry). Measure, 2015. Storefront for Art and Architecture.

“Elevation Storefront” measures 18” x 24”. ColorMaster White Flat Paint for the overall The ecological news of late has been dis- elaborate stage, a backdrop for the human It was made with a projector, tape, and spray tone of the façade panels. This is a repre- tinctly unsettling. Events like mass fish-kills, drama. Now it has become the lead actor with paint. The projector was used to project the sentation of the Storefront’s façade through Fukushima, and superstorms have been land- the foremost agency. Our time can be seen drawing of the elevation of Storefront for the measured difference among the shades ing in double-time. Our love/hate relationship as the end of one world and the beginning Art and Architecture from the computer and textures of white spray paint and of their with the non-human has morphed from the of another, a break similar to the Creta- onto a thin sheet of plastic taped to the corresponding masking tapes. non-human as machine to the non-human that ceous-Triassic (KT) boundary in its global wall. The tape was used to mask out three is all machines, the solar system, the earth scope. This new age is one in which human separate layers of the drawing: 1” tape for beneath, and the air we breathe; in effect, social, psychic, and philosophical space is the overall shape of the façade, 1/16” tape for everything that is not “us.” inextricably enmeshed with the non-human, the outlines of the revolving windows, and bringing with it a new period of environmen- 1/64” tape for the panel seams. Three types tal anxiety and existential uncertainty. of spray paint were used to distinguish each Our current geologic age of the Anthropo- layer of material: Montana Colors 94 White cene marks a fundamental shift, a drastically Matte Paint for the outlines of the revolving quickened pace of change, and a reversal of Continental philosophy’s foray into “specu- windows, Montana Colors Hardcore 2 White sorts in the identity of world. For the mil- lative realism” is premised on a similar Gloss Paint for the panel seams, and Krylon lennia prior to the Anthropocene, according questioning of anthropocentrism that, as to Bruno Latour, the world was merely an Steven Shaviro argues in The Universe of 22 23

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Things, reveals a recognition, by way of century metropolis, where the physical the increasing threat of ecological catastro- (and philosophical) boundaries are already phe, “that the fate of humanity is deeply eroding under pressure from the signals and intertwined with the fates of all sorts of the noise, Storefront is reconceived as a other entities.” Similarly, Timothy Morton (not) OUT THERE, no longer exclusive to describes this post-anthropocentric view of human culture. As such, Holl and Accon- the world as “interobjective,” whereby the ci’s famously porous building skin serves human can no longer be viewed as central as a zone of exchange for a new dimension to and thus apart from the non-human, but of blurred interiority particular to shifting rather, always and already a part of it. human/non-human relations, a reconfigured space where “the gallery” itself becomes a new ecotone, an unfolding border ecology If humans as well as non-humans “inhabit characterized by the asymmetric confronta- some etheric shared space between objects,” tion and negotiation between the “biomes” of how does one define this radically recon- “nature” and “culture.” The edge effects will figured human experience and what are its likely produce new forms of highly adaptable forms of representation? In an age where “species” that are dexterous enough to colo- the human has been realigned at best pari nize spaces of constant transition. passu with a vast world of objects, how can we rethink cultural fields of invention and “STOREFLOAT,” + POOL. Measure, 2015. Storefront for Art and Architecture. production such as architecture? Should architecture realign itself in order to establish new affiliations beyond the human? If so, what does it mean for architecture to define The East River. Storefront floating within it. itself as something no longer significant for Measured by emotion. “us” alone?

Steven Holl and Vito Acconci’s design for Storefront for Art and Architecture famously negotiates an inherently ambiguous boundary between the interior and exterior, private and public, as well as cultural and civic spaces of the city. Our speculative re-drawing of their design reimagines this negotiation between increasingly ambiguous human / non-human agents and boundaries. Cast into the uncertain future of the 21st

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Bid Online: https://m.24fundraiser.com/m/storefront James Ramsey, RAAD Studio Reiser + Umemoto

“Neighborhood Palimpsest,” James Ramsey, RAAD Studio. Measure, 2015. Storefront for Art and Architecture. “Storefront Hygroscope,” Reiser + Umemoto. Measure, 2015. Storefront for Art and Architecture.

Rather than simply exist as a pristine exper- Drawing moisture out of the air hydrates the iment in geometry, Storefront has become a cobalt chloride compound into a pink hue. part of its community, a canvas that bears the When desiccated, it returns to a deep blue history of its past as tattooed layers upon its state commonly associated with the element. surface. It is a dimensional projection of the It is used as an indicator to test the presence passage of time. This work seeks to use very of water, and here, as a precise index of simple media to illustrate an elevation detail relative humidity created by close bodies and that wears the marks of grime, dings, graffiti, hot air in the space. past signage, and erasure as emblems of the building’s history.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Mark Robbins Malkit Shoshan

“Storefront, PlaceMat 1 (Architectural Digest),” Mark Robbins. Measure, 2015. Storefront for Art and Architecture. “Siege,” Malkit Shoshan. Measure, 2015. Storefront for Art and Architecture.

“Storefront, PlaceMat 1 (Architectural This image is a measured representation Digest)” is a panoramic photograph of the of one specific reality. It is a measure of façade of Storefront, (10:05 pm Sunday, URGENCY, and makes visible the bound- August 1, 2015), and a two-page spread of aries of the physical blockage over the an interior from an issue of Architectural Gaza Strip. Through measuring the siege, Digest (August 2015), cut into 1/4” strips and the image seeks to emphasize the value of woven. freedom.

Keywords: Riegl, weaving, textile, architec- ture, drawing, Jacquard loom, computation, craft, glossies, homespun, piecework.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Anthony Titus

drawing is often understood to be an artifact, which simply conveys measured objective quantities. In contrast to this notion, it is also possible to envision drawing as a projective act, where alternative realities and futures begin to take shape.

“Measure” in this sense may relate less to the dimensional conditions of a space, and instead may begin to focus on qualities, which may be inherent to the unique space of the drawing. “On Time Alone” explores the possibility of inventing a series of ideal wall types, which speak of the many ways in which a wall surface can be carved or projected in space. These explorations, while autonomous and distinct from Storefront, are certainly mindful of the particularities of Storefront’s wall assembly. The drawing has no single reference point, yet is an amalga- mation of layers where fact and fiction, and “On Time Alone,” Anthony Titus. Measure, 2015. Storefront for Art and Architecture. the real and imagined, interact to create a hybridized zone of new potentials.

The drawing titled “On Time Alone,” takes another. Floating fragments of multiple scales its cues from the rhythmic architectonic overlap and coincide within the space of the qualities of Storefront’s pivoting walls, as drawing, creating a scenario where abstract well as the urban mark-making which can architectural notation and photographic real- often be found on the space’s exterior wall ity coexist. Inspired by the implied silence of surfaces. The mysterious closed quality of the Storefront’s closed panels, the process began space reveals the manner in which aspects by photographing the exterior of the space at of human intervention such as graffiti, soiled 3:00 am. The formal qualities within the pho- surfaces, or attempts at repair leave their tographic elements resonate with the figural presence to be viewed in specific moments of characteristics of the drawn wall sections. solitude. The drawing interprets the question The traces of graffiti, construction, previous of measure as it may relate to music, where interventions, and surrounding fragments rhythmic structure, movement, and cadence of nature speak of the latent quiet forces of are valued. A series of ideal wall typologies the space, in contrast to the active life of the and photographic images of the exterior place, when open to the public. surfaces are composed in relation to one In the context of architectural production,

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Bid Online: https://m.24fundraiser.com/m/storefront Urban-Think Tank Ross Wimer

“Exploded Streetfront,” Urban-Think Tank (Alfredo Brillembourg + Hubert Klumpner) with Danny Wills. Measure, 2015. “Measure,” Ross Wimer. Measure, 2015. Storefront for Art and Architecture. Storefront for Art and Architecture.

Urban-Think Tank’s “Exploded Street- With this drawing, the artist was interested front” imagines Kenmare Street, Petrosino in creating a composition where the plan of Square, and the surrounding urban spaces as Storefront’s space can alternatively read as activation zones for the social public. The solid or void. lexicon of street, public space, and com- munity tools proposed, designed, invented, built, and dreamt by U-TT show the activity of Storefront exploding onto the streets. They highlight the potential of the underused and empty spaces in the city, while together composing a circus of multi-scalar devices for public use. The projects include: Open Building, The Public Spectacle, The Agora, Xarranca, The Mobile Kitchen, Urban Theater, Take Back the Street, Empower, and Migrant House.

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Bid Online: https://m.24fundraiser.com/m/storefront Bid Online: https://m.24fundraiser.com/m/storefront Nicholas de Monchaux

EACH OF THE 32 ARCHITECTURAL DRAWINGS WILL BE ON AUCTION FOR THE DURATION OF THE EXHIBITION, WITH PROCEEDS SUPPORTING STOREFRONT FOR ART AND ARCHITECTURE’S PROGRAMMING.

“Measure of Storefront(s) / Storefront-Local Code,” Nicholas de Monchaux. Measure, 2015. Storefront for Art and Architecture. AUCTION OPENS: 8.13 AT 6 P.M. AUCTION CLOSES: 9.12 AT 12 A.M.

We measure locally, and, increasingly, glob- space and time, the drawing was constructed ally. This drawing applies large-scale spatial as a bas-relief of each facade’s opening. variables to reorder the measured possibilities BID ON THE DRAWINGS AT: of Storefront’s storied architecture. It presents a selection from a computationally-developed https://m.24fundraiser.com/m/storefront population of possible Storefront facades; the measurements of each facade are the same, but the order and structure of these measure- ments in the wall’s proportions are adjusted to local conditions in the set. These were developed so that the cur- rent facade emerges as # 97 of the group, reflecting its actual address, and leaving the others as possible occupants of alterna- tive addresses—conceptually and literally. Emphasizing the possibilities’ existence in

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Bid Online: https://m.24fundraiser.com/m/storefront Plus One InSeE + POOL Citygram: Tae Hong Park, Evan Kent, Sean Lee, Min Joo Yoo

+ POOL uses visualization to bring into a InSeE’, an acronym for Interactive Sound- As part of the exhibition, and on display on the single graphic the gradient of data used in the scape Environment, focuses on sonification process of designing and conceptualizing the and visualization of soundscape data captured facade gallery walls, Storefront has invited artists to project. The project incorporates scales and by sensor network technology captured by forms of measurement in many ways, from the Citygram sensor network system. present a series of works that use data to measure data regarding microscopic water pollution to assessments of the implications of improved and construct new territories and architectural waterways in cities worldwide. forms. Works range from sculptural to cartographic and from physical to digital.

01 02 Insight Wage Islands Landscapes of Profit Dear Data CartoDB: Santiago Giraldo, Ekene Ijeoma Dan Taeyoung, Caroline Woolard, Giorgia Lupi + Stefanie Posavec Aurelia Moser, Andrew Hill Chris Henrick, John Krauss

Insight is a map that builds on the ideas Wage Islands expands on the narrative of Landscapes of Profit measures the amount Dear Data is a year-long analog data drawing of abstraction, measurement, and insight ’s “tale of two cities” by of money that would be generated if a 1% project using personal data and drawings on through the use of precise community-created measuring and revealing inequalities in surcharge or “tax” were placed on sales of mailed postcards to challenge the increas- data maps overlaid onto a less distorted and wages/income and housing using a three-di- flipped properties, and proposes earmarking ingly widespread assumption that “big data” more proportionate view of land masses that mensional map. This project reflects the this tax for a fund for affordable space. The is the ultimate and definitive key to unlock- we typically see as skewed on more common geographies of access in New York City, and project positions the recollection of data and ing, decoding, and describing people’s public projections. The map content is a collection seeks to reveal the inherent relationships its visualization as a form of activism. and private lives. of data visualizations and insight maps made between housing, income, and inequality. by the CartoDB community, a cloud-based mapping, analysis, and visualization plat- form. The full interactive map can be found at www.tinyurl.com/storefrontmap.

03 04 05 06 Selldorf Architects From 2007 to 2009, he has been a Project Selldorf Architects is a 65-person architec- Professor at the International University of tural design practice that was founded by Catalonia in Barcelona. Since 2009, he has Annabelle Selldorf in 1988. The firm has been an Associate Professor of Architectural worked on public and private projects that Design at the University of Girona. In 2013 range from museums and libraries to a and 2014, he was a Visiting Professor at recycling facility, and at scales encompassing the Instituto Universitario di Architettura di large new construction, historic renovations, Venezia. and exhibition design. Creating buildings Alberto Veiga graduated from the Escuela that are both contemporary and timeless is Técnica Superior de Arquitectura de Navarra a fundamental goal of the firm. The practice in 2001. In 2004, he joined Fabrizio Barozzi designs buildings and public spaces that are to establish Barozzi / Veiga in Barcelona. an integrated and authentic reflection of the From 2007 to 2009, he was a Project cities and institutions they serve. Projects Professor at the International University of evolve in response to their specific con- Catalonia in Barcelona. Since 2014, he has text and program, drawing influence from been a Visiting Professor at the Instituto Uni- local materials and building traditions. This versitario de Architettura di Venezia. context-driven approach is guided by rigor, precision, and restraint. The firm’s clients Víctor Enrich include cultural institutions and universities Victor Enrich was born in Barcelona in 1976. such as the Museum of Contemporary Art Enrich studied at the ETSAB (Architecture San Diego, The Clark Art Institute, Neue School of Barcelona, UPC University) where Galerie New York, and Brown University. he began his career as an 3D architecture In addition, the firm has created numerous illustrator working with a vast diversity of galleries for David Zwirner, Hauser & Wirth, architectural typologies and clients. and Gladstone Gallery among others, and has In 2006, Enrich began his career as a 3D dig- designed exhibitions for Frieze Masters and ital artist experimenting with the architectural the Venice Art Biennale. form, an experimentation that has led him to begin long-term journeys to several cities The Architecture Lobby across Europe and the Middle East, with the The Architecture Lobby is an organization aim to discover all sorts of urban solutions as promoting the value of architectural work to a source of inspiration. those outside of the profession – the public, the media, clients – and those within the Enrich currently lives in Barcelona, Spain, profession – owners, staff, and students. where he has set up his studio and from where he puts together the most important Barozzi / Veiga findings of his research. Fabrizio Barozzi graduated from the Istituto Universitario di Architettura di Venezia in Fake Industries Architectural Agonism 2003. He completed his academic studies at Fake Industries Architectural Agonism is an the Escuela Tecnica Superior de Arquitectura office of diffuse boundaries and questionable de Sevilla. From 2000-2001, he attended taste, orchestrated by Cristina Goberna and courses at the Ecole d’Architecture de Paris Urtzi Grau from New York, Sydney, and La Villette. Barcelona, that explores the power of Repli- cas, i.e. both literal reproductions of existing In 2004 he joined Alberto Veiga, and they works of architecture and, in a sense denoted established Barozzi / Veiga in Barcelona. in romance languages, responses to previous statements. Currently completing the Velo- Their work has been published extensively porary Art Center in New Orleans, the Bruce Steven Holl drome of Medellín and the Superphosphates! in books and journals such as Mark Mag- Museum and the Yuan Art Museum, , Steven Holl was born in 1947 in Bremerton, master plan in Cáceres, for the last 8 years azine, Blueprint, Icon, Domus, and the were subsequently acquired for their Washington. He graduated from the Univer- the office has consistently used the competi- Architectural Review. They have exhibited permanent collection. Her work has been sity of Washington and pursued architecture tion Europan (8, 9, 10, and 11) as an alibi to around the world, notably at the Design supported by the LEF Foundation and the studies in Rome in 1970. In 1976, he joined explore the domestic dreams of the south of Museum in , RAW Gallery of Archi- Graham Foundation for Advanced Study in the Architectural Association in London and Europe. In 2014, the office was shortlisted in tecture in Winnipeg, Sci-Arc in Los Angeles, Fine Arts, and has been reviewed in Surface, established STEVEN HOLL ARCHITECTS the MoMA PS1 and Miami Design pavilions and the Beijing Biennale. They currently Praxis, The New York Times, and Frieze in New York City. As founder and principal and the Guggenheim competition. teach Architecture at University of Green- Magazine. She has lectured at the Whitney of Steven Holl Architects, Steven Holl is the Georgia L. Jamieson is a Master of Archi- wich, the Bartlett, and London Metropolitan Museum, the ICA in Philadelphia, the San designer of all projects ongoing in the office. tecture Graduate from the University of University. Francisco Art Institute, Fashion Institute of Considered one of America’s most important Technology, Sydney. Her studies have been Drawing upon their multi-disciplinary Technology and for the Merce Cunningham architects, he is recognized for his ability to focused on Sydney Metropolis Research, experience in both architectural practice and Dance Foundation. Her recent work on ink, blend space and light with great contextual for which she was awarded Dean’s List and through architectural teaching, their objective Rorschach Paintings, Projective Drawings, sensitivity and to utilize the unique qualities Design Leadership Recognition in 2012. – no matter what the subject – remains the Synesthesia Series Paintings and “Ink or V of each project to create a concept-driven Jamieson’s work was exhibited in Ri-For- same: to surprise and delight! is for Vermilion as described by Vitruvius: design. mare Milano: Frammenti Aperti e Costruiti An A to Z of Ink in Architecture” explores Formlessfinder the relation between material cues and their Steven Holl has been recognized with at La Triennale di Milano, at Columbia Uni- architecture’s most prestigious awards and Formlessfinder was created by Garrett perceptual and cognitive processing. In 2015, versity’s Studio X Workshop in New York prizes. Recently, Steven Holl received the Ricciardi and Julian Rose. Formlessfinder while artist in residence at the MacDowell in 2013, and in the Koh Rumdual Island, Praemium Imperiale International Arts Award received the 2012 AIA NY New Practices Colony, she completed “act 3: mix,” two Cambodia construction project. for Architecture, the 2012 AIA Gold Medal, award, a 2012 National Endowment for the landscape-scale works in floating concrete the RIBA 2010 Jencks Award, and the first FIG Projects Arts grant, and was selected as a finalist for using the vibrational setting of concrete with ever Arts Award of the BBVA Foundation FIG Projects was founded by architects the MOMA/PS1 Young Architects Program sound, as part of her decade-long project Frontiers of Knowledge Awards (2009). Fabrizio Gallanti and Francisca Insulza in in 2011. Formlessfinder’s design work, “Concrete Poetry: 10 Conceptual Acts of Mr. Holl is a tenured Professor at Columbia 2003 in Santiago de Chile, and is currently ranging from residential additions to public Architecture in Concrete.” University’s Graduate School of Architec- based in Montréal, Canada. FIG Projects pavilions, has been exhibited at institu- ture and Planning. He has also taught at the explores the boundaries between architecture, tions such as the Grimshaw Architects, Rickie Cheung , the , urban research, and visual arts, and promotes (New York), the MAXXI (Rome), and the Grimshaw was founded by Sir Nicholas and the University of . Steven interdisciplinary initiatives. Wide-ranging in Art Institute of Chicago (April 2015), and Grimshaw in 1980. The practice became a has lectured and exhibited widely and has nature, the practice extends from architec- has been featured in publications includ- partnership in 2007, and operates worldwide published numerous texts. tural explorations (new seat for the Literature ing Architectural Record, Domus, Surface with offices in New York, London, Mel- School, Universidad Diego Portales, 2003- Magazine, Metropolis, W Magazine, and bourne, Sydney, and Doha, employing a staff Bernard Khoury 2005, Santiago, Chile; first prize in Europan Vogue. Formlessfinder has recently pub- of 325. Grimshaw’s international portfolio covers all major sectors, and the practice has Bernard Khoury studied architecture at the 8 competition, Kristiansand, , 2006), lished its first book O1: Formless Manifesto Rhode Island School of Design (BFA 1990 urban studies (The Block, 2004; SARS Atlas, with Lars Muller Publishers and Storefront been honored with over 200 international design awards. Grimshaw is dedicated to the / B.Arch 1991). He received a Masters in 2006; Donde?, 2006-2012), and curatorial for Art and Architecture (2014). Clients Architectural Studies from Harvard Univer- projects (The World in Our Eyes, Lisbon include: Design Miami, the Museum of Art deepest level of involvement in the design of our buildings. This commitment stems sity (M.Arch 1993). In 2001, he was awarded Architecture Triennale, 2016). and Design (New York), the Museum of by the municipality of Rome the honorable Modern Art (New York), the AIA / Center for from a desire to gain familiarity with local FleaFollyArchitects manufacturing and building processes, and to mention of the Borromini Prize given to Architecture, Commes des Garcon, Artforum, architects under forty years of age. In 2004, FleaFollyArchitects are spatial-storytellers develop relationships with the best consul- Bentley Motors, Protozoa Pictures, Blue Hill, he was awarded the Architecture + Award. who use narrative and fiction to discover, WastED, and numerous private clients. tants to deliver architecture that meets the explore, and invent unique architectural prop- highest possible standards. It is also based on Khoury is the co-founder of the Arab Center ositions encompassing all scales. Operating Michelle Fornabai a desire to be truly engaged in the evolution for Architecture. He was a visiting profes- across, and blurring the boundaries between, Michelle Fornabai received her Masters of of a place – to contribute to its development sor at the Ecole Polytechnique Fédérale de the fields of architecture, design, fashion, Architecture from . Her on a meaningful level. It is the firm’s aim to Lausanne, L’Ecole Spéciale d’Architecture art, and installation, they use craft as a key work has exhibited at the Whitney Museum be wholeheartedly engaged in its environ- in Paris, and the American University of component of their work in trying to bring of American Art at Altria, the Southeastern ment, especially here in New York, and from Beirut. He has lectured and exhibited his speculative worlds to a wider audience. Center for Contemporary Art, the Contem- this awareness generate truly inspiring and work in prestigious academic institutions in transformative design. Europe and the U.S., including a solo show of his work given by the International Forum several large scale mixed-use projects, proj- work has been featured in publications inter- New York, and a MoMA/PS1 Young Archi- for Contemporary Architecture at the Aedes ects of Master planning and temporary/public nationally, and has been exhibited at MoMA tects finalist. gallery in (2003) and numerous group installations. His writings have appeared in New York, Bunkkeri Helsinki, Kunsthalle shows, including YOUprison at the Fonda- MONU magazine, Clog, Conditions, and Helsinki, and the Danish Pavilion at the 2012 MAIO zione Sandretto Re Rebaudengo in Turin On Site, among others. Rutger obtained his Venice Biennale. Jull received his M.Arch MAIO is an architectural office that works (2008) and Spazio at the opening show of the Masters degree in architecture with cum from Harvard University’s Graduate School on flexible systems where notions such as MAXXI museum in Rome (2010). He was laude distinction at TU and also holds a BSc of Design and his PhD in theoretical geo- variation, ephemeral or ad hoc, permit theo- the co-curator and architect of the Kingdom degree in Urban and Environmental planning physics from Cambridge University. Prior to retical positions to materialize. Founded in of Bahrain’s national pavilion at the Venice from Università degli Studi di Firenze in joining UVA, he was an architect and project 2005, it is currently led by Maria Charneco, Biennale’s 14th International Architecture Florence, Italy. leader at OMA/Rem Koolhaas in Rotterdam, Alfredo Lérida, Guillermo López, and Anna Exhibition in 2014. His work has been pub- The , where he is currently a Puigjaner, architects based in Barcelona, that lished extensively by the professional press. KUTONOTUK registered architect. combine professional activities with aca- Khoury started an independent practice in Leena Cho is a founding partner of the demic, research-based, and editorial ones. 1993. Over the past fifteen years, his office design practices KUTONOTUK and Tem- Erika Loana has developed an international reputation and pAgency, and is a Lecturer in landscape Erika Loana is a multidisciplinary architect. Nader Tehrani / NADAAA Nader Tehrani is a principal of NADAAA, a significant diverse portfolio of projects both architecture and urban and environmental Her explorations are born from the idea of ​​ a practice dedicated to the advancement of locally and abroad. planning at the University of Virginia. Her the void and abandonment resulting from research focuses on hydrodynamics, water sudden changes experienced by large cities. design innovation, interdisciplinary collab- oration, and an intensive dialogue with the Kohn Pedersen Fox Assoc. infrastructure, water and weather, and arctic Currently, she is part of the collective Somos- construction industry. He is also the Dean of Kohn Pedersen Fox Associates (KPF) is a landscape and urbanism. Her design work mexas, a group of young architects working the Irwin S. Chanin School of Architecture at global architecture practice dedicated to a has won numerous awards, such as Europan in and for the city. It is run through ATEA, a the . core group of clients that represent the most 11 (First Prize), the Helsinki Guggenheim multidisciplinary experimental space where forward-thinking companies and institutions Museum Competition (Honorable Mention, Erika coordinates exhibitions and installa- Tehrani has taught at the MIT School of around the world – visionaries that believe 2015), Helsinki Central Library Competition tions, in addition to carrying out her own Architecture, where he served as the Head that value is not just return on investment (Honorable Mention, 2013), and MoMA urban investigation projects. of the Department from 2010-2014. He has but also in contributing to the built environ- PS1 Young Architects Program (Runner-Up, also taught at Harvard Graduate School of She began her career working in the offices ment, shaping our communities, and enabling 2013), and has been published and exhib- Design, Rhode Island School of Design, as of Taller de Arquitectura–Mauricio Rocha. our progress. Driven by individual design ited internationally including in MARK, well as at Georgia Institute of Technology as Erika has specialized in museographic solutions – rather than a predetermined style Shinkenchiku, ELA, Domus, as well as at the Thomas W. Ventulett III Distinguished productions for which she has collaborated – KPF’s mission is to create buildings and MoMA New York, Bunkkeri Helsinki, Kuns- Chair in Architectural Design and University with artists such as Minerva Cuevas, Demian places of the utmost quality and contextual thalle Helsinki, and the Danish Pavilion at of Toronto as the Frank O. Gehry Interna- Flores, and Perla Krauze while working at sensitivity, providing a valuable impact on the 2012 Venice Biennale. Leena received her tional Visiting Chair. the cities they inhabit. The firm’s exten- MLA with distinction at Harvard Graduate the Museum of the City of Mexico. As the founder of Office dA, Tehrani’s work sive portfolio, which spans more than 35 School of Design. She was fellow of the FONCA “Young has been recognized with notable awards, countries, includes a wide range of projects Artists” 2011-2012 with the project “Terrain Matthew Jull is a founding partner of the including the Cooper Hewitt National Design from office, hotel and residential buildings to Vague,” and currently coordinates architec- design practices KUTONOTUK and Tem- Award in Architecture (2007), the United civic and cultural spaces to educational and tural and museum projects in the Ministry of pAgency, and is an Assistant Professor in the States Artists Fellowship in Architecture and laboratory facilities. Culture of the State of Morelos in collabo- School of Architecture at the University of Design (2007), and the American Academy ration with architects Mauricio Rocha, Issac Representing Kohn Pedersen Fox Associates Virginia. His research focuses on systems and of Arts and Letters Award in Architecture Broid, Javier Sanchez JSA. and PRODUC- at this year’s Storefront drawing exhibition processes of architecture and urbanization in (2002). He has also received the Harleston TORA. is Rutger Huiberts. His work was selected by extreme environments, specifically in arctic Parker Award for the Northeastern Univer- an external jury from a pool of entries that Russia and North America. He is co-founder Jon Lott / PARA Project sity Inter-faith Spiritual Center (2002) and participated in the KPF DesignCloud, a quar- of the Arctic Design Group at UVA with Jon Lott is principal of PARA Project PC, the Hobson Award for the Georgia Institute terly design charrette at KPF. Rutger joined Leena Cho, and his design work has won co-founding member of Collective LOK, of Technology Hinman Research Building KPF in 2013 as an architect in their London numerous awards such as those from the and Design Critic in Architecture at Harvard (2012). Throughout his career, Tehrani has office and now works as a designer from Helsinki Guggenheim Museum Competition University’s Graduate School of Design. He received sixteen Progressive Architecture their New York base. Previously Rutger has (Honorable Mention, 2015), the Helsinki is recipient of the Design Vanguard award by Awards as well as numerous AIA, BSA, and worked at the Rotterdam offices of MVRDV. Central Library Competition (Honorable Architectural Record, the New Practices New ID awards. Rutger’s professional experience covers a Mention, 2013), and MoMA PS1’s Young York award by the AIA-NY, the Architectural variety of scales and contexts. Among these Architects Program (Runner-Up, 2013). His League Prize by the Architectural League of m-a-u-s-e-r (Mona Mahall + Asli Serbest) Nicholas de Monchaux sidering the “built environment” in a time of cial structures, up to the scale of landscape, Based in Stuttgart and Istanbul, m-a-u-s-e-r Nicholas de Monchaux is Associate Profes- environmental crisis and existential threat. urban design, and infrastructure. With the (Mona Mahall and Asli Serbest) reflect and sor of Architecture and Urban Design at the pneumastudio has exhibited its work at the support of the Graham Foundation, Reiser produce architecture in and through different University of California, Berkeley. He is Design Museum in Barcelona and New York + Umemoto published the Atlas of Novel media: as space, installation, video, graphic, the author of Spacesuit: Fashioning Apollo University’s Gallatin School of Individual- Tectonics in 2006, and released the Japanese sound, text, etc. They are interested in the (MIT Press, 2011), an architectural and ized Study. Forthcoming exhibitions include edition in 2008. They have recently won two conditions of the digital world in which urban history of the Apollo Spacesuit. He is OMI International Arts Center and CR10 international competitions: the Pop spaces, objects, and images turn out to be but a winner of the Eugene Emme award from Contemporary Arts Project Space. Cathryn Music Center and the Kaohsiung Port Termi- versions of themselves, or better: circulating the American Astronautical Society and was Dwyre and Chris Perry are fellows of The nal, both currently under construction. The fragments of the real. shortlisted for the Art Book Prize. His design MacDowell Colony (2013) and co-edi- Kaohsiung Port Terminal recently received the PA Award (2014). O-14, a 22-story They exhibit and publish internationally, work has been exhibited at the Biennial tors of a special issue of PAJ: A Journal of of the Americas, the Venice Architecture Performance and Art (MIT Press). Recent exoskeletal office tower, has been completed among other venues at the Bi-City in Dubai and has received numerous inter- Biennale of Urbanism/Architecture (2015, Biennale, SFMOMA, and the Museum of publications featuring the group’s work Contemporary Art in Chicago. include ARPA Journal (Columbia), Global national honors, including an AIA Design forthcoming), Art Center Los Angeles Award, the Concrete Industry Board’s Award (2015), Storefront for Art and Architecture Design (Prestel), Architecture Inserted (Yale Anna Neimark + Andrew Atwood, First Office School of Architecture), and Bracket 2: Goes of Merit (2009), and the American Council New York (2014, 2015), Biennale di Venezia of Engineering Companies’ Diamond Award First Office was founded by Anna Neimark Soft (Actar). (2012, 2014), Vancouver Art Gallery (2013), (2009). A comprehensive monograph of the and Andrew Atwood in downtown Los Ange- Künstlerhaus Stuttgart (2013), HKW Berlin Dwyre holds a Master of Landscape Archi- project, O-14: Projection and Reception, was les. The office strives to bring new aesthetic (2012), New Museum New York (2009); in tecture from the University of Pennsylvania published by AA Publications in 2012. e-flux journal, Volume Magazine, Per- modes of representation and construction into and is Visiting Associate Professor at Pratt specta, The Gradient–Walker Art Center, the built environment through digital fabri- Institute’s School of Architecture where she Mark Robbins AArchitecture, Deutschlandfunk, etc. They cation tools and robotics that directly engage teaches undergraduate thesis and elective Mark Robbins is the President and CEO of are the authors of a book on the speculative architects and the public at large. The design history/theory seminars on architecture and the American Academy in Rome, the preem- character of modern culture, specifically, work and writings show a commitment to landscape. inent overseas center for independent work expanding the role of architecture in the architecture (How Architecture Learned to Perry holds a Master of Architecture from in the arts and humanities. He was previ- public realm and to bringing the community Speculate, 2009); and the editors of Junk Jet, and is Assistant Pro- ously Executive Director of the International into a closer relationship with art and archi- an independent magazine on art, architecture, fessor at Rensselaer Polytechnic Institute’s Center of Photography in New York, Dean tecture. Built projects include a collaboration and media. Currently, they share the chair School of Architecture where he is Head of and Professor at the on the Pinterest Office Headquarters in San of foundations of design and experimental Graduate Studies, director of the Geofutures School of Architecture, and University Senior Francisco, a Dome stage in Afghanistan, architecture at the Stuttgart State Academy post-professional graduate program, and Advisor on Architecture and Urban Initia- a temporary Screening Room at the MAK of Art. coordinator of undergraduate thesis. tives. He served as the Director of Design at Center for Art and Architecture, a One-Room the National Endowment for the Arts during MILLIØNS House in Los Angeles, and a rehabilitation MILLIØNS is a Los Angeles-based design + POOL the Clinton and Bush administrations, and of a Shotgun House in Lexington, Kentucky. + POOL is an initiative to build the world’s practice directed by John May and Zeina was the first Curator of Architecture at the Collaborative texts have been published first water-filtering floating pool to New York Koreitem, with projects in Beirut, California, Wexner Center for the Arts, as well as an widely, including in architecture journals for everybody. Created by Family New York and New York. MILLIØNS’s experimental Associate Professor in the Knowlton School Log, Perspecta, Project, and Think Space and PlayLab, Inc., and run by Friends of + and speculative work has been exhibited in of Architecture at Ohio State University. Pamphlets. A selection of essays and projects, POOL, it is a growing 501(c)3 non-profit solo and group shows in Los Angeles, at the Robbins’ creative work bridges the fields of Nine Essays by First Office, has just been organization. Museum of the City of New York, Material published by Graham Foundation’s Treatise: art and architecture, encompassing photogra- ConneXion NYC, and at the Keller Architec- Why Write Alone? First Office has received James Ramsey, RAAD Studio phy, installations, and site-specific projects. These have been exhibited in numerous ture Gallery at MIT. numerous honors in competitions and has Ramsey is the founder of RAAD Studio and venues in the United States and abroad, John May is design faculty at the Harvard notably been awarded the Architectural the creator of the Lowline. University Graduate School of Design, Assis- League Prize in 2015. and he is a frequent lecturer and writer on tant Professor at the , Reiser + Umemoto issues related to art and design. In addition to and visiting faculty at the Southern California pneumastudio (Cathryn Dwyre + Chris Perry) Reiser + Umemoto, RUR Architecture PC, monographs on this work, he is an author and Institute of Architecture. Formed in 2011, pneumastudio is an is an internationally recognized multidis- editor of two series of books on architecture, experimental design practice that brings ciplinary architectural firm that has built planning, and urban revitalization. Robbins Zeina Koreitem is a registered architect in together the related fields of architecture and projects at a wide range of scales: from has received numerous grants and awards, Lebanon and visiting design faculty at the landscape architecture as a means of recon- furniture design, to residential and commer- including fellowships from the Radcliffe University of Toronto. Institute for Advanced Study / Harvard Uni- ships Between Contemporary Painting and and shown at distinguished art exhibitions versity, the American Academy in Rome and Digital Architecture.” and institutions such as the Venice Biennale, the New York Foundation for the Arts. the Art Institute of Chicago, and the Museum Urban-Think Tank of Modern Art in New York. His projects Malkit Shoshan Urban-Think Tank is an interdisciplinary have also received numerous awards, includ- Malkit Shoshan is the founder of the design practice dedicated to high-level ing three Progressive Architecture awards. -based architectural think-tank research and design on a variety of subjects Wimer continues an active relationship with FAST (Foundation for Achieving Seamless concerned with contemporary architecture academia as a visiting design critic at Har- Territory). Her work explores the relationship and urbanism. The philosophy of U-TT is vard University (where he earned a Master between architecture, politics, and human to deliver innovative yet practical solutions of Architecture degree with commendation rights. She is the author of the award-winning through the combined skills of architects, in 1988), Yale University (where he earned book Atlas of Conflict: Israel-Palestine (Uit- civil engineers, environmental planners, a Bachelor of Arts degree with distinction geverij 010, 2010) and co-author of Village landscape architects, and communication in 1984), Columbia University, Rensse- (Damiani Editore, 2014). specialists. laer Polytechnic Institute, Parsons, Illinois Anthony Titus In 1993, Alfredo Brillembourg and Hubert Institute of Technology, Southern California Klumpner founded U-TT in Caracas, Venezu- Institute of Architecture, UCLA, USC, and Anthony Titus is the founder of Anthony ela. Since 2007, Brillembourg and Klumpner the University of Illinois, Chicago. Titus Studio, an interdisciplinary practice have taught at Columbia University, where that focuses upon the relationships between they founded the Sustainable Living Urban James Wines contemporary art and architecture. Titus Model Laboratory (S.L.U.M. Lab). Since James Wines, winner of the 2013 National received his B.Arch from Cooper Union and July 2010, they hold the Chair for Architec- Design Award for Lifetime Achievement, an MFA from the University of Chicago. ture and Urban Design at the Swiss Institute is the founder and president of SITE, an He has exhibited widely both nationally and of Technology, ETH in Zürich. environmental art and architecture orga- internationally, which includes two recent nization chartered in New York City in solo exhibitions titled “Surface Mining,” Their work concerns both theoretical and 1970. His architecture, landscape, and Cornell University AAP (2014) and “Mar- practical applications within architecture and public space designs are based on a response ginal Tactics,” University of Wisconsin urban planning. Working in global contexts to surrounding contexts. His book enti- – Milwaukee (2014). His work has been by creating bridges between first-world tled DE-ARCHITECTURE was released included in group exhibitions such as Vienna industry and third-world informal urban in 1987 by Rizzoli International and, in for Arts Sake! curated by Peter Noever areas, they focus on the education and devel- 2000, Taschen Verlag in Germany pub- (2015), and Accrochage, Friedman Benda opment of a new generation of professionals lished GREEN ARCHITECTURE. He has (2015). Titus has been exhibited and has par- who will transform cities in the 21st century.. designed more than one hundred and fifty ticipated in other solo and group exhibitions Ross Wimer projects for private and municipal clients in at Bloomberg Financial Headquarters, Art in eleven countries. He is the recipient of twen- Ross Wimer leads AECOM’s national General, American Contemporary, Pioneer ty-five art and design awards, including the architecture and interiors practice. Wimer is Works, and the James Gallery at the CUNY 1995 Chrysler Award for Design Innovation. known for exploring the link between archi- Graduate Center James Wines is also a Professor of Architec- tecture and engineering, and for an emphasis ture at Penn State University. Titus currently holds the position of Assis- on the environmental performance of design. tant Professor in the School of Architecture Spanning 20 cities on five continents, at Rensselaer Polytechnic Institute. He has his work ranges from large city planning served as a guest critic, lecturer, and speaker projects to airport and industrial design. His at numerous institutions, including Colum- award-winning projects include The Ledge at bia University, Cornell University, Harvard Skydeck, Chicago; Changi Airport Terminal Graduate School of Design, MAK Center for 3, Singapore; the Chicago 2016 Olympic Art and Architecture, Massachusetts Institute Bid Master Plan; Infinity Tower, UAE; of Technology, and Yale University. Anthony Zhengzhou Greenland Plaza, China; Marina Titus was recently awarded a research grant Bay Master Plan, Singapore; Tianjin Tanggu from Graham Foundation for Advanced Stud- Transportation Hub, China; and the Green- ies in the Fine Arts for his ongoing research land Suzhou Center. project titled “Twisted Siblings: Relation- Wimer’s projects have been published widely Storefront for Art and Architecture is Gallery Manager and Project Coordinator Karen Wong Newsprint Design . committed to the advancement of innovative Max Lauter Director’s Council Juan Astasio and critical positions at the intersections of Kyong Park, Founder architecture, art, and design. Storefront’s Archive Assistant Shirin Neshat General support for Storefront’s exhibitions program of exhibitions, events, competitions, Ryan J. Simons Sarah Herda and programs are made possible by Arup; publications, and projects provides an Joseph Grima F.J. Sciame Construction Co., Inc.; the alternative platform for dialogue and Curatorial Fellow Foundation for Contemporary Arts; The collaborationacross disciptlinary, geographic, Jessica Ngan Board of Advisors Greenwich Collection Ltd.; the New York and ideological boundaries. Through physical Kent Barwick State Council on the Arts with the support of and digital platforms, Storefront provides Interns Bary Bergdoll Governor Andrew Cuomo and the New York an open forum for experiments that impact Sébastien van der Berg, Alina Bibisheva, Stefano Boeri State Legislature; public funds from the New the understanding and future of cities, urban Nerissa Cooney, Sainath Dasma, Julia Espero, Jean Louis Cohen York City Department of Cultural Affairs in territories, and public life. Since its founding Esra Erdogan, Ana Garcia Merino, Connor Beatriz Colomina partnership with the City Council; The Peter in 1982, Storefront has presented the work Muething, Natalie Mufson, Caterina Viguera, Peter Cook T. Joseph Foundation; and by Storefront’s of over one thousand architects and artists. Nathaniel Rehm-Daly, Alice Stites Chris Dercon Board of Directors, members, and individual Elizabeth Diller contributors. Storefront is a nonprofit institution and Board of Directors Andrew Fierberg relies on the support of individuals like you. Charles Renfro, President Claudia Gould For more information about upcoming events If you would like to make a donation or Campbell Hyers, Vice President and projects, or to learn about ways to get become a member, please contact us: Steven T. Incontro, Treasurer Peter Guggenheimer involved with Storefront, contact us at: Lauren Kogod, Secretary Richard Haas With the support of CartoDB, www.storefrontnews.org/support Brooke Hodge www.storefrontnews.org Storefront will host an open call for Phil Bernstein Steven Holl +1 212.431.5795 digital maps that connect the theme Executive Director and Chief Curator Hal Foster Steven Johnson of measurement to architectural form Eva Franch i Gilabert Belmont Freeman Toyo Ito Gallery Hours and the built environment. Submis- Terence Gower Mary Jane Jacob Open Tuesday–Saturday, sions will be accepted throughout Director of Development and Outreach James von Klemperer Mary Miss 11 a.m. – 6 p.m. the duration of Measure, and winning Jinny Khanduja Amit Khurana Antoni Muntadas Closed Sunday and Monday entries will receive a prize upon the Michael Manfredi Lucio Pozzi closing of the exhibition. Associate Curator Sara Meltzer Michael Sorkin Gallery Location Carlos Mínguez Carrasco William Menking Benedetta Tagliabue Storefront’s gallery is located at 97 Kenmare Members of the public are invited to Sarah Natkins Frederieke Taylor Street between Mulberry and Lafayette submit entries. Visit storefrontnews. Associate Curator of Archives and Global Margery Perlmutter Anthony Vidler Streets. Trains: 6 to Spring; N/R to Prince; org for details Networks Linda Pollak James Wines B/D/F/M to Broadway Lafayette Chialin Chou Robert M. Rubin Sylvia J. Smith Volunteers Storefront provides assistance to visitors Development and Communications Associate Artur Walther Sharif Anous, Adam Feldman, with disabilities by request. Melissa Weisberg Mabel Wilson Matthew Lohry, Charlie Sneath