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PROTOMORPHS EMERGENT ONTOLOGICAL FORMATIONS Danielle Willems (COORDINATOR) Hadi El Kebbi (TA) Danielle Willems (Coordinator): Co-Founder of Mæta Design (2008) – Visiting Professor at Pratt University, Brooklyn NY – Earned a MArch from Columbia University, GSAPP (2007)
Our world is increasingly being understood as an emergent outcome of complexity. Similarly, both analytical and generative tools for the definition of spatial and architectural complex systems have been established within our discipline. It is with these generative tools that this studio re-examines the typology of the museum, and proposes an extension to the Penn Museum. In our current social political paradigm shift, designers have an important role in questioning the constructed historical narratives and spatial practices of institutions and communities that we engage with. This role translates into crafted speculative architectural spaces and forms that might facilitate a corresponding social change. The studio researched the cultural values and historical significance of specific archaeological and anthropological artifacts through the lens of Decolonization as a spatial and institutional practice. The studio speculated on the return and repatriation of specific artifacts and many student projects included alternative ways of experiencing those artifacts with holographic projection, virtual reality, mixed realities and other technologies of representation. As spatial and institutional practices shift, it has created new opportunities for students to develop alternative types of public spaces,
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HERMETIC EVOCATION Joao Freitas
Museums, as we are accustomed to seeing, accumulate an ideological history for a moment of pause in contemplation upon the human empire of things. Rather than a space of living cultures, collections are at once prospective and retrospective fortifications of power. Hermetic Evocation integrates spaces with the displacement of typically undisclosed principles that transcends the fallacy of dichotomy. Translucent and opaque materials challenge the depth perception while textures define the progression of time. A centralized flow of spaces that feeds the material matters is also engaged by controlled light along the confines. Thus, an examination of the unbounded awareness that justifies the connection between old and new architecture. The composition of overarching vessels unveils the fifth facade of the architecture and form a summary of its surroundings and edges. These architectural redundancies provide the rupture in the apprehension of the real. Seeing the displacment of things and forms is nothing but a secondary experience; the epiphany that occurs in the depth of the space is an event of consciousness realizing underestimated consequences. An inherited narrative of an eternal assumption that prevents the opportunity of diversity manifest.
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1 – Hermetic Evocation by Joao Freitas, Render 2 – Hermetic Evocation by Joao Freitas, Render
Danielle Willems
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KISSING CORRELATION Yasmin Goulding
Ideas of the kiss are articulated on the interior through creasing and movement. But also through contrasting the interior and exterior geometries by creating a softened outer membrane. This wraps the links to soften the creases to a more fluid form. Allowing moments of slippage that engage the links with circulation space that exists between the fluid form and the linked form. The links now engage in the motion of the kiss, slipping between each other and softening the crease to create larger, more obscure links. These ideas of the kiss are articulated on the interior through creasing and movement. Sylvia Lavin’s book “Kissing Architecture” articulates a new relationship between the interior and exterior boundaries. “Kissing confounds the division between two bodies, temporarily creating new definitions of threshold that operate through suction and slippage rather than delimitation and boundary” (Lavin 36). The drip that emerges from the links dribbles down the form obscuring the identity of what a link is. Cascading across the facade it informs apertures and begins to initiate walkable space within the site. The contrast of the hard linkage against the reflective drippage, renders the geometry fluid, thus interrupting how faces and facades communicate with each other.
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building spaces, new hybrid programs of Decolonization, community outreach spaces, Decolonial and Indigenous places of research within the Penn Museum. The studio methodology consists of three feedback phases: the generative diagram, prototyping/iterative modeling and formal/spatial animations. The first exercise starts with the generative diagram phase, which operates as the
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abstract machine of assembly. The prototyping and iterative modeling phase is a method of rapid and recursive generation of form and materials experiments. Thus exploring the limits of the generative diagram in order to reimagine the realities of fabrication. The feedback loop between the digital and the physical is also tested in this prototyping phase. The final phase experiments with new mediums of digital representation. Animation, VR, and AR allow students to experience, test and develop possible scenarios of program and the transformation of architectural space and form through time. This semester the students interrogated new mediums of contingency through hybrid digital and material experimentation and behavioral systems analysis, looking deeper into the intelligence and complexities that surround our everyday experience. Hybrid Ontological Formations is an investigation into multi-scalar definition of computational constructs. The focus of this studio is to develop innovative fabrication techniques using composite materials, in order to rethinking and reexamines the typology of the museum.
ORO Editions 5 – Danielle Willems in Studio Review
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3 – Kissing Correlation by Yasmin Goulding, Elevation 4 – Kissing Correlation by Yasmin Goulding, Render
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SPECULAR RECLAMATION Emily Shaw Perception of an object is subjective, dictated by the entity in power. Throughout history, the ability to guide interactions with the works of marginalized communities has been removed from the creators by force. Our understanding of these works is then filtered through a lens of subjugation, removing or altering aspects of the original context that gives significant meaning. The effects of this power imbalance are seen both in how these objects are displayed and in the structures in which they are housed.
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Specular Reclamation responds to the Penn Museum’s role in this object-viewer relationship through the curation of distinct viewing experiences. Views through the facade refract, obscure, or reflect details which have previously been overlooked or misunderstood. At every angle, some level of contextual clarity is removed, causing moments of closer examination, where what is seen is not what exists. These viewing conditions work with the placement of the programs to push the viewer to interrogate how they see the museum’s displays, the surrounding environment, and themselves as patrons of the museum.
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6 – Specular Reclamation by Emily Shaw, Perspective 7 – Specular Reclamation by Emily Shaw, Plan
8 – Specular Reclamation by Emily Shaw, Elevation 9 – Specular Reclamation by Emily Shaw, Render
The museum as we know it must change. What was once an institution of empire, housing plundered objects and riches, now must serve to celebrate and collaborate with those it robbed of their history. The process of repatriation is slow, but it is a process that can be undertaken and reflected in the new architecture of the Penn Museum extension.
point. At the same time, the museums is a temporary holding space for artifacts. Though it is full now, the spaces are ever changing, and reprogram when the goal of repatriation is met. Archives shrink to leave more space for education, or a rotating gallery. Formally, this is represented as a section of infinity, a period of time that has a beginning and end but alludes to something beyond its boundaries. Wrapping this structure, a reflection and refraction of color, swelling, and contracting to fill the gaps of what was once there.
Danielle Willems
FOLDING INFINITY Michael Willhoit
The Penn Museum archive, formerly tucked away from the public eye in the bowels of the Museum, becomes a focal
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ORO Editions 12 – Folding Infinity by Michael Willhoit, Plan
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10 – Folding Infinity by Michael Willhoit, Exterior Render 11 – Folding Infinity by Michael Willhoit, Axon
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FLOURISHED IMPRESSIONS Kyle Troyer In an age of the Picturesque, John Ruskin employed theories of ornamentation that transformed the vapidness of Modernism into an art of fragility. While focusing on the honesty of the craftsman, his theory of ornamentation began with massing and ended with veiling, transitioning between the natural textures of the mass and artificial ornament. Unlike his sequential layering of mass to veil, this project challenges the agencies of ornament and texture and their relationship to volume and space; something that Ruskin’s watercolor sketches explored perhaps unknowingly.
The archive finds itself embedded in embellished surfaces of imperfection and variation. This language not only mirrors the complex aura of the artifacts within its walls but extracts it to begin building a dialogue for architecture and its tectonics. Ornament and texture pervade the project, vividly contrasting the museum’s white, vast walls. The filigree of the embellishment and ornamental geometry is no longer subordinated by the spaces in which encapsulate it; rather, it begins to form space itself while allowing natural light to penetrate the interior. By revisiting John Ruskin’s theories of vital beauty, the archive extension begins to transform the ways in which a museum can operate and house artifacts of complex histories.
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8 – Flourished Impressions by Kyle Troyer, Elevation 9 – Flourished Impressions by Kyle Troyer, Choisy
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10 – Flourished Impressions by Kyle Troyer, Axon and Ground 11 – Flourished Impressions by Kyle Troyer, Exterior Render
“Ideas, cultures, and histories cannot seriously be understood or studied without their force, or more precisely their configurations of power, also being studied.” — Edward Said My project attempts to physically construct a power system, resembling the system behind the Penn museum as a cultural institution. This system dominates the museum’s narratives of their collections, its presentation of cultures, and, thus, our perceptions of the museum exhibits. By physically constructing this power structure, I aim to remind people of the omnipresence of power relations and the impossibility of fully dissolving the hegemonic saturation of power dynamics albeit any attempt at a “decolonizing practice.” The power structure in my design is actualized through the highlighting of a hierarchical relation between the observer and the observed. The museum wing and the courtyard carved underground together form a giant “amphitheater,”
while an overpass is built on top of the museum to form a peripheral ring for the audience. As the overpass invites people to look down, the amphitheater-like museum wing maximizes the exposure of the different scenes, inviting unhindered visions to reach the core of the spectacle. Thus, every participant in this space becomes a performer and a director of a scene subjugated to the visions of the potential observers standing on the overpass.
Daniel Markiewicz
DISPERSIVE CENTRALIZATION Echo Ma
To ensure a dynamic spectacle across the stage, I designed several modules, including jungle gyms, swings, pet shelters, hammocks, climbing ropes, etc. to foster interactions throughout the space. When bodies encounter a playful presence, a drama unfolds — an intentional but unpredictable drama. The flexibility of the spatial activities aligns with the flexibility of the building form, which is transformable. The grid scaffolding that upholds the museum wing is the only permanent structure, since the building’s body and “play” structures can change form to adapt to various activities and events. With the grid as the underlying logic that defines the space, every enclosed, semi-enclosed, and open space forms a merely transient presence that is interchangeable with its surroundings.
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ORO Editions 14 – Dispersive Centralization by Echo Ma, Axon 15 – Dispersive Centralization by Echo Ma, Exterior Render
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12 – Dispersive Centralization by Echo Ma, Study 13 – Dispersive Centralization by Echo Ma, Interior Render
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External Allusion by Monte Reed Critic: Nate Hume [p.27]
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3 – Andrew Lucia in Virtual Studio Review 4 – Ambient Anomalies by Francesca Dong, Render
Andrew Lucia
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Project 3: Between Geometry and Image
Bricolage: something constructed or created from a diverse range of available things. For this exercise you are to derive a taxonomy of architectural primitives that begin to synthesize your emerging formal/conceptual agendas and texture swatches. This should be approached as an open-ended process, one in which you are to develop the rules and constraints of play through informed decisions and evaluation at each step of this non-linear process.
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AMBIENT ANOMALIES Francesca Dong
Ambient Anomalies explores the mixed language that occurs from architectural bifurcation and visual amalgamations. This market proposal galvanizes the transportation hub into a vibrant, all encompassing community space that highlights the goods of aspiring chefs and small business owners local to Philadelphia. The mobile market coils around the station massings, serving as a tangential envoy to visitors in an increasingly modernizing digital age. The luminescent signage becomes an experience solely in itself, inviting pedestrians to define a new type of hyper-mobile architecture on the 52nd Street Corridor. The transportation hub serves the community by providing a platform for local chefs to showcase their food, eliminating food waste within the city, and enhancing the station’s existing circulation as people traverse through the site. Ambient Anomalies embraces the fast-paced momentum of the transportation hub while creating desirable spaces for people to explore West Philadelphia’s immensely diverse food scene.
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5 – Ambient Anomalies by Francesca Dong, Axon
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Arachnida by Christine Eichhorn Critic: Gisela Baurmann [p.141]
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Chromium Fray by Ziai Huang Critic: Vanessa Keith [p.78]
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IN PUN Paul McCoy and Matthew Kohman Narrative In 2060, the decentralization of the waste process is implemented. A waste collection/process center is located every ten-block within the city. Each type of waste sorted at the household has its respective process center within the neighborhood. Certain building design integrated the waste process system within the building, other processes it at the rooftop. Organic waste is a big part of the waste thrown away each day. Compostable trash holds a lot of energy and is very useful in fertilizing soil. The city approaches the compostable trash at the same local scale as any other waste. Organic waste is transported to the neighboring community garden or rooftop garden. This system rethinks the unification of infrastructure in our daily life. Infrastructure takes on the aesthetic of architecture. Waste treatment facilities became part of the city where they regenerate the waste into another form of “life.”
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The Growing Building Organic waste is about one-third of the total garbage thrown away. Rather than waiting for it to decompose over decades in the landfill, the compostable waste is much more useful as fertilized soil promoting growth. The project envisions a new way of dealing with compostable waste. A self-building architecture utilizing build forms with robotic arms attached at the bottom level. The building can construct soil structures layer by layer that provides suitable surfaces for growing and self-organizing using a binding-agent with the 3D printing in the deposition of soil from the in-vessel composting. The sequence of photos visualized the building printing and growing over a decade of construction. The plans and elevations show the total of three jump forms constructing the building. Each jump form is processing the neighborhood compostable trash and they can be at various stages of construction where the building can configure and change base on its need as it continues to “grow.”
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6 – In Pun by Paul McCoy and Matthew Kohman, Interior Render
7 – In Pun by Paul McCoy and Matthew Kohman, Section 8 – In Pun by Paul McCoy and Matthew Kohman, Plan
all these elements would move along major trails and create landscape hybrids.
This is one of the first people to fully experience the city through the wearable back in 2022. Valerie would be part of a project prototyping and creating content that promoted widespread AR technologies in our cities to enhance the quality of life. After much backlash, the senate hearings came to their conclusions and major policies were put in place to optimize the city for this new condition.
The elements would come together into new conditions that augment the landscape, mimic it, emphasize it or overpower it with episodic structures along major trails that hikers, animals and ecologies can interact with. We can now experience our old cities as curated ruins in the landscapes that surround our highways.
In 2020, multiple multi-national tech firms have invested in wearable technologies to bridge the gap between the physical world and a digital one that was slowly coming to be. Well, for this technology to work, it must understand the space around it to fully create a digital /physical interaction. Augmented reality maps the physical world around it and projects its digital information.
Another instance of their use can be found inside the new urban centers of our major cities. The London monument was erected in 2055, it sits in Trafalgar square and houses a carefully and densely curated inner facade of all the collected elements. The result is a hyper dense and texturized interior that we could not possibly experience in the new condition.
These elements were being stored in large empty lots throughout the city, idly waiting to be reused. Empty fields, warehouses, abandoned piers and so forth. most of these elements still today are waiting, a testament to the sheer abundance that exists. One instance happened in the blackhole zones, with the rise of 6G and now 7G, the remote locations have close to no network coverage at all and can not use the wearable technology to project, the idea is that
The common thread here is a new way of presenting history unlike it has existed before. it attempts to tell a more inclusive version of history, one that is not absolute, one that is broader, one that is collapsed and that collapses unto itself. preserving older structures as they have existed has become a nuisance to our highly dense and fluctuating urban centers, instead these old structures live on within these new structures in fragments and have found new life and purpose towards an ever-changing future.
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Kutan Ayata
DIGIMORPHOSIS Sami Samawi and Hosung Jung
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9 – Digimorphosis by Sami Samawi and Hosung Jung, Interior Render 10 – Digimorphosis by Sami Samawi and Hosung Jung, Exterior Render 1
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Arachnida by Christine Eichhorn Critic: Gisela Baurmann [p.141]
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Matters of Disposal by Paul McCoy & Matthew Kohman Critic: Ferda Kolatan [p.212]
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F[OLLIE] Calli Katzelnick and Glenn Godfrey Focusing on the neighborhoods of Cedar Park and Spruce Hill, F[ollie] aims to provide spaces of informal play to permanent, local families that are currently underserved, particularly in Cedar Park. The project addresses the current ‘play desert’ through the creation of a network of roaming follies that provide unprescribed spaces of play. The three nodes located at Clark Park, Penn Alexander School, and
the Community Gardens act as hubs to fabricate and restore follies, with the help of local community members and resident artists. The project focuses on Clark Park as the primary hub location, blending the two neighborhoods through varying ideas of play. The project aims to overlap programs of skate, maker, and market in order to challenge conventional ideas of play and engage the local communities through a pedagogical network.
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6 – F[ollie] by Calli Katzelnick and Glenn Godfrey, Elevation 7 – F[ollie] by Calli Katzelnick and Glenn Godfrey, Entrance Render
8 – F[ollie] by Calli Katzelnick and Glenn Godfrey, Interior Render 9 – F[ollie] by Calli Katzelnick and Glenn Godfrey, Axon
In Mill Creek, the buried floodplain has caused land problems in the west Philadelphia area. Over time, houses on these filled up lands deteriorate fast and eventually collapse into vacant lots. There’s a high correlation between low-income households and vacant lots, making it psychologically challenging to see neighboring properties falling apart. In the past few years, local communities are collaborating with researchers from nearby universities to rebuild the neighborhood, introducing community farms to the vacant
lots. Our proposal is to build on this developed idea and expand the use of vacant lots to serve more people within the neighborhood. Our network of play seeks to introduce a system that brings the community together in various aspects. Introducing programs that not only brings in outside funds to improve the community’s economic conditions, but also having community kitchens with childcare centers that can offset the burden of domestic labor, especially on the women population. The expanded kinship would start to raise community awareness, and hopefully revitalize the community in a way that still respects its local culture.
Bryony Roberts
SERENE INTERLUDE Yi-Hsuan Wu and Saina Xiang
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ORO Editions 12 – Serene Interlude by Yi-Hsuan Wu and Saina Xiang, Section 13 – Serene Interlude by Yi-Hsuan Wu and Saina Xiang, Vignette
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FARM UP Xiaohan Wang and Zheng Gong Our program is a cultural complex with the theme of vertical farm, including farming, production, study and entertainment. One of the most important purposes is to create an integrated farming space with advanced production and hydraulic systems in the urban environment, which is different to traditional agriculture mode. The gasometer in the project has a long history in the local area. It has been standing on General Paz since the 1940s. It not only serves as a gas storage container, the huge volume also makes it one of the local landmarks. After decades of abandonment, we decided to transform it into a cultural complex so that the citizens can not only look up to it from afar, but also enter and experience the new landmark personally. The most important concept of our project is to introduce the new technique of 3D weaving into the architecture
design, not only in the form language of the section but also in the relationship between weaving and structure, where we benefit a lot from the previous study. From the later loom and yarn study, we benefit from its two most interesting features. The first is the potential of the weaving technique itself, including the change of density through the arrangement of the yarns and the knot structure to help stabilize the boundary of the weaving. With the help of the Houdini model, we are able to realize these features on our digital section model. The other important aspect is the space potential of the weaving structure in three dimensional space, especially when combined with architecture structure. The richness of the architectural space from the section design stage gives the weaving structure great flexibility. With the combination of 3D weaving technique and new farming space, we offer the citizens a new farming life style without the trouble of driving hours to the suburb. Our project is not only a vertical farm but an answer to new city life.
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6 – Farm Up by Xiaohan Wang and Zheng Gong, Exterior Render 7 – Farm Up by Xiaohan Wang and Zheng Gong, Axon
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Series Of Test With Digital Weaving Model
8 – Farm Up by Xiaohan Wang and Zheng Gong, Model
Our architecture explores and highlights the softness in weaving and the materials used to weave, as well as the strong new aesthetic it creates when applied to architecture. On the basis of warp and weft, following the rule of weaving, we weave threads of different densities, materials, sizes, textures and colors together and make them tectonics. The weaving become rich facades, creating interior volumes, and community farms in urban landscape. Rhe rhythm we found in previous studies is emphasized when the pattern is transformed into architectural spaces. In our project, weaving creates the volumes for vertical farming. The soft cloud-like pockets and drooping threads challenge the edges of the tough industrial building, contrasting with the repetitive office spaces. The crisscross weaving structure and thinness also challenge traditional hydroponics’ mechanical and industrial forms. Plants are tightly integrated with the weaving, allowing the hydroponic to change from regular rows of shelves to light patches of green attached to soft paper and loom weaving, softly tucked into the gasometer’s industrial mega space. At the
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same time, the weaving landscape also provides people with large shared spaces (the community farm and small gardens). The farm spaces that is originally for production now become public, providing chance for people to shuttle from urban landscapes to architectural spaces. People can farm and study related knowledge together, that’s where we start to weave in society thereby promoting communication. In addition, the re-innovation of industrial heritage is also reflected in the absorption and circulation system of the water pipes inside the building. It responds to the external climate conditions and provides green and efficient water for hydroponic plants. The weaving hydroponic plants are closely connected with the overall circulatory like water pipe system. The closer you are to the water pipe, the more hydroponic plants will grow. This circulation system of water can be traced through our section.
Florencia Pita
SOFT THREADS Xiwei Yu and Xinyi Zhao
In conclusion, our project started with the softness of weaving and explored how this unique materiality can be interpreted into space and facade within the building. This new aesthetic not only brings novel experiences, but also brings new opportunities to Buenos Aires’s urban space along the continuity of inner and outer spaces.
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ORO Editions 11 – Soft Threads by Xiwei Yu and Xinyi Zhao, Axon
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9 – Soft Threads by Xiwei Yu and Xinyi Zhao, Elevation 10 – Soft Threads by Xiwei Yu and Xinyi Zhao, Exterior Render
THESIS
SPECTRAL MINUTIAE — THE MAKING OF A TINY TERRAPOLIS IN THE PARK Julianna Cano ADVISOR: Ferda Kolatan WRITING ADVISOR: Joan Ockman PROJECT CONSULTANT: Roger Rothman, Bucknell This thesis aims to conceptualize a new paradigm for urban parks that no longer reinforce anthropocentric ideologies and idealistic visions of nature, but instead call attention to the complexities of the environment and the current role we play within it. New York City’s Central Park is the case study to test this model, as its widespread success as a public amenity and modern marvel make its spatial boundaries between nonhuman and human activity all the more complex and nuanced. This thesis proposes a new iteration of Central Park through the implementation of a series of tiny architectures, or Spectral Follies. These follies are strategically placed along cultural and programmatic boundaries; calling attention to the forgotten ghosts embedded within the landscape, while still operating as autonomous objects. This work argues that before we can begin to reconceptualize public spaces, we must re-engage with the seemingly imaginative and irrational. Salvador Dali’s writings and paintings from the 1930s were deconstructed through a series of speculative exercises and recontextualized within contem-
porary object-oriented thought models. Salvador Dali’s early theories and artistic techniques like his paranoia critical method and the double image distort the distinction between foreground and background, in turn dismantling existing categorizations and capturing tiny objects with the upmost objectivity. According to Dali, only a paranoiac mind can see an object’s true spectrality; a beauty only visible when an object is detached from its prior associations or functional aptitude. This ideology serves as a retroactive guide for conceptualizing an idiosyncratic architecture that fosters new realities and dissolves outmoded societal biases. The Spectral Follies of Central Park embody the same spectral beauty; their presence is both seductive and inexplicable, similar to the illusion of the double image in many of Dali’s paintings. From afar their beauty is enchanting and at moments reminiscent of a classical past, yet upon closer look their strange and grotesque qualities start to become apparent. They exist along the threshold between our contrived perception of reality and the more sobering truth. While encountering a Spectral Folly, the passerby experiences a sense of delirium, as the ghostly twin of “nature” (ecological reality) becomes visible, no longer hidden to the anthropocentric eye, bringing to the foreground our complex relationship with nature.
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1 – Spectral Minutiae by Julianna Cano, Axon 2 – Spectral Minutiae by Julianna Cano, Exterior Perspective
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ADVISOR: Daniel Barber and Eduardo Rega Calvo This thesis project embraces the statement that favelas are a type of urbanism that does not solely exist as a strategy of survival, but as a form of resistance. Therefore, the knowledge and organization practices that exist in favelas are explored as academic research and employed as the building blocks for this design process. This is accomplished through the in-depth analysis of the spatial agency of three typological case studies: a museum (Museu da Maré), public
plaza (Pedra do Sal), and a cultural center (Insituto Favela da Paz). For this design thesis, I use the tools of architecture practice and theory to explore an imaginative project of transition design. This is done through the development of a design process that utilizes spatial, material, and programmatic lessons from the analysis of the case studies and personal involvement in Catalytic Communities’ Sustainable Favela Network to design a network of transformation of Rio’s Unidade de Polícia Pacificadora (UPP) centers into a network of community spaces that embrace collectivity and mutual aid. This process and spaces are speculated to ultimately support the development of favelas as autonomous communities. The project speculates this through the design of the Formiga Pilot Project, both as a physical and political manifestation.
Annette Fierro
DESIGNS FOR AUTONOMY: A CASE STUDY OF RIO DE JANEIRO’S FAVELAS AS SPECULATIVE EXPERIMENTS FOR EQUITABLE COMMUNITIES Natalia Revelo La Rotta
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CREDITS
CREDITS & ACKNOWLEDGEMENTS Publishers of Architecture, Art, and Design Gordon Goff: Publisher www.oroeditions.com info@oroeditions.com Published by ORO Editions Copyright ©Stuart Weitzman School of Design, University of Pennsylvania, 2021 Text and Images ©Stuart Weitzman School of Design, University of Pennsylvania, 2021 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying of microfilming, recording, or otherwise (except that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) without written permission from the publisher.
You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer.
Design: WSDIA | WeShouldDoItAll (wsdia.com) Typefaces: Rand designed by François Rappo – Optimo Type Foundry Editorial Team: Winka Dubbeldam, Miller Professor and Chair Scott Loeffler, Director of Administration Ivy Gray-Klein, Events and Publications Coordinator Copy Editor: Ivy Gray-Klein, Scott Loeffler, Sarah Lam ORO Project Coordinator: Kirby Anderson 10 9 8 7 6 5 4 3 2 1 First Edition Library of Congress data available upon request. World Rights: Available ISBN: 978-1-943532-31-5 Color Separations and Printing: ORO Group Ltd. Printed in China. International Distribution: www.oroeditions.com/distribution ORO Editions makes a continuous effort to minimize the overall carbon footprint of its publications. As part of this goal, ORO Editions, in association with Global ReLeaf, arranges to plant trees to replace those used in the manufacturing of the paper produced for its books. Global ReLeaf is an international campaign run by American Forests, one of the world’s oldest nonprofit conservation organizations. Global ReLeaf is American Forests’ education and action program that helps individuals, organizations, agencies, and corporations improve the local and global environment by planting and caring for trees.
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