Future Architecture, a pan-European consortium bringing together architects, galleries, museums, publishers, and curators, has announced the 2020 Future Architecture Fellows. In November, an open call invited emerging practitioners in the architecture field to submit their ideas and 25 submissions (all viewable here) were selected to be presented at Creative Exchange, an annual three-day event taking place at the Museum of Architecture and Design in Ljubljana, Slovenia. The 2020 call received a total of 433 entries from across 53 countries. Taking place from February 13 through 15, the Creative Exchange will feature speakers and events on the future of architecture with keynote speakers Gustavo Utrabo of Aleph Zero architects, Freek Persyn of 51N4E Architects, and Špela Videčnik of OFIS Architects. Submissions were selected by alumni and member votes, which includes institutions like the MAXXI, the Royal Academy of Arts, and the Oslo Architecture Triennale. One submission was also chosen by a popular vote, with 19,849 votes cast by the public. The winner of the members’ vote was Rethinking Clients, Forms of Alliance, Affording Risk by Critical Practice, an interdisciplinary architectural collaboration by Architectural Association alumni Love Di Marco, Tobias Hentzer Dausgaard, and Arya Arabshahi that rethinks the client-practitioner relationship for the architectural profession. The winner by public vote was Pais(vi)agem by Barcelona-based duo Enrico Porfido and Claudia Sani—the project investigates tourism as a tool for supporting local landscapes and economies. Selected ideas, addressing systemic changes, site-specific cases, and future alliances, hailed from across Europe, the United States, Australia, and Bosnia and Herzegovina.
Posts tagged with "Emerging Professionals":
The following interview was conducted as part of “Building Practice,” a professional elective course (and now AN interview series) at the Syracuse University School of Architecture, taught by Molly Hunker and Kyle Miller. On October 10, 2019, Kate Kini and Rachael Gaydos, students at Syracuse University, interviewed Troy Schaum and Rosalyne Shieh of SCHAUM/SHIEH. The following interview has been edited by Kyle Miller and AN for clarity. This year marks your 10-year anniversary. Congratulations! Can you talk about how starting a practice in 2009, the year after the recession, presented a challenge that may have limited growth? Troy Schaum: Both of us were teaching when the recession hit. Rosalyne was a Taubman Fellow at the University of Michigan and I was a Wortham Fellow at Rice. What we anticipated would be a brief foray into the academy was extended as a result of the macroeconomic situation in this country. We had to figure out how to work as architects without being hired to work as architects. So we started making our own projects—competition submissions and university-sponsored independent research projects and installations. It was only after we were invited to participate in the Venice Biennale in 2012, curated by David Chipperfield, that we started to get commissioned work. I don't know if those two things were related, but we started to pick up projects both in New York and Texas, and we very quickly had four additional employees. Our office size hasn’t grown a lot since then, but when we look at the numbers every year, it's been relatively steady, which is its own form of success. In response to the challenges of starting a practice at that time, have you used unconventional methods to promote your firm or to attract potential clients? Rosalyne Shieh: We began our practice in an academic setting with little opportunity to practice in a traditional manner. In 2009, by starting in the midst of the recession, there was little momentum to be lost and the work we made was unsolicited. I don’t mention this so much to bemoan, rather to state the conditions within which we set out and to explain why in the beginning, most of our work was speculative, invested in an alternate economy of ideas and discourse, one partially encapsulated from the macroeconomic situation that professional practice is embedded in. So we may have had a small audience tied to the academy, but we didn't have clients. We started by thinking about what it meant to make work that nobody was asking for, about what questions could be posed or offerings made through the framework of an architectural project. The parameters and conceptual territory of this early work were partly self-defined but also defined by our educations, conversations with our peers and collaborators, as well as things we were reading and looking at. This was an important incubation period for us, but it didn’t necessarily transition seamlessly into attracting clients and working on commissioned projects. Troy: What encouraged that transition for us was a desire to work at a certain scale. We were conducting design research and building temporary installations, but we were interested in engaging building[s] at a much larger scale. When we received opportunities to work on larger projects, we realized that the two of us couldn’t do it alone anymore. We had to build an ecosystem of people to support us. All of a sudden we had to develop an economy around the work in order to support the people that were supporting us. At that point, we found ourselves running a business. We didn't say “no” to a lot of requests, because you never know where certain journeys are going to take you. In 2012 or 2013, we were asked by some relatively young people in Houston if we were interested in designing a music venue. We made some sketches and renderings for a very small amount of money. We just assumed these people would go away and we’d never hear from them again. What actually happened was that they took those renderings all over town and raised significant capital to build the music venue. What also happened was that lots of people who build things in Houston saw the renderings. They didn't necessarily want to invest in a music venue but were very curious about us as architects. Developers would contact us and request a portfolio of built work. The problem was that we hadn't actually built anything! It’s a common and unfortunate catch-22, especially for a U.S.-based practice in its earliest stages. That said, some of them hired us anyway. How do you mediate between presenting your work to a broader public audience versus an audience of architecture students, colleagues, and other professionals? Troy: This is a huge issue for us, especially as we oscillate between our audiences. We're both teachers and we both have conversations with very erudite students and colleagues, and we have conversations with people who work out of the back of their trucks and know a lot about building things, but not so much about architectural discourse. The importance and role of communication and the ability to articulate ideas to many different audiences [are] primary to our understanding of architecture. You mentioned two audiences, but there are probably 20 audiences that we communicate with throughout the course of the day, from the people that are going to send us metal samples to the lawyers that are helping us draft contracts for our clients. Rosalyne: Also, communication is a very personal thing. You have to respond to who you're talking to. Depending on what it is that each person is able to receive or wants to talk about, you have to meet each other somewhere, and you both need to arrive from where you’re coming. I like to speak with my own voice across different conversations, but communicate differently given the situation or who I’m talking to. Troy: It's become very apparent to me that when we talk about audiences in school, we’re talking about collectives. And we're very interested in creating projects for collectives. There's a democratizing idea that architecture is for everyone. It is. But, one of the things that I underestimated was how powerful architecture can be for individuals–our individual clients and the contractors who build our projects. What do you understand to be your responsibility as an architect? Troy: Wow, that's a difficult question! Our practice is both of our names for a reason. SCHAUM/SHIEH wasn't just a default. That decision makes the practice a very personal thing for us. I imagine there's certain ethics in our work. I believe we have a responsibility to use these professional tools and our ways of seeing the world to be as careful and reflective and deliberate about our decisions and our work, especially when working in cities and in public spaces. To be stewards of the resources that we’re given, to be stewards of opportunities that we’re given to shape cities–these are very important responsibilities. Rosalyne: I agree and would add that we hope our projects enrich the world and make more connections possible. That's the aspiration, at least. We hope our efforts lead to building more complexity into the world. One of the quotes that we come back to a lot is this one–it's included by Jane Jacobs at the beginning of Death and Life of Great American Cities, from Oliver Wendell Holmes Jr.: “Life is an end in itself, and the only question as to whether it is worth living is whether you have enough of it.” He's talking about the vibrant complexity of civilization and Jacobs connects this to cities as an engine of that. There's an interest in the pursuit of what we do as architects, but also as people to contribute to more life for more people. Some architects believe that there should be a separation between being a citizen and being an architect, specifically in relation to political issues and attempt to be as apolitical as possible. With your office, it seems to be the inverse. How much effort do you put into making a project political? Does it come naturally from its inception? Rosalyne: That’s a good question, and it's one that comes up again and again in architecture: What is the relationship between architecture and politics? If being political means seeing and engaging structural inequality, I can't live in a world where those two things can be separated, because it would mean willfully denying a part of reality, if not my own then someone else’s, with whom I share this world. It’s not only an issue of what we believe, but it’s also about lived realities. There could be different reasons why people feel the need to separate these roles. It could be because the very act or idea of the work—its property—requires that its limits are circumscribed. One way to work on something is to isolate or bracket it from other things. Or it might be a matter of survival: the world can be difficult; maybe you’re at capacity with what you can handle, and creative work is a kind of expression that feeds you. Some might have the choice to separate the two where others don’t. Broadly speaking, people undertake creative work for so many different reasons. I would just ask whether your position to proceed in any certain way is predicated upon an invalidation of someone else’s, and if it does, I would find it hard to support. I do not require you to not be in order for myself to be. That said, work that is explicitly political is not the only way to be political as an architect or artist. Godard said: “The problem is not to make political films but to make films politically.” That might mean simply expressing or applying yourself without explanation. There's no way to escape this question. It's not fair actually, to say that those worlds should be separate. I can't say that every project we do is political; we're not a political practice per se, but I am who I am, who I am, who I am… whether it's an architect, an educator, a person in the world, a cis-woman, a Taiwanese person, visibly Asian, a daughter of immigrants in the United States, today. The tension of trying to hold all these things together is at the heart of my humanity. Troy: There's a certain disciplinary agenda in the work of some practices, and a legacy of a particular kind of formalism. This way of approaching architecture is very different from how we understand practice. One important role of the architect is to construct agreement. For example, when working on White Oak Music Hall, we found ourselves in scenes similar to scenes in Ghostbusters where we were summoned to the mayor's office at eight in the morning to be reproached regarding an aspect of the project that a certain constituency was not happy with. These explicitly political aspects of practice and this particular project necessitated engagement with a broad audience and a range of issues well beyond the purview of the discipline of architecture. I don't know how you practice any other way. It's beautiful that buildings have the ability to engage political issues, and that architects have the ability to engage political issues. What's been the most rewarding moment in your professional careers thus far? Troy: We recently had the opportunity to observe how powerful work can be for an individual. This positive impact is not something you can encounter until you build something. White Oak Music Hall was embedded in a lot of politics around how music is booked in this country. We created White Oak Music Hall and made a lot of sacrifices in order to complete that project. We were criticized by a portion of the local community, but also supported by many diverse groups within the community. Recently, after finding out that we designed White Oak Music Hall, a local musician said to us, “That space you've created—we didn't have a space like that. That's my temple.” There's an entire ecosystem of creative people that can now work in this space we designed. Rosalyne: I agree with that, and I'll give you pretty much the same answer, but in a more abstract sense. We’ve had that experience a few times with the projects that are out in the world, with both White Oak Music Hall and Transart. You talk to people, and you might not know them well, and they’re like, “I know that project,” and they share some story that gives you an understanding that the project somehow belongs to them. These are the moments when you realize that projects, once they are out there, belong to the world and not just to ourselves. It can come back to us through clients, contractors, or anyone really… when they share a sense of belonging to this thing that we helped create, and that’s a really special moment.
The independent design scene takes care of its own. As in medieval guilds, talents band together to address pressing issues, such as copyright infringement, and share resources. These communities develop out of schools, geographic proximities, shared commercial platforms, and, perhaps most important, common interests. Within these tight-knit networks, individuals trade work and services among themselves, letting practitioners build collections while building communities. Barter culture is still going strong. “It’s out of necessity and born from a desire to live with the things you want,” Brooklyn-based designer Aiden Bowman said. “Often, when you have to ship a piece for a show or photoshoot, it becomes a lot more convenient to trade it for something else you might want, rather than pay to ship it back. It boils down to neither designer nor photographer having the funds to purchase each other’s work.” The in-kind economy extends across disciplines. Bowman and partner Josh Metersky founded object-based practice Trueing in 2016. Firmly rooted in the New York architecture and design industries, the duo has forged strong relationships with many of the city’s leading creatives. The pair’s Brooklyn apartment includes a number of works that reflect these connections, like a sconce by lighting designer Bec Brittain. “When we were a small company, we would weigh on friends to provide us with props for our first photoshoots,” said Brooklyn-based designer Nick Cope. “As collectors of art and design, we also enjoy the privilege of bartering with our friends so that we can surround ourselves with beautiful objects that we couldn’t otherwise afford.” For him and his wife, Rachel, founders of the Brooklyn-based wallpaper brand Calico, bartering is a great word-of-mouth way to drum up new business, but the duo sees it as more than just self-promotion; bartering is also a way to appreciate other talents. Bespoke Calico prints feature prominently in lighting designer Lindsey Adelman’s downtown Manhattan studio, while Adelman’s luminaires likewise appear in the Copes’ upstate weekend home, joining ceramics by BDDW and custom furnishing by Huy Bui and Ladies & Gentlemen Studio. Read the full exposé on our interiors and design website, aninteriormag.com.
Young New Yorkers, Jennifer Bonner of MALL, and f-architecture, are among the people and firms to receive the 2019 Architectural League Prize for Young Architects + Designers. Now in its 38th year, the prestigious program created by the Architecture League of New York selected six emerging talents under the theme of Just, which explores architectural action within the discipline. The annual portfolio competition is open to designers who are 10 or fewer years out of an undergraduate or master’s degree program and live and work in North America. To submit for the 2019 prize, entrants were challenged to “consider the just in how they approach the practice of architecture,” by detailing their experimental research, design advocacy, or unique techniques and methodologies of practice. According to the Architectural League, “JUST explores architectural action with the understanding that a multiplicity of coexisting and contradictory attitudes may be constructive, liberating, and justified.” This year’s firms, selected from a jury that included past winners of the prize, will have the opportunity to lecture in New York in late June and showcase their work in an exhibition at the Sheila C. Johnson Design Center at Parsons School of Design/The New School. Check out the recipients below: Cyrus Peñarroyo of EXTENTS Ann Arbor, MI Peñarroyo and his partner McLain Clutter founded the Ann Arbor–based practice EXTENTS just two years ago and the duo are gaining widespread recognition for their unique use of contemporary digital tools in exhibition design, installations, and research projects. According to the Architectural League, the firm is “interested in architecture, urbanism, media, digital culture, and other instruments of life that can be impacted by design.” Peñarroyo currently serves as an assistant professor of architecture at Taubman College of Architecture and Urban Planning, where he was the William Muschenheim Fellow in 2015-16. Last month, EXTENTS opened the installation, “Lossy/Lossless” (pictured at top) at Materials & Applications (M&A) in Los Angeles. Virginia Black, Gabrielle Printz, Rosana Elkhatib of f-architecture Brooklyn, NY Virginia Black, Gabrielle Printz, and Rosana Elkhatib founded the Brooklyn-based feminist architecture collaborative in 2016. Self-described as “a three-woman architectural research enterprise aimed at disentangling the contemporary spatial politics and technological appearances of bodies, intimately and globally, ” the trio works on temporary installations, exhibitions, and research-based projects. They simultaneously tackle writing, activism, and performance pieces meant to reach a broader audience. Gregory Melitonov of Taller KEN New York, Guatemala City, San José, CR International practice Taller KEN was founded in 2013 by Gregory Melitonov and Inés Guzmán. Based initially in New York and Guatemala City, the duo recently expanded their work to San José, Costa Rica. Their colorful and playful projects, ranging from commercial spaces to public installations and residential habitats, are created with “social and cultural relevance,” according to the architects. Taller KEN’s robust portfolio includes a mid-rise apartment complex with a verdant facade, a 4,500-square-foot café and event space, as well as a prismatic canopy built with recycled elastic ribbons. In 2016, the firm was named one of AIANY’s New Practices New York. Mira Hasson Henry of Henry Architecture Los Angeles, CA Founded in 2016, Henry Architecture is the personal practice of SCI-Arc design professor Mira Hasson Henry. In her work, she draws on common building elements such as windows, cladding, and eaves to explore social and architectural topics such as inclusion and identity, according to the Architectural League. Additionally, she utilizes different mediums such as models, wallpaper, photographer, and installations to examine various modes of architectural representation. Henry also serves as SCI-Arc’s DID Coordinator. Jennifer Bonner of MALL Atlanta, GA A native of Alabama, Bonner began MALL in 2009 when she was working as a professor at the Georgia Institute of Technology in Atlanta. Though she currently lives in Boston and serves as the director of the Master in Architecture II Program at Harvard’s Graduate School of Design, she’s interested in experimenting and building architecture in the American South. Inspired by her students and the flexibility that comes as an academic practitioner, Bonner uses MALL as a way to explore and invent new ways to represent architecture. Her most recent project, Haus Gables, is a cross-laminated timber structure that hacks the traditional multi-family residential typology and is designed around the gabled roof plan. Rachel G. Barnard of Young New Yorkers New York, NY Rachel G. Barnard founded Young New Yorkers (YNY) in 2012, a restorative justice project that provides arts-based diversion programs to teens prosecuted as adults by the New York State criminal justice system, as well as young adults up to age 25. By empowering participants to explore their creative side utilizing photography, video, illustration or design, the young defendants also learn skills related to accountability, leadership, responsibility, and choice, among others. Barnard has established partnerships with agencies across New York City and since its inception, Young New Yorkers had successfully graduated over 1000 participants who, by completing the program, are rid of their criminal record, jail time, or other adult criminal justice sanctions. The League Prize 2019 exhibition will be on view for free from June 21 through July 31.
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. –Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” –Drew Zieba
The AIA's Center for Emerging Professionals has launched a new campaign that seeks to address the issue of unpaid internships. The campaign aims to inform "all generations of architects" of the significant contributions that Emerging Professionals bring to the field as well as the value of being paid a substantial amount for one's work “That’s the legacy and history of our profession—this apprenticeship," said Klimatic Architecture principal Susan Schaefer Kliman in one of two campaign videos featured below, "but just because it’s an apprenticeship and a time where you’re still learning, doesn’t mean that you shouldn’t get paid.” The campaign page provides resources such as a direct link to the Fair Labor Standards Act, the AIA Code of Ethics, and as well as information on AIA's "intern tilting page." AIA also equipped users with a Compensation Survey Salary Calculator, a tool used to provide details on compensation information by region and firm size. https://youtu.be/9BJEwHrpGzk https://youtu.be/GIqXw-BknYk