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An architect, writer and educator based in New York City. He has been a Professor in The Irwin S. Chanin School of Architecture of The Cooper Union, since 1991, where he has served as Associate Dean under Dean John Hejduk and Acting Dean of the School of Architecture. He has taught studios and seminars at every level of the School’s five-year program, as well as a series of seminars titled 'The House of Poetry' in the Faculty of Humanities and Social Sciences. He has held the Ellen and Sidney Feltman Chair and is a former Chairman of the School’s Administrative, Curriculum and Admissions Committees. Gersten currently heads Archi- tectonics, the first-year Design Studio and teaches an Advanced Concepts seminars entitled; ‘A Material Imagination of the Social Contract’
Gersten has been a visiting professor in the U.S. and abroad at: City University of New York; Rhode Island School of Design (RISD); Universidad Politecnica de Valencia in Spain; Aarhus School of Architecture, Denmark; Universidad Andina Simon Bolivar and Universidad Privada de Santa Cruz in Bolivia; and Universidad Catolica de Cordoba in Argentina. He is currently a visiting professor in the Graduate Studies division at RISD teaching seminars and studios across sixteen Masters of Fine Arts, Design and Architecture departments. He regularly teaches workshops and lectures in academic and cultural institutions though-out the world, including: The Royal Danish Academy of Fine Arts, (Denmark), McGill University (Canada), Cranbrook Academy of Art, Harvard University, Yale University, The Canadian Center for Architecture, the National Science Foundation, the Círculo de Bellas Artes, (Madrid, Spain), The University of Puerto Rico, and the United Nations International School.
Gerstens’ drawings, stories and constructions have appeared in numerous international exhibitions, and are held in the collection of the Canadian Center for Architecture, the New York City Public Library’s print collection and many private collections. He has published extensively on diverse areas of research including: The financial markets, ethics and technology, the poetic / material imagination, social justice and the linkages between perception, language and space. National and international publications including: RES: Anthropology and Aesthetics, the Peabody Museum; Ineable; Architecture Computation and the In-expressible; The Making Of Design Principles, RISD; Critical Digital, Harvard; Boulevard, Saint Louis University; Making Science Visible, National Science Foundation. The Paris-based publisher Editions Firmin-Didot will soon release “Hunting Life: A Forever".
Michael Benson's work focuses on the intersection of art and science. His fourth book for Abrams, Planetfall, came out October 1st. A photographer, writer, filmmaker, book-designer, and exhibitions producer, in the last decade he has staged a series of increasingly large-scale exhibitions of planetary landscape photography in the US and internationally, mostly under the title Beyond. Benson takes raw data from NASA and European Space Agency archives and processes it. He edits, composites, and mosaics individual spacecraft frames, producing seamless large-format digital C prints of landscapes currently beyond direct human experience. Benson is also an award-winning filmmaker, with work that straddles the line between fiction and documentary film practice. In Predictions of Fire and other films, staged studio scenes and even animated sequences alternate with straight documentary material. Benson recently worked with director Terrence Malick to help produce space and cosmology sequences for Malick's film Tree of Life, which drew in part from Benson's book and exhibition projects. The film won the Palm d’Or at the 2011 Cannes Film Festival. His work was also incorporated in Patricio Guzman's 2011 film Nostalgia for the Light. As a writer Benson has contributed feature articles and photographs to many magazines, including The New Yorker, The Atlantic, Smithsonian, and Rolling Stone, and he’s also written for The New York Times, The Washington Post, The International Herald Tribune, and other newspapers, including many Op-Ed pieces. His 2003 article for The New Yorker on NASA's mission to Jupiter, "What Galileo Saw," was reprinted in the anthology The Best American Science Writing 2004 (HarperCollins, September 2004) and subsequently The Best of Best American Science Writing (HarperCollins, April 2010). Benson is currently working on a book of electron microscope photography titled Nanocosmos. His limited edition fine art photography is represented in the US by the Hasted Kraeutler Gallery in New York. His current show in that gallery, titled Planetfall, runs from January 24th-March 9th, 2012. He lives in New York City with his wife and son.
For more on Benson’s work, see
Troels Steenholdt Heiredal
Troels Steenholdt Heiredal studied architecture at Aarhus School of Architecture in Denmark, and prior to that he studied Architectural Engineering at the Technical University of Denmark. He has worked at NL Architects in Amsterdam, Architecture-firm Gustin in Aarhus and in Copenhagen at Spektrum Architects and E+E Architects. As a student, Troels co-found the architecture and art collective WHOISIN. The collective has completed a number of different jobs in Denmark and abroad. After finishing his studies, he started troels heiredal architecture, keeping his focus on temporary architecture and the relationship between the body and material, both in terms of the creation of architecture and in the finished project. Aside from this, he freelances and was called in to work on the "How to Shallow a Whale" project for the danish pavilion at the 2012 Architecture Biennale in Venice. He was awarded the second prize in the architectural movie competition, Dense Living, for his movie "toleraCITY", a collaboration with Thomas Lillevang. He has lectured at the DTU and at the National Gallery of Denmark on his own projects. He has exhibited at the Forum Metro Station in Copenhagen, at Krabbesholm in Skive and his entry of 13 drawings from the subways of New York City, Copenhagen and Paris will be featured at this years Spring Exhibition at Charlottenborg, Copenhagen.
For more on Troels' work see
Troels Steenholdt Heiredal
Karin Coonrod is a theater maker whose work has been seen and heard across the country and around the world. Born in Chicago with first memories in Noli, Italy, Coonrod studied English at Gordon College in Massachusetts and Theater Directing at Columbia University, where her mentor was Liviu Ciulei.
She founded two theater companies: 1) Arden Party in downtown New York from 1987-1997 which re-imagined the classics (including Ubu Roi, Waiting for Godot, Lear, Romeo and Juliet, Antigone, Marat/Sade et al) and 2) Compagnia de’ Colombari (2004-present) an international company (based in New York) which began a new tradition of theater in Orvieto, Italy with the medieval mystery plays in public spaces (Strangers and Other Angels 2004-2006) as well as a music-theater piece More Or Less I Am (from Walt Whitman’s Song of Myself) performed around New York City.
Coonrod is known for her Shakespeare productions including her epic Henry VI (1996) and surprising Love’s Labor’s Lost (2011) both at the Public Theater (where she was Artist-in-Residence from 1995-96); King John (2000), Julius Caesar (2003) and Coriolanus (2005) all with Theatre for a New Audience; Othello at Hartford Stage (2005) and many others.
Other seminal productions include her own creation for the stage of non-dramatic material: Flannery O’Connor’s Everything That Rises Must Converge developed at the University of Iowa, Sundance Theatre Lab and premiered at New York Theatre Workshop (2001), Anne Sexton’s Transformations with Arden Party (1991-5) and a cabaret adaptation of Lorca’s Poeta en Nueva York with flamenco dancer La Conja at New York University (2002).
She prepared new translations: Vvedensky’s Christmas at the Ivanovs’ with Julia Listengarten (1996); Lorca’s The House of Bernarda Alba with Nilo Cruz (1997); and Victor or Children Take Over with Frederic Maurin (1994), all of which she directed in acclaimed productions.
Coonrod’s work is featured in American Theatre Magazine, Shakespeare Bulletin, Sipario nel Mondo (Italian theater journal), Scena.Ro (Romanian theater magazine).
As a guest artist/teacher Coonrod has developed work at NYU, Harvard, Stanford, Columbia, Cal Institute of the Arts, Fordham, Colgate, Gordon College and Univ of Iowa. She is on the faculty at Yale School of Drama (since 2002).
For more on Karin's work see
GINGER AS RHIZOME
I am a writer of both poetry and prose. Frankly, I prefer the terms "prosetry" or "proetry" to describe my work. I Allow for the possibility that prose and poetry are twins created in the womb simultaneously. Interwoven. Complete only when conjoined, existing in time and space together, unable to be separate. Start with form and content must erupt. Start with content; form is manifest. It is not about appearing clever. It is about ultimate connection and the possibility of sneaking under the trip wire of pre-thought. It is about writing around the thickness of expectation.
*Erasure, Naropa University 2012
*Touch Rhizome, Kavyayantra Press, 2012
*Yew Journal, fall 2012
*Upstairs at Duroc, winter 2012
Frank Wilson is a neurologist who has been an internationally respected authority on the neurological basis of skilled hand use for over two decades. He is the author of The Hand: How its use shapes the brain, language, and human culture, published in 1998 by Pantheon books and nominated that year for a Pulitzer Prize for nonfiction. Now retired from clinical and teaching positions at the University of California, San Francisco and at Stanford University School of Medicine, he actively writes, lectures, and consults on a range of issues concerning the relationship of hand use to human cognitive and artistic development, early childhood education, and the clinical evaluation and management of disorders of professional hand use.
For more on Dr. Wilson's work see
David Shapiro (born January 2, 1947) is an American poet, literary critic, and art historian. He has written some twenty volumes of poetry, literary, and art criticism. He was first published at the age of thirteen, and his first book was published when he was just eighteen. Born in Newark, New Jersey, Shapiro grew up in Newark and attended Weequahic High School and then Columbia University, from which he holds a B.A. and a Ph.D. in English. He subsequently studied at the University of Cambridge, from which he holds degrees with honors. He achieved brief notoriety during the 1968 student uprising at Columbia, when he was photographed sitting behind the desk of President Grayson L. Kirk wearing dark glasses and smoking a cigar; Shapiro later described the cigar as "horrible” Shapiro wrote the first monograph on John Ashbery, the first book on Jim Dine’s paintings, the first book on Piet Mondrian’s flower studies, and the first book on Jasper Johns’ drawings. He has translated Rafael Alberti’s poems on Pablo Picasso, and the writings of the Sonia and Robert Delaunay. His sonnets on the death of Socrates are the basis for Unwritten, a song cycle by Mohammed Fairouz.
Sina is an accomplished Calligrapher, artist, designer and curator with a broad historic and cultural knowledge. As a classically trained Persian calligrapher Sina is recognized world wide as a ‘Master’ calligrapher with his works held in some of the most important calligraphy collections in the world. In addition to his magnificent works of the hand, Sina is sought after as a consultant on the cultural history of calligraphy as well as a master calligraphy teacher. His wide-ranging artistic, historic and cultural knowledge of calligraphy has brought him to consult for important collections worldwide including the Metropolitan Museum of Art.
Tine Bernstorff Aagaard
Tine Bernstorff Aagaard Studied architecture at Aarhus School of Architecture, Denmark, and graduated in 2010 with distinction on her thesis project. During her education she has assisted Berlin-based artist Michel de Broin and worked for architecture company R&Sie(n) in Paris.
Throughout her education she has been involved in EASA (European Architecture Students Assembly) in which she together with companion Emilie Bergrem taught a workshop exploring basic relation between body and space by ‘modifying’ the body with prosthetics to challenge our conventional beliefs of how the surroundings adapt to the body and vice versa.
The same theme was explored in their installation "1:14" a suspended labyrinth in the Spring Exhibition in Charlottenborg, Copenhagen, Denmark.
Since graduating has taught first year at the Aarhus School of Architecture in architecture, drawing, and representation. Now she lives and works in Cape Town, South Africa."
Mauricio Cortes is a graduate of The Cooper Union School of Art. He received the 2011 Benjamin Menschel Fellowship with Laura Genes. He was a recipient of the Yale Norfolk Painting Fellowship in the summer of 2011. In 2010 he collaborated with Mexico City painter Alfonso Mena Pacheco in a large scale painting for the show AKASO. He is currently eating tacos in Mexico City.
For more on Mauricio's work see
Laura Genes is an architecture student at The Cooper Union in New York City. She received the 2011 Benjamin Menschel Fellowship with Mauricio Cortes. Along with her brother, Hugo Genes, they traveled to Mato Grosso, Brazil to visit the Pimental Barbosa aldeia of the Xavante Tribe as part of The Nancy Flowers Project; a visual investigation exploring the relationship of photography and it's subject. The Nancy Flowers Project is a collaboration between photojournalist/anthropologist Nancy Flowers (b. 1920) and three young artists, Laura Genes, Hugo Genes and Mauricio Cortes.
Laura has also received the Mark L. Moehlman Prize for Excellence in Writing. Her short essay about Francisco Goya's painting The Forge was published by The Frick Collection. She is currently developing a student-run literary publication, "The Alphabet" with her classmates Arta Perezic and Kiwi Ngyn. She has interned at Andrew Bartle Architects and more recently at dbox, a branding and creative agency. She visits her homeland of Brazil, as often as she can and when she can't make it to the beach she practices synchronized swimming with her mother Katia on Roosevelt Island.
Loren Howard studied architecture at the Rhode Island School of Design (RISD) and prior to that, mechanical engineering at Boston University. He grew up in a family of makers, an open toolbox and the freedom to make his own mistakes and discoveries. This led to an appreciation for quiet, slowness and the dialogue between body and material. He has a shop, Hazard Craft Works, where he works wood and metal into a variety of tools, jewelry, furniture and small-scale spaces. In the last year, Loren has taught and contributed to the technology curriculum in the architecture department at RISD.
Studied architecture and urbanism at the Cooper Union School of Architecture, NYC, the Escuela Tecnica Superior de Arquitectura de Barcelona, and the Bauhaus Stiftung in Dessau. She studied film and video at the Cooper Union School of Art, as well as philosophy with Jacques Derrida and Avital Ronell at NYU. She has worked for a number of architecture firms: Pei-Cobb-Freed and Partners and Craig Nealy in NYC, SaAS and Eva Prats and Ricardo Flores in Barcelona, Plot.DK in Copenhagen, collaborated with Buro Schwimmer in Berlin, and initiated a landscape design and research group in South Florida. Her thesis proposal from the Bauhaus was published in Transnationale Raum, exhibited at the Bauhaus and the 4th International Architecture Biennale of Rotterdam. Her studio in the Gowanus Brooklyn is a place of research, mappings, drawings, film and writing. She freelances as an architect and teaches at the Cooper Union School of Architecture.
Che Perez is currently a student of The Irwin S. Chanin School of Architecture of The Cooper Union and will graduate in 2014. He is an instructor for the Cooper Union Saturday Program, an extra curricula architectural program for New York City public high school students of grades ten to twelve. Che is a former leader of a Sea Scout troop and has represented Trinidad & Tobago in international scouting events and sailing competitions in the Caribbean, Europe and North America. He has been an assistant at architectural practices in Trinidad & Tobago and New York.
Anthony Titus is the founder of Anthony Titus Studio an interdisciplinary practice based in New York City. His studio has been a laboratory for the exploration of ideas related to the contemporary practices of art and architecture. Over the past decade the studio has been responsible for numerous experimental projects, including built works, site- specific installations and exhibitions of paintings and sculptures.
Over the past decade, Anthony Titus has taught architecture at numerous schools including The Cooper Union for the Advancement of Science & Art and Pratt Institute. In addition to serving as a member of the faculty of these institutions, he has served as a guest lecturer and critic at institutions throughout the United States, including Cornell University, Columbia University, The New School for Social Research, Yale University, Art Center and SCI-Arc. Titus currently holds the position of Associate Professor, within the School of Architecture at Rensselaer Polytechnic Institute.
In 2006 Bloomberg and Art In General awarded Anthony Titus Studio a joint research fellowship; resulting in the construction of a long-term site-specific installation within Bloomberg Financial Headquarters in New York City. Since then, Titus has gone on to have numerous solo exhibitions, while participating in many group exhibitions both in the United States and abroad.
Most recently, Titus has had two solo exhibitions entitled Base Illusions (2011) and Bare Subversions (2010). In the summer of 2011, Anthony Titus Studio constructed four site-specific structures for the Hudson Basilica, in Hudson, NY. In the fall of 2011, Titus participated in an exhibition entitled And Another Thing at the CUNY Graduate Center. Anthony Titus is currently co-curating a film series entitled Street Views at Maysles Cinema in New York City.
Received his B.Arch from The Irwin S. Chanin School of Architecture of The Cooper Union in 2008. He is the director of Folding Enterprises, a studio headed by the artist Sarah Oppenheimer, where he works on a variety of projects focusing on the exploration of light, perception, materials and structure through interventions in existing built environments. He is currently teaching first year Architectonics at The Irwin S. Chanin School of Architecture. Wegman has also served as a visiting critic of design studios at Columbia University, City College, Pratt Institute and RISD.
The partners behind 'benandsebastian' are Ben Clement (UK) and Sebastian de la Cour (DK). The interdisciplinary art duo are based in Berlin and have been collaborating for over 5 years, during which time they won a series of awards and have exhibited in gallery and museum contexts in Berlin, Copenhagen, London, Milan, New York and Tokyo. Their solo show, ‘Phantom Limbs’, is currently exhibited at The Museum of Art and Design in Copenhagen and in May they start a four month residency at the ISCP (International Studio and Curatorial Program) in Brooklyn.
benandsebastian describe their work as follows:
“We work out of a need to explore, probe and question the world around us – through architectural constructions. For us, architecture is not only the buildings we inhabit, but also a way of thinking that can be explored through the spaces of mythical stories, utopian models, economic systems and power relations. In our work we like to ask questions through a process of serious play, in which we are not afraid to explore the dysfunctional and unfashionable.
Our work has taken inspiration from mediaeval rituals, romantic ruins, office politics and a Manhattan urban legend. If these sources seem eclectic, the common thread we see running through our work is our ambition to house physical and conceptual absences. These absences create portals that inspire projection, playing on memory, familiarity and longing as ways of filling in the gaps.
We use our language of architecture as a way of talking about the spaces of the mind and to the body images through which we relate to our surroundings. This and the theme of absence were pivotal in our most recent exhibition, a large solo show at the Museum of Art and Design in Copenhagen, entitled ‘Phantom Limbs’.”
Stuart Blazer has lived in nearly all parts of Rhode Island (R.I.) for most his life, with time away in Europe and Morocco starting in the 1980’s. Work with the R.I. Council on the Arts & the R.I. Committee for the Humanities has taken him inside prisons, hospitals, libraries, museums, kindergarten through universities, nursing homes & community centers.
10th grade was never quite the same after Woodstock. A long conversation with Frank Zappa the year before scatterplanted seeds that continue to shoot up. While still in high school, he began attending the Providence Zen Center, located at the time on the East Side, near the family dentist. Finding ice cream to be painful after treatments, he used to meditate instead, letting the novocaine wear off while receiving instruction. This interest in Zen (lit. “concentration”) continues into the present. A study of comparative religions (including atheism) has accompanied a life-long involvement with comparative literature. These practices have widened the focus from page to street, returning to the page mindful of Emerson’s counsel: “You must become a transparent eyeball.” Although more student than disciple, he received initiation from the world-renowned scholar & mystic Sant Kirpal Singh, in 1972. After living a monk’s life for 2 years, he moved on to George Moore’s declaration: “The world shall be my monastery.”
Experience with hospice care over the course of several years has informed & affected every aspect of his life. While working at the Providence Athenaeum (Head of Children’s Services) during the 1980’s, a friendship with a colleague gradually became custodial. Monette Blanchard, a French lady born in 1898 whose love of books & art was extraordinary, became a cherished companion. The following decade was largely spent in respective armchairs, deep in cognac & talk. Released from a nursing home to his care (her doctor was a friend & came for dinner), they moved into her home in Little Compton, an old farm that she & her husband, a Brown University professor, bought in the 1920’s. When she died, aged 94 in 1992, the property came his way, much of it given to land trust.
During Frank Robinson’s tenure at RISD’s Museum, he served as a kind of poet-in-residence, performing and curating readings in a series called “Suitable For Deframing. Some books have slowly ripened: Ricochet, done by Copper Beech Press in 1983; C-O-H, written in France, was published by the Poet’s Press in 1988; Aix-en-Providence appeared as part of Michele Cooper’s chapbood series in the 1990’s. While living in the Azores (2001-2005), he completed Aqua Firma, finally co-published by Teatrinho in Terceira & Gavea-Brown, at Brown University in Providence, in 2011. He has contributed an Afterword and is one of three translators for José Saramago’s first book of poems, The Poems Possible, to be published by Gavea-Brown in 2012.
After working for the last few years as part of a home health-care team caring for his friend & mentor Edwin Honig, he’s currently selling wine, not a bad business for a poet. A lover of extremes, he multiplies his between Providence & Adamsville.
Alberto Pérez-Gómez was born in Mexico City in 1949, where he studied architecture and practiced. He did postgraduate work at Cornell University, and was awarded an M.A. and a Ph.D. by the University of Essex (England). He has taught at universities in Mexico, Houston, Syracuse, Toronto, and at London’s Architectural Association. In 1983 he became Director of Carleton University’s School of Architecture. He has lectured extensively around the world and is the author of numerous articles published in major periodicals and books. He is also co-editor of a well-known series of books entitled CHORA: Intervals in the Philosophy of Architecture.
In January 1987 he was appointed Bronfman Professor of Architectural History at McGill University, where he chairs the History and Theory Post-Professional (Master’s and Doctoral) Programs. His book Architecture and the Crisis of Modern Science (MIT Press, 1983) won the Hitchcock Award in 1984. Later books include the erotic narrative theory Polyphilo or The Dark Forest Revisited (1992), Architectural Representation and the Perspective Hinge (co-authored with Louise Pelletier, 1997), which traces the history and theory of modern European architectural representation, and most recently, Built upon Love: Architectural Longing after Ethics and Aesthetics (2006). In his last book, Dr. Pérez-Gómez examines points of convergence between ethics and poetics in architectural history and philosophy, and draws important conclusions for contemporary practice.
Kristin Jones maintains both studio and public practices, working across disciplines to create site-specific, time-based projects that frame natural phenomena against the built environment.
Her installations, works on paper and time lapse photography have been exhibited internationally, most recently at: the Venice Architecture Biennale; the Museo Capitolina and Accademia degli Arcadi in Rome; the Blue Mountain Center in upstate New York; and Lower Manhattan's River to River Festival; as well as several site-specific projects produced under the auspices of TEVERETERNO for the Tiber River in Rome.
As founder of TEVERETERNO, Jones has partnered with the City of Rome and countless peers to promote the potential of the Tiber River, facilitating projects for its protection and revitalization. Working from the conviction that contemporary art can be a powerful vehicle for urban renewal and environmental awareness, TEVERETERNO commissions artists of all disciplines to collaborate on spectacular events that draw the public to the Tiber's banks. A place-making project focused on cultural programming and community outreach, TEVERETERNO raises awareness and encourages responsible, dynamic planning of public space in river sites around the world.
For more than 25 years, Jones has created work for the public domain in partnership with Andrew Ginzel, including commissions in Boulder, Chicago, Hoboken, Milwaukee, Orlando, Portland, and Philadelphia; the airports of Tampa and Kansas City; as well as several works for the City of New York – Mnemonics for Stuyvesant High School and Encyclic for PS 102, Metronome for Union Square (under the auspices of the Public Art Fund and the Municipal Art Society), and Oculus for the Metropolitan Transit Authority at the World Trade Center/Chambers Street Subway Station. Their installations have been created for a wide range of museums and non-profit venues internationally, including the Solomon R. Guggenheim Museum, the Kunsthalle in Basel and the Whitney Museum at Phillip Morris. Jones and Ginzel have collaborated with numerous other artists, such as Merce Cunningham, Edmund Campion and Chandralekha.
Jones holds a BFA in Sculpture from the Rhode Island School of Design and a MFA from Yale University. Her work has been recognized by the Rockefeller Foundation, the American Academy in Rome, the Fulbright Commission, the Pollock Krasner Foundation, the Louis Comfort Tiffany Foundation, the American Center in Paris, the New York Foundation for the Arts, the New York Council on the Arts and Humanities, the Massachusetts Council on the Arts, Artists Space, Art Matters, the National Endowment for the Arts, the David W. Bermant Foundation, the New York Dance and Performance Awards, Yaddo, and the MacDowell Colony.
Kyna Leski is a Professor and Head of the Department of Architecture at the Rhode Island School of Design. She was the Chief Critic of the European Honors Program from 1993-5 and has taught the Architecture, Foundation Studies and Industrial Design departments. Professor Leski was the author of the first semester core architecture design curriculum, given for sixteen years and to over 1500 students. A book on this pedagogy, The Making of Design Principles, was published in 2007. Kyna Leski is a principal of 3SIXØ Architecture in Providence, Rhode Island since its founding in 1997. 3SIXØ’s work includes a house to dwell in—in awe, a church which inspires and expands, a store that contracts itself into a restaurant bar, a salon that extends the life of the city inside and a pedestrian bridge that connects a historic past to today. 3SIXØ has received nine AIA Awards and has been recognized as one of the Architectural Vanguard Firms by Architectural Record in 2002. In 2008, Architectural Record recognized 3SIXØ for “Record Interiors” and Faith and Form awarded their chapel design in 2009. Leski’s project, “Dream House,” placed first in The Japan Architect’s Shinkenchiku Residential Design Competition in 1998 and was published in Modern House 2 by Claire Melhuish (Phaidon Press, 2004). In 1997 the Architectural League of New York selected Leski as one of five winners of its annual “Young Architects Competition.” In 2000, she was nominated for the Chrysler Design Awards. She has served as the “City Architect Design Decision Review Advisor” to the Mayor of Providence.
Over the last twenty-two years of teaching, She has closely witnessed projects pursued and developed by students in multiple departments at RISD. The primary focus of her teaching research is the creative process and its workings across a broad spectrum of disciplines. Currently, she is writing a book that focuses on the design mind.
She is a competitive rower who can be found most mornings before dawn on the Seekonk River and Narragansett Bay in Providence.
Bill Morrison’s films and videos have been shown in festivals, theaters, museums and concert halls worldwide, including Carnegie Hall, Lincoln Center, Museum of Modern Art, Royal Festival Hall, Sundance Film Festival, Tate Modern, and Walt Disney Concert Hall. He has created films to accompany live performances of music by some of the most important composers of our time, including John Adams, Gavin Bryars, Richard Einhorn, Bill Frisell, Michael Gordon, Henryk Gorecki, David Lang, Harry Partch, Steve Reich and Julia Wolfe. Morrison is a Guggenheim fellow and has received the Alpert Award for the Arts, an NEA Creativity Grant, a Creative Capital grant, and a fellowship from the Foundation for Contemporary Arts. His work with Ridge Theater has been recognized with two Bessie awards and an Obie Award. “Decasia”, his feature length collaboration with composer Michael Gordon, was described by J. Hoberman in the Village Voice as “the most widely acclaimed American avant-garde film of the fin-de- siècle.”
In 2010 Morrison will premiere new collaborations with Vijay Iyer at Eastern State Penitentiary, Dave Douglas at Stanford Lively Arts, Jóhann Jóhannsson at the Durham (UK) Cathedral, and Ben Neill and Mimi Goese at BAM Next Wave 2010.
Please visit http://billmorrisonfilm.com/
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Louise Pelletier is Director of the Environmental Design program at the School of Design, University of Quebec in Montreal (UQAM), where she has been teaching since 2001. She also teaches in the graduate program in Design of Events where she explores the relationship between the ephemeral and the permanent in architecture. An architect by training, she received her professional degree from Laval University in 1987 and her Master and Ph.D. in History and Theory of Architecture from McGill University in 2000. She was a partner in the designer firm Pelletier + Franco, Atelier d’architecture, and architectural consultant for various offices in Montreal. She has participated in several exhibitions in Montreal, Japan, Brazil and Norway as a curator and designer. She also taught at the School of Architecture at McGill University from 1993 to 2006 and was a visiting professor at the School of Architecture at the University of Montreal in 2001, and the School of Architecture at the University of Oslo in 1998.
She is the author of Architecture In Words; Theatre, Language and the Sensuous Space of Architecture published by Routledge in 2006. She also led a major research project on architecture and theatre that resulted in the publication of Theatrical Space as a Model for Architecture (McGill University Libraries, Digital Collections, 2003), co-authored with Alberto Pérez-Gómez. She also co-authored with him Architectural Representation and the Perspective Hinge (The MIT Press, 1997), Anamorphosis (McGill University Libraries, 1996), and was co- editor of the publication Architecture, Ethics and Technology (McGill & Queen's University Press, 1994). Her work has been published in collections of essays and journals such as JAE, Threshold, Perspecta, Cahiers de la recherche architecturale et urbaine, Oz Journal of the College of Architecture and Design, Scroope, and Chora: Intervals in the Philosophy of Architecture. Her current research is on architectural exhibitions and the material imagination of the event in architecture.
Chrisopher Rose MDesRCA
Chris is known both for his work in arts-science-design collaborations and for his leadership of one of the UK’s best known multidisciplinary design programs titled ‘Three Dimensional Design and Materials Practice”, with courses at the University of Brighton, England from 1993 – 2009. He is currently involved in a number of significant US, UK and European research initiatives including supervising practice-based PhD and Masters thesis work in art and design, including furniture and industrial design, graphic design and digital media, architecture and glass. He has recently been invited together with other arts and sciences collaborators to contribute an installation at the London-based Royal Society of Science 350th anniversary events on London’s South Bank in Summer 2010. Current collaborations continue with meteorology and data representation (Universities of Brighton and Reading, UK) visual perception (Institute of Brain Sciences, Brown University) and the Engineering, Social Justice and Peace network (ESJP). Chris is currently at Rhode Island School of Design, USA where he is senior critic in furniture design, and engagement coordinator for NSF funded research. The National Science Foundation presently funds a five year programme to support interdisciplinary teaching and research known as EPSCoR; the Experimental Programme for Competitive Research.
Chris studied Industrial Design Engineering at the Central School of Art, London, and his Masters degree at the Royal College of Art in Furniture Design. During his early furniture and interior consultancy design career he was a member of the UK Crafts Council Index of Selected Makers and a recipient of the Worshipful Company of Furniture Makers Guild award. For five years he and UK furniture artist Fred Baier shared a unique studio design consultancy, and Chris subsequently worked with Pearl Dot Furniture in London. Chris was invited to manage part of the independent Parnham Studio Furniture programme established by John Makepeace, and later the multidisciplinary arts and design programme at the University of Brighton, where he continued to broaden the academic connections between research, practice and the working links with materials science, art-science collaboration and international cross-border projects. These included one of the first European exchange MA programmes with eastern europe, sustainable transportation on the London-Paris ‘Avenue Verté’ and the first european design competition for composite materials with ESCM (European Society for Composite Materials). At Brighton, in addition to supervising practice-based PhD studies, Chris has been and developing creative teaching and learning grant-aided projects at the forefront of European developments focussing upon the internationalisation of the curriculum. These included ‘Design and Traditional Indian Manufacturing’, and ‘Chair Design and Biomechanics’ supported by the Centre for Excellence in Teaching and Learning in Design. Two publications reflecting this centre’s work with the Victoria and Albert Museum and the Royal College of Art, to which Chris contributed interviews and activities are; Museums and Design Education; Looking to Learn, Learning to See (Cook, Reynolds, Speight, Ashgate 2010) and Design Education; Learning, Teaching and Researching Through Design (P. Lyon, Gower 2011)
As an artist/educator and leader, Jessie Shefrin’s work has been predicated on a deep and ongoing interest in investigating interdependent, integrative and interactive relational systems as experienced through the lens of art and design and their intrinsic connection to contemporary culture.
In the late 1980’s Jessie became well known for her pioneering work in integrating electronic tools and approaches into the fine arts curricula at the School of Art and Design at Alfred University where she was as Professor of Print and Digital Media for 27 years. During her tenure there she co- founded The Institute for Electronic Arts and Chaired the Division of Expanded Media and the Electronic Integrated MFA Program.
In 2004 she became the Dean of Graduate Studies at The Rhode Island School of Design where she worked with faculty and graduate student populations from around the globe to build and challenge curricula in order to better support students in envisioning new and changing realties and to help them place themselves at the center of engagement by becoming active participants in solving the real problems of our time. In 2008 Jessie assumed the post of Provost at RISD and led the school in this capacity for three years. During this time she became more and more interested in ideas around leadership, action and change and how live systems can become the foundation for changing culture and rethinking education.
Jessie was the recipient of the prestigious Chancellor’s Award for Excellence in Teaching, conferred by the State of New York through the State University of New York in Albany, NY. And more recently received the ‘Rhode Island Women in Higher Education Outstanding Leadership Award’.
Her work has been exhibited in the European Media Festival, Osnabruck, Germany; The Brooklyn Museum of Art, Brooklyn, NY; P.S.1 Contemporary Art Center, Museum of Modern Art affiliate, Long Island City, NY; The Boston Cyberarts Festival, Boston, MA; The Beijing International New Media Exhibition, Beijing, China and most recently at BS1 Contemporary Art Center, Beijing. She has been an artist in residence and has lectured on her work throughout the United States and abroad at many institutions including: The School of the Art Institute of Chicago, Chicago, IL; The Wexner Center, Ohio University, Columbus, OH; Cranbrook Academy of Art, Bloomfield Hills, MI; The Banff Center, Banff, Canada; and The Central Academy of Fine Arts, Beijing, China. Her work is in the collections of The Philadelphia Museum of Art, The University of New Mexico, Albuquerque, New Mexico and the artists book collection of The Whitney Museum, The Museum of Modern Art, and The Brooklyn Museum.
Jessie is bicycling her way into the next iteration of this work.
Diana Mangaser studied architecture at the University of California, Berkeley and Rhode Island School of Design where she has taught in the departments of Architecture, Foundation Studies, and Art History. Her work at the Writing Center focused on creative writing and the graduate written thesis. She was editor of the RISD Grad Book 2012, a catalog of graduate thesis work. Her own thesis book, Elsewhere, a Sun is currently on exhibition at RISD’s Sol Koffler gallery. Diana loves to travel and has spent time abroad in India, Japan and Australia. Her practice encompasses travel, drawing, writing, and making towards projects that navigate different geographies, localities, and notions of self. She sees architecture as a transformative act. Her research explores: the reclamation ofthe body, materials, and land; mediation as a creative act of translating ideas across multiple mediums; and the dynamics of narrative, ritual and space-making.
Zubin Singh studied architecture at the University of Waterloo where he received his Bachelor of Environmental Science and Master's of Architecture. He has worked in several architecture firms in Toronto, Ottawa, Los Angeles and San Francisco, built low-cost housing in Costa Rica, worked in a botanical garden in Tofino, British Columbia, and spent a year in Italy, studying in Rome and Pescara. He has also taught design studio and courses in architectural history and cultural history at McGill University and the University of Waterloo.
Zubin is currently a Ph.D.candidate in the History and Theory of Architecture Program at McGill University, writing on the Masque projects of John Hejduk.
He lives in Montreal.
Anthropologist. Studied with Claude Levi-Strass and did field-works in: South-east Melanesia, Central Polynesia. Has been Professor in anthropology and aesthetics, Paris since 1972; Visiting Professor, Irwin Chanin School of Architecture, Cooper Union, New York, since 1989; co-founder (1981) of Res, Journal of Anthropology and Aesthetics, Harvard, Mass. Author of countless essays and books, published in France, Italy, Spain, Mexico, Rumania, Germany, and USA. Recent titles include: Argonautics, Pièges & Outils (Traps & Tools), 2007; Miroir du vestibule (Mirror of the vestibule) 2009; Géométrie sauvage (Savage Geometry) 2010. On Loan and Sacrifice, Too Late, Too Early.