Souvenirs: to relate to form, matter, affect, New New York Icons representation, and agency. Visitors to the exhibition September 16th to will be asked to cast a vote for the November 18th, 2017 object that best represents their visions and values of the city. The As a contemporary form of three chosen souvenirs will be commercialized nostalgia, souve- presented to the Mayor of New nirs are the ultimate cliche in the York City Bill de Blasio as new representation of a city. Pocket- icons for the city. sized, acritical, and cheap, they populate tourist sites all over the About the world with a patina of innocence. Model Show Producing collective imagi- naries made up of lines that follow Following a trilogy of drawing the profiles of superlative sculp- shows, Storefront’s second tures, buildings, and stories, annual group model show exam- souvenirs have become the refer- ines three-dimensional methods ence points that anchor a partic- of representation in architec- ular culture in time, representing ture, with the city of New York (consciously or not) political, as its experimental ground. Each cultural, and social values. edition of the show invites partic- Souvenirs: New New ipants to reflect upon a specific York Icons, the second itera- topic that encapsulates crit- tion of Storefront’s model show, ical conversations in design and commissions 59+ objects that contemporary culture. In each redefine New York’s iconic iteration, architects, artists, imagery. Inspired by each of the and designers interrogate the City’s Community Districts, more model as a method and means than 59 artists, architects, and by which notions of representa- designers have reimagined the tion and production can be under- referential images that constitute stood, from aesthetic cliches the global perception of the city, to disciplinary obsessions to proposing new understandings of data visualization, in order to the urban experience. unveil the power of architecture Challenging the symbols and its relationship to the poli- that have permeated the gift tics of the city. The first edition shop, Souvenirs presents critical of the model show, Sharing approaches to the shifting and Models Manhattanisms, exam- complex iconography of the city. ined growing anxieties behind the The exhibition introduces new sharing economy and its untapped objects and, with them, new ways potential for public collectivity.

Souvenirs 1 About the & Innavisions Installation BK07 Agency—Agency BK01 Al-Hamad Design Storefront’s Iconic facade, (Nanu Al-Hamad / Kaeli designed by Steven Holl and Streeter) Vito Acconci in 1994, has BX03 Alan Ruiz become a referent for the archi- Q02 Ania Jaworska with Lucia tectural community worldwide. Lee The facade project, consisting Q04 Antonas Studio of a series of pivoting panels Q03 Architensions opening the gallery walls onto BX08 Atelier Van Lieshout the sidewalk, was build with BK14 Caroline Woolard an innovative concrete panel BX10 Charlap Hyman & mixture, disrupting preconceived Herrero notions of heaviness attached BX07 Frank Benson to concrete. Taking this notion BK14 Future Expansion of postmateriality to its extreme, BX11 Hayley Eber MOS architects has produced M03 Huy Bui a series of operations that open Q13 Ibañez Kim up the facade and the gallery Q04 Jenny Sabin Studio: space (through literal holes and Jenny E. Sabin, material and textural transfor- Jingyang Liu Leo mations) to a new conversation M11 Jerome W Haferd and with its urban and architectural K Brandt Knapp context. With a series of trans- M02 Kwong Von Glinow fers (material, formal, and spatial) Design Office between concrete, stone, glass, BK18 Leigha Dennis wood, plastic, and air, the instal- BK06 Liz Phillips lation brings the logic behind the Q06 Local Projects aesthetics of recycling into a new BX01 Lydia Xynogala formal language that invites us M07 Medium to reflect upon notions of signifi- M01 Michael Wang cation and legibility in the build Q07 Michelle Chang environment. BK02 Midnight Commercial BX02 Miguel Robles-Durán Participants Q06 N H D M / Nahyun Hwang + David Eugin M06 IIIII Columns Moon BX09 Abruzzo Bodziak Q14 Naomi Fisher Architects BK12 NEMESTUDIO M05 adamo-faiden M08 New Affiliates BK05 Afaina de Jong / AFARAI BX06 Oana Stanescu

Souvenirs 2 Family NY Interns: Estefania Acosta, Asia BK10 Office III Bazdireva, Kate Chen, Lafina Q09 Office Kovacs Eptaminitaki, Yuki He, Yu-Yang SI03 Ogrydziak Prillinger Huang, Juan Carlos Javier, Architects (OPA) Grace Ng, Amela Parcic, BK02 Once–Future Office Luca Smith Senise, Yuki Tori, Q12 ONTOPO Ann Mirjam Vaikla BK16 P.R.O. - Peterson Rich Office Project Team BK05 Patrick Meagher & Lenka Ilic Michael Meredith, Hilary Sample, SI01 QSPACE John Yurchyk, Stefan Klecheski, BK11 Rafael de Cárdenas / Mark Acciari, Nile Greenberg, Architecture at Large Fancheng Fei, Michael Abel, Q11 SIKI IM Paul Ruppert, Mark Kamish, Q10 Slash Projects Jiahe Chen, Lafina Eptaminitaki, SI02 Slow and Steady Wins Stephen Froese, Tommy Kim, the Race Marc Mascarello, Owen Nichols, BK13 SOFTlab Kig Veerasunthorn, and James BX12 Sonia Leimer Brillion. M04 Studio Christian Wassmann About MOS Q08 Studio Meem BK17 Talbot & Yoon MOS is arguably the best, BX04 Ultramoderne smartest, healthiest … most BK15 WELCOMEPROJECTS interesting, most playful, most BX05 Young & Ayata and composed, most hands-on … iheartblob well-organized, well-maintained, BK08 ZUS [Zones Urbaines well-tempered … most radical, Sensibles] most practical, most poetic, most economical, most widely Exhibition Team published, most historically aware, most generic, most Exhibition Design: MOS ground-breaking, most Architects contextual, most autonomous, Graphic Design: Studio Lin most imaginative, most diagram- Curator: Eva Franch matic, most futuristic … best Associate Curator: Carlos practicing, best theorizing, best Mínguez Carrasco calculating, best fabricating … Project Producer: Max Lauter craftiest, funniest, clearest … Development and Outreach: most technologically advanced, Jinny Khanduja most socially conscious, most

Souvenirs 3 objective, most absurd, most typical, most unique, and most influential architecture firm in the world. They are award-winning. They are located in Harlem. www. mos.nyc

About Studio Lin

Studio Lin is (just) a graphic design practice in New York City. We create books, identities and websites for local and interna- tional clients. Our work applies a visual language that is thoroughly researched yet easily assimilated. Our transparent work process, and the fact that many of our clients are engaged with art and design, often means that proj- ects are more collaborative than commissioned. www.studiolin.org

Support

Souvenirs: New New York Icons features Marmoreal by Max Lamb, made possible through the generous support of Dzek and Bendheim.

Material for this exhibition is generously provided by: Dzek (Marmoreal) Bendheim (glass) Vycom (plastic) Shapeways

Souvenirs 4 M06 IIIII Columns

PLACETOWN

Cleared of industry, Manhattan’s CB6 became a breeding ground for towers of red brick. The island’s standard I morphed into +, t, T or L, and rapidly reproduced in formation along midtown’s eastern shore. Despite having been bestowed with distin- guished local names gratified by “town,” “city,” and “village,” the walls echo the occasional outsider’s suspicions. “I had brunch once near there, but…” oh, the rare power of a non-site to remain “so strange” and simultaneously “so indistinguishable!” For their drowsy citizenry returning from outside sources of work and leisure, all is softened by sleeping flesh. All are intent to join in warm harmonic breath. Finding her designated coordinates, as with every night before, she promptly fell dormant and dreamt of a hidden portal.

Souvenirs 5 BX09 Abruzzo Bodziak Architects

Light and Air

The Bronx leads the city’s five boroughs in In New York City, a room for sleeping is sheltered homeless. Housing a population legally defined by very little: basic dimen- of over 19,000 people, the Bronx has three sions and the presence of natural light and times as many shelters as Manhattan and air, which come through a window. The twice as many as Brooklyn. window is here seen as the architectural expression of home: 1 window = 1 room. While the area of BBX-09 has fewer shel- ters than surrounding neighborhoods, it has This model contains 2,520 windows, a among the highest use of cluster housing number that may equal those homeless indi- (privately-owned apartment buildings used viduals in BX-09 at any one time, but only a to house homeless families), with 25 clus- fraction of the citywide homeless popula- ters currently in use. While this makes sense tion, most recently measured at 60,856. given the makeup of the Bronx’s homeless population (the Bronx contains five of the The lens of the window is a time-hon- citywide communities with the highest inci- ored way to look at NYC, a city famous for dences of family homelessness, including its views. But a window, which qualifies a Soundview in BX-09), the Mayor’s recent space as a room, is not afforded to all New homelessness plan will eliminate cluster Yorkers. This window souvenir highlights sites, which are inconsistently maintained a modest window, one that makes a home and could otherwise contribute to the city’s possible, and that the city must be viewed (theoretically) affordable housing supply. through in order for it to become a more equitable, viable place to live, work, play, The need to build new housing—both for and raise a family. the homeless as well as for those at risk of displacement—is urgent.

Souvenirs 6 M05 adamo-faiden

Fluxefeller Center

Emerging from the rocky substrate of Manhattan is a complex of 19 buildings that aims to install itself as the new economic epicenter of the island. A conglomerate of mixed uses that pursues an idea of ​​a city whose density and diversity make possible an infinite multiplicity of exchanges. A complex that aspires to be a city within another city.

The Fluxefeller Center stands as a possible materialization of this city–a materialization where the fluxes are manifested and evinced in its system of organization. It is a momen- tary suspension of that well-known blind- ness Manhattan has to show its eternal strength to the world, to make room for what could be the most precious material it possesses: its complex network of fluxes.

Souvenirs 7 BK05 Afaina de Jong / AFARAI & Innavisions

City of The Sun Pt.2

City of the Sun Pt.2 by Afaina de Jong / African-American neighborhoods in the form AFARAI & Innavisions is a contemporary of a souvenir, an afrofuturistic approach to take on life in Brooklyn, especially in the architectural representation was neces- neighborhoods of Brownsville, East New sary. By merging graphic artwork and York, and Canarsie, seemingly the only architectural form, City of the Sun Pt. 2 three neighborhoods in Brooklyn that are rejects Western minimalist tradition and not gentrifying. In order to create a souvenir fully embraces a 21st century maximalist that could represent these three neighbor- style. Taking as starting points the sunset hoods, one has to address the whitewash at Canarsie Piers, the colorful street murals of Brooklyn’s future and the absence of the that uplift the communities that reside in black presence in futuristic visions for this these neighborhoods, and places like The borough. Hole, the famous street basketball court in Brownsville, the two distinct sides of the Brooklyn boasts many eye-catching build- souvenir represent an—at times—tough and ings, but there are hardly any iconic archi- inaccessible part of the city, but also the tectural representations in these neighbor- vibrancy of the people who live there and are hoods, which have predominantly project able to create culture that spreads beyond housing. To represent these predominantly the confines of their neighborhoods.

Souvenirs 8 BK07 Agency—Agency

Bidirectional Core Sample

Bidirectional Core Sample excavates past strata of bedrock, toxic sludge, and human infill, and projects physical layers into the future. Marking a turning point in time of the place, an urban scale model of the current area around Sunset Park, Brooklyn occu- pies the center of the core sample as both figure and ground. Further up, floating above the city, the scale of time moves ahead towards a nearby and then distant future. Conceptualized as a composite artifact, the material of each of the nine future core samples suggests possible trajectories for the city. The artifact is informed by its place, neither iconic nor frequented by tourists; instead its layers of ground and future accu- mulations, mixtures of natural and increas- ingly artificial materials, are emblematic of the city at large. A souvenir imagined as a physical fragment of a place, it acts as both repository of memory and fetish object to reflect upon dark or buoyant futures.

Souvenirs 9 BK01 Al-Hamad Design (Nanu Al-Hamad / Kaeli Streeter)

Un-Sheduled

There is nothing new under the old sun. The sidewalk shed gives us no promise or Although things do come and go, what certainty, but neither does New York. That makes those things do not. New York’s side- is why we live through the discomfort of it walk shed is so highly defined in its phys- all—discomfort motivates and pushes us. ical construction and in its symbolism to It makes us care. This simple shed brings the piece of land it defiantly stands in front out emotion like no other object in this great of. It laps up the notion that it is literally city can, and it is everywhere. Often an supporting proof of current change; a figure accidental shelter, it may be terrifying, or of progress and metamorphosis. New York perhaps even annoying. Yet it is a sign of has always adapted, imagined, and followed prospect; it is a human being trying her very through; it thrives on this rapid strife for hardest all on her own. evolution, for non-stagnation. New York is thrilled by rapid movement. It can’t stop swimming upstream, especially if it couldn’t.

We fall in love with its constant disappoint- ment because it is simultaneously a tremen- dous source of surprise. Aren’t we? Deeply in love with it.

Souvenirs 10 BX03 Alan Ruiz

Western Standards BX03

Souvenirs privilege the notion of singularity, Resisting the mantelpiece, what if the affec- iconicity and prosperity. Commemorative tive sweeteners used to create feel-good objects imbued with sentimental value, the snow globes were instead sour and savory souvenir is a commodity that often perpet- ingredients implemented in a recipe to uates the myth and fantasy of an orig- repulse, to disavow, and to signal change? inal despite our increasingly homogenized South Bronx neighborhoods have the built environment. Some typologies–– highest rate of incarcerated residents in the museum, the skyscraper, the monu- New York City. With a significant lack of ment, the luxury apartment building–– fit public programs and jobs, nearly half of smoothly within the souvenir’s trappings Crotona Park’s roughly 37,075 residents, of iconicity and consumption, whereas for instance, live below the poverty line. others create jagged edges. The market for These facts are significant and at the same commemorative plaques of urbicide, souve- time risk pathologizing communities; such nirs of mass-incarceration, and broken conditions are neither isolated, nor endemic, windows policing, for instance, certainly to the district of BX03. Like the souvenir, pale in comparison. Rather than venerating numbers are only part of the story. Western an essentialized and fixed notion of place, Standards BX03 presents a screen sugges- culture or form, what would a radically formal tive of the normalized systems of control souvenir be that depicted the processes that and privatization not only representative of shape the neoliberal city, a dialectical land- one district of NYC, but a repeatable spatial scape fluctuating between privation and process of enclosure that shapes inaccessi- excess? bility and marginalization.

Souvenirs 11 Q02 Ania Jaworska with Lucia Lee

Forms of Place

The rapid and ongoing development of the This collection of souvenirs flattens the Q-02 Community can be studied through incongruities of memory and the present its residential and industrial buildings, as into a singular symbolic form that stands well as its signage. This area is well-known supported by its own reflection. The forms of for its landmark oversized commercial the souvenirs are both building and signage, signage, which, at such an immense scale, but also not quite building or signage. They “becomes” the building and in turn defines exist in a liminal yet defined moment that the area. Through years of rapid residen- is always in development. These forms/ tial growth and evolving enterprise, the fluid systems are persistent grounding points that character of the community is manifest in a display time and transition. complex intersection of industry and symbol.

Today, the intricate custom support system originally designed to showcase the detailed form of the Breyer’s Ice Cream leaf logo stands in misaligned formation with a series of misfit structures, combined over the years and tracing the changes of the neighbor- hood—an evolving form that records time and space. Past in present, present in past, these conditions have become a sort of conflated catalog of time, and they represent the fluctuating status of icon and area.

Souvenirs 12 Q04 Antonas Studio

Queens ziggurat

The Queens Ziggurat is a study for making a compact iconic image out of Queens. This iconic image does not occur as the result of a decision between the most important buildings of Queens, but rather through an opposite study of the ordinary. It assembles everyday elevations of Queens—an image of Meadow Lake, some storefront buildings at its normal city scale, brick blocks that are emblematic in the area, and the Birchwood Towers.

Souvenirs 13 Q03 Architensions

A Gilded Tale

In the writing of situationist Guy Debord, Taking inspiration from this context, the the concept of spectacle is essential as project is generated through a geometrical a critique of capitalism. The increased algorithm that assembles an abstract grid tendency of social mediation through and planes derived from the dimensions of objects makes our society fulfill authentic the city blocks, while in elevation taking its desires with commodities instead of with aggregation logic from the New Babylon of direct life experiences. Constant Nieuwenhuys layered out on the What if a souvenir is a collection of “situa- map of the three converging neighborhoods. tions” or “experiences” that we live directly? The golden grid embodies a precious frame- work to display everyday episodes that best The socio-political and cultural elements represent the identity of the community. This of the Queens Community District 3 make is a personal souvenir, an object in contin- this fragment of New York City a composi- uous evolution that relates to our individual tion of hundreds of “situations” constantly experience, what we call the fifth dimension. creating alternative life experiences in the shade of the city and its frantic consumerism The grid is a stage for icons of the past and and capitalist soul. Opposing this tendency, the present, and for new icons of the future: the community focuses on the richness Louis Armstrong, Malcolm X, Ganesha, of its inner values and authenticity. These Buddha, Durga, the LGBTQ community. micro-cosmos are composed by the inter- These are just few of the symbols, part of section of three different neighborhoods, the community, that people identify with. It is East Elmhurst, Jackson Heights, and North up to whoever owns the gilded grid to fill the Corona, with the most diverse coexistence empty platforms with their own icons as a of ethnicities, cultures, and beliefs. reflection of life experience.

Souvenirs 14 BX08 Atelier Van Lieshout

GIVE ME MY LAND BACK, 2017

GIVE ME MY LAND BACK GIVE ME MY LAND BACK GIVE ME MY LAND BACK. TEAR DOWN YOUR BUILDINGS CLEAR OUT THE PARKS TEAR UP THE STREETS AND THE AVENUES. GIVE ME BACK MY FORESTS MY STREAMS MY HILLS. THIS IS THE LAND OF THE WOLVES AND THE TURTLES AND THE TURKEYS. GIVE ME MY LAND BACK GIVE ME MY LAND BACK. GIVE ME MY LAND NOW. GIVE ME MY LAND FAST. GIVE ME MY LAND NOW. FAST. NOW.

GIVE ME MY LAND BACK.

GIVE ME MY LAND BACK is a proposal by Atelier Van Lieshout for an imaginary loca- tion on the Bronx side of Spuyten Duyvel Creek, overlooking Manhattan Island.

Souvenirs 15 BK14 Caroline Woolard

Eye Amulet (Clepsydra)

What if the memento for sanctuary is an May I be free from inner and outer harm and amulet and a water clock, a timekeeper and danger. May I be safe and protected. May I a keepsake? This is a shape that aims to be free of mental suffering or distress. May I protect. Industrial clocks (the numbered be happy. May I be free of physical pain and ones with hours, minutes, and seconds) are suffering. May I be healthy and strong. May of no use. Time moves according to collec- I be able to live in this world happily, peace- tive and individual healing cycles. What fully, joyfully, with ease. May all beings in marks the end of one interval and the start the air, on land, and in the water be safe, of another? Moments are notated with each happy, healthy, and free from suffering. May blink of an eye. Days lengthen and contract all living beings everywhere, on all planes of as glances are given and received. When existence, known and unknown, be happy, eyes close in prayer, in song, in meditation, be peaceful, be free from suffering.* or in loving kindness, the day extends. When sanctuary is seen, time strengthens. When done, with closed eyes, make a commitment toward an action that supports This eye watches over. To energize the collective peace and justice. shape, rest the eye on a flat surface. Fill the eye with water. Float the pupil. As the pupil *This language comes from a loving-kind- fills with water and begins to sink, ever so ness practice that is based on a teaching slowly, guide your mind toward thoughts from Steven Smith, as recorded by The of loving-kindness. For example, sit in a Center for Contemplative Mind in Society. comfortable position, breathe deeply, and say or think some version of the following Photographs by Levi Mandel statements, ever so slowly:

Souvenirs 16 BX10 Charlap Hyman & Herrero

City Island

A vortex-like shape represents City Island, Beyond the confines of the concrete jungle, the tiny Bronx island at the far west end beyond the reach of gentrification, City of the Long Island Sound. The souvenir’s Island is a world of its own within New York three-dimensional shape is an analog of City—all the more reason why it owes to be City Island’s 1½ mile-long shorelines; its visited and remembered. contours are rotated in cast concrete— and in reflection—to meet one another. The resulting abstraction from the island’s foot- print is a singular, centripetal object evoca- tive of its peculiar isolation within New York City. To get to the island, one must go by water or drive through Westchester County, north of the Bronx.

City Island’s geographic location at New York City’s extremes is reflected in its built environment, which more resembles a New England fishing village than the city to which its name refers, with diminutive, old clap- board structures and lobster houses lining its several roads. As the irregular silhouette of the souvenir suggests, City Island has maintained its natural, rugged borders, while most of New York’s waterfronts have not.

Souvenirs 17 BX07 Frank Benson

Tracey Towers Extrusion

Bronx Community Board 7 encompasses space is discernable from the crenulated the Bedford Park neighborhood, which top. Not a straightforward duplication, my is home to the Tracey Towers affordable souvenir is a simplified version of the Towers housing complex. Designed by Paul Rudolph that captures the essential form of the and completed in 1972, the Tracey Towers building. The mirrored and staggered ends are the tallest structures in the Bronx. At of the souvenir, encourages a horizontal forty-one stories tall the Tracey Towers stand orientation that allows the viewer to appre- as a prime example of Brutalist architecture, ciate it as an object instead of a purely archi- but they also have a strong formal connec- tectural model. tion to the earlier art deco buildings that line Grand Concourse and Mosholu Parkway. The Tracey Towers Extrusion souvenir would Maligned in recent history, these buildings help celebrate a lesser-known project by a were created with a boldly utopian vision major architect, while drawing attention to to house New York’s growing population in the important role that radical architecture futuristic architecture that maintains a truth can play in serving the greater good in a city to materials and an economy of form. that is rapidly becoming unaffordable for all but a very few. I approached the Towers in relationship to my series of ceramic extrusions, which were made using plastic templates to draw out simple geometric forms in clay. The long rounded turrets form the ends of separate puzzle pieces that join together to surround a square central core. Each extruded element follows the floor plans of the apart- ments inside so that the shape of the living

Souvenirs 18 BK14 Future Expansion

New Victorian

On a nice early fall evening in Victorian As the collective understanding of the city’s Flatbush, the trees—still green—loom urbanity expands to include neighborhoods larger than the houses. The buildings, further from central Manhattan, New York colorful wood framed mansions and more needs new public icons, new public spaces, modestly sized homes set within land- new public housing, new places to support scaped lawns, are urbane if not immediately the public lives of its residents, both old and urban. It’s warm, but too late in the season new. In the meantime, the machinery of late for the fireflies that appear in midsummer. A capitalism grinds on. Escalating real estate new building is rising at the start of Coney values excuse low-quality, high-density Island Avenue, near the southwest corner housing, making most of New York a victim of Prospect Park. It’s a tower of public use, of its wealthiest borough’s success. In a a wooden wonder like the homes them- city this age, infrastructure is a maintenance selves, embodying the spirit of the Olmstead burden. At one point, it was an opportunity. park and the oddball inclusivity of the beach It could be again. Not just roads and trains, with which the avenue shares its name. but monuments to our civic selves, incu- Programmatically the building is a little bit bators for the city that has yet to emerge. Kings Theater, a little bit Brooklyn College, Our icon is a New Victorian among old a little bit Grand Army Plaza, a little bit Luna ones, a public building, and an instrument Park. A Plaster People’s Palace: infrastruc- for ushering in a more inspiring and active ture for the dawn of whatever comes next… corridor between the park and the sea.

Souvenirs 19 BX11 Hayley Eber

Zootopia

Since the inception of the Bronx Zoo, count- less mammals and reptiles have escaped and infiltrated the surrounding metropolis, some yielding great fame in the process. Not surprisingly, birds are the most common fugitives, but are joined by several vari- eties of monkeys, beavers, otters, a pygmy hippopotamus, a Himalayan black bear, a snow leopard, a platypus, and most recently an Egyptian Cobra. Re-wilded by their unexpected freedom, these animals have fostered panic and anxiety in adjacent neigh- borhoods, simultaneously reminding us of the tenuous boundaries of their containment and control.

Through the exploration of new taxonomies of organization and arrangements of animals, this souvenir challenges the existing themes of confinement and classification that remain central to the model of the zoo. This new codification is based on other observed similarities, such as color, scale, I.Q., etc., and explores aesthetic and spatial possi- bilities through repetition, contrast, and proximity.

Souvenirs 20 M03 Huy Bui

cityWILD - An iconic souvenir of a past, present and a future of New York City, imagined as one.

This image is part of a timeless perspec- tive that reaches back 400 years ago to a land called Mannahatta, which was lush with hills, canals and biodiversity. But in the early 19th century, a new order was imposed that leveled the landscape to a grid framework and set the pace for the “Great Acceleration,” a time when humans became the most powerful influence on global ecology. Our proposal for the future in New York City, still open with possibilities, takes the existing city topography and projects a nostalgic layer of green desire. In this rendi- tion of Community Board M-03, building heights are inverted into the adjacent street grid, and city blocks are a place for the wild to flourish.

Souvenirs 21 Q13 Ibañez Kim

Beit Noir

Beit Noir is an architectural character found and support. This element is an enclosed adjacent to the Montefiore Cemetery in east- hall of superfluous members that carry, ernmost Queens. In such a setting, the Beit showcase, and obscure the other two Noir maintains the idea of form as conduit of objects. meaning. This souvenir is a conclusion to the Allegorical Project following in the tradition Overall, the Beit Noir is a character and of Melvin Charney, John Hejduk, and Shin icon for the area spanning Queen’s Village Takamatsu. One part memento mori and to Cambria Heights and skirting JFK literary device of portmanteau – combining a International. The centrally located cemetery French idiom for something wearisome and is the ideal scene for this totem of particular the Hebrew word for house – the tripartite forms and tectonics. This totem points and tower can only offer rhetorical misreadings refers to things outside itself, but is consti- and nonhuman agencies. tuted by its own internal logics. Within this inscrutable exterior is a set of interiors that The top shows the geometry of a pitched may be rendered in different speculations. roof that has been folded into a crown. Cast in cement, the transformation of this typology is fixed as a sharp, thermal mass. Below is a solid body that interlocks with the cement crown in perfect offset creases, but reveals a strange arcade of voids and cutaways. The body is carved from solid wood that has been burned and charred, a process that seals and protects the wood, but also speaks of death. The base is a field of structure, both city and object, context

Souvenirs 22 Q04 Jenny Sabin Studio: Jenny E. Sabin, Jingyang Liu Leo

UniFolds

Flushing Meadows Corona Park forms the The communities of Q-04 continue to expe- Eastern edge of Queens Community District rience growth and change. As a site of 4. A former ash dump and swamp, Robert dynamism and transformation, Flushing Moses envisioned and transformed what Meadows is not just an edge of Q-04, but F. Scott Fitzgerald referred to in The Great an opening to the world, a symbol of the Gatsby as “a grotesque garden” into a new transformation of an ash dump to utopian Central Park. Moses’s vision became a visions so materialized through the iconog- reality when the site was selected for the raphy of the sphere. Drawing upon this 1939 World’s Fair with the initial theme history, UniFolds embraces change and of “Building the World of Tomorrow.” Two transformation, in which architecture adapts structures embodied this theme, the cine- in multiple contexts without edges and matic 200-foot-wide Perisphere and the borders. Geometrically, the project incor- 700-foot-high Trylon. The interior of the porates Kirigami from the Japanese “kiru” Perisphere featured two opposing rotating (“to cut”), bringing a previously unattain- discs, transporting visitors from the earth of able level of design, dynamics, and deploy- their today to a kaleidoscopic vision of the ability to self-folding and -unfolding mate- city of tomorrow through purified air condi- rials from the molecular to the architectural tioning and giant projections produced by scale. UniFolds follows the concept of Kodak. The sphere, an icon of utopian form “Interact Locally, Fold Globally,” necessary in its perfect geometry of minimal material for deployable and scalable architectures, a and maximal space, again appears in the future souvenir where geometry and matter 1964 World’s Fair at Flushing Meadows as operate together as an adaptive, elastic the Unisphere. A symbol of the dawn of the ground. space age, the structure also reflects the fair’s theme that year of “Peace Through Understanding.”

Souvenirs 23 M11 Jerome W Haferd and K Brandt Knapp

P U Z Z L E F I G U R E S : The Acropolis at Marcus Garvey Park

Harlem’s Mt. Morris “Acropolis” is not a point—the Harlem Fire Watchtower. The singular monolith, but a heterogeneous one. Watchtower is a symbol for the commu- Situated in Marcus Garvey Park, the iconic nity; and is currently in a state of temporary hard/soft rock, stone paths, and foliage absence as many await its rehabilitation and produce a three-dimensional form that is return. A puzzled and malleable mountain acted upon by different users and environ- interior sparks the imagination of a reconfig- mental forces. Some describe the moun- urable environment with three-dimensional tain as a ruin, but it is better understood as spatial possibilities. contested ground. The ruin is not pictur- esque but rather a political state(ment) of In souvenir form, Marcus Garvey Park’s neglect and urban erosion. mountain is represented as a constructed nature of three-dimensional tiles, held by Like the Acropolis of Athens, Mt. Morris is a the tower “pin” at the center. The iconic Fire meld of the human-altered and the pre-his- Watchtower and Acropolis act as a “key,” toric; the architectural and the geolog- locking the abstracted puzzle of topog- ical. Manhattan schist rock formation—its raphy into place. Puzzle Figures themselves hard, natural volumetric surface—extends are produced by a three-dimensional inter- far below the datum of streets and path- locking spatial logic which starts at the ways, like an island emerging from the sea. tower. The finished product embodies the The cartesian Manhattan grid is left behind ever-changing quality of this hybrid and and becomes instead a three-dimensional urban topography / strata while celebrating compositional logic converging on a single the architectural potential that lies within.

Souvenirs 24 M02 Kwong Von Glinow Design Office

Pop-Up City

Souvenirs: great at recalling the singular, finding itself next to the West Village. As the not so great with multitudes. Manhattan’s souvenir unfolds, the intersection of each second Community Board, stretching from streetscape acts as an urban hinge; neigh- Chinatown to Gansevoort Market by way borhoods collide as the full view of the street of Noho, Soho, and Greenwich Village, is a comes to life. The angles that the intersec- cultural salad. What should a souvenir be tions pass through are reminiscent of the for one of the richest and most diverse set of negotiating grid system of the area, holding cultural histories in New York City? traces of Manhattan’s early grid system relative to the Hudson River and the 1811 Eschewing the readily iconic, we take a grid that trickles down from Central Park. look into just how one remembers CB-2’s Unfolded, the city is restored, its streets- eclectic array of neighborhoods: street- capes washed in the pinkish orange of the scapes awash in romantic hues of dusk rising sun, presenting more than a memory and dawn, the silhouette of their rooftops, of what it looks like, but rather how the city is and the intersections where these cultures experienced. converge. As to what is it for? For that existential crisis A souvenir that captures such richness afflicting all souvenirs, there are just as many cannot assume a singular form. Pop-Up City answers as the Pop-Up City has facades. embraces multiplicity with sixteen inter- We suggest a pencil holder, but that is by no secting streetscapes that collapse and means the sole function that one could find! expand the souvenir from flat visage to a city-in-miniature. Like a pop-up children’s book, the souvenir of the city begins as folded upon itself, with Greenwich Village pressed flatly against Little Italy, and Soho

Souvenirs 25 BK18 Leigha Dennis

Fragment

“It’s my hope that these...souvenirs...will Vernacular homes are regularly torn down… someday merge, blur—cohere is the word, and replaced with mansions…squeezed into maybe—into something meaningful.” – the same small plots…mixed in among the Donald Barthelme, See the Moon? bungalows and ranches. Each new home is wildly different from the next. The neighbor- What is a souvenir…but a fragment of our hood is a collage of styles…which is in fact, lived experiences…a small token…to signify not zoned for museums and castles. a whole place…event…memory…?

This is a fragment of a house…a quarter of a house, actually…on Whitman Drive in Mill Basin. This house is made of many frag- ments…shapes…features…not quite right together…not quite recognizable as a house.

Down the block…across the street…on the next street over…there are more houses like this. Well…not at all like this…but also a bit confused…strange… beautiful. Fragments of architectural styles and elements… combined…collaged…into a single façade. No restraint necessary.

Souvenirs 26 BK06 Liz Phillips

Wave Crossings

Four years ago, I was inspired by an NOAA waterfront is one way to begin the healing navigation map of the New York Harbor process. to begin the Wave Crossings project for Governors Island. On the original maps, bell As an interdisciplinary artist, sound is my buoys and fog horns were marked. We made primary descriptive material. I have been a trip to Red Hook on a foggy morning and making installations for 45 years investi- encountered Louis Valentino Jr. Pier Park in gating patterns and waves; visible, invisible, BK-06. On that pier, Paula Rabinowitz and I tactile and audible. witnessed and recorded an exciting drama. From within a deep fog, we recorded bell This 3D model was made with the exper- buoys, fog horns, and boats in a call and tise of the architect and model maker response navigation pattern. The traffic in Peter Zaharatos. A miniature soundscape Buttermilk Channel and the New York harbor emanates from this map. in morning rush hour was a powerfully loud experience. As the fog was lifted by a bit of wind, the sound changed from horns to bell buoys and birds. The many boats and the panoramic landscape became visible.

Sound pollution from helicopters and planes ordinarily fills that soundscape. I explored with recording both underwater and on the surface of Governors Island. Many questions must be asked about this maritime port area with rising tides and a bay that was once full of oysters. Listening and enjoying the

Souvenirs 27 Q06 Local Projects

Home Game

Most of what tourists know about the neigh- This New New York City souvenir pays borhood of Forest Hills–Rego Park is the homage to the iconic structure and to those U.S. Open — either through its contempo- who live in the neighborhood, rary stadium at Flushing Meadows Corona offering a richer, deeper, and more personal Park or its original location at Forest Hills narrative. Home Game invites visitors to Stadium. Home Game invites visitors to look listen to the stories of longtime beyond the stadium to consider a souvenir residents as well as newer arrivals. Their of individual memory. Musings and myths souvenir memories remind us that the places from those who live in Forest Hills–Rego we traverse are alive through the stories of Park are packaged up for tourists who want others. a personal perspective. Tennis Ball, 3D Print, Audio Recordings of Built in 1923, Forest Hills Stadium was the Residents Collected on September 10, 2017 first home of the U.S. Open and the loca- tion of Arthur Ashe’s historic championship. In the 1960s, it hosted some of the most important artists of the era including Bob Dylan, Janis Joplin, and Jimi Hendrix. After decades of decay and the threat of demoli- tion, the stadium was saved and regenerated as a major outdoor concert venue.

Souvenirs 28 BX01 Lydia Xynogala

Exploded Fortress of Solitude

“First Stop South Bronx. These buildings do 12,000 tons of waste were routed to the bear an amazing resemblance to the buttes South Bronx at a rate of 2-3 trucks per of Utah. And it is wonderful how things have minute, to be dispersed in the numerous sped up. When the condemned structures recycling facilities nearby. Construction are dynamited, I can see in a few minutes the debris, concrete, dirt, brick, rocks, asphalt. erosion that in nature would take countless One day they started to slowly pile up on eons. The sight is indeed awe-inspiring.” top of the Post. Soon, other local waste -Mike Kelley followed. Nearby oil refineries joined in and even the brewery contributed. The press Approaching the long narrow strait of the stopped printing. Fermentation and molding South Bronx, a solitary fortress emerges in ensued. This fortress is now in a state of the horizon. erosion. Crushed slabs, sand and stone, and Attracting visitors from Manhattan or from even demolished monuments. the nearby Randall’s Island Art Fair, passing boats in the waters of Bronx Kill dock Developers’ plans for the waterfront and a momentarily to admire the magnificent view. renaming of the area as the Piano District are In Port Morris, the resident artist community scrapped. The nearby film studio is shooting enjoys this new dramatic scenery. There it new Westerns. As floods increase, the is, the large printing facility of the New York mount becomes a refuge. While everyone Post, where it once constructed stories, is lamenting the loss of the Village Voice, myths, and other facts. Years of misinfor- this new composite taking over the Post is mation have formed thick layers over the sparking joy throughout the city. surface of actual events.

Souvenirs 29 M07 Medium

Urbanism 003 (Souvenir)

Manhattan Community Board 7 represents distinct profile in plan or elevation. It is coex- an area between 59th Street and 110th tensive with the physical form of the Upper Street, and between Central Park West and West Side. the Hudson River. The area is equal in length and slightly wider than Central Park, with an Our souvenir is an exaggerated extrusion irregular edge beyond West End Ave. of the grid of “public” space that emerges simultaneously with the extrusion of the grid The Upper West Side contains few monu- of “private” lots in the development of the ments. It is a consistent expression of the Commissioner’s Plan. This void, and the Commissioner’s Plan as it has been devel- dense aggregations of vertical surfaces that oped over the past two centuries. It is iconic delimit it, are defining physical features of precisely as a generic backdrop to New York Manhattan generally, and the Upper West lifestyles that have become engrained in the Side particularly. public consciousness. Our souvenir is presented only in frag- Like Seinfeld, which, through the 1990s, ments. These fragments are not buildings helped to restore the mainstream appeal of or possible buildings. Like any souvenir, our New York, our souvenir represents an essen- souvenir demonstrates a strategy of repre- tial quality of Manhattan without relying on a sentation, or a means of translating informa- familiar roster of monumental structures. tion and materializing abstractions.

A souvenir derived from architecture typi- The word “souvenir” is a derivative of the cally depends, for its legibility, on its repre- French souvenir, meaning “memory” (n.) or “to sentation of a singular object–a building or remember” (v.) Our souvenir could be consid- monument–and particularly of the elevational ered a physical memory–a fossil, subjectively silhouette of the object. Our souvenir has no constructed–of the Upper West Side.

Souvenirs 30 M01 Michael Wang

Collect

Before New York was New York, freshwater springs fed a lake in Lower Manhattan. For the Lenape and then the arriving foreigners, the lake offered drinking water on an island bound by brackish tides. A city grew around it, and the lake became a dumping ground. Inverting landforms, Lower Manhattan’s highest hill was razed to fill the pond. Hilltop and lakebed converged towards a single plane.

Souvenirs 31 Q07 Michelle Chang

Small Picture

Small Picture is a pocket-sized seal showing the major roads in the Q-07 district. In reproducing an image of the area with a stamp, the souvenir acts as an instrument for recollection. The seal’s base can be dipped into ink to make a miniature map, both revealing the district’s formal character and figuring its icon.

Used by artists, architects, and institu- tions, seals denote authorship and authen- ticity. Whether used on traditional East Asian paintings or on construction documents, they impart value by corroborating the iden- tity of the stamp’s owner with the value of the object. While a seal is most often used to create legal affiliations between people and things, it can also imply broader connec- tions. Seals organize objects by association, thus shaping one’s identity through a collec- tive imagery. In translating a map to an icon, this souvenir helps support the district’s evolving imaginations of place.

Souvenirs 32 BK02 Midnight Commercial

KIT BKLYN

KIT BKLYN represents Brooklyn Community Board 2’s iconic maker and entrepreneurial culture. It embodies this cultural moment in its reading as individualistic combinatorial constructions from the everyday iconogra- phies of the place.

Designed like a construction kit of collective iconographies, each piece may be removed, stacked, and combined as desired to make one’s own specific souvenir for this neigh- borhood’s experience and its memories.

KIT BKLYN challenges traditional souvenir representations as a singular moment, instead articulating them as a customizable assemblage of multiple actors that make up a place.

Souvenirs 33 BX02 Miguel Robles-Durán

Hunts Point/South Bronx Gateway

BX-02 is inscribed within the 16th so that we turn our focus toward changing Congressional District, known for housing the conditions that oppress us. The 20th the largest amount of people in the USA century emphasis on glamorous icons that living below federal poverty guidelines, envelop the successes of the richest 1% currently set at $24,300 in earnings per year must be gradually replaced by those icons for a family of four. In this Congressional that represent the everyday struggles of the District, more than 250,000 people live many. This is one proposal. in poverty, half of them children, most of them not able to eat properly more than Modeling by Mateo Fernandez-Muro twice a day. Fenced off, side to side with the poorest citizens of NYC, sits one of the largest food distribution centers in the world, the privately managed Hunts Point Cooperative Market, operating in gated facility of 46 hectares (113 acres), and generating annual profits of over $2.3 billion.

Nowhere in NYC is extreme social inequality more spatialized. Those who cannot eat live directly in front of the supply for the restau- rants and supermarkets that feed those who can afford to eat. If any city aims to rethink its icons, it should do so by rendering visible the hidden urban conditions that make it worse for its citizens to live. Icons should stimulate a citizen’s consciousness,

Souvenirs 34 Q06 N H D M / Nahyun Hwang + David Eugin Moon

Homes for All, Queensway (Shapes of Idealisms)

The expansive terrain of Queens has been basement living. In Queens alone, as of a testing ground for ideals that are perhaps 2017, there are 135,688 illegally converted too wild for the tightly gridded island basement living units (and 904 in Q-06) of Manhattan. Freed from the logics of that are largely inhabited by new immigrants maximum efficiency and density, Queens and a low income population. Unnoticed yet embraces all dreams and visions in a loose extremely densely occupied, the sprawling yet interconnected assemblage. underground city represents both the hopes and despairs of American dreams and the This souvenir catalogs these multifarious lack of affordable housing options for the idealisms through the representation of less privileged in our city. The linear element selected form(at)s of homes and commu- of the souvenir—a new monument of the nities found in the contemporary Q-06 as city—proposes to utilize the Queensway, an well as in the area’s collective memories. abandoned 3.5 mile long tract of public land, The collection articulates more pronounced formerly traversed by the LIRR, as a site of urban forms—from the halved Garden City affordable public housing and community of “Real Good Homes” to the winding private amenities that flexibly responds to the local streets in Forest Hills, from a “tower in the needs throughout the area and tackles the park” of a once vehemently opposed NYCHA housing shortage. project turned vibrant NORC (Naturally Occurring Retirement Community) to the The souvenir aims to instigate a consider- increasingly ubiquitous podium-tower shell ation of the ways we inhabit the city together. of luxury interiors, to name a few. It simulta- It posits the possibility of a daringly visionary neously brings forward less readily visible and transformative yet decidedly supportive spaces and new possibilities. architecture and urbanism that goes beyond the maintenance of the status quo. Below ground are the hidden spaces of

Souvenirs 35 Q14 Naomi Fisher

Big Apple Mermaid & Trashcan Mermaid

Born and raised in Miami, I have strong ties In Big Apple Mermaid, she is regally perched to the sea and to mythologies of women atop New York’s most iconic symbol, while represented in oceanic folklore. For the past holding a smaller apple in hand, like Eve five years, I have primarily been creating before being banished from Eden. Trash large scale public art projects that distill Can Mermaid represents the material waste natural forms into timeless universal arche- of late capitalism. Attempting to present types. Most recently, I finished a block-wide ourselves through the veneer of commodity development’s six-story building facade, while barely making it in tiny homes, keeping reinterpreting palm fronds and trunks into energy and spirits high with nourishment a geometric frieze and an intricate terrazzo from the big apple in one hand and a bottle floor with brass and aluminum details. of beer in the other. The design was inspired by Art Deco and Egyptian iconography, two hieroglyphic Thank you to Avi Geiger, Pico Brew, and histories that have informed my work for the Capture 3D for technical assistance. last decade. This process of distilling motifs into new universal icons is at the center of my practice.

To re-envision the image of Q-14 (which includes Rockaway Beach), I took the opportunity to create my own mermaid tale through a distinctly feminist lens. The designs incorporate tongue-in-cheek refer- ences to mermaid cliches, embodying the experience of city life so close to the ocean.

Souvenirs 36 BK12 NEMESTUDIO

AS BUILT - AS LIVED

AS BUILT - AS LIVED is a sampling collection, an overturned plastic bottle case of models within a model. The project after a weekend BBQ, etc. Presented as piles together six models, each of which seemingly ordinary but real participants presenting the close-up view of an eccentric of the collective image of New York, both as-found detail located in the area spreading the details (as built) and the entourage (as out as Borough Park, Kensington, Ocean lived) gain new meanings when assem- Parkway, and Midwood in Brooklyn. While bled together as a possible souvenir for the grouping of these details is accumula- the city. They present a sample collection tive, non-hierarchical, and flattened in terms from the Earth, an odd grouping of items of scale and category, their presentation is deprived of their original purpose, mate- dead-pan in articulation. Similar to as-built rial, and scale. In this way, AS BUILT - AS drawings that reveal all changes made to the LIVED is an invitation to consider the city as specifications and working drawings during a pile of material accumulation and a set of or after construction, each of the six details incongruous subtleties that are all enabled is presented with its full articulation either as to coexist together on the same space of a three-dimensional replica or a two-dimen- representation. sional projection of the detail’s perspective view as a relief model.

These details are surrounded by several out-of-scale entourage objects that each depict diverse everyday activities in the city: a giant sweeper leaning onto a wall, an over- scaled abandoned bike on the street, barri- cades for construction, irregularly placed garbage cans right after a weekly trash

Souvenirs 37 M08 New Affiliates

Upper East Scabby

You must have seen him around. He’s often than the Upper East Side? This souvenir surrounded in many ways—by picketers, will sit perfectly on your shelf with other who brought him to grab your attention; by NYC collectibles, right between the six-inch equipment that ensures he stays pumped; by (figural) Statue of Liberty and the two-inch the occasional tourist snapping his portrait; (ubiquitous) yellow taxi. Scabby is a roving by indifferent passersby who’ve seen him symbol for a static culture where looking, before and have some place to be. and longing, are its primary currency.

His name is Scabby, born in 1990, and In The Rich Boy, UES fanboy F. Scott he’s deliberately grotesque—with sharp Fitzgerald informs us: “Let me tell you about teeth, protruding eyes, a pronounced snarl, the very rich. They are different from you and festering sores. He’s large: Big Sky, and me.” We fantasize about that difference. where you can order him, offers him in sizes We love to try to glimpse it through windows ranging from six feet ($2,000) to twen- and in lobbies. But we often forget that this ty-five feet ($8,000). The most popular image is a constructed one, produced by size is twelve feet, which “conveniently fits labor whose own image is often forgotten or standing in the back of a pickup and gets ignored. We are reminded when confronted attention without breaking New York’s ordi- with the pink-lipped snarl of a giant inflat- nances dictating the height of inflatable able rat. displays.” Scabby’s here, and he’s lit. He’s become an alternative symbol for New York—a true icon whose effects register both aesthetic and social, exposing a certain absurdity in the conditions around him. And where better to code him into our memories

Souvenirs 38 BX06 Oana Stanescu Family NY

BX6

Bronx Community District 6 represents the Kalief Browder grew up on the very border areas of Bathgate, Belmont, East Tremont, of these contrasting worlds and used to love and West Farms, and is home to Lady Mount free Wednesdays at the zoo. One day, at Carmel Church, Fordham University, and the 16, he was arrested for allegedly stealing real Little Italy. Yet in spite of such diversity a backpack - something he didn’t do - and and vibrant, close knit communities, BX-06 imprisoned for over three years on Rikers is also struggling on many fronts; almost half Island without a trial, spending most of his of the residents are living under the federal time in solitary confinement in a room of poverty line, and the unemployment rate is seven by twelve feet. He shared his story the highest of any community district in NYC. in detail “so that nobody else would have And then there is the zoo... to endure the same ordeals,” but his case was dismissed and he never got his day in Giraffes graze quietly, surrounded by tall, court. Two years after his release, Kalief imposing trees. Malayan tiger cubs explore Browder died by suicide. It all started and the lush vegetation. An orphan snow leopard ended there, at the edge of these parallel from Pakistan, now at home in the Bronx, is universes, in BX-06. staring back at you with a contempt only a wild animal can show. It’s a strange oasis in the concrete city. One could easily imagine being on a different continent were it not for the soundtrack: helicopters and planes buzzing consistently in the skies above, the street life competing with the animals’ sounds. The two worlds collide, but never connect, separated by turnstiles and fences.

Souvenirs 39 BK10 Office III

World Heavyweight Champ

The Verrazano-Narrows Bridge was the This trophy captures a hybrid geometry world’s heaviest, tallest, and longest-span- between two architectural icons: the skewed ning bridge at the time of its 1964 comple- plan of the absent fort, and the elongated tion, weighing 1,265,000 tons, rising 693 elevation of the bridge’s pier that occupies feet, and spanning 4,260 feet. A monu- that same site. The fort’s architecture was mental project initiated by Robert Moses to composed of semi-circular arched ports on connect Brooklyn and Staten Island, it is still the interior, with rectangular and semi-rect- easily the most prominent landmark of its angular apertures puncturing its thick exte- community district. rior wall. Conversely, each pier’s rectangular outer-silhouette and open, semi-circular This souvenir, a trophy to our former World archway are frontal and monumental; in a Heavyweight Champion of bridges, memori- way, transposing and flattening the same alizes the contentious procedure of creative repeated geometries from the fort into one destruction and the infamously subtractive plane. Thus, dynamic interdependencies forces that were intertwined with the addi- of solid and void, arched and rectangular, tion of the bridge. Typical of the controver- and frontal and oblique are formalized in this sies that surrounded Moses’s other public trophy, prismatic in its outer shell and yet works across the New York City metropol- contorted in its internal articulations of pres- itan area, it extensively leveled both build- ence and absence. ings and topography on either side of its span during its construction, thus displacing thousands of residents in the process. The bridge also led to the demolition of Fort Lafayette, a historic diamond-shaped island fortification on whose foundation one of the bridge piers now stands.

Souvenirs 40 Q09 Office Kovacs

Proposal for an Apartment Building in Queens

This proposal calls for a large podium filled with apartments of various types to support a collection of 10 miniaturized Empire State Buildings. The 10 miniaturized Empire State Buildings are arranged along the perimeter of the podium, thus creating a communal court on the roof of the podium. The 10 miniaturized Empire State Buildings create a new skyline - a point of reference and iden- tification - for the apartment building. The interior of each of the towers is dedicated to a particular use for the residences of the apartment building. The uses of the 10 miniaturized Empire State Buildings are as follows:

1) Storage Tower 2) Observation Tower 3) Gym Tower 4) Playground Tower 5) Garden Tower 6) Patio Tower 7) Pet Tower 8) Game Tower 9) Music Tower 10) Art Tower

Souvenirs 41 SI03 Ogrydziak Prillinger Architects (OPA)

The Bad Woods

Final trash barge to Fresh Kills landfill of an island that calls itself the “Forgotten Ancient oysterfest Borough,” the act of forgetting is perhaps Conference House: site of failed what should be remembered. Our souvenir Revolutionary War peace agreement is a memento of the flow of time, the turn- Last glacier terminates its southbound ing-over and covering-up of figures and journey and melts events that continue to shape Staten Island Nail salon #122 Community District 3. Prince’s Bay Lighthouse, once noted for Following our wayward unconscious, we being very clean accumulate our memory-images with a lack Stone Age hunter kills the last mastodon of discernment and a distrust of consistency. Dutch envoy buys Staten Island for “duffles, We’re drawn to mythic events as much as kittles, axes, hoes, wampum” and other weak, or inadequate, symbols. Failure, small trade goods banality, and things that are concealed Skeletons keep turning up at Burial Ridge have a special poignancy. Swirled together, Kinder Morgan Petroleum Terminal geologic time, millennia of indigenous Rossville point, state-of-the-art weapon cultures, Dutch, British, and American circa 2,000 BC epochs flicker in a timeless present. The Free Blacks cemetery hides 574 unmarked past and present coexist as ghosts, all of graves whom think of themselves as eternal. Staten Island votes to secede from New York Subjective memory, like a souvenir, is neces- City sarily reductive. Forgetting, or casting off information, is critical to the process of The Lenape called Staten Island Eghquhous, forming a clear image. But here, the murk or “The Bad Woods.” Why? Bad in of forgetting takes on a shape. The other what way? Souvenirs purport to help us figures fade. All reduces to a thicket of remember a place. But at the far reaches incomplete memories: The Bad Woods.

Souvenirs 42 BK02 Once–Future Office

BK2STMAPSTAMP

The BK-02 area is varied and evolving. Eschewing the readily mass-produced, Historic districts abut gleaming new BK2STMAPSTAMP maps are made-by- towers. A transitioning commercial corridor hand, artisanal, one-of-a-kind. Each souvenir connects the seat of local government with map of BK-02 is hand-stamped to capture residential enclaves. Former industrial the geographic and cultural boundaries areas morph into commercial spaces, living of Brooklyn Heights, Fulton Ferry, Fort spaces, and then destinations of affluence Greene, Clinton Hill, Downtown Brooklyn, and tourism. Though connected and easily Boerum Hill, and the Brooklyn Navy Yard. walkable, each BK-02 neighborhood has a Personal memory and collective experience distinct character. inform this geographic information system, capturing and re-presenting our shared BK2STMAPSTAMP introduces a set of spatial and cultural understanding of the stamped textures as the new cartographic area. standard for this area of NYC. Each surfi- cial pattern evokes embodied experiences The souvenir stamp of this community board from BK-02’s iconography—be it a slice includes a complete set of map patterns as of pizza, ground cover, or a curtain wall in part of a commemorative seal for official and the changing skyline. What do you see in unofficial purposes. Make your own map these textures? Applied in multiples, these today! stamped patterns carve out cartographic territory and delineate points of interest.

Souvenirs 43 Q12 ONTOPO

Yameco

We were asked to create a souvenir to repre- sent Q-12, a group of neighborhoods that flank JFK airport. One neighborhood we chose to put particular focus on is Jamaica. The name of the neighborhood derives from “Yameco,”a corruption of a word for “beaver” in the Lenape language spoken by the Native Americans who lived in the area at the time of first European contact.

Interestingly though, the etymology of “Jamaica” in reference to Queens differs from that of the island of Jamaica in the Caribbean. The Arawak people of the nation of Jamaica named their land “Xaymaca,” which meant “land of wood and water.” We are interested in the overlap, confusion, and loss of meaning that occurs through colo- nialism, the erasure and transformation of the collective memory of a community, and the change of land use over time.

Souvenirs 44 BK16 P.R.O. - Peterson Rich Office

Aestimamus Omnia Publica

The New York City Housing Authority symbolic embodiment of New York City as (NYCHA) is the largest public housing our most iconic skyscrapers. authority in North America and home to one in fourteen New Yorkers. If NYCHA were its Mischaracterized for too long as a failure, own city, it would be about the size of Miami. these structures represent our highest social ideals and should be celebrated, Brooklyn’s Community District 16, which cherished, and memorialized. includes much of the Brownsville neighbor- hood of Brooklyn, contains the most densely Aestimamus Omnia Publica - We Value All concentrated area of public housing in the Things Public United States, comprising over 100 NYCHA buildings in a single square mile.

NYCHA is one of New York City’s largest and most important public assets, like the public parks system, public transit, and public schools. What distinguishes NYCHA from these other public infrastruc- ture systems is its iconic architectural identity. The tower-in-the-park develop- ments are based on utopian European plan- ning models, and typically distinguished by geometric forms arrayed across superblock sites and skewed from the surrounding street grid. The buildings are highly recog- nizable to every New Yorker, and as much a

Souvenirs 45 BK05 Patrick Meagher & Lenka Ilic

Future Fountain

East New York is currently one of the created in 1994 by a group of diverse people poorest and highest crime neighborhoods in looking to share and promote knowledge New York City, and as such is not a popular of the “Black West” (such as the fact that destination for the average or earnest African-American cowboys made up approx- tourist. This neighborhood is composed imately 25% of the 35,000 cowboys on of free-standing houses, rowhouses, and the Western Frontier during the 1870s and apartment buildings alongside a commercial 1880s). The stables at Cedar Lane are also industrial area and Fresh Creek Basin. Most used for teaching children the art of western notably, East New York is home to Starett horsemanship and the skills required to City, the largest federally-assisted rental properly care for horses. property in the United States, which has over 5,000 apartments. The base of the fountain, lastly, includes a reductive local history on the locale and its This souvenir part is the preliminary model of inhabitants, starting with the Jameco people a working public fountain proposal for East of the Metoac tribe (often referred to as New York. As a pre-community input draft, the Montauk, which was the First Nation’s this 3D model references East New York’s largest group on Long Island). prominent subsidized housing (through brick iconography), Fresh Creek Basin (through Recently touted as the “last” “newest” NYC coastal reeds), and the community’s local neighborhood, ripe for change and growth, historic group NYC Federation of Black East New York will hopefully retain the Cowboys (through an inscripted cowboy neighborhood fabric that this fountain cele- hat). brates as its local conditions improve.

East New York’s NYC Federation of Black Cowboys is a not-for-profit riders club,

Souvenirs 46 SI01 QSPACE

Interiority

QSPACE presents a souvenir set to totems of great feats of engineering and commemorate a queer women’s space in political fortitude, these artifacts, expres- New York City. sions of negative space, express the intimate lives of the bold women who inhabited them. The souvenirs are half-scale resin casts of interior space in the Alice Austen House, Represented are Alice’s dark room, built located on The Narrows in Staten Island. into a closet on the second floor; the corner The house is named for its most remark- cupboard in the dining room, where they able resident, Alice Austen (1866-1952), a would have eaten; two floors of area around noted photographer and lesbian icon who the stacked chimney below the public produced photographs of women intimately formal parlor, where they would have enter- posed and occasionally in male drag. The tained guests; and above, Gertrude’s souvenirs presented here reproduce three private bedroom which may have kept up of the spaces in the house, known then the pretense of the women sleeping apart. as Clear Comfort, that Alice inhabited for Without a singular monument, this set of decades with her partner of over 50 years, knick knacks is arranged on a tray in the Gertrude Tate. fashion one might display the finest of perfumes. Following Alice’s lead of creating If women’s space is thought to be relegated images of a queer woman’s life in a time to interiors, then queer women’s space is when such things went unspoken, these one step further hidden away, particularly souvenirs capture and celebrate the unseen. in Alice and Gertrude’s lifetime. Interiority renders the intangible space the two women QSPACE would like to thank LGBT Historic occupied in physical form, moving through Sites Project and the Alice Austen House public and intimate spaces of the house. staff and volunteers. Reversing the obsession with obtaining

Souvenirs 47 BK11 Rafael de Cárdenas / Architecture at Large

Liberty Fever cake figurine

RDC/AAL have designed a souvenir for RDC/AAL’s design embraces the pop the area of Brooklyn Community District iconography of this area while gesturing 11, comprised of the neighborhoods of towards the shifting sociocultural complexity Bensonhurst, Gravesend, Mapleton, and beneath that iconography’s surface. Taking Bath Beach. While far removed from the the form of a cake-topping figurine synthe- recognized epicenters of the city, the area sizing two instantly recognizable figures is a culturally vital one, having constituted of particular significance to this area— fertile ground for a shifting range of immi- the Statue of Liberty and John Travolta’s grant communities since at least the dawn character from Saturday Night Fever—it is of the 20th-century. It bears a significant mounted here on an elaborate but ephem- historical relationship both to the city’s eral sculptural base: a tiered layer cake (to working class population and to its pop be consumed at the exhibition opening) that cultural representation and iconic, cosmo- combines textural impressions of the area’s politan identity. Famous as an enduring architecture with flavors significant to its stronghold of Italian-American culture, varied communities. Bensonhurst also harbors one of the city’s most populous Chinatowns (Manhattan’s pales in comparison). This area is arguably the heart of the pre-gentrifying Brooklyn of film and TV; the Brooklyn made particularly famous from the 1950s through the 1970s via The Honeymooners and Welcome Back Kotter, The French Connection and Saturday Night Fever, all of which have imbued the popular imagination with vivid representa- tions of this particular milieu.

Souvenirs 48 Q11 SIKI IM

CHEWINGGUM HOLDER™

You might hate ‘em or love ‘em. We wanted for our souvenir to be not just Nevertheless, these chewing gum spots on a mere object that sits covered in dust and the concrete sidewalks are part of the urban forgotten. We wanted for our souvenir to texture and part of New York City. Certain be a strong memory of something that is streets have a sea of these black spots and so everyday—and maybe banal—but that is others have almost none. affecting and even practical.

Flavorful and sticky, and 5000-year-old Chewed gum resting on the city’s pave- chewy rubber is about a $20 billion business ment is as sentimental and evocative as your worldwide—and the second most common lox bagel, the Empire State Building, or the form of litter. city’s unceasing white noise!

Studies have shown that sidewalks in front Our souvenir, the CHEWINGGUM of private and residential buildings have far HOLDER™ can either help you to discard less gum spots than those in front of public gum by placing it on the holder, or can buildings. Most chewed gum is found around initiate the opposite: leaving the monolithic trash cans and not in them. Additionally, cement object clean and spotless. mathematician Walker Harrison argues, through research, that upscale neighbor- We hope that the CHEWINGGUM hoods in NYC have far fewer gum stains on HOLDER™ will make you more aware and the streets than poorer areas. mindful of the simple act of throwing out your chewing gum, and that it makes you remi- Q-11 is an affluent community in Queens. nisce about the colorful diverse streets of Walking around, you cannot unnotice how New York City. clean the neighborhood is. The sidewalks are eerily pristine and smooth.

Souvenirs 49 Q10 Slash Projects

RESIST

New York has become synonymous with voices of resistance; diversity unified, the cityscape has new symbolism of defi- ance against the obliteration of our collec- tive rights. Towering together, we are a combined strength that has repeatedly orga- nized against totalitarian ideologies, while being unified, totally.

RESIST takes the notion of a souvenir and represents it in literal terms, each letter as a physical component of our combined urbanity. Bound by water and sand, we forge together new paths while confined by the limitations of our constructed humanity. A token by which to remember a place, this new souvenir for New York both solidifies an identity of Americanism that has been created, powered by, and built by immi- grants, and offers strength to those taking a piece of New York back home.

Souvenirs 50 SI02 Slow and Steady Wins the Race

ooceanbreeze

Staten Island’s Community District 2 object, the water bottle was an immediate encompasses the neighborhoods of solution as an everyday reminder. The O cap Arrochar, Bloomfield, Bulls Head, Chelsea, is repeated in the reinterpreted bottle sleeve southern Castleton Corners, Dongan that is die cut from a green athletic foam Hills, Egbertville, Emerson Hill, southern inspired by the Ocean Breeze running track. Graniteville, Grant City, Grasmere, Heartland Village, Midland Beach, New Dorp, New Springville, Oakwood, Ocean Breeze, Old Town, South Beach, Todt Hill, Travis, and southern Willowbrook.

Most notable about the area overall is the confluence of various waterway passages that result from being located at the southern and eastern tip of New York City. Ocean Breeze, in particular, is home to a new athletic complex with elite equipment that also harvests stormwater to recharge the surrounding wetlands. Because of its low-terrain geographic topography, Ocean Breeze is victim to the worst effects of heavy rainfall and flooding. The nearby neighbor- hood watershed at the New Creek Bluebelt is a large-scale system of stormwater management controls and practices. For Slow and Steady Wins the Race’s souvenir

Souvenirs 51 BK13 SOFTlab

Wonder Wheel

Coney Island has historically been a place Somewhere between a snow globe and of innovative amusement. Its legacy casts it a gumball machine, our souvenir model as a battleground for the most electric lights reflects the vibrant past and present of to the tallest attractions, and as a spectrum Coney Island’s participatory entertain- of awe and shock that spans from recreating ment. It slides, drops, and blinks for no other disasters in the city to presenting live freak reason than to capture your attention. Just shows. Like its multitude of available hot as Coney Island might have been a testing dog toppings, it has a sloppy indulgence for ground for Manhattan, our model is a small everyone. experiment in deliriousness. We had to figure out a lot of technical things to make Our souvenir is not so much the recreation it really dumb. Our hope is that you spend of an object but a celebration of that indul- more time with our model than you should, gence. It is “over the top” in a way that is a celebration of wasting time for the sake of meant to mimic Coney Island’s ambivalence amusement, confusion, or both! to the crude or sophisticated technology necessary to produce every thrill, scream, and stare. It is meant to be engaged with and touched. Rather than mimicking icons, it recreates a small collection of experiences from the island’s amusing history and the history of interactive souvenirs.

Souvenirs 52 BX12 Sonia Leimer

Bronx Bin (2017)

I was drifting through the streets of the Bronx, when I encountered this disco ball stuck inside a trash bin right in front of the flatiron building on 1882 Grand Concourse. I’m not sure if this found setting can repre- sent an entire neighborhood, but for me it´s a souvenir of my personal journey that reflects a Bronxian microcosm.

Souvenirs 53 M04 Studio Christian Wassmann

Manhattanhenge Observatory Cube (MOC)

Our proposed New New York Icon On the two annual mornings and evenings emphasizes its geographic location in of Manhattanhenge, the cube is perfectly Chelsea, exploring in built form the rela- aligned with the sun like the rest of the New tionship between the sun, the New York York City grid. City grid, and the city’s inhabitants. The Manhattanhenge Observatory Cube is part The Manhattanhenge Souvenir is a cube in sundial, part stargazing instrument, part the size of a cobblestone that can be held up urban lounge furniture. A cube of 89” (226 flat against any building within the New York cm) is placed on top of and parallel to the City grid to serve the same purpose as its High Line, which runs 29º off of true north. (30x larger) original, except that the comfort Above eye level, the cube gets eroded by it offers is only a mental one created by its the sun’s movement over the site, forming ability to raise awareness of the cosmos. a void defined by two cones representing the longest and shortest day of the year. Markings on the cones allow for an approx- imate reading of the time. Approaching the cube from the North, the concave side of the summer solstice cone invites people to climb in to rest and relax. Facing South, the winter solstice cone offers views of Polaris through a central cylindrical telescope that runs parallel to the axis of the Earth. A hori- zontal surface at the height of the meeting point of the cones serves as a dial to read the precise location on the horizon of sunrise and sunset at each day of the year.

Souvenirs 54 Q08 Studio Meem

My country is not a suitcase, And I am not a traveler. Queens – Fluid Frontiers

Queens is New York City’s largest borough, Adopting the icon of the 1939 World’s Fair— with both of the city’s major airports, ceme- the site of which is located on the edges teries, Shea Stadium, and the site of the of Q-08—we felt that this particular image World Universal Expo. 150 languages are of Queens with a globe and obelisk was an spoken in the borough, by more foreign- appropriate symbol to be embraced. born residents than live elsewhere in the US. The 7 subway line is sometimes called the Inside the World’s Fair Unisphere, we “Orient Express.” Of the 2.2 million people created a “snow-globe” of sorts, appropri- who live in Queens, 48% are foreign born, ating the language of typical tourist souve- the majority of them Asian. nirs. We embedded within it floating trinkets of various kinds that represent immigration: Recently, immigration has been a touch- suitcases, planes, boats, figures of different stone of U.S. political debates, with pres- colors, and clothes or objects brought along idential candidates in the 2016 election by immigrants in their vessels of exile. divided along the polarized lines of “bridge” vs. “wall” platforms. Measures by the current In this way, we hope to represent Queen’s administration to curb immigration have fluid frontiers, as it serves as a welcoming raised difficult questions regarding who has entry point and base for thousands of the right to enter the U.S. and make it their arrivals into New York, dreamers who hope home. to make this country their permanent home.

In our souvenir, we metaphorically celebrate immigration and the resulting diversity that is so characteristic of Queens.

Souvenirs 55 BK17 Talbot & Yoon

Garden Urn for East Flatbush

East Flatbush is a residential community in 1980s and early 1990s drug epidemic that Brooklyn to the Southeast of Prospect Park. ravaged the area. The area has a rich demographic history. Following World War II, the area was popu- The Garden Urn is Talbot & Yoon’s proposal lated by Jews and Italians, and during the for a provisional monument to the shifting 1960s, it saw an influx of African Americans. demography and culture of East Flatbush. Today, the neighborhood is predominantly Fragments of the area’s representative occupied by West Indian immigrants from finials and statuary were assembled in the countries such as Guyana, Haiti, Jamaica, manner of John Soane’s pasticcio column and Trinidad. and then shrink-wrapped, preserving them as a figural chimera opposed to brico- The housing in the area is primarily single- lage. The overlaid pattern, reminiscent of family row housing set back from the street, digital surface continuity analysis, an Italian allowing for small front yards which, as they decorative motif, African fauna, or a prison are fenced off from the street, often feature uniform, further breaks down the distinc- finials and statuary that are representa- tion between parts. Future fragments can be tive of their inhabitants’ backgrounds; lions, similarly synthesized into The Garden Urn’s shields, and pineapples. The same diver- figure; the monument in continuous revi- sity of statuary is evident in Holy Cross sion, accommodating heretofore unknown Cemetery, which occupies the geographic changes to the neighborhood. center of the neighborhood. In addition to single family housing, the neighborhood features several notable apartment build- ings including Flatbush Gardens, which was nicknamed “The Front Page” for its infamy as the site of many drug related murders in the

Souvenirs 56 BX04 Ultramoderne

Escape

A single community district can’t represent us. The fire escape became more than a all of New York City. A community board can code requirement; it was an aspiration. barely represent itself, let alone 58 others. So what represents BX-04 and the City Our proposal imagines a new life for the of New York equally? New York pizza and fire escape. No longer dependent on squat Yankees baseball, sure. But as architects townhouses and tenements for support, we look for an easy answer. A readymade. it’s free to be itself. Its filigree architecture multiplies, it spirals upward, and it makes Enter the fire escape. Born of a pragmatic new friends. It even tries on a new look, the compromise, fire escapes reconcile 19th vertical form of a Manhattan skyscraper. Like century housing stock with 21st century most New Yorkers, it is happiest when trying safety standards. Every borough has them, to reinvent itself. And if the fire escape can and not one begrudges them. They’re even make it here, anything can. more universal than the Yankees.

When we lived in New York City, we had a fire escape. We never once needed to flee a fire, but we used it plenty, its prosaic archi- tecture belying the experiences it made possible. We grew plants out there, ate dinner, and basked in the views and the late summer sun. It was an incredible escape from the confines of our apartment. In this regard, the humble fire escape seemed to open a world of possibilities when other aspects of city life appeared to close in on

Souvenirs 57 BK15 WELCOMEPROJECTS

Sheepshead Chompers

Unbeknownst to many, Sheepshead Bay, on which the neighborhoods of Brooklyn Community District 15 lie, is named after the now elusive Sheepshead Fish, or archo- sargus probatocephalus — a peculiar looking creature with a slight resemblance to a sheep’s head. The fish’s most notable feature, however, is its human-looking teeth. So odd is it to find this set of chompers on a fish, at first glance you’d think they were photoshopped into real life. It turns out that the Sheepshead Fish is, like humans, omniv- orous. As the rules of nature lay out, it makes sense, then, that we would share our teeth. But why limit such pearly whites to just humans and fish? Now you can share these chompers with other things like your phone. Just plug the Sheepshead Chompers into the audio jack and go!

Souvenirs 58 BX05 Young & Ayata and iheartblob

Hawks Circle its Copper Dome

At the heart of the Bronx Community College Hawks Circle its Copper Dome is an lies the Pantheon inspired rotunda of the inverted homage to the Gould Memorial Gould Memorial Library, built in 1900 Library’s interior dome space, an anti-icon. and designed by Stanford White. The The exterior is an attack on the idealism of Gould Memorial Library also serves as the the Hall of Fame for Great Americans; a bust entry portal to the Hall of Fame for Great as only limbs. The inside of the object is Americans. This collection of sculptural focused on the interior space of the dome, busts reflects an antiquated and extremely the ornamentation left in state on the surface problematic idealism toward what makes a of what is now a bowl; empty. The “support” human great and/or American. 98 men and structure encrusts and conceals the dome, 9 women. 1 African American. Furthermore, knotted trunks of rotting detritus; all limbs, the idea that sculptural busts could be the no torso, no head. Busted bust. Time to rot epitome, the icon, and the representation the icons out. of the qualities of a person to be memori- alized is a history long forgotten. Heads and torsos, no limbs; the body reduced to tchotchke. The Hall of Fame for Great Americans has been largely forgotten by New York City, but interestingly, there have been two recent removals from the hall. Recently, on August 17th, 2017 Governor Cuomo ordered the removal of Robert E. Lee and Stonewall Jackson in response to the events in Charlottesville, Virginia. Maybe busts still have political relevance?

Souvenirs 59 BK08 ZUS [Zones Urbaines Sensibles]

The HotH: House of the Homeless, New York’s first affordable souvenir

New York is represented through a large The City of New York should be able to number of “souvenired” buildings that provide shelter for all its inhabitants, and together shape the collective memory of the HotH does exactly that. It is conceived the city. Most of these buildings are office of 60.000 apartments within a public infra- towers. Very few contain housing, with the structure of 155 collective gardens. It recent wave of slender luxury towers being offers a place for all those who are currently a notable exception — those have actually sleeping under bridges and in cardboard turned into marketable icons even before boxes. The HotH is brutally big, yet human being built. and romantic.

Ironically not a single one of these souvenirs This house is the ultimate understate- is affordable. ment: it is a building that is far larger than New York’s largest. It shows a prosperous To genuinely represent New York, we must metropolis that is incapable of distributing imagine the city beyond the obvious. We its wealth fairly amongst its citizens. should visualize the unseen against a back- drop of the n enlarging gap between rich The HotH is a metropolitan souvenir that and poor, manifested through the spreading does not simply highlight obvious architec- of the luxury condominium, on the one tural splendour, but instead marks an era hand, and the impoverished circumstances where societies and cities are at the cross- of many of the city’s inhabitants, on the roads of either becoming territories of other. Currently, more than 60.000 citizens segregation or places of shared welfare. don’t have a house to live in. Therefore, the next New York souvenir is a House for the With the HotH, New York will choose to be Homeless: the HotH. the latter, adding the first truly affordable souvenir to its collective memory.

Souvenirs 60 Participant national publications such as Architectural Biographies Record, Wired, Fast Company, FRAME, Domus, PIN-UP, Baumeister, and Cultured, and has been exhibited by institutions such IIIII Columns as Exit Art, Japan Foundation, Storefront for Art and Architecture, The Boston Society of IIIII Columns is a platform to proliferate Architects, and as part of The New Museum expanded and deflated notions of archi- Festival of Ideas, with the Audi Urban Future tectural thought & practice reflective Initiative. of our predominantly prosaic built envi- ronment. It is potentially or occasionally others, but predominantly just Melissa J. adamo-faiden Frost - a Philadelphia based designer, a recent New Normal post-graduate fellow at Adamo-Faiden is an architectural firm STRELKA in Moscow, a 2016 M.Arch grad- established in Buenos Aires in 2005 by uate of Princeton’s SoA, a former editor Sebastián Adamo and Marcelo Faiden. Its of the SoA publication, PIDGIN (issues practice extends to the field of teaching 17-20), a studio instructor at Philadelphia and research, and has been internationally University & a producer of artist books, recognized by different media and insti- tapes and ephemera about architecture as tutions. Their works were exhibited at the IIIII Columns. Guggenheim Museum in New York, the Venice Architecture Biennale, the LIGA Architecture gallery in Mexico, the Spain Abruzzo Bodziak Cultural Center in Buenos Aires, and Architects Storefront for Art & Architecture in New York. The work of adamo-faiden is compiled Abruzzo Bodziak Architects is an award-win- into three monographs published by Casa ning New York-based practice with experi- Editrice Libria in Italy, the magazine 2G of ence ranging from civic and cultural projects Gustavo Gili in Barcelona, and the Editorial to homes, exhibitions, and research-based ARQ of the Pontificia Universidad Católica initiatives. The firm’s work is rooted in de Chile. experience and is defined by an innovative approach to contextuality, relentless focus Sebastián Adamo completed his under- on detail, and aesthetic achievement with a graduate studies at the University of strong conceptual viewpoint. Buenos Aires (FADU-UBA) and postgrad- uate studies at the Polytechnic University Established by Emily Abruzzo and Gerald of Catalunya (ETSAB-UPC). He was a Bodziak, ABA has been recognized by professor at FADU-UBA and at Torcuato Di the Architectural League of New York Tella University. He was invited to teach and (the 2010 Architectural League Prize for lecture at numerous institutions including Young Architects and Designers), the the Royal Institute of British Architects in AIA (New Practices New York 2012 and London, the Illinois Institute of Technology in a 2013 AIA New York Design Award), Chicago, the École Polytechnique Fédérale Wallpaper Magazine (Architects Directory in Lausanne, the Fondazione dell’Ordine 2013: “The world’s best young prac- degli Architetti in Milan, the Polytechnic tices”), Architectural Record (2016 School of Architecture in Madrid, and the Design Vanguard), and the New York City Pontifical Catholic University of Chile. DDC (Design + Construction Excellence Program). Marcelo Faiden completed his undergrad- uate studies with honors at the University The office’s work has been featured in inter- of Buenos Aires (FADU-UBA) and a

Souvenirs 61 postgraduate degree at the Polytechnic Pharaoh Sanders. His work in prints and University of Catalunya (ETSAB-UPC). In patterns is an ongoing research into visual 2016, he received his PhD in Architecture representation of Afrofuturism. (ETSAB-UPC) with a thesis entitled “Los bajos de los edificios altos”. He was a Agency—Agency professor at FADU-UBA, the University of Palermo, and Torcuato Di Tella University. He was invited to teach and lecture at Tei Carpenter is an architectural designer, numerous institutions, including the educator and founder of the New York Polytechnic School of Architecture of based design studio Agency—Agency. The Madrid, the École Polytechnique Fédérale studio’s recently completed work includes in Lausanne, the School of Architecture a 20,000 square foot ground-up headquar- of Valencia, the Escola da Cidade de São ters for Big Brothers Big Sisters in down- Paulo, and the Pontifical Catholic University town Houston, and a winning design for a of Chile. speculative future island and ecosystem in the North Pacific Subtropical Gyre made out Currently with Ricardo Fernandez Rojas, of waste. he runs the postgraduate course: “ Taller de Actualización de Técnicas Proyectuales”. Currently, Tei is an Adjunct Assistant Professor at Columbia University’s Graduate School of Architecture, Afaina de Jong / AFARAI Planning and Preservation, where she is & Innavisions also Director of the Waste Initiative, an applied research and design platform. Afaina de Jong is an Amsterdam based Previously she has taught design studios architect who, with her studio AFARAI, and seminars at Brown University, Cornell works on the boundary of architecture and University, City College of New York, and art. Her work deals with questions of pres- at Rice University as the Wortham Visiting ence and agency of people living in the Lecturer. Her work has been exhibited at city. Though trained in the Dutch modernist the Venice Biennale, and her designs and tradition, she has always been inspired by writing have appeared in Artforum, Cite, the streets. Therefore, her work is deeply Pidgin, and Plat. Tei earned her Bachelor connected to representing people and of Arts degree in Philosophy from Brown cultural movements that are not tradition- University and her Master of Architecture ally represented in architectural form. By degree from Princeton University, where using form, languages, colors, patterns, and she was awarded the Howard Crosby Butler narratives that are other, she aims to add to Traveling Fellowship in Architecture. a more inclusive experience of space. Afaina teaches at the Faculty of Architecture at TU Al-Hamad Design Delft and is also affiliated with the Sandberg (Nanu Al-Hamad / Kaeli Institute. She is a member of various advi- sory boards, and is currently working on her Streeter) PhD dissertation on the participatory prac- tice of public space. Al-Hamad Design Studio is currently comprised of Nanu Al-Hamad & Kaeli Innavisions a visual artist and selecta. His Streeter. work explores the connection between urban life, time, space and the vast universe. Nanu Al-Hamad is a designer and artist His visual language is deeply inspired by living and working between New York and music of the likes of Sun Ra, John and Alice Kuwait City. Kuwaiti-born, California-raised, Coltrane, Miles Davis, Herbie Hancock, and and Brooklyn-based, Nanu Al-Hamad’s

Souvenirs 62 practice is a unique hybrid of several Ania Jaworska with Lucia interlocking facets: Al-Hamad Design, a Lee design studio which produces objects such as furniture; the art collective GCC, of which he is a founding member; and Ania Jaworska is an architect and educator. POWERHOUSE, a design duo. She currently is a Clinical Assistant Professor at the University of Illinois at As a solo artist, a member of GCC, and Chicago, School of Architecture. She holds of POWERHOUSE, Al-Hamad’s work has a master’s degree in architecture from the been exhibited at the Whitney Museum Cracow University of Technology in Poland of American Art, NY; Storefront for Art as well as the Cranbrook Academy of Art in and Architecture, NY; Swiss Institute, Michigan. NY; Musée d’Art Moderne de la Ville de Paris, Paris; Sharjah Art Foundation, UAE; Her practice focuses on exploring the Ullens Center for Contemporary Art, connection between art and architec- Beijing; New Museum, NY; MoMA PS1, NY; ture, and her work explores bold simple Contemporary Art Platform, Kuwait; Sultan forms, humor, commentary and conceptual, Gallery, Kuwait; Kraupa-Tuskany Zeidler, historic, and cultural references. Jaworska’s Berlin; Project Native Informant, London; work has been exhibited in numerous exhi- Mitchell-Innes & Nash, NY; and design fairs bitions, notably at the 13th Venice Biennale, ICFF, Downtown Design Dubai, and Salone in Grounds for Detroit, in the Chicago del Mobile. Architecture Biennial, in BOLD, and at the Chicago Cultural Center as part of CHGO Kaeli Alika Streeter is completing her DSGN. She recently had a solo exhibi- BA in Architecture at Barnard College tion Chicago Works: Ania Jaworska at the of Columbia University in New York City. Museum of Contemporary Art Chicago She investigates the architect’s agency and SET at Volume Gallery in Chicago. in controlling and relinquishing free will, She designed a bookstore at the Graham often exploring untraditional drawing and Foundation for Advanced Studies in the Fine modeling techniques. Arts in Chicago, which is currently on view. She is a 2017 MoMA PS1 Young Architects Alan Ruiz Program Finalist, and her work will be shown at the 2017 Chicago Architecture Biennial. Alan Ruiz is a visual artist whose work explores the way space is produced as both material and ideology. His architectural Antonas Studio interventions have been shown in exhibitions at the Queens Museum, the Bronx Museum, Inaugurated in 2006, Antonas Office is The Elizabeth Foundation for the Arts, Wave a design studio practicing in Athens and Hill, and the Abrons Arts Center. His writing Berlin engaged not only in commissioned has been featured in Archinect, BOMB projects but also in research. Magazine, InVisible Culture, TDR, and Women & Performance: a journal of femi- nist theory. He received an MFA from Yale Architensions University and was a 2015 – 2016 fellow in the Whitney Independent Study Program. Architensions is an architectural design Ruiz teaches at Pratt Institute and The New studio founded in Rome as a vehicle of School. research which is led by Alessandro Orsini and Nick Roseboro. Architensions’ research focuses on social behaviors and architec- ture, both in continuous dialogue with the

Souvenirs 63 context and aiming at creating new experien- With his body of work, comprised of both tial scenarios. The studio doesn’t produce autonomous and commissioned artworks, pretty images, but defines fields of action he has gained a strong international reputa- for our projects, which are abstracted urban tion. Van Lieshout’s solo exhibitions include devices that interpret context and reality. MoMA PS1 in New York, the Hayward Their work aspires to create the develop- Gallery in London, and Centre Pompidou in ment of thought within the discipline, hence Paris. His works have been included in the they believe that a project, whether it is built Gwangju, Venice and São Paulo biennials, or unbuilt, holds the same value. and are part of the collections of museums and galleries worldwide. The studio is a collective of professionals from different disciplines and backgrounds Caroline Woolard bringing (diverse?) ideas and experiences to the pin-up wall. We started in New York in 2008 with our heads in the clouds, in a Caroline Woolard (b. 1984) is a New room on the 45th floor of the Empire State York-based artist who makes objects and Building. Today, our main research base is systems at the intersection of art, tech- in a former warehouse in Brooklyn. nology, and political economy. Her work has been commissioned by MoMA, Architensions reconnects urbanism and the Whitney Museum, the Metropolitan architecture through the design of demo- Museum of Art, Creative Time, the Brooklyn cratic spaces capable of establishing a Museum, Cornell University, and Cooper narrative within our cities that opposes the Union. She is the recipient of a number of glossy paradigm of architecture as a finan- awards and fellowships including at the cial tool. Lower Manhattan Cultural Council (2017), NEWINC (2016), the Queens Museum (2014), Eyebeam (2013), Rockefeller Atelier Van Lieshout Cultural Innovation Fund (2010), Watermill (2011), and the MacDowell Colony (2009). Joep van Lieshout/Atelier Van Lieshout Recent scholarly writing on her work has Joep van Lieshout is a Dutch sculptor and been published in Artforum (2016); Art visionary. At sixteen, Van Lieshout was in America (2016); The New York Times accepted to the Rotterdam Academy of the (2016); and South Atlantic Quarterly (2015). Arts. After graduating, he quickly rose to Woolard has been named one of 11 Artists fame with functional sculptures that raise to Transform the Art World in 2017 (2017), questions about the society at large and has been listed in ArtNet’s Top 20 Female nature of art. Artists (2015) and the WIRED Smart List (2013). Woolard is an Assistant Professor of In 1995 Van Lieshout founded his studio, Sculpture at the University of Hartford and Atelier Van Lieshout, and ever since, he has Woolard’s work has been featured twice in been working under the studio moniker to PBS / Art21 for New York Close Up (2014, challenge the myth of the artistic genius. 2016). Her forthcoming book on arts peda- Over the past three decades, Van Lieshout gogy, Ways of Being, which is co-authored has produced works which straddle art, with Susan Jahoda, will be published by design and architecture: sculpture and Punctum Books in 2018. installations, buildings and furniture, utopias and dystopias. What these works have in Charlap Hyman & common are a number of recurring themes, motives and obsessions: systems, power, Herrero autarky, life, sex, death. The human indi- vidual in the face of a greater whole. Charlap Hyman & Herrero is a New York /

Souvenirs 64 for architecture and design. EFGH was Los Angeles-based design firm that takes founded in 2008, with experience ranging a fully integrated approach to conceptual- from public and cultural projects to houses, izing and executing spaces in their totality. exhibitions, and research-based initiatives. Principals Adam Charlap Hyman and Andre Herrero, whose backgrounds are in inte- Eber previously worked at Diller Scofidio rior design and architecture, lead a practice and Renfro in New York, where her expe- that considers all aspects of the built envi- rience ranged from temporary installation ronment, from site plan to furniture. Working and media work, performance, architec- in various typologies – including houses, tural competitions and large scale urban set designs and stores – CHH endeavors to projects, most notably the High Line. Prior consider divergent art forms and the experi- to joining DS+R, she worked at Eisenman ence of multiple senses. They aim to create Architects in NY on The Arizona Cardinals spaces that become worlds unto them- Stadium and the Holocaust Memorial selves, with gesamkunstwerk at the core of in Berlin and at Wiel Arets Architects in the firm’s objective. Maastricht on the Utrecht University Library.

Named one of several firms comprising She holds a Masters in Architecture from PIN-UP Magazine’s “Power Generation” Princeton University School of Architecture, and Architectural Digest’s “Architects and a Bachelors of Architecture from the Cooper Artists You Need to Know Now,” CHH is Union, and a BAS from the University of also on Sight Unseen’s “American Design Cape Town. She is a registered architect in Hot List” and has been selected to partic- the state of New York. ipate in the 2017 Chicago Architecture Biennial. CHH’s work has been featured in Huy Bui a variety of publications including Vogue, Surface Magazine, Wallpaper and W Magazine. Huy Bui’s work pushes towards what he calls “Art and Architecture in the The Anthropocene.” His body of work weaves Future Expansion thoughts of utopia and dystopia into his built environments. His ongoing work Future Expansion (FE) is a Brooklyn and collaboration - Plant-in City - explores based architecture and urbanism practice the cross-section of Plants, Architecture founded by partners Deirdre and Nicholas and Technology. Bui is a visiting faculty McDermott. FE was founded on the belief member at Parsons the New School for that the future provides us with the opportu- Design and recently led Street Seats in the nity to constantly improve on the past, that Spring of 2016, a public seating program previous solutions should not preclude new in conjunction with the New York City DOT inventions, and that architecture and urban (Department of Transportation). Huy Bui is design are meaningful cultural tools in this also the co-founder An Choi Vietnamese endeavor. Eatery, a favorite hotspot in the Lower East Side of New York City. Hayley Eber Ibañez Kim Hayley Eber (b. Johannesburg, South Africa) is an architect, designer and educator. IBAÑEZ KIM is a genre-defiant design prac- She is currently an adjunct Professor at tice that works with the future-forward as The Cooper Union, a visiting lecturer at well as current technologies and media, to Princeton University and the Principal generate architecture, urbanism, and new of EFGH, a New York based practice cultural products. The principals, Mariana

Souvenirs 65 Ibañez and Simon Kim, collaborate to design Program with her submission, Lumen. for agencies and duration in human as well as non-anthropocentric culture. Teaching Jerome W Haferd and positions at MIT, Columbia, the University of Pennsylvania, and their research group K Brandt Knapp Immersive Kinematics allow them to test these concepts, to then produce mate- Jerome W Haferd & K Brandt Knapp are a rial clarity and meaning in their profes- Harlem-based collaboration whose projects sional office. Ibañez Kim has produced include writings, drawings, academic, and designs for institutions such as the MoMA, built work. Performance and Play, Abstract the Institute of Contemporary Art, Opera vs. Built Form, Nature and Territory are Philadelphia, the Smithsonian, and most some of the interests they have worked on recently the Seoul Biennale of Architecture in their collaboration. Trained architectural and Urbanism. professionals, the two have been exploring their interest in public space through Jenny Sabin Studio: experimental public projects since 2012. Haferd and Knapp were winners of the Jenny E. Sabin, first annual 2012 Folly competition held by Jingyang Liu Leo The Architectural League of New York and Socrates Sculpture Park. Jenny E. Sabin is an architectural designer whose work is at the forefront of a new Jerome Haferd (b. 1985) is based in Harlem, direction for 21st century architectural New York. He is currently an adjunct practice — one that investigates the inter- faculty at Columbia GSAPP, NJIT, and Pratt sections of architecture and science, and Institute. His current interests include how applies insights and theories from biology architecture establishes a dialogue with and mathematics to the design of mate- contemporary phenomena, non-hegemonic rial structures. Sabin is the Wiesenberger users, and spaces. Jerome has worked Associate Professor in the area of design in the offices of OMA/Rem Koolhaas and and emerging technologies at Cornell Bernard Tschumi Architects. University. She is principal of Jenny Sabin Studio, an experimental architectural design Brandt Knapp (b. 1980) is based in Harlem, studio based in Ithaca, and Director of the New York. She is currently an adjunct Sabin Design Lab at Cornell AAP. Sabin faculty at Columbia GSAPP, NJIT and Pratt holds degrees in ceramics and interdis- Institute. Brandt has a background in both ciplinary visual art from the University of architecture as well as photography, and Washington, and a master of architecture has maintained a strong interest in the arts from the University of Pennsylvania. She and teaching. She has worked in the offices was awarded a Pew Fellowship in the Arts of Joeb Moore & Partners, and Richard 2010 and was named a USA Knight Fellow Meier & Partners. in Architecture. In 2014, she was awarded the prestigious Architectural League Prize. Kwong Von Glinow Her work has been exhibited internationally at institutions including at the FRAC Centre, Design Office Cooper Hewitt Design Triennial, and most recently as part of Imprimer Le Monde Kwong Von Glinow Design Office is a at the Pompidou. Her book LabStudio: Chicago-based architecture practice Design Research Between Architecture and founded by Lap Chi Kwong and Alison Von Biology co-authored with Peter Lloyd Jones Glinow. Their office was awarded the 2016 was published in 2017. This year, Sabin won Chicago Prize by the Chicago Architecture MoMA & MoMA PS1’s Young Architects Club for their 1st Prize project Grand

Souvenirs 66 Lattices on Lake Shore Drive, exhibited Museum, the Museum of Modern Art, the at the Chicago Architecture Foundation. Museum of the City of New York, and the They have been named as an Emerging Contemporary Art Centre in Vilnius. She is Architecture Practice of 2017 by Wallpaper* also co-director of the Network Architecture Magazine. Their office has received 1st Lab, an experimental think tank, and an prize for two housing projects: Table Top Associate Design Director at 2 x 4. Apartments in New York City and Towers within a Tower within a Tower. They have Liz Phillips given lectures to the Chicago Architecture Club and Harvard GSD Alumni on their mission “Enjoy Architecture.” For more than 45 years, New York–based artist Liz Phillips pioneered sound in inter- Both Lap Chi Kwong and Alison Von Glinow active installations. She combines audio and earned their Masters of Architecture from visual art forms with new technologies to Harvard University Graduate School of create fascinating interactive experiences. Design. Prior to opening Kwong Von Phillips received a BA from Bennington Glinow Design Office, the duo worked with College in 1973 in Interdisciplinary Art. Herzog & de Meuron in Basel, Switzerland, In 1987 she received a Guggenheim Wang Shu in Hangzhou, SOM in Chicago Fellowship to create Graphite Ground. and New York, and Toshiko Mori Architect Phillips has exhibited interactive site specific in New York. Lap Chi teaches at Illinois installations at numerous art museums, Institute of Technology. Alison teaches alternative spaces, festivals, and public at School of the Art Institute of Chicago spaces. These include the Whitney Museum and is a 2017 Forefront Fellow at New of American Art, the San Francisco Museum York’s Urban Design Forum. Both serve of Modern Art, the Milwaukee Art Museum, on the Board of Directors for the Chicago the Spoleto Festival USA, the Walker Art Architecture Club. Museum, Ars Electronica, Jacob’s Pillow and the Kitchen and Lincoln Center. WIndspun (1980, wind turbine, Bronx) Leigha Dennis and Shaded Bandwidths (2001, Brooklyn Bridge Anchorage) were sited through Leigha Dennis is an architectural designer, Creative Time. Phillips has also collabo- researcher, and educator based in Brooklyn, rated with dance; the Merce Cunningham New York. Her practice investigates the Dance Company, Mariko Endo, Simone Forti impact of digital technologies and network and Robert Kovich. Presenters include the culture on architecture and the built envi- Cleveland Orchestra, IBM Japan and the ronment. Working often with documentary World Financial Center. forms, she designs environments, objects, and media. This summer the Wave Crossings project was installed on Governors Island through Leigha is currently an adjunct professor at Harvestworks, a commission from NYSCA. Columbia University’s Graduate School of In 2017 Phillips taught in the Graduate Architecture, Planning and Preservation, Programs at Columbia University (Sound where she was formerly co-director of Arts) and Wesleyan University (Music) the Architecture Online Lab. In 2013-14, as well as her undergraduate classes at she was the Muschenheim Fellow at the Purchase College (Art.) University of Michigan’s Taubman College, and is currently a Fellow in Architecture at the Akademie Schloss Solitude in Stuttgart. Local Projects Her work has been published and exhib- ited at notable institutions including the New Local Projects is an experience design firm

Souvenirs 67 with a passion for testing the limits of human been featured recently in international interaction. Driven to keep both meaning magazines such as Domus, Wallpaper, AD, and innovation at the forefront of their work, Kerb Journal. She has taught at Columbia Local Projects builds opportunities across University, The Cooper Union, Rensselaer a range of platforms that inspire people to Polytechnic Institute and the City College of participate, share, and explore. Since their New York. inception, they’ve created experiences for museums, brands, and cultural institutions In 2016 Xynogala was awarded a Fellowship that connect people on an emotional level from the New York Foundation for the Arts. through social engagement. She holds a Masters degree from Princeton The NYC-based studio works collaboratively University where she received a Stanley across an array of disciplines, and includes Seeger Fellowship, a BArch from the architects, strategists, content experts, Cooper Union where she was awarded the storytellers, project managers, filmmakers, Irma Weiss Prize for exceptional creative graphic designers, interaction designers, potential, the George Leslie Design Prize and creative technologists. They have and the Humanities Prize, and a BSc from designed, built, and installed experiences the Bartlett, UCL. from conception to construction documen- tation and installation, including museums, Medium retail spaces, and traveling exhibits. Over the last 15 years, Local Projects has won best-in-class awards for their work in every Medium is an architecture practice led by discipline they touch, from the National Alfie Koetter and Emmett Zeifman. Alfie Design Award to the Cannes Gold Lion, Koetter teaches design studios and semi- and been nationally recognized for work like nars at the University of Southern California. the 9/11 Memorial Museum and the Cooper Emmett Zeifman teaches design studios Hewitt Smithsonian Design Museum. at Columbia University. They are founding editors of the journal Project. Lydia Xynogala Michael Wang The work of Lydia Xynogala explores rela- tions between sites, material properties and Michael Wang (Born 1981 Olney, MD. cultural narratives at various scales. They Lives/works New York, NY) uses systems are articulated in buildings, experiments that operate at a global scale as media and writings. Built and conceptual projects for art: climate change, resource alloca- construct connections and contradictions tion, species distribution, and the global between natural and artificial realms. economy. His works include “Carbon Copies,” an exhibition linking the production Xynogala has recently completed residen- of artworks to the release of greenhouse tial projects in Greece and England. She gases, “Rivals,” a series that connects the has presented her work at the Museum of readymade to systems of corporate finance, Modern Art, Van Alen Institute, Society of and “Extinct in the Wild,” a project that Architectural Historians, Chemical Heritage extends care to living species no longer Foundation, History of Science Society and found in nature. His work has been shown ACSA and her projects have been exhibited in the United States, Europe, and Asia, most widely. recently at the Fondazione Prada in Milan and MOCAD in Detroit. Xynogala’s book The Dark Ecology of Magnitogorsk was published in 2013 by CAUI, Princeton University. Her work has

Souvenirs 68 Michelle Chang investigating under-explored or under-artic- ulated spatial concepts in the context of the cultural, political, and economic complexi- Michelle Chang lives, practices, and ties of the contemporary built environment, teaches in Houston, Texas. She is currently the work aims to be analytic yet anticipatory. an assistant professor at Rice University where her research explores the transla- tions between design and building as they The work of NHDM has been widely exhib- relate to optics, digital media, and cultural ited and presented at global venues, production. Prior to teaching at Rice, she including the 5th and 6th International taught studios at UC Berkeley, California Architecture Biennale Rotterdam, the 14th College of the Arts, and Northeastern International Architecture Exhibition at the University. She studied architecture at 2014 Venice Biennale, and the Fondazione Harvard’s Graduate School of Design and Musica per Roma among others, and has international relations at Johns Hopkins been recognized through publications, University. Her work was recently selected grants, and awards including the I.D. Design for an Architectural League Prize and has Distinction, multiple AIANY Design Honor been exhibited at museums in the US and awards, and a New York State Council of Art abroad. Grant. Prior to founding NHDM, the part- ners contributed to a wide range of built and speculative projects - Hwang at James Midnight Commercial Corner Field Operations as one of the lead designers of the High Line, and Moon at Midnight Commercial is a Brooklyn-based the Office for Metropolitan Architecture innovation consultancy founded by MIT in Rotterdam among others. The part- Media Lab graduates. We work with C-suite ners teach design studios and seminars at leaders and global design teams to invent Columbia University Graduate School of products and experiences that help brands Architecture, Planning, and Preservation lead from the future. and the Yale School of Architecture.

Our antidisciplinary team of engineers, designers, scientists, and artists combines Naomi Fisher the best of both a creative agency and a hardware startup. We apply vision to stra- Naomi Fisher is an artist and curator living tegic insights and work from concept to and working in Miami and New York. Since manufacturing. graduating summa cum laude with a BFA in Photography from the Maryland Institute N H D M / Nahyun College of Art, 1998, her work has spanned Hwang + David Eugin painting, drawing, performance photog- raphy, video and site-specific installa- Moon tion, often in collaboration with dancers. Recently she has started accepting commis- NHDM is a New York Based collaborative sions for permanent large-scale public art practice for design and research in archi- projects. Fisher’s work has been exhib- tecture and urbanism led by its partners ited internationally in such venues as the Nahyun Hwang and David Eugin Moon. The Palais de Tokyo, Paris; Halle fur Kunst, studio aspires to an expanded practice of Luneburg; Kemper Museum, Kansas architecture, and works between disci- City; Kunsthalle Wein, Vienna; Kunsthaus plinary borders at vastly varying scales, Baselland, Basel; Vizcaya Museum & engaging diverse modes of practice from Gardens, Miami; and the Deste Foundation, built design work to highly speculative proj- Athens. Her work is included in the collec- ects and research. Each project uniquely tions of the Hirshhorn Museum & Sculpture

Souvenirs 69 Garden, San Francisco Museum of Modern Arqa, and Thresholds. Turan holds a DDes Art, the Museum of Fine Art Boston, and degree from Harvard University Graduate more. Since 2004, Fisher has directed the School of Design (GSD), an MED from W.A.G.E. certified 501c3 exhibition plat- Yale University, and a BArch from Istanbul form BFI (Bas Fisher Invitational). Technical University.

NEMESTUDIO New Affiliates

NEMESTUDIO is an architecture office New Affiliates is a New York-based design founded by Neyran Turan and Mete Sonmez. practice led by Ivi Diamantopoulou and The office produces work ranging from Jaffer Kolb. The studio learns through buildings and installations to specula- building, experimenting with loose forms, tive projects at various scales. The office’s rough materials, and ornate object stories work draws on unconventional collisions all investigated at a range of scales. N/A between architectural problems such as has completed construction on a house in form, representation, and materiality and Vermont, an apartment in Brooklyn, and broader concerns of the city, environment, have exhibited their work at the Venice and geography. The practice has received Biennale, the Onassis Cultural Center, numerous awards, including Architectural and several small galleries internationally. League of New York’s Young Architects Currently they are working on an exhibi- Prize, Built Environment Notable Award at tion design at the Jewish Museum in New the Core77 Design Awards, Best of Design York and a 6,000sf artist studio building in Award from The Architect’s Newspaper, Brooklyn among other projects. Graham Foundation Award, and an honor- able mention at the Fairy Tales Competition. Oana Stanescu NEMESTUDIO’s work has been featured Family NY in various journals and platforms, including Wallpaper*, The Architect’s Newspaper, PLOT, ItsNiceThat, and Socks Studio, and Oana Stanescu is the co founder of Family exhibited at the Istanbul Design Biennial, NY, alongside Dong Ping Wong. Family Chicago Architecture Biennial, University designs environments with the simple of California Wurster Gallery in Berkeley, purpose of making cities better places Piazzale Donatello in Florence, and SALT to live. The New York based office is Gallery. composed of architects, designers and strategists currently working on an array of civic, cultural, commercial and residential Neyran is an assistant professor at the projects around the world. Regardless of University of California, Berkeley. Her type or scale, we believe that buildings, like current work focuses on new conceptions the people that live and work within them, of the ordinary and the familiar in archi- can actively contribute to making the envi- tecture and on questions of representa- ronments all around us more productive, tion towards an alternative planetary imag- inspirational and fucking awesome. ination for architecture. Turan is founding editor of New Geographies and edited the first two volumes of the journal. Some of Office III her recent writings have been published in Climates: Architecture and the Planetary OFFICE III is an experimental architectural Imaginary, Are We Human, Offramp, New collective based in New York, Boston, and Geographies, SAN ROCCO, Scenario San Francisco and was founded in 2016 Journal, ARPA Journal, Conditions, MONU, by Stephanie Lin, Sean Canty, and Ryan MAS Context, Conditions, Superlative City, Golenberg. Our partnership was formed

Souvenirs 70 after years of conversations about our Ogrydziak Prillinger common values in practice and teaching Architects (OPA) in which we have continued to explore the invention of formal processes and represen- tational tools as the basis of architectural Ogrydziak Prillinger Architects (OPA) is inquiry. We are interested in synthesizing an idea-driven office committed to finding geometry and materials in alternative ways, design solutions that both expand the possi- with a focus on pushing their structural and bilities inherent in architecture and reso- perceptual expectations within an interdis- nate within their particular context. While ciplinary context and thereby reshaping every project originates as a response to familiar organizations into the realm of the specific requirements of site, program and unfamiliar. client, each evolves as an exploration of its own internal potential rather than reflecting a predetermined style. In all the work, there Office Kovacs is an emphasis on communicating archi- tectural meaning by creating powerful ANDREW KOVACS is an Assistant Adjunct emotional and perceptual resonances. Professor at UCLA Architecture & Urban Shaping and choreographing spatial expe- Design where he teaches design studios riences through the consideration of move- and seminars at both the undergraduate and ment and formal logic results in work that graduate level. From 2012-2013 Kovacs is distinctive for its conceptual clarity and was the inaugural UCLA Teaching Fellow. physical presence. Kovacs’ work on architecture and urbanism has been published widely in the architec- Luke Ogrydziak and Zoë Prillinger received tural press including A+U, Pidgin, Project, BA and M. Arch degrees from Princeton Pool, Perspecta, Manifest, Metropolis, University and have taught at Harvard Clog, Domus, and Fulcrum. Additionally, University and the University of California, Kovacs is the creator and curator of Archive Berkeley. OPA has been featured in publi- of Affinities, a widely viewed website cations including MARK magazine, The devoted to the collection and display of New York Times, Metropolis, Wallpaper*, architectural b-sides. In 2015 Kovacs Architecture, Architectural Record, published the book Architectural Affinities and GA Houses, and in multiple exhibi- as part of the Treatise series organized tions at the GA Gallery in Tokyo. They are and sponsored by the Graham Foundation currently exhibiting an installation at the in Chicago. Kovacs’ design studio, Office University of Chicago coinciding with the Kovacs, works on projects at all scales 2017 Chicago Biennial. OPA has received from books, exhibitions, temporary instal- numerous American Institute of Architects lations, interiors, homes, speculative archi- San Francisco and California awards and tectural proposals and public architecture the Architectural League of New York’s competitions. The recent design work of ‘Emerging Voices’ award. Office Kovacs includes a proposal for a dog park in downtown Los Angeles, a honorable Once–Future Office mention in the MALI design competition for a new contemporary art wing in Lima, Peru, and the renovation of an airstream trailer into Once–Future Office is a multidisciplinary a mobile retail store that travels the Pacific design studio in NYC. We’re makers and Coast Highway. strategic thinkers who craft engaging brands, campaigns, and experiences.

Our process is founded on a commitment to research, a love for systems, and a dedi- cation to making smart, elegant design that

Souvenirs 71 brings ideas to life. We work closely with often involves breaking set formulas or stan- architectural, cultural, and mission-driven dards, this has led us to become entrepre- organizations to communicate clearly to neurial in our practice, generating self-initi- broad audiences. ated projects alongside client commissions to create a rich mixture of built works and ONTOPO speculative proposals. Our conceptual projects explore the rela- Jon Santos is the principal of Common tionships between architecture, economics, Space, a NYC based multi-disciplinary and policy, giving form to non-formal design studio. Notable projects include concepts. Our completed projects range For Freedoms, Ontopo and Hearsay of the from art galleries to short but effective inter- Soul designed for Werner Herzog’s Whitney ventions in public school classrooms. Biennial installation. He is an adjunct professor at Pratt Institute and former We believe architecture and design cannot visiting artist at Saint-Lukas Academy in be separated from their impacts. No Brussels, the Center for Creative Studies matter what the scale or program, architec- in Detroit, SAIC in Chicago, adjunct ture provides opportunities to create new professor at the California College of Arts responses to an existing context and to insti- in San Francisco, and guest lecturer at gate new conversations about how we will the American Institute of Graphic Arts in live in the future. Washington D.C.

Santos works on both self-initiated & Patrick Meagher & commissioned works that seek to expand Lenka Ilic graphic design beyond traditional media (print, digital and screen based) towards Patrick Meagher (American, b. 1973 in participatory, performative, improvisational New York) lives and works in New York and experiential modes. City, and has studied at Kunstakademie Dusseldorf, Carnegie Mellon, and Harvard. Santos was nominated for a James Meagher is interested in how mankind Beard Foundation award for Outstanding is adapting spiritually and emotionally to Restaurant Graphics and was a recipient the Digital Age. His exploration of soci- of an AIGA Gold Medal. He is an advisor ety’s emergent shift towards transgres- for the Filipino American Museum, the New sive technology and virtual interaction fuels Art Dealers Alliance and Soho House. He his work in new media, painting, photog- has exhibited widely in group exhibitions at raphy, and sculpture. Laterally to his studio BAM, NY, WalkerArt Center, MN and the practice, Meagher has staged event-based Cooper Hewitt Design Museum, NY and happenings and spearheaded art club- has presented his work at the AIGA, Rising houses, and runs an art book publishing Minds and Pecha Kucha in New York City. project. Through these collaborative proj- ects, such as CollectiveShow.org and the P.R.O. - Peterson Rich Silvershed, Meagher contemplates the Office roles of ethics and personal agency in art making. Meagher’s cross-genre oeuvre is ultimately located within the discourse Peterson Rich Office was founded in 2012 around globalized and digitized mankind’s by Miriam Peterson and Nathan Rich. Our expanding awareness of its own materiality backgrounds are in art and economics, and and consciousness. we approach architecture as an intersection of these disciplines, seeking to cast a wide net of relevance. Because this approach

Souvenirs 72 QSPACE We favor the strategic over the thematic, the cosmopolitan over the typological, and the QSPACE is queer architecture research atmospheric over the static. Ever-focused and design studio. We define ourselves on the contemporary, we take diligent note as mixing queer theory, social justice, and of the past while day-dreaming the future. design practice. Beyond a collection of indi- viduals, QSPACE is a platform for research SIKI IM projects by students and professionals working on queerness in the built environ- Siki Im was born in Cologne, Germany. ment, producing research and outputs on After studying architecture at the Oxford topics such as gender inclusive bathroom School Of Architecture, Im moved to New design, LGBTQ homelessness and housing, York where his studio is based. He designs and queer histories in architecture. spaces, clothing, furniture, music, and graphics. He had solo and group exhibi- We push for organized action through exhi- tions in Germany, England, Spain, Korea, bitions, publications, digital archiving, USA, and received the Ecco Domani Award, and design guidelines, making questions Samsung Design & Fashion Fund, Vilcek of gender and sexuality visible to a field Prize, and the Woolmark Prize. Im also is that has traditionally subverted such ques- a Senior Concept Adjunct Professor at tions. In the absence of a centralized voice, Parsons. QSPACE is a hub for students, profes- sionals, and academics to connect and collaborate. As architects, we believe that Slash Projects design can and should play an active role in responding to social change, and as Arielle Assouline-Lichten os the founder QSPACE, we hope to offer the tools with of multidisciplinary firm Slash Projects. which to create it. Arielle holds a Master of Architecture from Harvard University, and a BA in Critical Theory from New York University. She has Rafael de Cárdenas / worked for internationally renowned design Architecture at Large firms BIG, Kengo Kuma, and Snøhetta, from Copenhagen to Paris, Tokyo and New York. Rafael de Cárdenas / Architecture at Large In 2014, Arielle was appointed as Principal (RDC/AAL) is a seasoned resource for of OfficeUS at the Venice Biennale where design vision and execution with wide- she was part of the curatorial team for ranging projects in architecture, residen- the US Pavilion. She has been published tial and commercial interiors, temporary in Metropolis Magazine, The New York spaces, furniture, and integrated objects. Times, The New Yorker, and Architectural Record among others, for her design work RDC/AAL was founded in 2006 as a small and activism. She started the petition for office in Chinatown, NYC. The practice retroactive recognition of Denise Scott remains based in NYC and works interna- Brown by the Pritzker Prize in 2013, and tionally. We maintain a small, dedicated, has been invited to speak at Harvard, The staff of professional designers with diverse Guggenheim Museum, and the AIA. Arielle backgrounds. Working with an international specializes in the intersection of digital and team of collaborators including artists, fabri- physical space and is passionate about new cators, and artisans, the studio is currently ways of practice in architecture and design. developing projects in North America, Eastern and Western Europe, and Asia.

Souvenirs 73 Slow and Steady Wins As products of concrete historical contexts, the Race rooms and objects undergo a transforma- tion in which history and societal changes become palpable. Sonia Leimer (born 1977) New York–based designer Mary Ping lives and works in Vienna. She studied founded Slow and Steady Wins the Race architecture at the Technical University of in 2002, following the launch of her epon- Vienna and the Academy of Fine Art Vienna. ymous collection in 2001. The work is a From 2007 to 2012, she hosted a radio continuous investigation into the elements titled City and the Image. She taught at the of what people wear, how they wear it, and Academy for Art and Photography together why. Each collection contains a commen- with Martin Guttmann from 2012–2016. She tary on the cultural anthropology of modern is teaching Installation and architecture at fashion, focusing on the fundamental char- ETH Zürich. Leimer exhibited her work inter- acteristics of design within a wardrobe. nationally at Galerie Commonwealth and Ping was inducted into the CFDA in 2007, Council, Los Angeles, Leopold Museum, and is a winner of the Ecco Domani Award Vienna; Galerie nächst St. Stephan, Vienna; and UPS Future of Fashion. Her work is Ludwig Forum für Internationale Kunst, part of the permanent collections of the Aachen; Barbara Gross Galerie, Munich; V&A Museum, The Museum at FIT, the Los Angeles Museum of Art; 5th Moscow RISD Museum, Deste Foundation, and the Biennial; artothek, Cologne; Museion – Fondation d’entreprise Galeries Lafayette. Museum of Modern and Contemporary Art of Bozen, Italy; MAK Center for Art and SOFTlab Architecture, Los Angeles; Kunstverein Basis, Frankfurt; BAWAG Contemporary, SOFTlab is a design studio based in New Vienna; Salzburger Kunstverein; and York City lead by Michael Szivos. The studio Manifesta 7, Rovereto. operates at the intersection of architecture, art, and interactive design. The studio has designed and produced projects across a Studio Christian wide spectrum of mediums, from digitally Wassmann fabricated large-scale sculpture to interac- tive design to immersive digital video instal- Studio Christian Wassmann is a design lations. As a studio, SOFTlab embraces practice with a passion for realizing ideal- projects through a mix of research, craft, istic architectural projects that allow users and ideas. Through the studio’s unique to understand their surroundings in new and blend of backgrounds as designers, artists, different ways. Our designs present discov- architects and educators, we can approach eries originating from the interconnec- every project from a fresh perspective to tions of the arts, a love for geometry, and an create rich visual, interactive and spatial awareness of the cosmos. experiences. By mixing research, creativity and technology with a strong desire to Our team of designers works on a wide make work fun, SOFTlab attempts to create spectrum of projects ranging from tempo- encounters between people and places that rary installations to permanent structures, are both unique and unexpected. furniture design to interiors, and perfor- mance venues to freestanding buildings. We Sonia Leimer believe that all of these disciplines are inter- related and inform each other; approaching In her installations, Sonia Leimer explores each project with equal levels of attention, our perceptual foundations, which are passion, and intensity achieves an aesthetic formed on the basis of individual, historical, and functional success that defines the and media-related patterns of experience. Studio. We are interested in architecture in

Souvenirs 74 its broadest scope, welcoming small inter- product line Off the Gireed, inspired by ventions to large urban projects. everyday street objects in Cairo, was awarded a Red Dot Design Award and Good For us, architecture is more physical and Design Award in 2011. emotional than can be conveyed using only graphic renderings. For every project, we In addition to design work, Manar publishes build a series of analog study models at regularly, participates in exhibitions and various scales. It allows us to make tactile teaches. In 2013, she worked on an inter- and aesthetic design decisions. We select active design and performance public art our materials with a sense of responsi- project titled “The Wonderbox” which trav- bility, efficiency, and durability, and we push eled throughout Cairo for a month. Her book them to their physical limits with the aim of Sidewalk Salon: 1001 Street Chairs of Cairo reaching/ distilling their essential beauty. co-authored with David Puig was published All of our designs are developed in dialogue by Onomatopee/Kotob Khan in 2015. with the client and built by skilled crafts- people best suited for the task. In 2016, Manar launched the project Mapping Cairo through a workshop with Our favorite projects are the ones that students in Cairo. The results were exhib- engage the public and show resourceful- ited in the Egyptian Pavilion at the 2016 ness; we also hope that they have a posi- Venice Biennale. tive social impact and provide new perspec- tives for engaging with our surroundings Manar currently teaches architecture at the – locally, globally, and universally. We like to University of Waterloo and the University create places that generate critical thought of Toronto and is on the editorial board of about what constitutes our environment. Scapegoat. Our architecture aims to connect individ- uals to one another, to themselves, and to Talbot & Yoon the cosmos. Talbot & Yoon are a multidisciplinary design In 2010 Christian Wassmann received the firm dedicated to creating objects, furniture Swiss Art Award in the architecture cate- and home accessories. Trained and regis- gory, and in 2012 the Studio won the AIA tered as Architects in the state of New York, New York New Practice Award. Our design founders Mark Talbot and Youngjin Yoon objects are represented by R&Company and incorporate their architectural thinking into Frederieke Taylor Gallery in New York City. the smaller scale objects that they design for everyday use. Studio Meem

Studio Meem is an interdisciplinary research Ultramoderne and design studio founded by architect Manar Moursi in 2011. Ultramoderne is an award-winning architec- Since the establishment of our studio, ture and design firm located in Providence, we have been searching for new oper- RI. Led by co-principals Aaron Forrest and ating models, viewing architecture as a tool Yasmin Vobis, the office is committed to and a field for critical inquiry on the built creating architecture and public spaces that environment. are at once modern, playful, and generous. The principals are driven by an experi- Studio Meem’s portfolio of built projects mental approach that leads to conceptu- includes private and public projects. The ally rigorous and well-executed designs. studio’s work has been shortlisted for inter- The office has experience working at a national competitions and our inaugural wide variety of scales, from single-family

Souvenirs 75 residences to urban-scale planning. ZUS [Zones Urbaines Sensibles] WELCOMEPROJECTS Kristian Koreman and Elma van Boxel WELCOMEPROJECTS is a studio of discur- founded ZUS [Zones Urbaines Sensibles] sive sensibilities focused on the production in 2001, where they work on solicited and of real things in the world along with all the unsolicited designs and research studies in incumbent, critical fictions needed for their the field of architecture, urbanism and land- survival. We design projects large (build- scape design. ings, houses, interiors), medium (installa- tions, films, furniture) and small (handbags, ZUS creates designs in the field of land- games, wagons) imbuing each with curi- scape architecture, including the Printemps osity and playful seriousness. We tell stories à Grand Bigard park design for a 17th-cen- through objects and design. tury estate in Brussels and both the Central Park and the landscape of the Dutch Pavilion Young & Ayata and for the Shanghai World Expo. ZUS also focuses on complex, integrated issues, iheartblob such as working on the development of the New Meadowlands in New Jersey – an area Young & Ayata is a New York City based affected by Hurricane Sandy in 2012. Here, architectural design practice formed in coastal protection and urban and environ- 2008. They are the recipients of the 2016 mental development are brought together in Design Vanguard Award from Architectural an integrated manner. Record and the 2014 Young Architects Prize from the Architecture League of New Van Boxel and Koreman were curators for York. In 2015, their scheme for the Bauhaus the International Architecture Biennale Museum Dessau competition received one Rotterdam 2012 ‘Making City’ and selected of two first place prizes. as Lab Members for the BMW Guggenheim Lab in New York. Their unsolicited advice Michael Young is an Assistant Professor at and interdisciplinary work led to them The Cooper Union. Michael is a registered winning the Maaskant Prize for Young architect in the State of New York. Architects, and they were Architect of Kutan Ayata is a Lecturer at the University the Year in 2012. Van Boxel and Koreman of Pennsylvania and Adjunct Assistant are Visiting Professors at the Syracuse Professor at Pratt Institute GAUD. Kutan University School of Architecture, lead the is a registered architect in the Chamber of Gentrification Lab NYC, and are working Architects in Turkey. on their new book, The City of Permanent Temporality. Iheartblob is an experimental architecture group exploring the idea of the Architectural Object. They investigate how technological tools, new visual languages and emerging conceptual frameworks are affecting the formal and verbal platforms platforms of our discipline with work aimed at inviting and provoking broader conversations within the current discourse.

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