2020 Promotion to Professor :: Johannes M. P. Knoops :: FIT/SUNY by Johannes Knoops

A childhood fascination for objects matured into a vocation while designing exhibitions at the Metropolitan Museum of Art. Inspired by professors such as Raimund Abraham Johannes earned a Baccalaureate of Architecture with honors from Pratt Institute, while also meriting the American Institute for Architects’ “School Gold Medal,” and Pratt’s “Certificate for Outstanding Excellence in Design.” Already winning international design competitions prior to graduation, he was featured in the Architectural League of New York’s “Young Architects Forum.” After several years in the profession Johannes returned to academia to earn a “Post-professional Master of Architecture” at Yale where he studied under Dean Fred Koetter, a co-author of the book “Collage City,” architect Eric Owen Moss, and artist Frank Stella. From intimate residential interiors to large-scale institutional and critical urban projects his resume includes experience in the offices of Gaetano Pesce, KPF Architects, KPF Interior Architects and Jeff Vandeberg Architect. Though a native to New York City, he’s been displaced several times both in body and mind, thanks to a Van Alen Traveling Fellowship, a Dinkeloo Traveling Fellowship, and a coveted Rome Prize Fellowship to the American Academy... all rare and prestigious opportunities to explore the internal while examining the exotic. Rooted in issues of context, his intentions are global. Noted for his provocation “History: an argument against preservation,” his more personal projects have been supported by a variety of institutions including the Graham Foundation, the Emily Harvey Foundation, the Cini Foundation and the MacDowell Art Colony. Over the years Johannes garnered an unprecedented three “Unbuilt Architecture Awards,” from the Boston Society of Architects; while his most recent project, “Oculi,” was recently exhibited at the Palazzo Morosini-Garterberg in Venice. His ponderings have had audiences at the 2016 Venice Biennale, the Storefront for Art and Architecture, the Clocktower Gallery, and the Urban Center Galleries. Widely published, his work can be found in the permanent collection of the Canadian Center for Architecture. After three solid decades as a designer, educator and innovator his notable career has recently been celebrated with a “SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities.” He was cited as a “wellspring of information on design theory, historical precedent and culture.” Back in 2012 he represented FIT at a National Endowment for Humanities Summer Seminar at the American Academy in Rome which gathered 19 university professors across various disciplines, to explore and examine “Communication, Empire and the City of Rome.” More recently he was honored with a much sought-after Fellowship from the Bogliasco Foundation in Genoa. The foundation provides an opportunity to engage with other distinguished academics from across the globe and admits only those “who have demonstrated significant achievement in their disciplines, commensurate with their age and experience.”

2020

Johannes Marinus Petrus Knoops, application for promotion to Professor

Promotion Book of Evidence to Full Professor documenting those activities since my last promotion to associate professor 2020

Johannes Marinus Petrus Knoops

III. Evidence of Professional Accomplishments fellowships of independent research 2019

Bogliasco Fellow, Bogliasco Foundation, Genoa, Italy (1 month)

Bogliasco Fellow

Bogliasco Foundation, Genova, Italy The Bogliasco Foundation supports the Arts and Humanities by providing residential Fellowships at its study center in Italyâ&#x20AC;&#x2122;s most vibrant, historic crossroads, where gifted artists and scholars of all cultures come together to connect, create and disseminate significant new wor For Bogliasco Fellows, the time and space to create in complete freedom, com ined with the thought provo ing compan of varied colleagues in an unforgettable setting, results in astounding productivity, novel approaches and often une pected colla orations

2019

Bogliasco Fellow, Bogliasco Foundation, Genova, Italy

2019

Bogliasco Fellow, Bogliasco Foundation, Genova, Italy

III. Evidence of Professional Accomplishments residencies of independent research 2019 2019 2019 2019 2018 2018 2017 2016

Emily Harvey Foundation, Venice, Italy (7.11—7.25.19) Branca Center at the Cini Foundation, Isola San Giorgio Maggiore, Venice, Italy (7.1—7.11.19) American Academy in Rome, visiting scholar, Rome, Italy (5.27—7.1.19) Branca Center at the Cini Foundation, Isola San Giorgio Maggiore, Venice, Italy (2.16—3.10.19) American Academy in Rome, visiting scholar, Rome, Italy (10.29—11.19.18) Emily Harvey Foundation, Venice, Italy (6.1—7.11.18) Branca Center at the Cini Foundation, Isola San Giorgio Maggiore, Venice, Italy (6.6—7.4.17) Emily Harvey Foundation, Venice, Italy (5.20—7.5.16)

Residency with the Emily Harvey Foundation Venice, Italy

Me with fellow residents

Evidence of residency: 2019

Emily Harvey Foundation, Venice, Italy

Facade work Upon learning the Soprintendenza approved the location as the true location of the Aldine Press, the owner of the building, Dr. Enzo Molin, hired an architect to restore the facade.

2019

Emily Harvey Foundation, Venice, Italy

PROVE SCRITTE, THE EVIDENCE All known descriptions of the Aldine Press’s first location in San Polo From H. George Fletcher III’s New Aldine Studies, San Francisco 1988 10 Luglio 2019

avendo recapito presso S. Agostino Alessandro Sarti, Ferrara, 1498 March 14

Venetiis, in casa de M. Aldo, apresso santo Agostino dove se stampa Marcus Musurus at Carpi to John Gregoropoulos, (1500) March 14

Venetiis. In casa de messer Aldo, appresso sant’Agostino Marcus Musurus at Carpi to John Gregoropoulos, (1500) April 4

A la stampa de miser Aldo Romano, sul campo de Santo Agustino, accante el Pestore. In Venesia Zacharias Callierges to John Gregoropoulos, (1500) August 22

Venetiis in casa de meesser Aldo, apresso sancto Augustino dove se stampa Marcus Musurus at Carpi to John Gregoropoulos, (1500) September 20

Messire aldo Imprimeur demourant a Venise davant St. Augustin, ou les bailler en la botique de livres a lenseigne de la tour, pres de pont Rialto Jean Chapelain at Buda to Aldus, (1502) December 19

Venetias a sancto Agostino Scipione Forteguerri at Rome to Aldus, 1504 December 11

Santo Agostino Scipione Forteguerri at Rome to Aldus, 1505 January 13

A Santo Agostino Scipione Forteguerri at Rome to Aldus, 1505 December 19

MAI: “Rio della Pergola” “Palazzo Soranzo-Pisani”

PROVE SCRITTE, THE HISTORIANS: Senza dubbio 10 Luglio 2019

Emmanuele Antonio Cigogna – Historian Giuseppe Tassini – Historian Carlo Castellani – Historian Horatio F. Brown – Historian Sir John Julius Norwich – Historian Ester Pastorello – Historian H. George Fletcher III – Historian, former Director for Special Collections at the New York Public Library, and guest curator at the Grolier Club and the Morgan Library Elena Bassi – Historian Franco Filippi – Libreria Editrice Filippi also in support Sandro Berra – Direttore di Tipoteca Italiana

Il ch. sig abate don Vincenzo Zenier rettore della chiesa di s. Tommaso Apostolo di Venezia, il quale, come abbiam detto altra volta, va dissotterando la memoria de' più illustri nostri cittadini, onorandola di analoghe inscrizioni, ha fatto porre nel maggio 1828 la presente lapide poco lungi dal campo di s. Agostino su una vecchia casa segnata col num. 2013 . Che Aldo Manuzio il Vecchio avesse la sua stamperia in questa contrada, non v’ è dubbio; che poi questa propriamente al n 2013 sia la casa ove l’aveva, come sembra che indichino le parole HOC LOCI, io non posso affermarlo che cou autorità stessa di chi fece porre l’epigrafe, il quale avrà certissimi documenti per tenere che quella, e non altra, in questa contrada è la casa dove la Manvccia Genie, o a più propriamente parlare aldo il Vecchio imprimeva . Che se poi l'HOC LOCI vuol significare in questo contorno, allora non v' è più dubbio sulla verità della cosa. Del resto vedremo nei seguenti cenni biografici sugli Aldi, che Aldo Manuccio il vecchio riceveva lettere da Marco Musuro colla direzione seguente: appresso sancto Augustin dove se stampa. Anche Apostolo Zeno in una lettera al Fontanini in data 26 marzo 1735 confermava che Aldo vecchio stava di casa a s. Agostino (Lett. vol. V. 100). Emmanuele Antonio Cigogna, Delle inscrizioni veneziane raccolte ed illustrate, Venezia 1830

Qui pero noteremo col Cicogna, sapersi di certo che Aldo Manuzio il vecchio teneva la propria stamperia a S. Agostino Giuseppe Tassini, Curiosità Veneziane, Vol. 1. 6., Venezia 1863 Ecco dunque provato che essa Stamperia non esisteva ove scorgesi l’epigrafe, ma bensì in Campo di S. Agostino Giuseppe Tassini, Curiosità Veneziane, Venezia 1887 ...e, in generale, per tutti gli altri indirizzi è indubitato che la casa stave in angolo tra il campo Sant’ Agostino e la via che è tuttora detta “Calle del Pistore;” a quivi appunto tuttavia sorge una casa, segnata col numero 2343, già 2038, che conserva, massime nella porta, il carattere architettonica del tempo, e che tuttavia ha dirimpetto una bottega di pistore o fornaio. E questa senza dubbio è la casa che Aldo abitò, la casa dov’ egli esercitò la tipografia insino ai primi anni del secolo XVI, e che

fu per alcun tempo la sede dell’Accademia fondata da lui. Carlo Castellani, La stampa in Venezia dalla sua origine alla morte di Aldo Manuzio senior, Venezia 1889 …at this time he was probably living at St. Agostino, not in the house which at present bears the tablet recording his residence there, but in one of the small houses in the Calle del Pistor, which opens on to the Campo St. Agostino Horatio F. Brown, The Venetian Printing Press, London & New York 1891 …there is convincing evidence it is on the campo itself Sir John Julius Norwich, A History of Venice, London 1982 ... la struttura in piedi all’angolo del Campo di San Agostin, la Calle del Pistor e la Calle della Chiesa, con numero civico 2343 Ester Pastorello, Di Aldo Pio Manuzio: Testimonianze e Documenti, Firenze 1965

The Thermae of Aldus the Roman? The house at c.n. 2343 H. George Fletcher III, New Aldine Studies, San Francisco 1988

Nella Calle della Chiesa aveva tenuto per anni la sua stamperia Aldo Manuzio il vecchio. Elena Bassi, La Chiesa di Sant’Agosino di Venezia, in Atti dell'Istituto Veneto di Scienze, Lettere ed Arti. Classe di scienze morali, lettere ed arti, Tomo CLI, Venice 1993

It was located on the square at Sant’ Agostino, at the corner of the Calle del Pistor. If this was the structure at San Polo 2343, it still may be viewed H. George Fletcher III, In praise of Aldus Manutius, New York 1995

La primitive sede della sua tipografia era localizzata nelle vicinanze di campo Sant’Agostin in calle del Pistor n. 2343; Franco Filippi, L’arte della Stampa, http://www.venicethefuture.com/schede/it/323?aliusid=323

Residency with the Cini Foundation at the Branca Center Isola San Giorgio, Venice, Italy

In Venice, on the Island of San Giorgio Maggiore, there is a new residential resource for humanities studies where young researchers and expert scholars can stay while working in the Fondazione Giorgio Cini libraries. They include university students, professors, writers and artists willing to pursue some research work on the Fondazione collections, bequests and archives. The International Center for the Study of Italian Culture is named after Vittore Branca â&#x20AC;&#x201C; a world-renowned Italianist who was Secretary General of the Fondazione Giorgio Cini. Description of work: Further research revealed a much earlier questioning of the erroneous plaque by the Venetian historian Emmanuele Antonio Cigogna, just months after the A ot placed the first pla ue This residency allowed me to purse the approval of a new memorial to commemorate Aldus Manutiusâ&#x20AC;&#x2122;s achievements at its true location. Specificall I was a le to first meet with ott ssa Maria Cristina ossi, the Soperintenden a di eni Culturali essentiall landmar s ott ssa ossi is the Supervisor responsible for the historical and artistic heritage of Venice and endorses my memorial project to Aldus Manutius but referred me to the Comune di Venezia for necessary approval by the city. I then meet Assessore Paola Mar di Comune di Venezia Assessore (City Counselor) responsible for tourism and toponomastica (the legacy and naming of places). Impressed by my research and architectural reconstructions Assessore Mar ultimately endorsed and approved the memorial project.

Me with Ilenia Maschietto, archive advisor

Me with r

Evidence of residency: 2019-summer

Residency with the Cini Foundation at the Branca Center, Venice, Italy

n o Molin, uilding owner

I dodici lapide messi da Don. Vincenzo Zenier, abate di San Tomà Johannes M. P. Knoops jmpknoops@mac.com 19 June 2019

Vincenzo Zenir fu abate di San Tomà all’inizio del XIX secolo. Fu indicato come “il primo amante di Venezia” da Antonelli nel 1847. Soravia 1823, Cicogna 1846 e Cappelletti 1860 si riferivano tutti allo “zelo” o alla natura “zelante” dell’abate. Dal 1822 al 1831 l’abate Zenir mise 12 lapidi commemorative... 12 Lapide furono collocate da Abbott Zenier per commemorare i famosi veneziani, di cui: 8 1 3

Lapide sopravvivono oggi per commemorare le loro posizioni appropriate Lapide è stato perso durante una demolizione (Tiziano Vecelli) Lapide sono state collocate nella posizione sbagliata (Marco Polo, Petrarca e Aldus Pius Manutius), di cui: 2 1

Lapide sono state corrette con nuove placche dal Comune di Venezia (Marco Polo 1881 e Petrarca 1904) Lapide deve ancora essere corretta (Aldus Pius Manutius)

Antonio Canova 1 Novembre 1757 – 13 Octobre 1822 Scultore e pittore San Gallo, Campo Orseolo, Palazzo Francesconi Installato nel 1822 (Menzioni Onorifiche...) Search: “Canova” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

QUI SORGEVA LA CASA DEI FRANCESCONI DEGNA DI PERPETUO RICORDO PER IL SOGGIORNO DI

ANTONIO CANOVA CHE IN ESSA MORIVA IL 13 OTTOBRE 1822

Tiziano Vecelli c. 1488/1490 – 27 Agosto 1576 Pittore Calle stretta Lipoli #3024 Installato nel 1826 (Menzioni Onorifiche...) MANCANTE Oggi non si trova la targa di Zenier a Tiziano, come nota Tassini nella sua prima edizione di Curiosita Veneziane, del 1863, la casa è stata demolita e ridotta ad un orto. Ma nel 1845 era ancora in piedi e grazie a Menzioni Onorifiche... di G. B. Contarini, sappiamo cosa diceva. Per coincidenza, questa è l’unica targa per includere il nome dell’abate e la data.

HIC LOCUS SACER ESTO QUO TlZIANUS VECELLIUS POTIORA MAGNO PENECILLO EDIDIT OPERA ET EX QUO MIGRAVIT SENEX AD SUPEROS NE CURIAE TANTO INCOLA JAM SUPERBIENTIS ANTIQUUS HONOS AETATE MARCESCERET VINC. ZENIERIUS S.THOMAE EC. RECTOR M. D. CCC. XXVI. MON. AN. P. C.

Carlo Osvaldo Goldini 25 Febbraio 1707 – 6 Febbraio 1793 Commediografo, scrittore, librettista e avvocato San Polo 2794 Installato nel 1826 (Menzioni Onorifiche...) Search: “Goldinus” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

AN . M . DCC . VII CAROLVS GOLDONIVS HIC ORTVM HABVIT PLAVDENTIBVS MVSIS

Count Gaparo Gozzi 4 Dicembre 1713 – 26 Dicembre 1786 Critico e drammaturgo Calle larga seconda, San Polo 2939, vicino a Ponte di donna Onesta Installato nel 1826 (Menzioni Onorifiche...) Search: “Gozzi” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

DOMVM QVAE GASPARUM GOZZIUM V. C. VAGIENTEM EXCEPIT HOSPES SALVARE JUBETO.

Francesco Vincenzo Negri 6 Febuary 1769 – 15 October 1827 Valente letterato veneziano, esperto nella lingua greca Palazzo di fronte alla chiesa di San Martino Installato nel 1827 (Menzioni Onorifiche...) Search: “ igro” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

FRANCISCO . NIGRO VENETO GRAECA . LATINA . ITALA ERVDITIONE PRAESTANTISSIMO HAEC DOMUS ORTVM DEDIT OBIT IDIB. OCT. MDCCCXXVII PRAECLARUM CIVIBUS EXEMPLAR.

Benedetto Marcello 31 Luglio or 1 Agosto 1686 – 24 Luglio 1739 Compositore, scrittore, avvocato, magistrato e insegnante Strada Nuova, arco del portico a Rio Terra della Maddalena Installato nel 1827 ( e i e e o orre... e Menzioni Onorifiche...) Search: “Benedetto

arcello” @ www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

HANC PROPE SEMIT EVTERPES CVLT. EXIM.

BENEDICT. MARCELLO P. V. LVCEM PR. CONSPEXIT.

Marco Polo 1254 – Gennaio 8–9, 1324 Commerciante, esploratore e scrittore Dietro la chiesa di S. G. Grisostomo Installato nel 1827 ( e e in crizioni enezi ne... and Menzioni Onorifiche...) Search: “

arci Polo” @ www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

AEDES PROXIMA THALIAE CVLTVI MODO ADDICTA MARCI POLO P. V. ITINERVM FAMA PRAECLARI JAM HABITATIO FVIT.

CORRETTO DAL COMUNE 1881

QUI FURONO LE CASE DI MARCO POLO CHE VIAGGIO LE PIU LONTANE REGIONI DELL’ ASIA E LE DESCCRISSE PER DECRETO DEL COMUNE MDCCCLXXXI

Apostolo Zeno 11 Dicembre 1669 – 11 Novembre 1750 Poeta, librettista, giornalista e letterato Dorsoduro, 782 - Fondamenta de le Zattere ai Gesuati Installato nel 1827 (Menzioni Onorifiche...) Search “ eno” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

DOMVM . HANC . APOSTOLVS . ZENIVS . VEN. C. POETA . ET . HISTOR . CAESAR. AD OBIT. VSQVE . OPTIMAR . ART . STVD . SINGVLARI DIV . HONESTAVIT.

Battista Felice Gaspare Nani 30 Agosto 1616 – 6 Novembre 1678 Storico u ficiale della epubblica ondato Accademia dei ilaleti Giudecca vicino alla chiesa delle Zittelle Installato nel 1827 (Menzioni Onorifiche... Search “Nani” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

VBI . CELLAL . NVNO . PROMPTVARIAE LARLS . OLIM . FRANC . ET . HI RMOL . BARBARO INDLO . IO BAPT . NANI . HISTOR . PAIRIA . IOCA . ERUDIT . INSICNI . CONSRICVIS PATEBANI

Aldus Pius Manutius 1449/1452 – 6 Febbraio 1515 Editore, grammatico e umanista 2311 rio terra Secondo, campo Sant’ Agostin Installato nel Maggio 1828 (Cigogna’s e e in crizioni...) Search “

anucia” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

MANVCIA . GENS . ERVDITOR . NEM . IGNOTA HOC . LOCI . ARTE . TIPOGRAPHICA . EXCELLVIT

NECESSITÀ DI ESSERE CORRETTE CON UN NUOVO PLACCA

ANIDLA AIMEDACCA E AIREPMATS ALLED OTIS SUDLA IVDM - VICXDCM YMEDACA DNA SSERP ENIDLA EHT FO ETIS

Doge Enrico Dandolo c. 1107 – Maggio 1205 41 ° Doge, noto per la quarta crociata e il sacco di Costantinopoli Riva del Carbon 4169 Installato nel (Menzioni Onorifiche...) Search “ andolo” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

NE . LARES. PRAETEREAS . VIATOR. DUCIS . HENRICI . DANDOLO . STRENUI INVICTI. QUO . PRIMO . MODERANTE. VENTUM . LATE . GLORIA . PERCREBUIT.

Francesco Petrarca Luglio 20, 1304 – Luglio 18/19, 1374 Studioso, poeta e primo umanista Casa Molin, Riva degli Schiavoni 4145 Installato nel 1831 (Menzioni Onorifiche...) Search “Petrarcha” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

QVIETE.H.FRVENS.HONESTA.V.CL.FR.PETRARCHA OTH.DIV.COM.PARI.IOH.BOCCACCIO.E.DOMO.S.C.ADEPTA AEQVOR.ADR.OL.DOMINAE.DIVIT.INVALESCENTES MERCE.QVALIB.EXT.APPELLENTE.ASPECTABAT

CORRETTO DAL COMUNE 1904 “Erroneamente fu posta qui la lapide al Petrarca che doveva essere posta sul lato ultimo della vicina Caserma” — Comune di Venezia Search “Petrarcha” @ http://www.albumdivenezia.it/sicap/opac.aspx?WEB=Venezia&TBL=OAC&OPAC=Ecografico

QUI DOVE ANTICA TRADIZIONE RICORDA LA CASA CHE A FRANCESCO PETRARCA OFFERSE LA LIBERALITA DEL SENATO IL MUNICIPIO DI VENEZIA CONSACRA LA MEMORIA DELL OSPITE ILLUSTRE NEL VI CENTENARIO DELLA NASCITA MDCCCCIV

C’è un chiaro precedente da parte del Comune di Venezia per correggere errori noti nelle iscrizioni. Non rimuovere i marcatori storici, ma collocarne di nuovi nelle posizioni corrette. Si prega di considerare l’approvazione di una nuova targa per commemorare Aldus Pio Manuzio nella sede vera della sua stamperia in campo Sant’Agostino.

Visiting Scholar, American Academy in Rome Rome, Italy

The American Academy in Rome is a leading overseas center for independent study and advanced research in the arts and humanities. For more than 117 years, the Academy has offered support, time, and an inspiring environment to some of America’s most gifted artists and scholars. In the historic setting of Rome, Academy artists and scholars pursue their work independently and collaborate with each other and with international colleagues he Academ ’s significant resources include the Arthur Janet C. Ross Library, a Photographic Archive, and an archaeology stud collection he li rar is strong in the fields of classical studies and the history of art and architecture. The Photographic Archive provides a visual record of the architecture and topography of ancient Rome and Italy and the Roman Empire, as well as collections on archaeology, art and architecture, landscape architecture, and gardens. Objects in the archaeology study collection are available for study and educational purposes. In addition the Academy offers throughout the year innovative and interdisciplinary public programs in the arts and humanities that highlight both established and emerging scholars and artists. Project Descripiton Continued sabbatical work on Aldus Pius Manutius and the true location of his printing press on the campo Sant’Augostin in 1500 Venice.

CONTRACT FOR POSITION AS VISITING ARTIST/SCHOLAR For accounting purposes, the charges below are in euros and include utilities. Telephone and excess electricity charges will be billed separately. ACCOMMODATION INSIDE THE MCKIM, MEAD & WHITE BUILDING: Room/cost: Apartment/cost: Studio/cost: For the period:

One-Bedroom Apartment at euros 900 per week from May 27 to July 1, 2019

ACCOMMODATION OUTSIDE THE MCKIM, MEAD & WHITE BUILDING: Room/cost: Apartment/cost: For the period:

By accepting our offer of accommodation, you would become a VISITING ARTIST or VISITING SCHOLAR of the American Academy in Rome. The titles Fellow, Resident, or Rome Prize Winner are not applicable. Check in for the week for Visiting Artists and Scholars is late morning on Mondays (you may arrive early and wait in the Salone until your space is ready) and no later than 11:00pm when the gatekeeper goes off duty. Check out will also be on Monday no later than 9am. Rates will be weekly rates based on those schedules. The minimum length of stay for Visiting Artists/Scholars is two weeks (14 nights). Visiting Artists and Scholars may depart on days other than Mondays but would still be charged the weekly rate from Monday to Monday. Visiting Artists and Scholars are welcome to take lunch and dinner in the Academy dining room for an additional charge of 14,90 euros for lunch and 26,50 euros for dinner. All new members of the community are generally introduced to the community at dinner on the Monday of their arrival. On Tuesdays, an orientation session for new members of the Community is held at 11am in the Front Office. Please send a deposit of 1500 US Dollars with your acceptance of the accommodation offered. Security deposits can be paid online through the following link https://support.aarome.org/vavs and will be retained until your departure. The deposit is forfeited unless notice of a cancellation or a change in arrival or departure date is received at least six weeks prior to the scheduled date of arrival. Final bills must be settled in the Finance Office prior to your departure. Visa or Master Card credit cards may be used to settle your final bill. Academy regulations apply to the entire Academy community including Visiting Artists/Scholars and those accompanying them. Please read the attached “AAR – Policies, Regulations and Information” carefully before signing. In order to secure your reservation, please return the scanned copy of the signed contract along with a digital photograph of yourself to the following email address vavsapplications@aarome.org. It is important to send the names, digital photographs and email addresses of those accompanying you at the same time in order to incorporate them into our community documents. The American Academy in Rome is proud of the creative and collaborative environment fostered over the years, and strives to maintain a community characterized by congeniality and a respect for others. At a minimum, this means a community that is free from harassment of any type, including but not limited to

Evidence of residency: 2019

Visiting Scholar, American Academy in Rome, Rome, Italy

Residency with the Cini Foundation at the Branca Center Isola San Giorgio, Venice, Italy

In Venice, on the Island of San Giorgio Maggiore, there is a new residential resource for humanities studies where young researchers and expert scholars can stay while working in the Fondazione Giorgio Cini libraries. They include university students, professors, writers and artists willing to pursue some research work on the Fondazione collections, bequests and archives. The International Center for the Study of Italian Culture is named after Vittore Branca – a world-renowned Italianist who was Secretary General of the Fondazione Giorgio Cini. Description of work: While at the Cini Foundation I develop a digital architectural reconstruction of the campo Sant’Agostin in the 15th century to illustrate the contextual issues surrounding the location of Manutius’s Aldine Press. By reconstructing the volume of the Byzantine church of Sant’Agostin, based on the known evidence of the 17th century Baroque church, I was able to illustrate that in 1500 Aldus’s printing press indeed opened directly on to the Campo Sant’Agostin as cited in contemporaneous descriptions and not onto a street as it does today. In addition to the proposal for a new memorial, I took time to research the A ott who placed the first erroneous commemorative pla ue and his other plaques while also trying to understand the cultural context of Venice under foreign domination by both the Austrians and Napoleon in the 19th century.

Evidence of residency: winter

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Stemma

Aldus quote

Aldus plaque with dates

Aldus Pius Manutius Proposal - porta 6 March 2019 Prof. Johannes M. P. Knoops 415 Grand Street, E-902 New York, New York 10002 USA jmpknoops@mac.com

Aldus Pius Manutius Proposal - stemma 4 March 2019 Prof. Johannes M. P. Knoops 415 Grand Street, E-902 New York, New York 10002 USA jmpknoops@mac.com

Printing block (inverso)

Like paper folded into octavo with the famous Aldus quote that he would post outside his shop.

Aldus Pius Manutius Proposal - citazione e targa 4 March 2019 Prof. Johannes M. P. Knoops 415 Grand Street, E-902 New York, New York 10002 USA jmpknoops@mac.com

Translation: â&#x20AC;&#x153;Whoever you are, Aldus asks you again and again: if there is anything you want from him, please state your business quickly and get on your way, unless you are going to take his work on your shoulders, as Hercules did for weary Atlasâ&#x20AC;?

Aldus Pius Manutius Proposal - existing conditions 4 March 2019 Prof. Johannes M. P. Knoops 415 Grand Street, E-902 New York, New York 10002 USA jmpknoops@mac.com

Visiting Scholar, American Academy in Rome Rome, Italy

From: Subject: Date: To:

Visiting Artists Scholars visitingartists-scholars@aarome.org AAR - Visiting Artists and Scholars Program - KNOOPS July 19, 2018 at 4:38 PM jmpknoops@mac.com

Dear Professor Knoops, We are pleased to tell you we can accommodate you at the American Academy in Rome as a Visiting Artist/Visiting Scholar. Information on the nature and cost of your accommodation along with exact dates for your stay is contained in the contract attached to this email. Please read it carefully before signing. Arrivals and departures at the American Academy in Rome must take place on Mondays. Spaces are assigned depending on availability. If we were unable to accommodate your original request, an alternative is being proposed. Enclosed you will find a document with information on the services that are currently available at the American Academy and regulations that we ask the community to follow. We urge you to read it carefully. In order to secure your reservation, please return the scanned copy of the signed contract to the following email address vavsapplications@aarome.org. Room deposits can be paid online through the following link https://support.aarome.org/vavs. We would appreciate knowing as soon as possible of any change in your plans so that we can reassign spaces that become available to people on the waiting list. Please send an email to vavsapplications@aarome.org. We look forward to seeing you at the American Academy. Sincerely,

John Ochsendorf,

FAAR’08

Director American Academy in Rome

KNOOPSOct2018.doc

AAR - Policies, Regula…ion.pdf

Evidence of residency: 2018

Visiting Scholar, American Academy in Rome, Rome, Italy

Residency with the Emily Harvey Foundation Venice, Italy

The Emily Harvey Foundation offers residencies in Venice for artists, writers, poets, filmma ers, photographers, videographers, dancers, choreographers, musicians, curators, arts administrators, architects, and other creative thin ers in mid to late career who are engaged in the pro ect of change, and who wor the leading edges of their disciplines he ma come from an where in the world Project Descripiton uilding on m research last summer with Cini Foundation, which established a need for a memorial to commemorate the achievements of Aldus Pius Manutius, I hope to start a design for for a memoial intended for the Aldine Pressâ&#x20AC;&#x2122;s true location

Evidence of residency: 2018

Emily Harvey Foundation, Venice, Italy

Residency with the Cini Foundation at the Branca Center Isola San Giorgio, Venice, Italy

his pro ect received support from FI ’s Center for in Teaching with a grant for the maximum amount

From: Subject: Date: To:

celence

Centro Vittore Branca centrobranca@cini.it Admission conﬁrmation to Venice, 6 June to 4 July, 2017 March 16, 2017 at 6:24 AM Johannes Knoops jmpknoops@me.com, Moc campus@cini.it

Good morning Professor Knoops, thank you for sending us your application. We are glad to confirm your admission to the Vittore Branca Center from June 6 to July 4, 2017, as there is a single room available in our Residence. Considering your research project is in line with the Fondazione Giorgio Cini research guidelines, you were granted a co-financing, i.e. a direct form of support by the Fondazione, that will allow you to spend only euros 50 (VAT included) a day, to access research-related services in our library and stay in our Residence. Massimo Busetto, our Master of Campus (campus@cini.it / +39 041 2710205) will soon write you directly, to provide you with all information concerning services you will find in the Residence and payment methods. Important: please plan your arrival during office time (8.30 - 18.00) for organisational reasons. Looking forward to meeting you here, Best Regards Marta Zoppetti Centro Vittore Branca

Leggi qui i bandi per borse di studio offerti dalla Fondazione Giorgio Cini SOSTIENI LA CULTURA, L'ARTE, LA STORIA E LA CIVILTÀ DI VENEZIA. DONA IL 5X1000 ALLA FONDAZIONE GIORGIO CINI ONLUS. Apponi la firma nello spazio designato del modello 730 oppure Unico, scrivendo il codice fiscale 80009330277.

"Tradizione non è culto delle ceneri ma custodia del fuoco" (Gustav Mahler) Centro Internazionale di Studi della Civiltà Italiana "Vittore Branca" Fondazione Giorgio Cini onlus Isola di San Giorgio Maggiore 30124, Venezia Tel.: +39 041 2710253 - Fax: +39 041 5238540 E-mail: centrobranca@cini.it web: www.cini.it La Fondazione Giorgio Cini informa l'interessato dei diritti riconosciuti dalla Legge n.196/2003 sul trattamento dei dati personali mettendo a disposizione l'informativa privacy alla seguente pagina web www.cini.it/informativa-sulla-privacy, ribadisce che l'eventuale raccolta dei dati è per le sole finalità derivanti dalla specifica attività oggetto della presente comunicazione e per eventuali obblighi previsti dalla legge.

2017-03-14 18:01 GMT+01:00 Johannes Knoops <jmpknoops@me.com>: Greetings — Please ﬁnd my application attached. I am a university professor as well as an Architect interested in “urban memories.” My current work is focused on Aldus Manutius and the true location of the Aldine Press. If accepted to the Centro Branca, I would love to share my previous work on Venice mapping, recently exhibited in Palazzo Mora for the 2016 Biennale. I look forward to your kind consideration, sincerely — Johannes

Johannes M.P. Knoops FAAR, Assoc AIA www.knoops.us Saluti Si prega di trovare la mia domanda allegata. Io sono un professore universitario e un architetto interessato a "memorie urbane". Il mio lavoro attuale si concentra su Aldo Manuzio e la vera posizione del Aldina Stampatrice. Se accettato al Centro Branca, mi piacerebbe condividere il mio precedente lavoro su Venezia mappatura, recentemente esposto a Palazzo Mora per la Biennale 2016. Non vedo l'ora alla vostra considerazione gentile, sinceramente - Johannes

vidence of residenc 2017

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Map Analysis:

2017

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Map Analysis:

2017

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Various views from my digital reconstruction of the campo Santâ&#x20AC;&#x2122;Agostin in 1500. This work is still in progress To view a walk-thru animation please visit: https://www.youtube.com/watch?v=L8meFGN1LvQ&index=4&list=PLeLJkv8SP0dMhtiSa_TOji7axwz-JYFce

Erroneous site on right, canal, bridge and Palazzo Soranzo-Pisani on left, landmarks which would have been refered to in any description.

True site of the Aldine Press on left. Church of Santâ&#x20AC;&#x2122;Agostin on right.

Ariel view showing the campo on 3 sides of the church and the now filled-in canal.

2017

View matching the 2 known historical images of the church. This verifies the size and orientation of the church.

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Digital Reconstruction and Animation of the Campo San Agustino My recent work established that the current site celebrated as the location of Aldus Pius Manutiusâ&#x20AC;&#x2122;s printing press is indeed the wrong location,,, and that the true site of the Aldine Press was opposite the bakery. The project was suggested to me by George Fletcher of the Groelier Club and curator of a recent Aldus e hi it there ut m wor was the first to illustrate the issues. I did this through an extensive mapping analysis (much like our curriculum analysis) while in residency at the Cini Foundation this past summer where I had access to various archives. I also built a digital (SketchUp) model of the area that included the lost church of San Agustino, a key element in understanding the true location of the Aldine Press. https://www.youtube.com/watch?v=L8meFGN1LvQ&t=18s&list=PLeLJk v8SP0dMhtiSa_TOji7axwz-JYFce&index=4

2017

Residency with the Cini Foundation at the Branca Center, Venice, Italy

Residency with the Emily Harvey Foundation Venice, Italy

Sunday, September 27, 2015 Jonathan Knoops 415 Grand Street, Apt, E-902 New York, NY 10002-4723 USA Dear Jonathan Knoops, We very much look forward to welcoming you in Venice as a resident guest of the Emily Harvey Foundation for the period from Friday, May 20 to Tuesday, July 5, 2016. Your apartment will be on the second floor of the building at 637 San Polo, in Calle dei Cinque, between the Rialto Bridge and the Fish Market. If you have any questions, please donâ&#x20AC;&#x2122;t hesitate to ask. Feel free as well to get in touch with Ms. Silvia Scattolin, our Venice Office Manager. Again, thank you very much for having applied for an EHF residency. We are very pleased to have you as a visitor. We are sure youâ&#x20AC;&#x2122;ll find your apartment a fine place in which to work. Please sign and return the second copy of this letter to Ms. Silvia Scattolin. You thereby signal acceptance of this invitation, and indicate as well that you have read and are willing to comply with the enclosed Residency Guidelines. All the best, Henry Martin

Evidence of residency: 2016

Emily Harvey Foundation, Venice, Italy

Aludus Pius Manutious and the Campo San Augustino

It was located on the square at Sant’Agostino, at the corner of the Calle del Pistor. Ref. F

1489 or the beginning of the Following year untill Aldus moved to San Paternian in 1505

In order to understand Campo Agustin and the location of the Adline Press in the time of Aldus we need to understand the location of the Chiesa San Agustin. 959 Founded around the year 959 by the bishop of Olivolo Peter Marturio Quintavalle with his father Theodosius. Ref. A

1105 Destroyed by fire and rebuitlt by the mid-12th century. Ref. A 1149 Suffers another fire. Ref. A 1634 Destroyed by fire again. Rebuilt with Francesco Contin as the architect and consecrated in 1691. Ref. A 1808 By Napoleonic decree downgraded to a branch church in the merging of parishes throughout Venice. Ref. A 1810 the church was closed and indemaniata 1813 A harsh winter, trade block, famine and and earthquake lead the mayor of Venice Bartolomeo Girolamo Gradenigo to write a letter to the Director of the State Property Antonelli asking the temporary surrender of six buildings, including the church Sant’Agostin to convert them into mills to grind grain for bread of the Venetians.

1821 Pirker Patriarch visited what was left of the former church of San Stin and Sant’Agostin “... now closed and

he had put up house not far from the workshop of Torresano in Sant’Agostin district, on the Rio Terà San Secondo,at the corner with the Calle del Pistor. Ref. H

LOCATION REFERENCES: 1. In 1875 a letter was found in Paris from Zaccaria Calergi to Giovanni Gregoropulo giving directions to Aldus’s printing house: «... de messer Aldo Romano sul campo de Santo Agostino (...) el pestore.». Unfortunately (...) indicates the writing is illegible in the letter. “Pestor” or “pistor” in Venetian dialect translates to “bakery.” We can construe the location to be directly on the Campo San Agustiono and perhaps on the Calle del Pistor (street of the bakery) or at least near or above a bakery. On the existing Calle del Pistor a bakery operates on the corner and one has been documented to be at this same location serving San Augustino since at least 1661. Ref. A 2. The Press worked at two certain locations during Aldus’s lifetime. The first was in a house that may still be standing. It was located on the square at Sant’Agostino, at the corner of the Calle del Pistor (fig. 3). If this was the structure at San Polo 2343, it still may be viewed, if not easily visited, in its much-cramped state, badly hemmed m by later construction. Ref. F 3. he had put up house not far from the workshop of Torresano in Sant’Agostin district, on the Rio Terà San Secondo, at the corner with the Calle del Pistor. Ref. H 4. One day, Francesco’s press had to stop for a few hours while some of the compositor’s letters were re- cast in metal. A shipment of books was ready to be sent to the booksellers stalls in another part of Venice. Aldus winked to Francesco that he could accompany the agent. Francesco smiled, hiding some of his excitement. Going out of the shop, he slipped into the bakery next door, bought himself a small loaf, and greeted a tailor standing in his shop door. As he tucked the bread under his tunic, he looked up at the Pisani palace across from Aldus’ house and shop. The church of San Agostin was nearby. Ref. G

One day, Francesco’s press had to stop for a few hours while some of the compositor’s letters were re- cast in metal. A shipment of books was ready to be sent to the booksellersstalls in another part of Venice. Aldus winked to Francescothat he could accompanythe agent. Francescosmiled, hiding some of his excitement. Going out of the shop, he slipped into the bakery next door, bought himself a small loaf, and greeted a tailor standing in his shop door. As he tucked the bread under his tunic, he looked up at the Pisanipalaceacrossfrom Aldus’ houseandshop.The churchof San Agostin was nearby. Ref. G (fictionalized account based on 2 cited texts)

nearly demolished ...” Ref. C

1828 Monsignor Pietro Pianton, bought 12 marble crosses from Sant’Agostin for his church Santa Maria della Misericordia in Cannaregio. Ref. C

1839 What remained of Sant’Agostin church along with the Scuola di San Giovanni Evangelista and the headquarters of the Knights of Malta were used as storage facilities for materials and marble salvaged from demolished sacred buildings. The remaining marbles of Sant’Agostin were moved to the church of Santa Margherita. Ref. C

1868 The Royal A.Mori Construction Office appraised what was left of the church Sant’Agostin. “... persistent infiltration of water from both the ceiling and the windows without vestri and dark ... is in grave neglect and deterioration, the 5 steps of the entrance portal has deteriorated in several places. It has: a fresco on the ceiling, 18 marble capitals, 10 quaters of capital, four large windows and six smaller windows, the bell tower lacks coverage and has 7 flights of stairs useless ...” Ref. C

Campiello del Remer

1870 The Prefect of Venice, the Mayor and two Aldermen bought Sant’Agostin for 5,507 lire earmarked as provisionally deposit of wood and state representative warehouse.It was decided to demolish the bell tower and free the entire area assigning it to the building of 40 housing for workers constructed in 18 months on the foundations of the church . The side door of the old church became the entry of the condominium, while nearby Calle dei Preti, next to the church changed his name to “Calle del remer” . Ref. C

The “Column of Infamy” indicating this property had once been owned by the treasonous Bajamonte Tiepolo and now made public .

Portico to the lost Calle del Remer

Set against the apse, was placed a column of infamy, which originally indicated the place where they were the houses Bajamonte Tiepolo who in 1310, along with other conspirators concocted a conspiracy , failed, against the Republic of Venice. the Tiepolo had his palace almost at the side of St. Agostin church, in what was the campiello del Remer ( “remer” = oars manufacturer). After the defeat and Bajamonte duoi accomplices, his house was demolished and in its place was installed in 1364 a column of infamy, which bore the following inscription: “DE Bajamonte FO THIS TERENO aND ME SO UNFAIR FOR TREASON hath CHOMUN pLACE FOR OTHER PEOPLE’S SCARE and in order to show TUTI aLWAYS a BREAST “ (ie,” This land was of Bajamonte Tiepolo and now for his wicked betrayal has become public, and [these words] are always shown at all for a warning to others “). Shortly after his elevation the column was damaged by a certain Francesco Fantebon who had been an accomplice of Bajamonte Tiepolo and therefore condemned and later pardoned. Following his gesture of defiance, the Fontebon was punished by the cutting of a hand, the loss of eyes and exile. The column was removed from the Campiello del Remer and placed behind the church of S. Agostino, in the field. In 1785 patrician Angelo Maria Querini (1721-1796) obtained it from the government to bring in his villa at Altichiero who had become a gathering place for intellectuals and cultural salon, where he had retired. After this column went to finish in the Antonio Sanquirico hands antiquarian who sold it to the Duke Melzi who assigned it to beautification of the garden of his villa in Bellagio on lake Como. Ref. A

Calle del Remer

2000 Two masons placing purification tanks for sewage uncover the foundations of the 1600 church and Ref. C

Calle Bajamante Tieplo [formally the Calle dei Pretti. Ref. A] 2311 would have beeen located on the rio, yet there is no description of his location ever mentioning the rio

The church of S. Agostino as indicated on a map by Fra ‘Paolino (1270 circa-1344)

S. Agustino Jacopo de’ Barbari, View of Venice (detail), 1500. Woodcut. There is nothing that de’Barbari showed that did not exist as of 14971500, but there were some things that he could not show if he were to be faithful both to his perspective and to the task of showing as many building façades as possible. Ref. B

Domenico Morosini in 1204 accidentally broke a leg of the four gilded bronze horses plundered Constantinople. He then displayed this hoof on his palazzo on Campo San Augustin Ref. D

Domenico Morosini in 1204 accidentally broke a leg of the four gilded bronze horses plundered Constantinople. He then displayed this hoof

2343

Drawing of San Augustin by Guardi Ref. C

2311

San Augustino in a 19th century etching

2343 Calle de la Chiesa the most likely birthplase of the Adline Editions References: A. http://home.giandri.altervista.org/giandri_0424_SantAgostin.html on 6.23.16 Campo S. Agustin (S. Agustino), by Giandri 2004 B. http://www.bellereti.com/jzimm/diss/Chapter3A.html on 6.23.16 C. http://veneziana13.rssing.com/browser.php?indx=35435187&item=14 on 6.23.16 D. http://www.veniceinperil.org/projects/restore-the-memorial-to-the-infamy-of-bajamon on 6.23.16 E. http://www.encyclopedia.com/topic/Aldus_Manutius.aspx on 6.24.16 F. https://archive.org/details/inpraiseofaldusm00flet In Praise of Aldus Manutius: A Quincentenary Exhibition, by George Fletcher 1995 G. https://cmes.uchicago.edu/sites/cmes.uchicago.edu/files/uploads/Global/Story%20Pair-Renaiss_Unit.pdf University of Chicago, student handout, Emergence of Renaissance, Story Pair, A Day at Aldus Manutius’ Print Shop H. The book and the places of aldo manuzio by Tiziana Plebani PDF Venezia Città del Libro e i Luoghi di Aldo Manuzio, by Tiziana Plebani, Biblioteca Nazionale Marciana

2016

2343 at the intersection of Calle de la Chiesa and Calle del Pistor

An removed shield at 2343, Aldus’s?

Previous location of a rear door to 2343 leading to Calle del Pistor where Aldus’s books were likely loaded onto boasts in the Rio di San Polo

The now-famous anchor-and-dolphin impresa (printer’s emblem) with the motto “fastina lente,” first appeared in print in a 1499 Aldine publication, Hypnerotomachia Poliphili, as an illustration in the book. Two years later, the symbol became the trademark of the Aldine Press when, in January of 1501, Aldus published the same anchor-and-dolphin symbol as the Aldine impresa in the second volume of Poetae Christiania veteres. The design of the impresa was taken from a reproduction of an old Roman coin and bore a motto quoted from the Emperor Augustus, which read, “fastina lente” (“make haste slowly”). The proverb emphasized the tedious attention to detail demanded of the printer in the mass production of books. Ref. E

A 1785 plaque indicating where the “infamy column” had been located (now located in the archives of the Museum Correr).

Abbot Vincenzo Zenier of S. Toma Church had it placed in 1828 a plaque on the facade of this building,

Placed in 1877 by students from the School of Greek letters at the University of Padua class of 1876-77

“Quisquis es, rogat te Aldus etiam atque etiam ut, siquid est quod a se velis, perpaucis agas, deinde actutum abeas: nisi tanquam Hercules, defesso Atlante, veneris suppositurus humeros” Manutius, Rhetorica ad Herennium (1521) in Aldo Manuzio editore 1:129.

“Whoever you are, Aldus asks you again and again: if there is anything you want from him, please state your business quickly and get on your way, unless you are going to take his work on your shoulders, as Hercules did for weary Atlas” trans. Lowery, World of Aldus Manutius 166.

Residency with the Cini Foundation at the Branca Center, Venice, Italy

2311 Rio Terra’ Secondo

All images by Johannes Knoops, unless otherwise notes

Calle del Pistor looking south to the Rio di San Polo

III. Evidence of Professional Accomplishments exhibitions 2020 2019-20 2018 2018 2018 2017 2017 2016 2016 2016 2015 2015 2014 2014 2014

Salone… an evening of performance, visual arts + design, Roulette, Brooklyn, NY (curated by the Society of Fellows of the American Academy in Rome) Picturing Space… artists imagine architecture, Art and Design Gallery, FIT, New York, NY (curated by Anne Finkelstein) Rome Revisited, Orange County Center for Contemporary Art, Santa Ana, CA (curated by Carolyn Yarnell) (Venetian Pairings) Design.VE 2018, Palazzo Morosini-Garterberg, cammpo Santo Stefano, Venice, Italy (curated by Luca Berta, Francesca Giubilei and Alice Stori, [catalogue]) (Oculi) New Views, FIT Art and Design Faculty Exhibition, Great Hall (Venetian Pairings) Self Portraits, FIT Faculty and Employee Exhibition, Goldstein Gallery, FIT (Rome Selfie) New Views, FIT Art and Design Faculty Exhibition, Great Hall (Pantheon Shell) Monochrome, FIT Faculty and Employee Exhibition, Goldstein Gallery, FIT (Your are Not Here) TIME-SPACE-EXISTENCE, 2016 Venice Biennale of Architecture, Palazzo Mora, Venice, Italy (curated by Rene Rietmeyer [catalogue]) New Views, FIT Art and Design Faculty Exhibition, Great Hall (WWI) Mechanisms of Forgetfulness, FIT Faculty and Employee Exhibition (Postcards from an Alternative Venice) New Views, FIT Art and Design Faculty Exhibition, Great Hall (Mandela) Morphos–Sustainable Empires international art festival, Palazzo Albrizzi Venice, Italy (curated Luca Curci) (Windscraper Venezia) Persone, Archivo Emily Harvey Foundation, Venice, Italy New Views, FIT Art and Design Faculty Exhibition, Great Hall (128 Main Street)

Salone!

American Academy in Rome, Society of Fellows Roulette, Brooklyn, New York “Venice Re-Mapped” Video 3.22’l Currated by Phu Hoang and Molissa Fenley

2020

Salone!, American Academy in Rome, Society of Fellows, Roulette, Broooklyn, NY

Video still

2020

Salone!, American Academy in Rome, Society of Fellows, Roulette, Broooklyn, NY

Picturing Space - artists imagining architecture Fashion Institute of Technology, New York, New York Art and Design Gallery “Future Memories” Installation: video and light tower 16’ tall Currated by Anne Finkelstein [Catalogue, p. 13]

Evidence of participation

2019-20 Picturing Space - artists imagining architecture, FIT Art and Design Gallery, New York, NY

Rome Revisited

Orange County Center for Contemporary Art, Santa Ana, CA “Venetian Pairings” Exploring the intersection of form and food Rear-mounted on glass, (2) 15.6” x 20.8” Currated by Carolyn Yarnell

2018

Rome Revisited, Orange County Center for Contemporary Art, Santa Ana, CA

Design.VE 2018

Palzzo Morosini-Garterberg, Campo Santo Stefano, Venice Italy â&#x20AC;&#x153;OCULIâ&#x20AC;? es to the heavens, holes to the soul, these are far more than light fi tures. Suspended in our lives they shelter our fantasies. Structured on air they inspire our ambitions. These are portals to another reality. Motivated memories I e plore hidden ur an narratives Anchored in ew or m aspirations are glo al I confide m dreams to reveal desires Small: Medium: Large:

(2) 15cm diameter with 50mm LED ring (3) 23cm diameter with 60mm LED ring (2) 34.5cm diameter with 90mm LED ring

Material: Polyamide (nylon) Process: Selective laser sintering (SLS) Currated [Catalogue]

ucca erta, Francesca Giu ilei and Alice Stori

Postcard

2018

Design.VE, Palazzo Morosini-Garterberg, campo Santo Stefano, Venice Italy

NewViews

FIT School of Art and Design Faculty Exhibition “Venetian Pairing” Exploring the intersection between food and form. Rear-mounted on glass, 28.8” x 43.2 Currated by the Karen Middleton

2018

NewViews, Great Hall, FIT, New York, NY

Self Portrait

Fashion Institute of Technology, New York, New York Lynn and Paul Goldstein Gallery th oor of the Marvin Feldman Center “ ome Selfie” Collage, ”

2017

”

Self Portraits, FIT Faculty and Staff Exhibition, Lynn and Paul Goldstein Gallery

NewViews

FIT School of Art and Design Faculty Exhibition “Light up your Empire” PLA, brass, LED and antico giallo marble A 3D printed inner shell of the pantheon as an table light. Currated by the Alison Wade

2017

NewViews, Great Hall, FIT, New York, NY

Monochrome

Fashion Institute of Technology, New York, New York Lynn and Paul Goldstein Gallery th oor of the Marvin Feldman Center “YOU ARE NOT HERE” ear mounted on glass, 21.6” x 28.8”

2016

Monochrome, FIT Faculty and Staff Exhibition, Lynn and Paul Goldstein Gallery

Space-Time-Existence

Official Collateral Event of the 2016 Venice Architecture Biennale Palazzo Mora Rene Rietmeyer curator Catalog Here my animation â&#x20AC;&#x153;Venice Re-Mappedâ&#x20AC;? was transformed into an installation lining the galler with a mirrored vin l map of enice to re ect the animation and to create an immersive environment to surround the viewer. he animation is a though of an alternate enice as depicted in the hand drawn maps found on Venetian business cards. Almost 200 wireframes based on these maps are used to construct new Venice. To accompany this installation, I uploaded the digital model to SketchFab for people to navigate this alternative Venice on their own. You can visit this Venice at: https://sketchfab.com/models/911d04dfc1324508b10502634cf27a60

Invite card based on a Venetian business card with their hand-drawn maps relying on landmarks, paths and edges.

2016

TIME-SPACE-EXISTENCE, 2016 Venice Biennale of Architecture, Palazzo Mora, Rene Rietmeyer curator

“X” indicates the gallery’s location within the map

2016

TIME-SPACE-EXISTENCE, 2016 Venice Biennale of Architecture, Palazzo Mora, Rene Rietmeyer curator

2016

TIME-SPACE-EXISTENCE, 2016 Venice Biennale of Architecture, Palazzo Mora, Rene Rietmeyer curator

NewViews

FIT School of Art and Design Faculty Exhibition “Victory walks with US” WWI Memorial, Washington DC Animation 5:04

2016

NewViews, Great Hall, FIT, New York, NY

2016

NewViews, Great Hall, FIT, New York, NY

Mechanisms of Forgetfulnes

Fashion Institute of Technology, New York, New York Lynn and Paul Goldstein Gallery th oor of the Marvin Feldman Center “ enice e Mapped” postcards

Art in Architecture ©MMXV

Venice Re-Mapped... an alternative mental-map of the city as revealed through Venetian business cards, with Italo Calvino’s thoughts on Venice excerpted from Invisible Cities.

2015

Mechanisms of Forgetfulness, FIT Faculty and Staff Exhibition, Lynn and Paul Goldstein Gallery

NewViews

FIT School of Art and Design Faculty Exhibition “Nelson Mandela Memorial” Skylawn, CA Laser-cut chipboard, cork and paper .

2015

NewViews, Great Hall, FIT, New York, NY

MORPHOS, Sustainable Empires Palazzo Albrizzi, Venice Italy Luca Curci, curator

2014

MORPHOS, Sustainable Empires, Palazzo Albrizzi, Venice, Italy

2014

MORPHOS, Sustainable Empires, Palazzo Albrizzi, Venice, Italy

“Persone” Archivo Emily Harvey Foundation, Venice, Italy Opening October 18, 2014 “A Janus Mask for Venice” Based on a collection of 200+ Venetian bussiness cards, this Janus mask expresses a truly Venetian mindset where the perceived cartography depicted on the collected cards are as equally relevant as the factual cartography depicted on scaled maps.

2014

Persone, Archivo Emily Harvey Foundation, Venice, Italy

NewViews

FIT School of Art and Design Faculty Exhibition “One 20 Eight Main Street” A design for a contextual restaurant.

128 Main Street Gardiner, NY

2014

“New Views”, Art and Design Faculty Exhibition

III. Evidence of Professional Accomplishments published books as author 2018

In Search of Aldus Pius Manutius, (Venice, Italy: Domacle Edizioni) ISBN 978-88-943223-2-3 The book disputes the celebrated first location of the Aldine Press to clearly identify its true location through historical evidence. This publication results from my sabbatical work and has led the Comune di Venezia to recognize the site, which will soon be commemorated with a new memorial plaque. Published in a limited edition of 200 hand-stitched signed copies.

Damocle Bookshop, Venice

2018

In Search of Aldus Pius Manutius a campo Santâ&#x20AC;&#x2122;Augostin, Damocle Edizioni, Venice Italy

2018

In Search of Aldus Pius Manutius a campo Santâ&#x20AC;&#x2122;Agostin, Damocle Edizioni, Venice Italy

2018

In Search of Aldus Pius Manutius a campo Santâ&#x20AC;&#x2122;Agostin, Damocle Edizioni, Venice Italy

Book Release at Damocle Edizioni Bookshop, Venice Where I made a short presentation and then opened it to questions and answers.

2018

In Search of Aldus Pius Manutius a campo Santâ&#x20AC;&#x2122;Augostin, Damocle Edizioni, Venice Italy

In Search of Aldus Manutious is currently in the collections of: • The Morgan Library & Museum – New York, NY • The Grolier Club – New York, NY • University of Oxford – Oxford, England • American Academy in Rome – Rome, Italy • Biblioteca della Fondazione Querini Stampalia – Venice, Italy • Biblioteca nazionale Marciana – Venice, Italy • Biblioteca della Fondazione Giorgio Cini – Venice, Italy

2020

Currently in the following collections and libraries

Appeared on the booklists of: â&#x20AC;˘ Society of Architectural istorians â&#x20AC;˘ Renaissance Society o America

2020

Listed on booklists

Received recognition from: • The American Academy in Rome • The Mac owell Colony • Archbishop Molloy igh School

2020

Listed on booklists

III. Evidence of Professional Accomplishments published articles as author 2018

“Distinguished Alumni,” Ten Mile River 90th Anniversary Journal, David Malatzky ed. (New York, NY: GNYC)

2017

Johannes Knoops, “Distinguished Alumni,” TMR 90th Anniversary Journal, Greater NY Councils, BSA

2017

Johannes Knoops, “Distinguished Alumni,” TMR 90th Anniversary Journal, Greater NY Councils, BSA

2017

Johannes Knoops, “Distinguished Alumni,” TMR 90th Anniversary Journal, Greater NY Councils, BSA

III. Evidence of Professional Accomplishments published reviews as author 2018 2018 2016 2016 2014 2014

“Freespace... The One Word of the 2018 Venice Biennale,” ArchNewsNow, http://www.archnewsnow.com/features/Feature547.htm “Kenneth Frampton, a New York Lion ... now a Golden Lion of the Venice Architecture Biennale,” ArchNewsNow, http://www.archnewsnow.com/features/Feature548.htm “More Heart and Soul than Ever Before: Reporting from the Front,” ArchNewsNow, http://www.archnewsnow.com/features/Feature495.htm “More than a Building: The 15th Venice Architecture Biennale,” eOculus, http://main.aiany.org/eOCULUS/newsletter/more-than-a-building-the-15th-venice-architecture-biennale/ “The Great Compilation,” ArchNewsNow, June 17, http://www.archnewsnow.com/features/Feature452.htm “The 14 International Architecture Exhibition,” eOculus, June 18, th

http://main.aiany.org/eOCULUS/newsletter/fundamentals-the-14th-international-architecture-exhibition-of-la-biennale-di-venezia/

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Martin Puryear ... artist, sculptor, and possibly architect?

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The United States Pavilion at the Venice Biennale Arte 2019: "Martin Puryear: Liberty/Libertà" By Johannes M.P. Knoops, Assoc. AIA, FAAR May 30, 2019

As a writer, I always take great delight when given the opportunity to preview a Venice Biennale, whether it’s the Biennale of Art or of Architecture, they are always times to reflect on the milieu we live in. The opening of this 2019 International Art Exhibition was particularly poignant. Ralph Rugoff of London’s Hayward Gallery serves as the curator of the 2019 Venice Biennale Arte (through November 24). He titled this year’s Biennale, “May You Live in Interesting Times,” a phrase he refers to as a “counterfeit curse.” It’s Rugoff’s commentary on just how precarious our times really are. He claims the phrase should not be thought of as a theme, but rather as “a kind of guide for how to live and think in interesting times.”

Joshua White – JWPictures.com

Swallowed Sun (Monstrance and Volute), 2019. Southern yellow pine, steel, polyester, canvas, rope; Two parts, overall 22 ft. 8 in. × 44 ft. × 24 ft. 3 in.

Swallowed Sun (Monstrance and Volute), 2019, reverse view

In response to this, Martin Puryear was keenly selected to represent the United States at its National Pavilion in the Giardini, the Biennale Gardens. Organized by Brooke Kamin Rapaport of the Madison Square Conservancy, the U.S. Pavilion appeared on every journalist’s shortlist. When describing the artist’s challenge, Holland Cotter, art critic with the New York Times, wrote that it “can’t be easy in an American moment tense with divisive politics, resurgent racism, and gun violence.” Ironically, the U.S. Ambassador to Italy, Lewis Eisenberg, took it all differently, or rather indifferently, as he praised the “great times that we live in today” at the Pavilion’s opening on a wet morning of pre-opening events. He went on to extol the freedoms and liberties that define our time. Perhaps more precisely, it’s these bipolar realities that need exploring, where opposing truths coexist, each indifferent to the other, where common ground is scarce and passions are peaked. http://www.archnewsnow.com/features/Feature577.htm

Martin Puryear speaking at the opening of the U.S. Pavilion.

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are peaked. A nuanced discourse – Puryear’s art that whispers to us Thankfully, “Martin Puryear: Liberty/Libertà” transports us to a more nuanced discourse, where meaning is latent and comprehension only comes with reflection. At age 77, Puryear has long been an artist who exudes gravitas. He is not a frivolous man. Unlike much of today’s art, his work does not resort to shock value in order to convey meaning. Yet, Puryear’s art is not to be taken lightly. His sculptures often anchor and define a space, whether it’s a room or a field. Onlookers orbit the works as they fall into their gravitational pull. This is no less true than in this Biennale installation designed by New York architects Tod Williams and Billie Tsien. Known for their designs of several landmark museums, such as the Barnes Foundation in Philadelphia and the tragically lost American Folk Art Museum in New York City, the architects used their expertise to speak softly. Creating an almost sacred ambiance, it’s Puryear’s art that whispers to us in the spiritual glow of ambient light that fills the pavilion. Designed in 1929-30 by another team of celebrated New York architects, William Adams Delano and Chester Holmes Aldrich, the U.S. Pavilion invokes the classical idiom of Jefferson’s Monticello. But this year, the exterior of the pavilion has been redefined with what has been described as a veil – an architectural lattice that now clearly defines a forecourt through which one must pass. Like a walled-forecourt to an Early Christian church or Bernini’s colonnade that defines Saint Peter’s Square, it serves as the boundary to a sacred precinct where the profane is kept at bay and the sacred is safeguarded within. Created in collaboration with Williams and Tsien, Puryear’s piece “Swallowed Sun (Monstrance and Volute), 2019” is perfectly scaled to the context by corresponding to the existing dimensions of the building. Constructed of southern yellow pine, steel, polyester, canvas, and rope, it embodies multiple references: the volute of an Ionic column capital, the grid of a coffered dome in perspective, an ecclesiastical monstrance for the veneration of the body of Christ, a black hole, and maybe even an intestinal tract. Though a product of a Catholic upbringing and education, Puryear’s vocabulary is an open dogma that invites personal interpretations. He lovingly crafts his sculptures with a variety of http://www.archnewsnow.com/features/Feature577.htm

A Column for Sally Hemings 2019. Cast iron, painted tulip poplar; 80 x 15 3/4 x 15 3/4 in.

A Column for Sally Hemings 2019, detail

Tabernacle, 2019. Steel, red cedar, American cypress, pine, makore veneer, canvas, printed cotton fabric, glass, stainless steel; 74 x 90 x 96 in.

Cloister-Redoubt or Cloistered Doubt?, 2019, with Martin Puryear's gallerist Matthew Marks. American hemlock, Eastern white pine, tulip Page 2 of 4

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lovingly crafts his sculptures with a variety of woods and materials. He takes full responsibility for their materiality, a trait one can attribute to his two years in the Peace Corps where studied various indigenous West African crafts from the people he taught. This was a period after his graduation from Catholic University in Washington, DC (BA, 1963), and prior to his graduate studies in Sweden and at Yale’s School of Art and Architecture (MFA, 1971). At the opening, Puryear was given an opportunity to address the assembled press and VIPs. Rather than delving into his motivations behind the work, all he communicated was his genuine gratitude for the opportunity. His warm tone conveyed sincerity, and his brevity implied that each of us must find meaning in the work on our own. He is clearly a meditative man and not a preacher – though he provides us with clues in the title of each sculpture.

Eastern white pine, tulip poplar, red cedar, 99 1/2 x 96 x 53 in.

Lewis Michael Eisenberg, United States Ambassador to Italy.

An architecture of hushed narratives Amusingly it wasn’t until the 11th hour, after all the catalog entries were written, that he provided the title for the central interior sculpture that now occupies the space below the Jeffersonian dome. It threw the catalog authors into a tizzy to learn he was titling it “A Column for Sally Hemings 2019.” It was a cause for most to rewrite their entries to address this unforeseen narrative. (Not surprisingly, the catalogs were not available for the preview week, and are expected to arrive sometime in June.) If seen without a title, “A Column for Sally Hemings 2019” is a mystical sculpture, but with its title its true meaning is revealed. It becomes profound and invokes reflection. In his highly individualistic language, he crafted a Doric column – not a ubiquitous one, but one that eloquently tapers as it rises, whose fluted surface reminds us of pleats in a dress. In lieu of a column capital, Puryear pierces its body with a pin and shackle. The whole of which addresses the visitor eye-to-eye – the shackle in your face. This and “Monstrance” are the two site-specific works made specifically for this Biennale, though all the other equally thought-provoking sculptures were in process when he got the call. His works take on issues of scale. They often house objects within. Puryear has defined an architecture of hushed narratives for himself. But rather than surveying each of the works here, I implore you to take the journey and discover their meanings on your own terms in Venice. May You Live In Interesting Times through November 24, 2019 http://www.archnewsnow.com/features/Feature577.htm

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November 24, 2019 Johannes M. P. Knoops, FAAR, Assoc. AIA, is a designer, educator and keen observer of objects, places and memories. You can find him most often with his students at the Fashion Institute of Technology/SUNY in his native New York City. www.knoops.us Also by Knoops: "Freespace"... The One Word of the 2018 Venice Biennale, the 16th Exhibition of Architecture A survey of just 10 of the 65 national pavilions chosen for their translation of "Freespace" - and in no particular order other than my own itinerary. Kenneth Frampton, a New York Lion ... now a Golden Lion of the Venice Architecture Biennale As the Ware Professor at the Columbia University Graduate School of Architecture, Planning and Preservation, where he has taught since 1972, he has shaped more than one generation of architects. (2018) More Heart and Soul than Ever Before: 15th Venice Architecture Biennale "Reporting from the Front" Architecture alone cannot change the world, but the issues that populate this year's Biennale, as curated by Alejandro Aravena, explore how we are all responsible for making an effort. (2016) The Great Compilation: 14th International Exhibition of Architecture di la Biennale di Venezia Rem Koolhaas has irrevocably changed the Venice Biennale's focus away from starchitects to architecture itself. Indeed, I left impressed and invigorated, but curious as to what might follow. (2014)

ÂŠ 2019 ArchNewsNow.com

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"Freespace"... The One Word of the 2018 Venice Biennale, the 16th Exhibition of Architecture A survey of just 10 of the 65 national pavilions chosen for their translation of "Freespace" - and in no particular order other than my own itinerary.

(click on pictures to enlarge)

Johannes Knoops

Saudi Arabia – “Spaces in Between”

By Johannes M. P. Knoops, Assoc. AIA, FAAR June 7, 2018

As Kenneth Frampton pointed out in his acceptance of the 2018 Biennale Golden Lion for Lifetime Achievement, Freespace had previously been known as two words, but his stated admiration for how the Irish use English has him embracing the term. Yvonne Farrell and Shelley McNamara, of Dublin-based Grafton Architects, are the curators of this year’s Biennale. Together they crafted a multi-faceted manifesto that reads well: To summarize, Freespace is a generous space in its programmatic ambitions, loaded with monetary, psychological, and social freedoms&hellipunsegregated space with the potential to “bind past, present, and future together.” While anticipating a wide range of translations, the diverse results may have exceeded the curators’ expectations. This is my survey of just 10 of the 65 national pavilions. Chosen for their translation of Freespace – and in no particular order other than my own itinerary:

Johannes Knoops

Argentina – “Vertigo Horizontal”

Johannes Knoops

Finland – “Mind Building”

Johannes Knoops

Israel – “In Statu Quo: Architecture of Negotiation”

Johannes Knoops

Russia – “Station Russia”

Saudi Arabia – “Spaces in Between” Location: Arsenale http://www.archnewsnow.com/features/Feature547.htm

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Curators: Jawaher Al-Sudairy and Dr. Sumaya Al-Solaiman Making its debut appearance at the Architecture Biennale, Saudi Arabia constructed a layered and immersive environment. Both tactile and challenging, the work illustrates the fragmented nature of the country’s development while expressing a desire to knit both the architectural and social fabric back together. Needing to combat vacant lots that pockmark city centers rather than promoting sprawling development, the installation is a call for the basic poetics of urbanism with walkable city centers. Argentina – “Vertigo Horizontal” Location: Arsenale Curators: Javier Mendiondo, Pablo Anzilutti, Francisco Garrido, and Federico Cairoli A 23-meter-long mirrored terrarium provides an infinite Pampas landscape as a metaphor for an infinite Argentine “thought-scape.” To articulate the meaning of this captivating topography, sketches of spatially democratic projects are included, such as proposals for parks and social infrastructure. Since returning to a democratic government in 1983, one can sense future potentials expressed in this lush installation.

Johannes Knoops

Greece – “The School of Athens”

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Egypt – “Roba becciah: the informal city”

Johannes Knoops

China – “Building a Future Countryside”

Johannes Knoops

China – “Building a Future Countryside”

Johannes Knoops

Finland – “Mind Building” Location: Giardini, Pavilion of Finland Curator: Anni Vartola This year, the Finns transformed their Alvar Aalto pavilion into a library archiving the development of public libraries in their own country. This pavilion not only catalogues the past, but also projects a future with the much-anticipated Helsinki Central Library, designed by Helsinkibased ALA Architects, scheduled to open before the year is out. In the curators’ words: “The public library is the ultimate freespace: a publicly funded place of learning that is open for everyone, for free.” I admire immensely the http://www.archnewsnow.com/features/Feature547.htm

Scotland – “Happenstance”

Johannes Knoops

Germany – “Unbuilding Walls”

Johannes Knoops

Switzerland – “House Tour”

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sincere pride in this moral obligation that all progressive countries share. Israel – “In Statu Quo: Architecture of Negotiation” Location: Giardini, Pavilion of Israel Curators: Ifat Finkelman, Deborah Pinto Fdeda, Tania Coen-Uzzielli, and Oren Sagiv The methodical study “In Statu Quo” is exemplified through five sacred sites in Israel: the Church of the Holy Sepulcher, the Western Wall, the Ascent of Mughrabi to the Temple Mount, the Tomb of Rachel, and the Cave of the Patriarchs. The territorial disputes and spiritual agendas of these five sites are weighed, while ultimately suggesting that architecture is the tool by which to resolve these encrusted conflicts. Visually and intellectually rich, this installation deserves much consideration. Russia – “Station Russia” Location: Giardini, Pavilion of Russia Curator: Semyon Mikhailovsky

Courtesy of La Biennale di Venezia

Paolo Baratta, President of La Biennale di Venezia, with Kenneth Frampton at the 2018 Biennale Golden Lion for Lifetime Achievement ceremony.

Courtesy Johannes Knoops

Johannes Knoops in Venice

Here, the pavilion has been transformed into yet another public space: a train station, including a locker room inhabited with lost and found artifacts behind its many doors. This is a delightful journey through an often-overlooked system of infrastructure. While celebrating this lifeblood of Russia’s vast terrain, the past and present are explored, while projecting us into the future with a proposed high-speed rail to connect Moscow and Kazan. Greece – “The School of Athens” Location: Giardini, Pavilion of Greece Curators: Xristina Argyros and Ryan Neiheiser Here, the communal spaces within universities are examined as “Freespaces.” The students of the National Technical University of Athens and http://www.archnewsnow.com/features/Feature547.htm

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the Architectural Association in London dissected iconic university buildings to extract the common spaces, which are then held up for examination. The pavilion interior itself is transformed into a stepped academic commons to foster discourse as 56 3D printed models dot its landscape. One can try their hand at identifying the various specimens; perhaps you can identify Boulée’s 1785 vision for a French national library, Yale’s Art + Architecture Building or perhaps 41 Cooper Square, Cooper Union. To add to the sense of play at hand, a model of the pavilion’s own interior is included amongst the others. Egypt – “Roba becciah: the informal city” Location: Giardini, Pavilion of Egypt Curators: Islam El Mashtooly, Islam El Mashtooly, and Cristiano Luchetti Intellectually perverse, this pavilion examines the possible normalization of illegally occupied space by junk peddlers. It illustrates how individuals have pirated communal public space, a polemic that dates back to antiquity. We are asked to rethink the governance of public space while suggesting the provision for spontaneous commercial interests through a governed infrastructure. This provocation yearns for some hashing out, but is, indeed, ripe for architectural response. China – “Building a Future Countryside” Location: Arsenale Curator: Li Xiangning Sounding like an opportunist strategy to develop China beyond its mega urban centers, the curator sees the countryside as a Freespace to develop through urbanization without romancing the past. I instead saw a more sophisticated strategy at work. In my eyes the work reflected a mature respect for existing architectural fabric. A number of projects illustrate how these talented architects took cues from the existing formal language to posit new pieces into the landscape, http://www.archnewsnow.com/features/Feature547.htm

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each with a clear sense of scale. Scotland – “Happenstance” Location: Palazzo Zenobia Curators: WAVEparticle (Peter McCaughey, Lead Curator) Inhabiting the gardens at Palazzo Zenobia, Happenstance also celebrates Scotland’s Year of Young People. Here, Freespace is a spatial construct of the young, as the necessity of play is examined by a variety of architects and artists. Films, talks, and workshops weave through the pavilion over the course of its occupation of Palazzo Zenobia. To serve as an armature, participants constructed a spunky wood path/tunnel/bridge to formally express their agenda. Germany – “Unbuilding Walls” Location: Giardini, Pavilion of Germany Curators: GRAFT and Marianne Birthler Twenty-eight years since Germany’s reunification, matching the 28 years the Berlin Wall stood, this pavilion exhibits 28 exemplars of re-occupying border voids around the world. The installation conveys a sense of gravitas as a series of black walls peel up from the floor. A number of videos resulting from an extensive global investigation of boundaries, segregation, and nationalism inhabit the walls. Potent and timely, no American should skip this one. Switzerland – “House Tour” Location: Giardini, Pavilion of Switzerland Curators: Alessandro Bosshard, Li Tavor, Matthew van der Ploeg, and Ani Vihervaara curators. As for the word “Freespace,” it was ironically not present in the pavilion that takes home the 2018 Golden Lion for Best National Representation. Nonetheless, the Swiss presented a fascinating http://www.archnewsnow.com/features/Feature547.htm

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manifestation of distorted domestic scale. I suggest you experience “Svizzera 240: House Tour” of your own Freewill. Motivated by issues of memory and place Johannes Knoops, Assoc. AIA, FAAR, explores hidden urban narratives. As a tenured Associate Professor of Interior Design at FIT/SUNY, he shares his passion for a design to communicate meaning. In addition to his teaching, Knoops maintains a multi-disciplinary practice on Manhattan’s Lower East Side. Also by Knoops: Kenneth Frampton, a New York Lion ... now a Golden Lion of the Venice Architecture Biennale As the Ware Professor at the Columbia University Graduate School of Architecture, Planning and Preservation, where he has taught since 1972, he has shaped more than one generation of architects. (2018) More Heart and Soul than Ever Before: 15th Venice Architecture Biennale "Reporting from the Front" Architecture alone cannot change the world, but the issues that populate this year's Biennale, as curated by Alejandro Aravena, explore how we are all responsible for making an effort. (2016) The Great Compilation: 14th International Exhibition of Architecture di la Biennale di Venezia Rem Koolhaas has irrevocably changed the Venice Biennale's focus away from starchitects to architecture itself. Indeed, I left impressed and invigorated, but curious as to what might follow. (2014) © 2018 ArchNewsNow.com

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Kenneth Frampton, a New York Lion ... now a Golden Lion of the Venice Architecture Biennale

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As the Ware Professor at the Columbia University Graduate School of Architecture, Planning and Preservation, where he has taught since 1972, he has shaped more than one generation of architects. By Johannes M.P. Knoops, Assoc. AIA, FAAR June 7, 2018

Last week, a prestigious Golden Lion was bestowed upon Kenneth Frampton at Ca’ Giustinian, the headquarters of La Biennale di Venezia, not for any single achievement, but for a life of achievements. Though already recognized as an intellectual lion here in New York City, Ken Frampton more than deserves this global celebration.

Courtesy of La Biennale di Venezia

(l-r): Paolo Baratta, President, La Biennale di Venezia; Kenneth Frampton; Shelley McNamara and Yvonne Farrell of Grafton Architects, co-curators of the 2018 Architecture Biennale.

Upon the recommendation of Yvonne Farrell and Shelley McNamara, the curators of the 16th International Architecture Exhibition and the approval of the Board of La Biennale di Venezia, chaired by Paolo Baratta, Frampton was bestowed a Golden Lion for Lifetime Achievement. In a Biennale whose theme is framed by the term “Freespace,” the curators note: “[Frampton] stands out as the voice of truth in the promotion of key values of architecture and its role in society. His humanistic philosophy in relation to architecture is embedded in his writing, and he has consistently argued for this humanistic component throughout all the various ‘movements’ and trends often misguided in http://www.archnewsnow.com/features/Feature548.htm

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architecture in the 20th and 21st century.” La Biennale di Venezia President Paolo Baratta stated: “The Golden Lion goes this year to a “maestro,” and in this sense, it is also intended to be a recognition of the importance of the critical approach to the teaching of architecture.” Few New York City architects are unaware of the tremendous influence Frampton has on the intellectual milieu. As the Ware Professor at the Columbia University Graduate School of Architecture, Planning and Preservation, where he has taught since 1972, he has shaped more than one generation of architects. Recognized for his seminal book, Modern Architecture: A Critical History, which first appeared in 1980 and is now in its fourth printing, his publications include Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture (1995), American Masterworks (1995), Le Corbusier: Architect of the Twentieth Century (2001), Labour, Work & Architecture (2005), and most recently, L’Altro Movimento Moderno (2015), and A Genealogy of Modern Architecture: Comparative Critical Analysis of Built Form (2015). Only two other Americans have ever been honored by the Venice Biennale with a Golden Lion for Lifetime Achievement: Frank Gehry in 2008, and Peter Eiseman in 2004. This monumental recognition follows in the footsteps of other equally significant recent tributes, including the 2017 exhibition Educating Architects: Four Courses by Kenneth Frampton at the Canadian Centre for Architecture, which celebrated his tremendous influence as an educator, and having been named a “2018 Game Changer,” by Metropolis Magazine in March 2018: “Kenneth Frampton Isn’t Done Changing Architecture.” Motivated by issues of memory and place Johannes Knoops, Assoc. AIA, FAAR, explores hidden urban http://www.archnewsnow.com/features/Feature548.htm

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narratives. As a tenured Associate Professor of Interior Design at FIT/SUNY, he shares his passion for a design to communicate meaning. In addition to his teaching, Knoops maintains a multi-disciplinary practice on Manhattanâ&#x20AC;&#x2122;s Lower East Side. Also by Knoops: Kenneth Frampton, a New York Lion ... now a Golden Lion of the Venice Architecture Biennale As the Ware Professor at the Columbia University Graduate School of Architecture, Planning and Preservation, where he has taught since 1972, he has shaped more than one generation of architects. "Freespace"... The One Word of the 2018 Venice Biennale, the 16th Exhibition of Architecture A survey of just 10 of the 65 national pavilions chosen for their translation of "Freespace" - and in no particular order other than my own itinerary. (2018) More Heart and Soul than Ever Before: 15th Venice Architecture Biennale "Reporting from the Front" Architecture alone cannot change the world, but the issues that populate this year's Biennale, as curated by Alejandro Aravena, explore how we are all responsible for making an effort. (2016) The Great Compilation: 14th International Exhibition of Architecture di la Biennale di Venezia Rem Koolhaas has irrevocably changed the Venice Biennale's focus away from starchitects to architecture itself. Indeed, I left impressed and invigorated, but curious as to what might follow. (2014)

ÂŠ 2018 ArchNewsNow.com

http://www.archnewsnow.com/features/Feature548.htm

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ArchNewsNow @ the 2016 Venice Biennale “Reporting from the Front” June 6, 2016

Alejandro Aravena Director of the 2016 Biennale Image provided by La Biennale di Venezia

More Heart and Soul than Ever Before This year’s Venice Architecture Biennale “Reporting from the Front” By Johannes M.P. Knoops This season’s 15th Exhibition of Architecture, La Biennale Venezia, more commonly known as the Venice Architecture Biennale, opened to the public last week with unparalleled intent and sincerity thanks to the deeply principled Alejandro Aravena as its 2016 Director. In addition to this opportunity to compose the Biennale’s global message he was recently recognized as the 2016 Pritzker Prize laureate. Praised by the Pritzker jury, they stated, “His built work gives economic opportunity to the less privileged, mitigates the effects of natural disasters, reduces energy consumption, and provides welcoming public space.” As the 2014 Director Rem Koolhaas undermined the necessity of starchitects populating the Biennale with an agenda that focused us back on the essential and categorical elements of architecture. Alejandro takes us one step further away from the celebrities to deliver more heart and soul than one can imagine for such a global conflagration. Here in the United States we are besieged with the literal checklists of LEED (Leadership in Energy and Environmental Design (LEED) is basically a third-party certification program. It is a nationally accepted organization for design, operation and construction of high performance green buildings.). Some might say they serve as a means to measure some moral accountability in our architecture. But I am lead to believe, thanks to this thought provoking emersion, that morality is more than an

itemization of attributes. Most of the moral aspirations represented here are not so easily quantified. Granted there were earnest examinations of green technologies and practices in several of the installations, but there are numerous heart-wrenching issues that face a global community of architects wading in the waters of 21st century politics and issues.

“Battle Words” by Alejandro Aravena Image provided by La Biennale di Venezia

Migrant populations, displaced refugees, political victims, collapsing urban economies, climate mutations, disfigured environments, inequalities, crumbling social foundations and let us not overlook the lack of beauty and sense of community… as just some of the issues that populate both the Arsenale and Central Pavilion as curated by Mr. Aravena. He has included 88 participants from 37 different countries in his purview. In addition, there are an impressive 63 National Pavilions located in the Giardini (Biennale gardens) and woven throughout the historical fabric of Venice. If that isn’t enough to fill your itinerary for several days, various collateral venues offer notable exhibitions under the Biennale stewardship.

2016 Biennale poster Image provided by La Biennale di Venezia

When discussing the choice of this year’s image for the event, President Paolo Baratta in many ways articulated this Biennale’s essential theme: “What does the lady see? I

think mainly desolated land comprising immense swathes of human habitation which no human could be proud of; great disappointments representing a sad, infinite number of missed opportunities for humanity’s ability to act intelligently. Much of this is tragic, much is banal, and it seems to mark the end of architecture. But she also sees signs of creativity and hope, and she sees them in the here-and-now, not in some uncertain aspirational, ideological future.” To further clarify the intent, 2016 Biennale Director Alejandro Aravena stated: “Given the complexity and variety of challenges that architecture has to respond to, REPORTING FROM THE FRONT will be about listening to those that were able to gain some perspective and consequently are in the position to share some knowledge and experiences with those of us standing on the ground.”

Entry to the Arsenale, fabricated from the metal studs and sheetrock repurposed from the 2015 Biennale Image by Johannes Knoops

Open to the public till November 27, 2016, REPORTING FROM THE FRONT offers us an opportunity to ponder these various topics. In doing so we may take an accounting our own responsibilities in addressing these critical and humane issues. Architecture alone cannot change the world, but we are all in our own way responsible for making an effort. For further admission details to this noteworthy event please visit: http://www.labiennale.org/en/art/information/

Recipients of this year’s Biennale honors: Golden Lion for best National Participation: Spain Pavilion “Unfinished,” located in the Giardini Rather than celebrating complete work their exhibition explores open-ended constructs that embrace an ability to evolve, adapt and transform over time.

Images by Johannes M.P. Knoops

Special Mentions for National Participations: Japan Pavilion “en : art of nexus,” located in the Giardini In light of a now long-past economic boom and recent natural disasters, Japan presented singular responses to individual topics to imply that there is no one answer.

Images by Johannes M.P. Knoops

Peru Pavilion “OUR AMAZON FRONTLINE,” located in the Arsenale, Sale d’Armi Knowing we are all familiar with the potential loss of the Amazon rainforest and its associated global implications, the subject touches us here on a human-scale as issues of education and cultural erasure in Peru’s youth are brought to light.

Images provided by La Biennale di Venezia

Golden Lion for best participant in the International Exhibition REPORTING FROM THE FRONT: Gabinete de Arquitectura “Breaking the Siege,” from Paraguay located in the Central Pavilion, Giardini This provocation by Solano Benítez to implement ubiquitous brick, mortar and unskilled labor in an ingenious manner recognizes and embraces the intensive labor required of such work as a possible direction.

Images by Johannes M.P. Knoops

Silver Lion for a promising young participant in the International Exhibition REPORTING FROM THE FRONT: Kunlé Adeyemi/NLÉ “Makoko Floating School,” exhibited at Gaggiandre – Arsenale

Addressing the rapid urbanization, lack of land and rising water levels of Nigeria, Mr. Adeyemi’s school poetically floated into place along side the Arsenale while lyrically reminding us of Aldo Rossi’s floating theater of 1979.

Images by Johannes M.P. Knoops

Golden Lion for Lifetime Achievement: Paulo Mendes da Rocha from Brazil, jury comments: “He is a nonconformist challenger and simultaneously a passionate realist. His fields of interest are beyond architecture…”

Image provided by La Biennale di Venezia

News AIA New York (formally eOculus) @ 2016 Venice Architecture Biennale 7 June 2016

More than a Building The 15th Venice Architecture Biennale, “Reporting from the Front” By Johannes M.P. Knoops – FAAR, Assoc. AIA

Image provided by La Biennale di Venezia

With curious anticipation the Venice Architecture Biennale opened to the public last week with 66 national participants and 100s of individual installations. More properly titled the “15th Architecture Exhibition, La Biennale di Venezia,” it’s held in alternating years from the art Biennale. But unlike the art Biennale where an artist’s final output is up for scrutiny, the architecture Biennale has become more about the underlying motivations behind our architecture.

Image provided by La Biennale di Venezia

Alejandro Aravena the distinguished Chilean Architect directs this Biennale. Recently awarded the 2016 Pritzker Prize, his voice has taken on a global

significance. Serious, idealistic and utterly focused, his is an architecture driven by ethics. Having titled this Biennale “Reporting from the Front,” he explains it: “We believe that the advancement of architecture is not a goal in itself but a way to improve people’s quality of life. Given that life ranges from very basic physical needs to the most intangible dimensions of the human condition, consequently, improving the quality of the built environment is an endeavour that has to tackle many fronts: from guaranteeing very concrete, down-to-earth living standards to interpreting and fulfilling human desires, from respecting the single individual to taking care of the common good, from efficiently hosting daily activities to expanding the frontiers of civilization.” Curated by Alejandro Aravena the exhibition “Reporting from the Front” begins in the Central Pavilion of the Biennale Giardini and extends to fill the Arsenale. National pavilions inhabit the Giardini, as well as numerous locations throughout Venice. Many are situated in particularly distinctive settings such as Taiwan’s installation in a portion of the Ducal prisons. To introduce “Reporting from the Front” Mr. Aravena’s lists these “Battle Words”: Quality of life Inequalities Segregation Insecurity Peripheries Migration Informality Sanitation Wast Natural Disasters Sustainability Traffic Communities Housing Mediocrity Banality The many voices and riffs on the theme amount to an inspiring opportunity, an ideal fieldtrip for anyone interested in the architecture of our times. More than a building, here architecture is a course of action. For further admission details to this noteworthy event please visit: http://www.labiennale.org/en/art/information/

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The Great Compilation: 14th International Exhibition of Architecture di la Biennale di Venezia

(click on pictures to enlarge)

Rem Koolhaas has irrevocably changed the Venice Biennale's focus away from starchitects to architecture itself. Indeed, I left impressed and invigorated, but curious as to what might follow. By Johannes M.P. Knoops, FAAR, Assoc. AIA July 17, 2014 Johannes M.P. Knoops

With S, M, L, XL, Rem Koolhaas re-defined how we examine architecture, and in many ways its implications may be his most critical contribution to history. Differing from Delirious New York, the book S, M, L, XL defined a new modus operandi in presenting architecture. It embraced and deployed the ease associated with digital representation. The book compiled images, sketches, diary excerpts, and essays into a single aggregate accumulation. Relying on compilation as a method to compose his book, Koolhaas provided us with the opportunity to draw comparisons across various modes of representation. Compilation often displaced the necessity for written text, and permitted a nonlinear story line. Ultimately his book elevated compilation into a way of thinking.

â&#x20AC;&#x153;Elements of Architectureâ&#x20AC;?

As Edward Tufte, the father of info-graphics, implored us: eliminate the ornament, use a common visual language, place your data adjacent, visualize the quantitative information, but above all be factual, truthful, and clear. In many ways this Venice Biennale can be http://www.archnewsnow.com/features/Feature452.htm

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understood as a three-dimensional info-graphic – a compilation of multi-modal data from which we can draw our own comparative analysis. Comprised primarily of three segments or compilations, the Biennale not only occupies much of the Giardini (gardens), but also sprinkles itself about Venice. -- “Elements of Architecture,” located in the Central Pavilion in the Giardini -- “Moditalia,” located in the Arsenale -- “Absorbing Modernity 1914-2-14,” located in the Arsenale, National Pavilions, and off-site locations Compiling the fundamentals: “Elements of Architecture” Initially a book, the exhibition “Elements of Architecture” is the by-product of a two-year research studio with students from Harvard’s GSD led by Rem Koolhaas/AMO (Koolhaas’s research office) and Stephan Trüby, and organized by Dean Moshen Mostafavi. To quote Koolhaas’s introduction: “In this exhibition we examine micro-narratives revealed by focusing on the scale of the detail or the fragment. ‘Elements of Architecture’ looks at the fundamental of our buildings, used by any architect, anywhere, anytime”: Ceiling; Window; Corridor; Balcony; Floor; Façade; Fireplace; Roof; Door; Stair; Escalator; Elevator; Toilet; Wall; Ramp. Italy Compiled: “Monditalia” The Arsenale focused its attention on Italy itself with the multi-media installation “Monitalia.” This compilation also mined other Biennale genres in a kinetic juxtaposition – as dance, theater, music, and cinema flowed down its corridors to both inform and engage visitors. Intended as a “scan” of Italy, the following snippets illustrate Koolhaas’s vibrant collage.

Johannes M.P. Knoops

“Elements of Architecture”

Concluding the Compilation http://www.archnewsnow.com/features/Feature452.htm

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Is there ever too much? As long as the work holds – no, there is never too much. Rem Koolhaas delivered this re-defining Biennale thanks to his stature and his uncompromising sense of purpose. A lesser architect’s efforts at such an overhaul would have disappointed. So few in life ever achieve the respect of so many competing desires. Koolhaas has irrevocably changed the Venice Biennale’s focus away from starchitects to architecture itself. Indeed, I left impressed and invigorated, but curious as to what might follow. The compiler has left us with much to ponder. Compiling modernities: “Absorbing Modernity 1914-2-14” Whether located in the Arsenale (that portion of the Biennale displayed in the impressive complex of the Venetian empire’s maritime arsenal), in the Giardini’s freestanding national pavilions, or in off-site locations, each country contributed to Koolhaas’s aggregate vision. Challenged to investigate the history of their modernization from 1914 to 2014, 66 nations joined the call. Culled from each pavilion’s introductory panel, the following fragmental excerpts are the essence of each nation’s compilation. Presented in the order I encountered them, they were ultimately too numerous to include all in my personal compilation. Italy, in nesti/grafting (Arsenale) “It would appear that this is the original contribution of our country’s design culture over the last century: an ‘anomalous modernity,’ marked by the ability to innovate and at the same time interpret previous conditions.” Bahrain, Fundamentalists and Other Arab Modernisms (Arsenale) “Fundamentalists and Other Arab Modernisms is an exploration of the links between colonialism, http://www.archnewsnow.com/features/Feature452.htm

Johannes M.P. Knoops

“Moditalia”

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fundamentalism, and modernity across the Arab World in an effort to understand the links between each of these movements and their relation to the architecture of the time.” Republic of Kosovo, Visibility (imposed modernity) (Arsenale) “Kosovo can be a case study of erasure of the rich regional urban culture in the name of Modernity.” Croatia, Fitting Abstraction (Arsenale) “Intense historical conditions of a continually contested territory generated a permanent state of instability and material insecurity...The protracted state of scarcity of means was regularly compensated by a heightened attention to conceptual spatial thinking. Shared historical circumstances in all Croatian regions...explains why it is precisely the resulting abstraction that served as a common denominator of disparate regional vernaculars.” Malaysia, Sufficiency (Arsenale) “A fundamental of architecture is shaped by the idea of sufficiency, which begins with a mental measurement of material adequacy...On the precept of sustainability it can be measured by one's carbon footprint, or in construction it can suggest minimum building footprint or optimum structure.” Kuwait, Acquiring Modernity (Arsenale) “To help articulate the nation’s history of modernization, the Pavilion team has chosen to focus its participation on the establishment of the Kuwait National Museum in 1957.” Switzerland, Lucius Burckhardt and Cedric Price. A stroll through a fun palace (Giardini) “In a digital time of unlimited access to information, where everyone can be an architect, a curator, an intellectual thinker, Hans Ulrich Obrist’s Lucius Burckhardt and Cedric Price – A stroll through a fun palace revisits the recent past of architecture through retrospectives of Lucius Burckhardt (1925–2003) and Cedric Price http://www.archnewsnow.com/features/Feature452.htm

Johannes M.P. Knoops

Italy: “in nesti/grafting”

Johannes M.P. Knoops

Great Britain: “A Clockwork Jerusalem”

Johannes M.P. Knoops

Australia: “Augmented Australia”

Johannes M.P. Knoops

Romania: “Site Under Construction”

Johannes M.P. Knoops

Spain: “Interior”

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(1934–2003), reflecting on its future in the 21st century.” Belgium, Interiors. Notes and Figures (Giardini) “Focusing on the home, the book “Interiors, Notes and Figures” records and analyzes the domestic landscapes that result from this process of modification...Each intervention is accompanied by the pages from the book that locate its point of emergence.” Great Britain, A Clockwork Jerusalem (Giardini) “It examines how traditions of the romantic, sublime, and pastoral, as well as interests in technology and science fiction, were absorbed to create a specifically British form of Modernism.”

Johannes M.P. Knoops

USA: “officeUS”

Johannes M.P. Knoops

France: “Modernity: promise or menace?”

The Czech Republic, 2×100 mill.m2 (Giardini) “...presents the architecture of large housing projects realized between 1914 and 2014 both on the territory of the former Czechoslovakia and its successional states.” Australia, Augmented Australia (Giardini) “Augmented Australia showcases 11 historical and 11 contemporary Australian projects from the past 100 years, which, for various reasons, were never built.” Greece, Tourism Landscapes: Remaking Greece (Giardini) “design for a tourisim inhabitation...placed in the landscape, the research of the relationship between architecture and the surrounding landscape, the ground and the sea.” Romania, Site Under Construction (Giardini) “The Romanian Pavilion brings industrial architecture as generator of modernity into discussion.” Spain, Interior (Giardini) “The vindication of the interior could be interpreted as a partial analysis of Spain’s 20th century architectural legacy and an historic tradition that dates back to Roman and Arab architecture.” http://www.archnewsnow.com/features/Feature452.htm

Johannes M.P. Knoops

Germany: “Bungalow Germania”

Johannes M.P. Knoops

Israel: “Urburb Ori Scialom”

Johannes M.P. Knoops

Russia: “Fair Enough”

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USA, officeUS (Giardini) “Curators Eva Franch I Gilabert, Ana Miljački, and Ashley Schafer re-imagine the U.S. Pavilion as an active, global, experimental architecture office that researches, studies, and remakes projects from an onsite archive of 1,000 buildings and the 200 U.S.-based architecture offices engaged in their construction.” Nordic Countries, Forms of Freedom. African Independence and Nordic Models (Giardini) “During a few intense years in the ‘60s and ‘70s, Nordic Architects contributed to the rapid process of modernization in this part of Africa.” France, Modernity: promise or menace? (Giardini; one of three pavilions awarded a Special Mention for National Participation) “Since 1914, France has through the contributions of Architects and Engineers much less ‘absorbed’ modernity than has shaped it. Including prefabrication, Prouvé, Cité de la Muette, and Tati’s Mon Oncle.” Germany, Bungalow Germania (Giardini) “Two buildings of national and historical importance anchor the project within the past century: the German Pavilion and the Kanzlerbungalow [Chancellor Bungalow] in Bonn, realized by Sep Ruf in 1964.” Israel, Urburb Ori Scialom (Giardini) “The Israeli Pavilion is transformed into a contemporary construction site furnished with four large sand-printers. The site and the sand printers delineate the story of 100 years of modernist planning.” Hungary, Építés (Giardini) “The communal experience of building, the immense, sacred power of creation, and architecture as service: this is what the Carpathian Basin model is about.” Finland, Re-Creation (Giardini) “Respecting Aalto’s idea, the pavilion now serves http://www.archnewsnow.com/features/Feature452.htm

Johannes M.P. Knoops

Japan: “In the real world”

Johannes M.P. Knoops

Korea: “Crow’s Eye View: The Korean Peninsula”

Johannes M.P. Knoops

Canada: “Arctic Adaptations”

Johannes M.P. Knoops

The Netherlands: “Open: A Bakema Celebration”

Johannes M.P. Knoops

Austria: “Plenum. Places of Power”

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as a path between the two installations, one created in Finland and made of spruce, the other created in China and made of bamboo.” Russia, Fair Enough (Giardini; one of three pavilions awarded a Special Mention for National Participation) “Fair Enough is an expo of ideas. Each exhibit marks a milestone in modernization and clears a path for new efforts. Together, they form a marketplace of urban intervention – made in Russia, open to the world.” Japan, In the real world (Giardini) “The reexamination of modernism in Japanese architecture lies in the synergy of these activities of the 1970s. Ultimately, they were desperate efforts to redefine architecture by learning from life in the real world.”

Johannes M.P. Knoops

Poland: “Impossible Objects”

Johannes M.P. Knoops

Venice: “The Sonnets in Babylon”

Korea, Crow’s Eye View: The Korean Peninsula (Giardini): Awarded a Golden Lion for Best National Participation “In the Korean Pavilion, the architecture of North and South Korea is presented as an agent – a mechanism for generating alternative narratives capable of perceiving both the everyday and the monumental in new ways...The exhibition is inspired by Crow’s Eye View a serial poem.” Canada, Arctic Adaptations (Giardini) One of three pavilions awarded a Special Mention for National Participation “Arctic Adaptations argues for a shift from architecture as problem solver to opportunity seeker. 2014 marks the 15th anniversary of Nanavut’s founding as a territory.” The Netherlands, Open: A Bakema Celebration (Giardini) “...a critical re-thinking of the idea of the open society through the work of Jaap Bakema.”

Johannes M.P. Knoops; Terreform ONE; Louise Braverman, Architect photographs by Sergio Pirrone

Collateral Events: “Moskva: urban space”; Terreform ONE: “Bio City Map”; Louise Braverman, Architect: Centro de Artes Nadir Afonso

Serbia, 14-14 (Giardini) “The daylight-filled interior of the exhibition space is a framework for 100 significant architectural projects between 1914 and 2014.” http://www.archnewsnow.com/features/Feature452.htm

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Austria, Plenum. Places of Power (Giardini) “The assembly of 196 parliaments as 1:500 scale models creates a parliament of parliaments, a plenum of similarities and differences, where monumentality becomes ornament through repetition.” Brazil, Brazil: Modernity as Tradition (Giardini) “’No wonder modernism has become Brazil’s tradition’ – Oscar Niemeyer, 1958.” Poland, Impossible Objects (Giardini) “One example of a mythologized reality is the rebirth of the Polish state in 1918...an experience of non-modern modernity.” Venice, The Sonnets in Babylon (Giardini) “’The Sonnets in Babylon, 101 of my hand drawings, stand together in this exhibition as one canvas, without apparent order or hierarchy’ – Daniel Libeskind.” Denmark, Empowerment of Aesthetics (Giardini) “We have asked the internationally acclaimed Danish landscape architect Stig L. Andersson to deploy his architectural theories and artistic practice in order to explore the Danish architecture culture of the previous century and its global aspirations for the 21st century.” Montenegro, Treasures in Disguise (off-site location) “The Montenegro Pavilion presents four examples of late-modernist architecture that were built in Montenegro between 1960 and 1986. When these buildings were first constructed, they radiated their builders’ enthusiasm and confidence about the new society they were building. Only a few decades later, these buildings embody the complete opposite.” Antarctica, Antarctopia (off-site location) “The Antarctic Biennale is conceived by the artist Alexanter Ponomarev as a cultural exchange with the continent’s scientists and support staff. http://www.archnewsnow.com/features/Feature452.htm

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This independently-funded project – bringing artists, architects, and other thinkers down South – will confront the resident elect with visions of Antarctic enterprise that they may not recognize, and attempt to draw out the implications of the Antarctic experience that go undocumented.” Beyond the Compilation: “Collateral Events” Twenty-one different collateral venues augment this year’s Architecture Biennale. Located within the city of Venice, these events are vetted by the Director but sponsored by a variety of national and international non-profit institutions. Of these, two exhibitions are of particular note, Moskva: urban space and Time Space Existence, each very different from the other. Moskva: urban space is a well-crafted installation vividly illustrating Moscow’s “connective tissue” – the city’s historically distinctive public spaces. While pondering its identity, the exhibit also projects into the future with a full-size fragment of a new cultural center, Zaryadye Park. Time Space Existence surveys a wide spectrum, from pioneering investigations to projects by established architects who work globally. For example, the non-profit group Terreform ONE presented Bio City Map, a three-dimensional info-map illustrating population density as a parametric construct. Focused on our planet’s 25 densest cities, it employed colonies of E. Coli in its computation. Then, in another direction but also from New York City, Louise Braverman, FAIA, developed an immersive installation capturing her firm’s latest project, the Centro de Artes Nadir Afonso, an art museum in Boticas, Portugal. This well-considered installation parallels the highly accomplished design of the actual architecture. Rooted in his native New York, Johannes M.P. Knoops, FAAR, Assoc. AIA, often speculates on urban narratives both locally and abroad. Distinguished with http://www.archnewsnow.com/features/Feature452.htm

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III. Evidence of Professional Accomplishments published projects and reviews — university journal 2019

Neil Anthony Harris, “Recent Books / Manutiana,” The Library, Oxford University Press, Vol. XX: No. 1, March, Pg. 126. Book review of In Search of Aldus Pius Manutius a campo Sant’Agostin, (Venice, Italy: Domacle Edizioni 2018).

2019

Neil Anthony Harris, â&#x20AC;&#x153;Recent Books,â&#x20AC;? Manutiana, University of Cambridge, Vol. XX: No. 1, March, Pg. 126

III. Evidence of Professional Accomplishments published projects and reviews projects — periodicals 2018

2018 2017

Marzo Magno, “L'ERRORE…VENEZIA C'è da spostare una lapide: quella che indica la prima stamperia di Aldo Manuzio” (ERROR... VENICE There is a marker to move: the one that indicates the first printing press of Aldo Manuzio), Gazzetino, Venice Edition, Italy, November 2, 2018 Jonathan Vatner, “Finding Aldus,” HUE The Magazine of FIT, Spring, Vol. XI: No. 2, Pg. 12-13 Jonathan Vatner, “A Mental Map of Venice,” HUE The Magazine of FIT, Winter, Vol. X: No. 3, Pg. 5 (Venice Re-Mapped)

2018

Marzo Magno, “L’ERRORE…VENEZIA,” Gazzetino, Venice Edition, November 2

F INDING A LDUS A faculty member helped solve the mystery of a 15th-century Venetian printing press AT HIS ALDINE PRESS, founded in Venice in 1494, pioneering publisher Aldus Pius Manutius established the modern use of the semicolon, commissioned the Bembo and Garamond fonts, and created the first italic typeface. He is perhaps best known for pioneering a portable book size, the precursor to the paperback. Unfortunately, no one is certain exactly where his press was located. In 2015, to commemorate the 500th anniversary of Aldus’ death, New York’s Grolier Club, a storied society of bibliophiles, staged an exhibition celebrating his accomplishments. At the show’s opening party, Johannes Knoops, associate professor of Interior Design, heard an intriguing opinion from George Fletcher, one of the curators: Fletcher, along with four other Aldus scholars, thought that the two plaques identifying the site of the press, placed in 1828 and 1877, were in the wrong location. They believed the press had operated in a building down the street. Knoops decided to investigate. By studying historical maps and writings, and with some deduction of his own, he built a sturdy case in favor of that nearby location. A monthlong residency from the Cini Foundation and an FIT faculty grant brought him back to Venice in 2017 to continue his research, and a yearlong sabbatical for the 2018–19 academic year will enable him to finish the project. He aims to publish his findings, convince the city to relocate the plaques, and design a contemporary memorial for Manutius in keeping with the great printer’s legacy. Here are some of the clues that helped him crack the case. —JONATHAN VATNER

Knoops is an architect who creates site-specific installations and memorials, including an alternative map of Venice that showed in the 2016 Venice Architecture Biennale. “I work a lot with memory and place,” he says.

2311 RIO TERR Á SECONDO Two commemorative plaques mark 2311 Rio Terrá Secondo as the location of the Aldine Press, but Knoops believes this building is more distinguished than a printing press would have been. The second-floor balcony, windows, and cornice are all quite ornamented, suggesting a building “more noble in stature than a commercial structure,” he writes.

RIO DELLA PERGOLA In Aldus’ time, a canal, Rio della Pergola, bordered the 2311 building, where the plaques are located—but no historical document about the Aldine Press mentions that canal, leading Knoops to believe that the true location has never been on the water. It’s easy to understand why the error occurred: historical maps show that in the late 1700s and early 1800s, parts of the canal were filled in and renamed Rio Terrá Secondo (as shown in the above map from 1886). When the first plaque was placed in 1828, 2311 was on a street made of stone.

12 hue | spring 2018

2018

Jonathan Vatner, “Finding Aldus,” HUE The Magazine of FIT, Spring, Vol. XI: No. 2, Pg. 12-13

PISANI PALA ZZO The Pisani Palazzo, the former home of an aristocratic Venetian family, is just a few steps from the entrance to 2311 Rio Terrá Secondo, where the plaques are. Knoops finds this juxtaposition unlikely. “Such an industrial trade with its clatter and odor of ink would not traditionally be located so close to a noble’s front door,” he notes.

BAKERY A contemporaneous letter from Zaccaria Calergi, one of Aldus’ collaborators, providing directions to the Aldine Press, stated that it was near a bakery (pistor, in Venetian dialect). There is a bakery across the street from 2343 Rio Terrá Secondo, not 2311, the location of the plaques. Knoops believes that this is the same bakery mentioned in the letter, because the adjacent street has been named Calle del Pistor since 1661, and if a bakery, with its built-in oven and ventilation, has operated in one spot for 350 years, it’s unlikely that it was in a different place 150 years earlier.

CAMPO SANT’AGOSTIN Calergi’s letter also mentioned that the press was located directly on Campo Sant’Agostin (Saint Augustine Plaza). Due to the demolition of the Chiesa di Sant’Agostin (Church of Saint Augustine) in 1873 and the subsequent construction of an apartment building, that campo has been reduced to a mere street. Knoops used this illustration by Francesco Guardi and a map drawn in 1500 to construct a digital model of the church, which reveals that 2343 Rio Terrá Secondo, the hypothesized location, was on the campo in Aldus’ time, and 2311, the location of the plaques, was not.

2343 RIO TERR Á SECONDO Knoops and other scholars posit that the building at 2343 Rio Terrá Secondo, which now houses a restaurant, is the true location of the Aldine Press. Not only does its location match multiple historical descriptions, but the workaday architecture is fitting of a commercial building, the only ornamentation being a lunette (a half moon–shaped space for a mural) above one window and a ropelike trim around the doorframe.

hue.fitnyc.edu 13

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Jonathan Vatner, “Finding Aldus,” HUE The Magazine of FIT, Spring, Vol. XI: No. 2, Pg. 12-13

2017

Jonathan Vatner, “A Mental Map of Venice,” HUE The Magazine of FIT, Winter, Vol. X: No. 3, Pg. 5

III. Evidence of Professional Accomplishments published projects and reviews projects — websites 2019

2019 2018 2017 2017 2017 2016

2016 2015 2015 2014

Savannah Smith, “3 New York Design Happenings to Check Out This Week, A rchitecture Exhibit at F.I.T.” New York Magazine https://www.thecut.com/article/new-york-designnews.html?utm_source=Sailthru&utm_medium=email&utm_campaign=Design%20Hunting%20%20December%205%2C%202019&utm_term=Subscription%20List%20-%20DH%20%281%20Year%29 “Picturing Space,” FIT Portfolios http://portfolios.fitnyc.edu/sabrinamarrazzo1 Eugenia Murialdo, “Uncovering Venice through Design – Design.VE,” Elle Decor https://www.elledecor.com/it/best-of/a21089004/venice-design-ve/ “Johannes Knoops Clarifies History of Italian Renaissance Printing Press,” FIT Newsroom, http://news.fitnyc.edu/2017/08/24/johannes-knoops-clarifies-true-history-of-italian-renaissance-printing-press/ Obrazów Motywu “A Mental Map of Venice,” Solonia City, https://soloniacity.blogspot.com/2017/03/a-mental-map-of-venice.html “New Views, Art and Design Faculty Exhibition,” FIT Portfolios, http://portfolios.fitnyc.edu/gallery/48874545/Johannes-Knoops Lee Michael Klien, “Jeff Koons and Louis Vuiton with Donatellanyone Versace Present: The Italian Shopping Mall Poem Remapped,” llmk1 Wordpress, https://llmk1.wordpress.com/2016/05/14/the-italian-shopping-mall-poem-remapped/ “Johannes Knoops’s Work Featured in Venetian Architecture Exhibition,” FIT Newsroom, http://news.fitnyc.edu/2016/10/17/johannes-knoopss-work-featured-in-venetian-architecture-exhibition/ “New Views, Art and Design Faculty Exhibition,” FIT Portfolios, https://www.fitnyc.edu/art-and-design/exhibitions/cyndamedia.comnv2015.webloc “WWI Memorial Competition – Stage 1 Submissions,” entry 0179 https://www.worldwar1centennial.org/index.php/stage-i-submissions-for-public-comment.html?start=165 “New Views, Art and Design Faculty Exhibition,” FIT Portfolios, http://sites.fitnyc.edu/depts/newviews/index.html

A Roundup of New York Design News

DESIGN NEWS

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U P D AT E D D E C . 5 , 2 0 1 9

3 New York Design Happenings to Check Out This Week By Savannah Smith

“Picturing Space:Artists Imagine Architecture” at FIT. Photo: Smiljana Peros/Courtesy of FIT

Here’s a roundup of the latest sales, interior-design events, and industry a!airs in New York this week.

Architecture Exhibit at F.I.T.

F.I.T.’s new exhibition, Picturing Space, falls at the intersection of "ne art and architecture; it features large three-dimensional installations alongside photos, paintings, drawings, and videos made by artists, exhibition designers, and interior designers. The exhibit is free and open to the public at F.I.T.’s Art and Desig Gallery (227 W. 27th St.) through January 5.

Conversation on Glass Houses https://www.thecut.com/article/new-york-design-news.html?utm_so…%202019&utm_term=Subscription%20List%20-%20DH%20%281%20Year%29

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Savannah Smith, “3 New York Design Happenings,” New York Magazine online 12.06.19

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“Picturing Space,” FIT Portfolios

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Eugenia Murialdo, “Uncovering Venice through Design – Design.VE,” Elle Decor

2016

Eugenia Murialdo, “Uncovering Venice through Design – Design.VE,” Elle Decor

2017

onathan Vatner

noo

Clarifie

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FIT Newsroom, Cini Foundation Residency

2017

Obrazów Motywu “A Mental Map of Venice,” Solonia City

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Obrazów Motywu “A Mental Map of Venice,” Solonia City

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2017 NewViews website, FIT Portfolios

2016

Lee Michael lien,

e oons and Louis Vuiton with onatellanyone Versace resent, llmk Wordpress

Author of the world’s longest “shopping mall” poem and fellow Biennale news corospondent, Lee Klien, featured my installation Venice Re-Mapped in his riff on Venice

2016

Lee Michael lien,

e oons and Louis Vuiton with onatellanyone Versace resent, llmk Wordpress

2016

Lee Michael lien,

e oons and Louis Vuiton with onatellanyone Versace resent, llmk Wordpress

2016

Jonathan Vatner, “Knoops Featured in,” FIT Newsroom, Venice Biennale, Space-Time-Existence

2015

2015 NewViews website, FIT Portfolios

2016

“WWI Memorial Competition – Stage 1 Submissions,” entry 0179

III. Evidence of Professional Accomplishments design projects 2019 2018 2018 2018 2016-17 2016 2014

Weis Family Residence*, Battery Park City, NY —in progress Alpine Scout Camp, outdoor cooking demonstration site, Alpine, NJ — completed Oculi, 3D printed, pantheon-inspired light fixtures — completed and in promotion ADA compliant restroom at the Ten Mile River Scout Camps Museum, Narrowsburg, NY — completed Ten Mile River Scout Camps Museum, new display system and exhibits, Narrowsburg, NY — completed Maloney Family Residence*, apartment renovation, New York, NY — completed Doris Bergman*, a kitchen/dining/storage renovation, New York, NY — completed

* remuneration received

Weis Family Residence

Battery Park City, New York, NY Custom uilt in window units, entr

ench, lighting and finishes

Evidence of commission:

2019-

Weis Family Residence, Battery Park City, New York, NY

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Weis Family Residence, Battery Park City, New York, NY

View of window units

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Weis Family Residence, Battery Park City, New York, NY

2019-

Weis Family Residence, Battery Park City, New York, NY

Jamil Ahmed Memorial Cook Station Alpine Scout Camp, Alpine, New Jersey

Dedicated to a Boy Scout leader who fell victim to cancer, this cook station is intended for cooking demonstrations was funded by donations in his memory. From: Johannes Knoops jmpknoops@mac.com Subject: Jamil Ahmed Cooking Pavilion Date: September 29, 2018 at 1:21 PM To: Benini, Richard Richard.Benini@lendlease.com, Steven Benini steven.benini@scouting.org Here’s a first take on the Jamil Ahmed Cooking Pavilion: - Counter to demonstrate to Scouts - Grills behind so Scouts can watch - Sink opposite cooktop to fill pots - Cooktops and grills 18” apart - Dutch oven table near demo counter - Grills can also be set on Dutch oven table

animation_1.mp4 Downloading…

Johannes M.P. Knoops FAAR, Assoc AIA www.knoops.us

Email evidence of project

Typical Section

Floor Plan 2019

Jamil Ahmed Memorial Cook Station, Alpine Scout Camp, Alpine, New Jersey

2019

Jamil Ahmed Memorial Cook Station, Alpine Scout Camp, Alpine, New Jersey

Oculi

Actively seeking manufacturer. Promotion card used at the 2019 Milan furniture fair, Salone.

2019

Oculi, Prototype for production

ADA compliant restroom

Ten Mile River Scout Camps Museum, Narrowsburg, NY Pro bono design service to the Boy Scouts

2018

ADA restroom for the Ten Mile River Scout Camps Museum, Narrowsburg, NY

2018

ADA restroom for the Ten Mile River Scout Camps Museum, Narrowsburg, NY

2018

ADA restroom for the Ten Mile River Scout Camps Museum, Narrowsburg, NY

Ten Mile River Scout Camps Museum Rennovation Narrowsburg, New York

I developed a new panel display system and deck inserts for the existing cases along with a new layout for the museum. This includes labels, text panels images on large banners and images printed on alumninum.

2017

Ten Mile River Scout Camps Museum, Narrowsburg, NY

6'-2"

3/4"

8’ PANEL

4'-0"

BLOCK OUT TO ACCOMMODATE FOR EXISTING JUNCTION BOX 8’ PANEL

8’ PANEL

VIF

8’ PANEL

ELEVATION A Scale: 1/4”=1’-0”

3/4"

4'-0"

6'-2"

6’ PANEL PLEASE REVISE, WE NEED TO CLEAR THE EXISTING ELEC. PANEL

TEN MILE RIVER SCOUT CAMPS MUSEUM 1481 CRYSTAL LAKE ROAD NARROWSBURG, NY 12764 EXHIBIT UPGRADE ELEVATION B Scale: 1/4”=1’-0”

2017

ALIGN TO CORNER

Ten Mile River Scout Camps Museum, Narrowsburg, NY

Johannes M.P. Knoops 415 Grand Street, E-902, New York, NY 10002 E: jmpknoops@mac.com T: 917-251-4596 www.knoops.us

SK-02 ELEVATIONS Revised: 5.21.17

4 1/4”

CONFIRM ALL MEASUREMENTS WITH EXISTING CASES MATCH SLOPE

3 3/4”

2'-

1'-9 1/2”

" BLOCKING AS REQUIRED

SUPPORT

1/2” PLYWOOD ACID-FREE 3/8” FOAMCORE

VIEW

NOT TO SCALE

1'-

5'-10"

SUPPORT CAN BE 3/4” PLYWOOD

NINE (9) NEW CASE INSERTS

2'-7"

- 3/8” ACID-FREE FOAMCORE - PLYWOOD, NOT MDF - FABRIC WRAPPED USING A SIDE ELEVATION 3” = 1’-0” POWER-DRIVEN STAPLE GUN - COTTON FABRIC TO BE PROVIDED - CONFIRM ALL MEASUREMENTS ON SITE - INCLUDE DELIVERY AND INSTALLATION

CAN BE SEEN FROM THE SIDES

VIEW OF EXISTING CASE

1'-4 1/2”

TEN MILE RIVER SCOUT CAMPS MUSEUM 1481 CRYSTAL LAKE ROAD NARROWSBURG, NY 12764 EXHIBIT UPGRADE Johannes M.P. Knoops 415 Grand Street, E-902, New York, NY 10002 E: jmpknoops@mac.com T: 917-251-4596 www.knoops.us

NOT TO SCALE

SK-05 CASE INSERTS Revised: 3.8.17

PROVIDE 1 1/2” SPACE FOR POSSIBLE FUTURE TECHNOLOGY AND WIRE MANAGEMENT

1 1/2"

3'-0"

1/2” PLYWOOD WRAP IN RED FABRIC

3'-0" 4'-0"

8'-0"

3/8” FOAMCORE ACID-FREE

NINE (9) PANELS AT: 8’-0” ONE (1) PANEL AT: 7’-5” VIF ONE (1) PANEL AT: 3’-2” VIF TOTAL ELEVEN (11) PANELS

- FRONT: 1/2” PLYWOOD, NOT MDF 3/8” ACID-FREE FOAMCORE FABRIC WRAPPED USING A POWER-DRIVEN STAPLE GUN - COTTON FABRIC TO BE PROVIDED - REAR: 3/4” PLYWOOD ANCHORED TO EXISTING STUDS - CONFIRM ALL MEASUREMENTS ON SITE - INCLUDE DELIVERY AND INSTALLATION

VIEW OF TYPICAL PANEL NOT TO SCALE

CLEAT-MOUNT AS REQUIRED

4'-0"

3/4” PLYWOOD

EIGHT (8) PANELS AT: 8’-0” ONE (1) PANEL AT: 6’-0”

CLEAT-MOUNT AS REQUIRED

PROVIDE 1 1/2” SPACE FOR POSSIBLE FUTURE TECHNOLOGY AND WIRE MANAGEMENT

TACK FOAMCORE TO PLYWOOD, FABRIC-WRAP FOAMCORE AND 1/2” PLWOOD TOGETHER, THEN CLEAT TO REAR PLYWOOD PANEL

TYPICAL SECTION Scale: 1 1/2”=1’-0”

2017

Ten Mile River Scout Camps Museum, Narrowsburg, NY

SK-04 TYPICAL PANEL Revised: 5.21.17

2017

Ten Mile River Scout Camps Museum, Narrowsburg, NY

2017

Ten Mile River Scout Camps Museum, Narrowsburg, NY

PROVIDING FOR 1 MORE Lower Eastside, NYC, Seward Park, adding one room Seward Park Cooperative offers many amenities, some of which residents may rarely use. In particular the luxurious foyers to each apartment, whose square footage is often cluttered with less critical wants. In this case, a young expecting couple desperately needed a room for their incoming child. A few strategic moves made it possible: • Re-orient the living room • Appropriate a portion of the foyer with a defined dining nook (which is more efficient than a dining table and chairs) • Open the kitchen and blur the boundary to living room

Johannes M.P. Knoops – Assoc AIA, NCIDQ, FAAR 415 Grand Street, E-902 New York, New York 10002 917 251-4596 jmpknoops@mac.com www.knoops.us

David and Chrissy Maloney 415 Grand Street, E-1005 New York, New York 10002 May 6, 2015 INVOICE FOR SERVICES Re.: Maloney Renovation For services in relation to Design Development, Construction Documents and Bidding 4.6.15 4.9.15 4.10.15 4.12.15 4.13.15 4.14.15 4.15.15 4.20.15 4.21.15 4.22.15 4.23.15 4.24.15 4.25.15 4.26.15 4.27.15 5.3.15 5.4.15 5.5.15 5.6.16

Site survey Existing conditions SK-05, 06 and 07 Coord. SK-08 and 09 flooring Digital model Coord shared animation SK-11 kitch clearances issue Client mtg Coord. and est hours SK-10 to LG Const Docs Const Docs Const Docs revisions Const Docs revisions Coord. Revise DOB sent to LG Millwork, kitchen A-04 Millwork kitch & nook Redline, kitch section revisions Mtg to Review Bid Set Revisions, addtl kitch sections StoneSource w DM Printing, Fedex, calls, coord Revisions from LG, coord w Bldg Mgt Check valve revision, coord w bids

1.25 2 6.5 0.5 1 6.25 0.75 1 0.75 1 1 2 2 0.5 0.5 0.25 2 6 9.25 4 3.5 3 4 4 1

___________________________________________________________________________________________________

Total Hours

64 64 hours @ 125.00 = 7 hours on digital model 125.00 =

8000.00 - 875.00 (provided as a courtesy)

___________________________________________________________________________________________________ TOTAL AMOUNT DUE $7125.00

Progress image

Please make payable to: Johannes Knoops Invoices due upon receipt. Invoices delinquent more than thirty (30) calendar days from the invoice date shall incur a finance charge of five percent (3%) per month. Services are provided to current accounts only. All accounts delinquent more than sixty (60) calendar days are subject to appropriate legal action.

Evidence of commission

2016

Maloney Family Apartment, New York, NY

Bergman Residence Since a walk-in closet will always include circulation, it was duplicitous to provide both access to the closet’s content and another access to the kitchen. By combining this circulation we cleaned up the kitchen’s layout while also eliminating a doorway on that wall. Then the existing dining room cabinetry will be replaced to match the kitchen’s new cabinetry.

Doris Bergman- Owner 345 East 81st Street, New York, New York 10028 INVOICE FOR SERVICES RENDERED July 28, 2014 Re: 345 East 81st Street, New York, New York 10028 Design Phase 3.24 Coord. emails, re. quotes 0.25 3.26-30 Coord. emails, re. quotes 0.25 3.31 Coord. emails, re. mgr & light 0.25 4.01 Mtg at showroom Urban Homes 0.75 4.04 Coord. emails, re. sink etc. 0.25 4.08 Coord. emails, re. Jakub etc. 0.25 6.13 Mtg at Stone Source Stadium & Modulighter 0.75 ____________________________________________________________________________ SUBTOTAL 2.75 @ 100=275 Construction Documents Phase / Bidding Negotiations and Submissions 4.15 Coord. emails, plans to Greenthal 0.25 4.16 Coord. emails, re. angled cabinet 0.25 4.16 Mtg at NY1 drop off for Greenthal 0.5 4.23 Mtg at showroom Urban Homes 0.5 4.28 Coord. emails, re. Bldg Archt. 0.25 5.03 Coord. emails, re. L.G. to file 0.25 5.08 Coord. emails, re. L.G., elec loads, etc. 0.25 5.12 Coord. emails, re. L.G., insurance, etc. 0.25 5.25-26 Coord. emails, re. ac, clg 0.25 5.26 Documents for DOB, equip etc. 4.0 6.07 Revisions 1.0 6.10 Revisions 1.0 6.13 Revisions, adjust notes 1.0 6.19 Coord. emails, re. floor area, materials 0.25 6.21 Coord. emails, re. floor area, Mr. Glass 0.25 6.21 Revisions, laticrete, exist dimensions 1.5 6.23 Revisions, dishwasher pan 1.0 6.28 Sketch re. clg fixture 0.5 7.01 Sketches re. floor boundaries 0.5 7.03 Coord. emails 0.25 7.05 Revisions, & issue 1.0 7.07 Coord. emails 0.25 7.14 Coord. emails, re. asbestos, plans to Anthony 0.25 7.23 Revisions, & issue 1.0 ___________________________________________________________________________ SUBTOTAL 16.5 @ 100=1650.00 ___________________________________________________________________________________________________ Applying $250 of retainer, holding $250 retainer to be applied to final payment. TOTAL 1675.00 Courtesy (175.00) ___________________________________________________________________________________________________ TOTAL AMOUNT DUE $1500.00

Evidence of commission

2014

Bergman Residence, Upper Eastside, New York

2014

Bergman Residence, Upper Eastside, New York

Final floor

Final cabinets

Existing Kitchen

2014

Existing Dining Room

Bergman Residence, Upper Eastside, New York

III. Evidence of Professional Accomplishments design competitions 2016 2015 2014 2014

â&#x20AC;&#x153;Dreaming Duravit,â&#x20AC;? Designer Dream Bath Competition Sponsored by Duravit World War I Memorial Competition, Pennsylvania Avenue, Washington D.C. Canterbury Earthquake Memorial Competition, Christchurch, New Zealand Nelson Mandela Competition, Skylawn, CA

MIRROR WITH BRUBRECK LIGHT FIXTURE AND DURASTYLE CABINET

TYL

E MIR R O R

MIRROR WITH BRUBRECK LIGHT FIXTURE AND DURASTYLE TOILET

AL W

L LI

G H T FIX T U

MIRROR WITH BRUBRECK LIGHT FIXTURE

BRUB

MIRROR WITH BRUBRECK LIGHT FIXTURE AND DURASTYLE BIDET

DURASTYLE MIRROR WITH STARCK ME ROUND SINK

R TA

ME ROUND S IN

D U RAS

CA BIN

IDET ED B

2016

“Dreaming in Duravit,” Designer Dream Bath Competition, sponsored by Duravit

DT OI

MOUNTE

RASTYLE WAL

DUR

LL WA

DREAMING IN DURAVIT

World War I Memorial Competition for Washington D.C. Sponsored by the US WWI Centenial Commission

Surprisingly, there is no national WWI memorial in the District of Columbia. Pershing Park was given as the site.

2015

WWI Memorial Competion, Washington DC, sponsored by the US WWI Centennial Commission

2015

WWI Memorial Competion, Washington DC, sponsored by the US WWI Centennial Commission

A Memorial for the Canterbury Earthquakes He Whakamaharatanga mō Ngā Rū o Waitaha

2 010

2 011

Canterbury Region, New Zealand

Larger aftershocks between September 2010 and January 2011 caused further uilding damage and power outages ut it was the significant magnitude aftershock at 12:51pm on 22 February 2011 that resulted in massive and widespread devastation throughout greater Christchurch and the loss of lives IDEAS TO

REMEMBER CALL FOR IDEAS TO REMEMBER A Memorial for the Canterbury Earthquakes He Whakamaharatanga mō Ngā Rū o Waitaha

2014

Memorial for the Cantebury EarthQuakes, Cantebury Region, New Zealand

2014

Memorial for the Cantebury EarthQuakes, Cantebury Region, New Zealand

Nelson Mandela Memorial Skylawn, CA

Centered on a Real Yellowwood tree, the national tree of South Africa, this proposal can be thought of as a “living memorial.” Since antiquity, memorial benches have commemorated loved ones, not just with a plaque… but with a “sense of place.” Incised with Mr. Mandela’s words, the ron e ac s to these four enches essentiall define an outdoor room… a sacred zone that one enters, rests, ponders, and then passes on to other destinations. Exhibited at: 2015 NewViews, Fashion Institute of Technology, New York, NY .

Nelson Mandela Memorial Proposal, Skylawn, CA

III. Evidence of Professional Accomplishments grants 2018 2017

FIT Faculty Grant, in support of â&#x20AC;&#x153;Oculiâ&#x20AC;? at Design.VE, Venice, Italy FIT Faculty Grant, in support of research for a memorial to Aldus Pius Manutius to Venice, Italy

Faculty Grants and Awards Report Johannes M.P. Knoops, FAAR, Assoc. AIA, NCIDQ, IDEC Associate Professor, Interior Design Department 6.20.18

$1500 Faculty Grant Spring 2018 to Fund my Proposal:

Design.VE 2018 2018 Venice Biennale, the 16th Exhibition of Architecture Emily Harvey Foundation Residency The Emily Harvey Foundation sponsors a residency program in Venice, Italy, a city where the arts have been honored and fostered for over a thousand years to innovative artists, writers, musicians, videographers, dancers and other creative thinkers in mid to late career. They may come from anywhere in the world. This year they sponsored me with a 7-week residency to pursue a variety of interests, the first my participation in the 2018 edition of “Design.VE”. Curated by Luca Berta, Francesca Giubilei and Alice Stori my piece “Oculi” was featured in the central installation of “Design.VE”, “Design After Darwin. Adapted to Adaptability,” which ran from May 23rd to June 17th. Hosted in the 18th century Palazzo MorosiniGarterberg on the campo Sant’ Stefano in Venice, Italy it enjoyed the attention of the many visitors to the Venice Architecture Biennale. Curators’ statement: The curatorial theme of the 2018 edition of DESIGN.VE is “Design After Darwin. Adapted to Adaptability”. The theme aims to showcase design’s ability to be receptive to alternative uses as the function multiplies and stratifies, contrary to a notion of any singular predetermined use. In a society where functions continuously evolve, design becomes an active component in the transformation of everyday life, capable of simultaneously reinventing the pre-existing imaginings of the past and interacting with the unpredictable paths of the future. Within this are four concepts through which to interpret and comprehend the works, each proposing alternative approaches to design and establishing diverse forms of interaction between object and user: Multiplicity: Objects that are multifunctional and able to adapt to different uses. This multifunctionality may be intentional in the design of the work or it may be the result of an emergence of new contextual needs, representing the evolutionary notion of exaptation. Reconfiguration: Objects that communicate a potential reconstruction of the space in which it is placed due to its presence, articulation or position. Reuse: Objects that utilise unusual or innovative materials suited to a specific function, objects that make use of recycled materials through recycling and upcycling, or alternatively, objects that have been designed using parts or the entirety of other objects thus transforming the previous function. Transfiguration: Objects that are designed to satisfy a specific function, but that incorporate materials and or forms illustrating an investment in an aesthetic transfiguration and therefore elevating the object to a piece of consistently adaptable design based on its visual beauty. The group exhibition is the fulcrum of the DESIGN.VE initiative and the point of departure for the Design Walks.

Inspired by the pantheon in Rome, my LED light fixtures formed a constellation within the central gallery. These prototypes were 3D printed for this exhibition in polyamide (nylon) using the selective laser sintering technique (SLS), an additive manufacturing technique that uses a laser as the power source to sinter powdered material. Catalog description:

OCULI Eyes to the heavens, holes to the soul, these are far more than light fixtures. Suspended in our lives they shelter our fantasies. Structured on air they inspire our ambitions. These are portals to another reality. Motivated by memories I explore hidden urban narratives. Anchored in New York my aspirations are global. I confide my dreams to reveal desires.

Installation images:

Additional supporting images:

Press release: http://www.designve.org/events/design-after-darwin/

Published review: http://webcache.googleusercontent.com/search?q=cache:K3h5B1r9Gl8J:www.arte.it/tag/valorecultura_237729+&cd=19&hl=en&ct=clnk&gl=it&client=safari

Selected press coverage: http://www.arte.it/notizie/venezia/l-evoluzione-del-design-si-scopre-a-venezia-14571 http://myartguides.com/exhibitions/design-after-darwin-adapted-to-adaptability/ http://www.veneziatoday.it/attualita/mostra-design-after-darwin-venezia.html https://www.veneziadavivere.com/news/design-after-darwin-design-venezia/ http://contessanally.blogspot.com/2018/06/venice-not-only-biennale-palazzo.html http://webcache.googleusercontent.com/search?q=cache:K3h5B1r9Gl8J:www.arte.it/tag/valorecultura_237729+&cd=19&hl=en&ct=clnk&gl=it&client=safari http://www.cieloterradesign.com/venezia-celebra-design-piacerebbe-darwin/ http://www.venezianews.it/index.php?option=com_content&task=view&id=9841&Itemid=331

In addition to my participation in â&#x20AC;&#x153;Design.VEâ&#x20AC;?, I served a correspondent for ArchNewsNow in reviewing the 2018 Venice Biennale, the 16th Exhibition of Architecture. ArchNewsNow is considered the most comprehensive daily newsletter with architecture, design and construction news stories from around the world. My reports: "Freespace"... The One Word of the 2018 Venice Biennale, the 16th Exhibition of Architecture http://www.archnewsnow.com/features/Feature547.htm

Faculty Grants and Awards Report Johannes M.P. Knoops Interior Design Department 1.5.18 $1500 Faculty Grant Spring 2017 to Fund my Proposal:

Aldus Pius Manutius and the true location of his Aldine Press

The Cini Foundation granted me a 3-week residency to their Branca Center where I stayed from June 13 to July 5 along with other scholars in the humanities from around the world. The Foundation is located in the former San Giorgio Monastery on the island of San Giorgio Maggiore, in Venice. It’s new Branca Center hosts visiting scholars and artists providing them priviledged access to the foundation’s archives. The heart of the Foundation’s library complex is the Nuova Manica Lunga, the former dormitory of the Benedictine monastery. While there, I had an archive advisor to guide me, Ilenia Maschietto, who coached me on the various archives in Venice and my work in general. Ilenia also in turn connected me with Dr. Tiziana Plebani, the leading Italian scholar on the work of Aldus who the Librarian of the Department of History and Didactics at the Marciana National Library. While there, I studied maps of the campo Sant’Agostin locale over several centuries to create a side-by-side analysis (see attached). This work shed insight on how the campo Sant’Agostin changed upon the destruction of the church of Sant’Agostin which was then replaced with an apartment block. The new apartment block was built a bit larger than the church and now pinches the existing buildings to the south. The campo once surrounded the church on 3 sides, like many other piazzas do around churches in Venice, and now the campo is understood to exist only to the east side of this apartment building. I also initiated construction of a digital model of the locale using the dimensions of the still existing buildings. In order to confirm the destroyed church’s dimensions, I relied on a sketch of the church by Guardi by inserting the image into my digital model and approximating the station point from which the sketch was made. A walk-through animation of the digital model I constructed testifies to how prominent the now filled-in canal was in 1500, the proximity to the bakery and how the campo once wrapped the church on 3-sides. You can view the animation on YouTube at: https://www.youtube.com/watch?v=L8meFGN1LvQ&index=4&list=PLeLJkv8SP0dMhtiSa_TOji7axwz-JYFce

In essence the work completed proves the positions that five previous scholars have published over several hundred years. That the true site of the Aldine Press is opposite the existing bakery. This position was never previously illustrated, and continues to be missunderstood. Even Dr. Tiziana Plebani, who was first skeptical of the proposition, now embraces and supports the proper location based on my work. An illustrated article now needs to be published. Ultimately, the true location warrants and deserves a fitting commemoration.

III. Evidence of Professional Accomplishments service to acadamia 2019â&#x20AC;&#x201D;

Bogliasco Foundation, Member to the Advisory Committee for Architecture, New York, NY

2020

Bogliasco Foundation Fellowship Advisory Committee, Bogliasco Foundation, Genova, Italy

III. Evidence of Professional Accomplishments honors and awards 2017

BSA Alumni Award, for service to the Ten Mile River Scout Camps Alumni Association (Chair 90th Anniversary Reunion, TMR Museum renovation, etc.), Greater New York Councils, Boy Scouts of America

2017

BSA Alumni Award, Greater New York Councils, Boy Scouts of America

IV. Evidence of Superior Service Contributions— to Department committees 2018 – 2019 2016 –

2014-15 2017-18 2014-18 2016 – 2016 2014-15

NASAD Liason CIDA Accreditation Final Phase one of the leaders for final selections, production and displays Chair Special Project Committee, including the Lawrence Israel Prize 2020 Joel Sanders – to be confirmed 2019 Alexandra Champalimaud 2018 Annabel Selldorf 2017 Karim Rashid Chair Special Project Committee, including the Lawrence Israel Prize 2015 Tony Chi 2014 Lot-Ek Full-time Faculty Search Committee, Member to select one 1 full-time line Member, College Relations Committee Member, Scholarships and Awards Committee Co-Chair, (with Takashi Kamiya) Graduating Student Exhibition Team Member, Technology Committee

2019

CIDA Accreditation Review, Final Phase

2019

CIDA Accreditation Review, Final Phase

2019

CIDA Accreditation Review, Final Phase

2019

CIDA Accreditation Review, Final Phase

2019 LAWRENCE ISRAEL PRIZE

Alexandra Champliamaud Thursday, November 21, 6pm Katie Murphy Amphitheatre

Presented by the Interior Design Department, Fashion Institute of Technology/SUNY

Please enter through the Fred P. Pomerantz Art and Design Center, northwest corner of West 27th Street and Seventh Avenue Admission is free and open to the public, though seating is limited. Contact Carmita Sanchez-Fong, Chair, for additional information: 212 217.5550

LAWRENCE ISRAEL PRIZE LECTURE SERIES Fashion Institute of Technology

2017-19

Lawrence Israel Prize Lecture Series

2018 LAWRENCE ISRAEL PRIZE

Annabelle Selldorf Monday, October 29, 6 pm Katie Murphy Amphitheatre

Presented by the Interior Design Department, Fashion Institute of Technology/SUNY

Please enter through the Fred P. Pomerantz Art and Design Center, northwest corner of West 27th Street and Seventh Avenue. Admission is free and open to the public, though seating is limited. Contact Carmita Sanchez-Fong, Chair, for additional information: 212 217.5550.

LAWRENCE ISRAEL PRIZE LECTURE SERIES Fashion Institute of Technology

2017 LAWRENCE ISRAEL PRIZE

Karim Rashid Design vs. Style Monday, November 27, 6 pm Katie Murphy Amphitheatre

Presented by the Interior Design Department, Fashion Institute of Technology/SUNY

Talk and booksigning. Enter through the Fred P. Pomerantz Art and Design Center, northwest corner of West 27th Street and Seventh Avenue. Admission is free and open to the public, though seating is limited. Contact Carmita Sanchez-Fong, Chair, for additional information: 212 217.5550.

LAWRENCE ISRAEL PRIZE LECTURE SERIES Fashion Institute of Technology

2017-19

Lawrence Israel Prize Lecture Series

2015 LAWRENCE ISRAEL PRIZE

Tony Chi Invisible Design Thursday, April 23, 6 pm Katie Murphy Amphitheatre

Presented by the Interior Design Department, Fashion Institute of Technology/SUNY

Enter through the Fred P. Pomerantz Art and Design Center, northwest corner of West 27th Street and Seventh Avenue. Admission is free and open to the public, though seating is limited. Contact Eric K. Daniels, Chair, for additional information: 212 217.5550.

LAWRENCE ISRAEL PRIZE LECTURE SERIES

2014 LAWRENCE ISRAEL PRIZE

LOT EK [Objects and Operations]

Ada Tolla and Giuseppe Lignano of

Â®

O+O Tuesday, April 22, 6:00 pm Katie Murphy Auditorium Presented by the Interior Design Department, Fashion Institute of Technology/SUNY

Enter through the Fred P. Pomerantz Art and Design Center, northwest corner of West 27th Street and Seventh Avenue. Admission is free and open to the public, though seating is limited. Contact Andrew Seifer, Chairperson, for additional information: 212 217.5550.

LAWRENCE ISRAEL PRIZE LECTURE SERIES

2014-15

Lawrence Israel Prize Lecture Series

IV. Evidence of Superior Service Contributionsâ&#x20AC;&#x201D; to School committees 2014-18

2015-16

Chair, Art & Design Faculty Exhibition Committee 2018 Designed NewViews, the Art & Design Faculty exhibition, Karen Middelton curator 2017 Designed Self Portraits, the FIT Faculty and Staff exhibition 2017 Designed NewView,s the Art & Design Faculty exhibition, Allsion Wade curator 2016 Designed Monochrome, the FIT Faculty and Staff exhibition, Allsion Wade curator 2016 Designed NewViews, the Art & Design Faculty exhibition, Karen Middelton curator 2015 Designed Mechanisms of Forgetfulness, the FIT Faculty and Staff exhibition 2014 Designed NewViews, the Art & Design Faculty exhibition, Johannes Knoops curator Member, D-Lobby review committee, including creating a video to visualize the proposal

FEC Minutes and Agenda for meeting February 9, 2016 - johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/26/20, 11(28 AM

faculty grants committee

8,258

FEC Minutes and Agenda for meeting February 9, 2016 Gabrielle Lauricella <gabrielle_lauricella@2tnyc.edu>

Tue, Feb 9, 201

to me, Johannes, Karen, CJ, Christie, Allison, CYNTHIA, ANNE, Joanne, ELKE, Michael

Dear all, Please find minutes and agenda attached. I will also bring hard copies. Regards, Gabrielle -Gabrielle Lauricella Campus Exhibitions Coordinator The Museum at The Fashion Institute of Technology 212.217.4569

2 Attachments

https://mail.google.com/mail/u/0/#search/faculty+grants+committee/FMfcgxmNwLrsMjtGWLgFrXZZMrMzSgCV

Page 1 of 1

2018

“New Views” Art and Design Faculty Exhibition

2018

“New Views” Art and Design Faculty Exhibition

2018

“New Views” Art and Design Faculty Exhibition

“Self Portrait”

FiIT Faculty and Staff exhibition, The Lynn & Carl Goldstein Gallery Exhibit Designer and Faculty Exhibition Committee Chair.

Graphics by Christie Shin

Self Portrait Question - johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/25/19, 12(26 PM

self portraits

Self Po!rait Question 7,705

Inbox

LAUREN ZODEL <lauren_zodel@6tnyc.edu> to me

Hi Johannes,

I was thinking about entering the self portrait exhibition, but was concerned about if my submission was too literal. Attac you feel one they (which ever one I chose) would be in line with the submissions you have received thus far? I had reac week, but she just emailed back and gave me your contact information. I know the deadline is tomorrow, so I apologize for the late email. Thank you in advance, Lauren

Email as evidence of role as designer

2 Attachments

2016

“Self Portrait” FiIT Faculty and Staff exhibition

Johannes Knoops <johannes_knoops@6tnyc.edu> to LAUREN

Lauren!,,,, the entries are running from ﬁgurative to metaphorical. These are great. We are getting a nice response on

“New Views”

Faculty Exhibition Committee Chair and designer of “New Views the 2017 Art and Design Faculty Exhibition”. With close to 100 participants this is one of our most inclusive exhibitions ever. As designer I constructed a model with each entry to scale and composed the layout. he e hi ition featured oating panels of lac paper

Graphics

Anne Fin elstein

2017

“New Views” Art and Design Faculty Exhibition

2017

“New Views” Art and Design Faculty Exhibition

2017

“New Views” Art and Design Faculty Exhibition

2017

“New Views” Art and Design Faculty Exhibition

“Monochrome”

FiIT Faculty and Staff exhibition, The Lynn & Carl Goldstein Gallery Exhibit Designer and Faculty Exhibition Committee Chair.

Graphics by Christie Shin

2016

“Monochrome” FiIT Faculty and Staff exhibition

“New Views”

Faculty Exhibition Committee Chair and designer of “New Views the 2016 Art and Design Faculty Exhibition”. With approximately 100 participants this is one of our most inclusive exhibitions ever. As designer I constructed a model with each entry to scale and composed the layout and worked with our Museum Staff. The 2016 exhibition featured metal mesh curtains.

Graphics C.J. Yeh

2016

“New Views” Art and Design Faculty Exhibition

SketchUp model to mock-up the exhibition

2016

“New Views” Art and Design Faculty Exhibition

2016

“New Views” Art and Design Faculty Exhibition

2016

“New Views” Art and Design Faculty Exhibition

“Mechanism of Forgetfulnesss”

FiIT Faculty and Staff exhibition, The Lynn & Carl Goldstein Gallery Exhibit Designer and Faculty Exhibition Committee Chair.

ism of Mechan ulness Forgetf of how ud’s theory “Sigmund Fre n exploring ” An exhibitio w we forget – Jean Rho ho and ber we remem

mechanisms to recall and share, postcards navigate both a place and time. This year’s Faculty and Staff Exhibition challenges you to format your work as a postcard or a series of postcards. These cards may involve… photographs, sketches, collages or something similar. The cards will be mounted with standard photo corners, like those in a scrapbook, this will limit its weight, thickness and size. No other method of mounting will be offered.

CALL FOR ENTRIES

EXHIBITION: Recalling a person, place, or time, your “Mechanism of Forgetfulness” will likely be displayed along a common horizontal board stretching around The Lynn and Carl Goldstein Gallery, 9th Floor Feldman Center. REQUIREMENTS: We look forward to your entries, all work must be 4 ¼” by 6” and mountable with photo corners. It may be oriented in landscape (horizontal) or in portrait (vertical). It may be a single piece or a series of no more than six pieces. We do not require that you send images with your submission, however, we ask that you please include the number of pieces you are submitting. Please contact Gabrielle Lauricella, 7-4569 with any questions or possibilities not considered in this outline. Though this is a non-juried exhibition, all entries are subject to the approval of the Faculty Exhibition Committee. ONLINE SUBMISSIONS DEADLINE: October 23, 2015 by 6 pm DELIVERY DATE: November 2, 2015, 9 am-12 pm, 2 pm – 4 pm Room E 114 THE DATES FOR THE SHOW: November 23, 2015 – October 20, 2016

Graphics by Christie Shin

2015

“Mechanisim of Forgetfulness” FiIT Faculty and Staff exhibition

“New Views”

Curator and designer of the “New Views The 2014 Art and Design Faculty Exhibition”. With close to 100 participants this is one of our most inclusive exhibitions ever. As designer I constructed a model with each entry to scale and composed the layout. The 2014 exhibition featured glowing walls by “Molo.”

Digital illustration by Johannes Knoops, graphics by C.J. Yeh

2014

“New Views” Art and Design Faculty Exhibition

2014

“New Views” Art and Design Faculty Exhibition

Graphics C.J. Yeh

2014

“New Views” Art and Design Faculty Exhibition

Installing with the Museum Staff

2014

“New Views”, Art and Design Faculty Exhibition

D-Lobby Committee FIT, New York, NY

Was a member of the adhox committee consulting on the rennovation of the D-Lobby. As someone with museum and exhibition experience, I consulted with other members to formulate alternate suggestions in the form of drawings and video walk-thrus.

2015-16

D-Lobby Committee, FIT, New York, NY

2015-16

D-Lobby Committee, FIT, New York, NY

2015-16

D-Lobby Committee, FIT, New York, NY

2015-16

D-Lobby Committee, FIT, New York, NY

IV. Evidence of Superior Service Contributions— to College additional contributions 20192015-18 2017-18 2018 2017 2015

Member, Sabbatical and Release Time for Research Committee Member, Faculty Development Grants and Awards (FDGA) Member, Library Committee Author and Presenter, Personal body of research, including residencies and fellowships New Faculty Orientation Session Participant, President’s Roundtable on the college’s Brand Image Initiative Participant, President’s Breakfast on the college’s Our Legacy, Our Future: FIT Beyond 2020

Committee on Sabbaticals and Release Time for Research - Meeting D… johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/26/20, 11(35 AM

Sabbatical and Release Time committee

8,259

Commi!ee on Sabbaticals and Release Time for Research - M Inbox × Dates, Time & Location MARGARET TURVILLE <margaret_turville@:tnyc.edu>

Wed, Oct 30, 20

to me, FRANK

Comm. on Sabbaticals and Release Time for Research, Wednesday, 1 pm-2 pm 11/20/19 - 333 7th Avenue – Jupiter 1604 12/11/19 - 333 7th Avenue – Jupiter 1604 2/19/20 - 333 7th Avenue – Jupiter 1604 3/18/20 - 333 7th Avenue – Jupiter 1604 4/15/20 - 333 7th Avenue – Jupiter 1604 5/13/20 - 333 7th Avenue – Jupiter 1604 -Margaret Turville Administrative Assistant

https://mail.google.com/mail/u/0/#search/Sabbatical+and+Release+Time++committee/FMfcgxwDrvGtQWxKZjhGKWgvkcgHwnnL

Page 1 of 1

FDGA Meeting - johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/26/20, 11(32 AM

faculty grants committee

FDGA Meeting 8,258

Inbox

Ă&#x2014;

CELIA BAEZ <celia_baez@5tnyc.edu>

Wed, Apr 11, 201

to Michael, BENITA, Catherine, Johannes, EMRE, Karen, Christine, Leslie, Joseph, Elaine, YASEMIN

Dear Committee Members:

The next Faculty Development Grants and Awards meeting will be held on A Living Room.

Please let me know if you cannot attend or have a problem opening the atta Best, Celia

Celia Baez Associate Coordinator Center for Excellence in Teaching

https://mail.google.com/mail/u/0/#search/faculty+grants+committee/FMfcgxmZVFrdkjCTJzJTFXCMWlXHHBrQ

Page 1 of 1

Library Committee meeting dates for Spring 2018/minutes for Dec 6th… johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/26/20, 11(26 AM

library committee

Library Commi!ee meeting dates for Spring 2018/minutes for Inbox × 2017 8,259

OKSANA ROSENBLUM <oksana_rosenblum@8tnyc.edu>

Thu, Jan 25, 201

to Justine, Virginia, RENEE, JAMES, me, Helen, ANDY, Mario, SALLY, KATELYN, YON, Alexandra, NJ

Dear Members of the Library Committee, Please note the following meeting dates for the Spring semester of 2018: 2/14/18

SR#6

3/14/18

SR#6

4/11/18

SR#6

5/9/18

SR#6

The meetings will be on Wednesdays, 1pm-2pm

Also, find attached the minutes from December 6th, 2017, to be reviewed and approved at our 14, 2018. (Copies of the agenda and minutes will not be available.)

If you have any questions or are unable to attend, please contact the Chair and the Office of Fa

https://mail.google.com/mail/u/0/#search/library+committee/FMfcgxmZSnzHZGkfLtXrKQcvXbfgdmxB

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2018

Personal Body of Research Presentation, FIT New Faculty Orientation

2018

Personal Body of Research Presentation, FIT New Faculty Orientation

2018

Personal Body of Research Presentation, FIT New Faculty Orientation

Invitation from President Brown - johannes_knoops@fitnyc.edu - Fashion Institute of Technology Mail

1/13/19, 11'17 AM

label:important***

Compose Conversation Action Set…

Invitation from President Brown

Inbox

Curtcullum CIDA, etc Cory Rohr <cory_rohr@Itnyc.edu>

Deleted

to LINDA, Suzanne, Joanne, SONNE, RACHEL, Deborah, DANIEL, Isabella

IMPORTANT***

Good afternoon,

Inbox/email address

I write to invite you to participate in a roundtable discussion to review the finding specializes in higher education. The firm was retained to conduct market research to create a refreshed and clearly articulated FIT brand that exemplifies our strateg marketplace.

Inbox/ePortfolio Inbox/IMPORTANT*** Root Folder

As you may recall from prior strategic plan endeavors, our roundtables are made u and a shared vision. Like previous roundtable participants, you will be asked to r will be carefully considered as we develop and implement recommendations on h further brand understanding in the higher education market.

Johannes

In order to accommodate the approximately 150 people we are inviting to particip 2017, both in the faculty/staff dining room in the Dubinsky Student Center (8 the dinner session will take place between 5:00 – 6:30 pm.

Please RSVP to Cory Rohr (Cory_Rohr@fitnyc.edu) by Thursday, October 12, 20 hope you will be able to join us and look forward to your participation. Dr. Joyce F. Brown President 5

Albert Romano

https://mail.google.com/mail/u/0/#label/IMPORTANT***/FMfcgxmXJVhbdbSRSZBpdlXxfMDDMPTl

Page 1 of 1

227 West 27 Street New York City 10001-5992 www.fitnyc.edu

Office of the President telephone 212 217-4000 fax 212 217-4001

February 2, 2015

Professor Johannes Knoops Interior Design School of Art and Design Fashion Institute of Technology Dear Professor Knoops: I write to invite you play an important role in the continuing implementation of the collegeâ&#x20AC;&#x2122;s strategic plan: Our Legacy, Our Future: FIT Beyond 2020. On March 6, 2015, we will hold a breakfast presentation and discussion of the work produced by members of the strategic planâ&#x20AC;&#x2122;s Goal 3 Think Tank. As you may recall, the Think Tank was created as a vehicle to develop and implement the strategies in Goal 3 (to provide an empowering student experience in a cohesive community). As part of our commitment to inclusivity and a shared vision, you will be part of a cross-section of the community asked to review and comment on the strategies that this Think Tank has drafted. This process has always been helpful as we move toward the implementation stage of our plan. The breakfast will take place on March 6, 2015 from 8:00 a.m. - 11:00 a.m. on the 8 Floor of the Dubinsky Student Center. th

Kindly rsvp to Cory Rohr at Cory_Rohr@fitnyc.edu, or by phone at extension 7-4029 by February 27, 2015 to indicate your availability. I hope you will be able to join us and look forward to your participation. Sincerely,

Dr. Joyce F. Brown President

V. Evidence of Growth and Excellence in Teaching award wining students mentored 2018 2015 2015

Angelo Donghia Foundation, $30,000 Senior Student Scholarship, Ahene Shin Restaurant Project, Studio IV Design instructor Angelo Donghia Foundation, $30,000 Senior Student Scholarship, Alina Chmut Society Project, Studio IV Design instructor ASID Education Legacy Fund, Alina Chmut â&#x20AC;&#x201C; Junior category Society Project, Studio IV Design instructor

2018

Angelo Donghia Foundation, $30,000 Senior Student Scholarship, Ahene Shin, Studio IV, mentor

2015

Angelo Donghia Foundation, $30,000 Senior Student Scholarship, Alina Chmut, Studio IV, mentor

ASID NY Metro Education Legacy Fund (ELF) Student Scholarship Night at LaPacida Showroom. Alina Chmut (4th from left)

2015

ASID Education Legacy Fund (ELF) Student Scholarship, Alina Chmut, Studio IV, mentor

V. Evidence of Growth and Excellence in Teaching teaching award 2018

SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities, Fashion Institute of Technology and the State University of New York In the presentation by Vice President Dr. Oliva I was cited with: For over three decades, Knoops’s scholarship has earned him numerous prestigious research residencies and fellowships, including the Rome Prize in Architecture, the Catherine Boettcher Fellowship at the MacDowell Colony, the John Dinkeloo Traveling Fellowship, and the Emily Harvey Foundation residency in Venice, where he is conducting research on a pioneering 16th century printer. Called a “wellspring of information on design theory, historical precedent and culture,” he has long been an important influence on design scholars. Noted for the elegance of his work, his list of exhibits, architectural commissions, and design competition prizes is extraordinary, and includes recognition from such prestigious venues as the Venice Biennale of Architecture, the Metropolitan Museum of Art, and the American Institute of Architects, from which he has won numerous awards. Consistently active at the departmental and collegewide level, he has developed innovative curricula that, according to peers, “challenge students as well as faculty,” and has served with distinction on many departmental and collegewide committees. — (Dr. Oliva’s citation was culled from the 10 letters of support) Letters or support were provided by: • Dean Joanne Arbuckle, School of Art and Design, FIT • Dean Patrick Knisley, School of Liberal Arts, FIT • Prof. Peter Yeadon, Chair of Industrial Design, RISD and member of the Advisory Board to our Interior Design Department, FIT • Prof. Lance Jay Brown, School of Architecture, CCNY and President of the New York City Chapter of the AIA • Prof. Carmi Bee, School of Architecture, CCNY (my first studio professor) • David van der Leer, Executive Director of the van Alen Institute • Fred Biehle, Architect, School of Architecture Director of the Rome Program, Pratt Institute • Eric Andreasen, Architect (and Yale classmate) • Prof. Nicholas Politis, Interior Design Department, FIT • Tammy Lee, past student, FIT

2018

SUNY Chancellorâ&#x20AC;&#x2122;s Award for Excellence in Scholarship and Creative Activities, FIT

2018

SUNY Chancellorâ&#x20AC;&#x2122;s Award for Excellence in Scholarship and Creative Activities, FIT

2018

SUNY Chancellorâ&#x20AC;&#x2122;s Award for Excellence in Scholarship and Creative Activities, FIT

Bernard and Anne Spitzer School of Architecture Spitzer Building, Room M217 141 Convent Avenue, NY, NY 10031 Professor Lance Jay Brown, FAIA, DPASCA

4 November 2017

City College of New York TEL: 212.650.8726 FAX: 212.650.6566 E: Lbrown147@aol.com

Re: Johannes Knoops

To Whom It May Concern: I would like to express my utmost support of Johannes Knoops for the SUNY Chancellor’s Award for Excellence in Creative Activities. Johannes came to my attention in 2001 when he first started teaching as an Adjunct Professor in the School of Architecture at The City College of New York. As a Board member of the New York Chapter of the American Institute of Architects since 2004 and its Past 2014 President I would like to speak to Johannes’s achievements with the AIA. In 2009 our chapter honored Johannes with an AIANY Merit Award in the Projects category. His witty proposal posited a rooftop addition on the New York Municipal Building to create a new Manhattan Wedding Bureau. Like a wedding veil it flowed above to offer a dramatic skyline view of our city. This imaginative project was a highlight in that year’s exhibition. The AIA New York’s annual Design Awards Program recognizes outstanding architectural design by AIA New York Chapter members; New York City based architects in any location, and work in New York City by architects around the globe. The purpose of the awards program is to honor the architects, clients, and consultants who work together to achieve design excellence. To be honored with one of our awards is not an easy achievement. The competition is fierce with numerous Architects submitting their work each year. Clearly it reflects the vast talent here in New York. To further attest to Johannes’s design talents, over the years he has been celebrated with 3 AIA Awards from our neighboring Boston Chapter, otherwise known as the Boston Society of Architects. They sponsor a nation-wide submission

for their legendary “UNbuilt Architecture” competition. In this competition, he won an AIA Merit Award in 2002, an AIA Honor Award in 2005 and then again another Honor Award in 2006. These are all clever proposals that contribute to our profession. I became better acquainted with Johannes in 2003 when we attended the 91st Meeting of the Association Collegiate Schools of Architecture in Louisville, Kentucky. There he presented his paper “History… an argument against historic preservation” in a prominent seminar. This paper came out of his Rome Prize Fellowship at the American Academy, where he explored a site’s “urban memory” to project a series of contemporary works rooted in history. This achievement again reflects a clever and talented mind. As per your award’s description, I can honestly attest that Johannes has consistently demonstrated outstanding achievement in both scholarly and creative productivity. His CV reflects this over the span of many years and I am confident it will continue for years to come. I’m happy to say that as Johannes and I have maintained a friendship over these many years I have had the opportunity to see many works in progress and am always impressed by the continued high creativity and talent I witness. I strongly support Johannes Knoops nomination for the SUNY Chancellor’s Award for Excellence in Creative Activities without reservation. Sincerely,

Lance Jay Brown, FAIA, DPACSA Architecture + Urban Design 2014 President, AIA New York Chapter Founding Co-Chair, Design for Risk and Reconstruction Committee Founding Board Member, Consortium for Sustainable Urbanization Inaugural Chancellor, ACSA College of Distinguished Professors 2007 Topaz Medallion Laureate, ACSA Distinguished Professor, Bernard and Anne Spitzer School of Architecture, CCNY, CUNY

Peter Yeadon, Professor Rhode Island School of Design Two College Street Providence, RI 02903 7 November 2017 To Whom It May Concern: With enthusiastic support, it is my pleasure and honor to recommend Associate Professor Johannes M. P. Knoops for the 2017-18 SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities. I first met Mr. Knoops in Rome, in 1999, just after he was awarded the prestigious Mercedes T. Bass Rome Prize in Architecture, and I have witnessed his scholarly and creative work evolve to serve both academia and practice, through its excellence and his leadership. As you know, Mr. Knoops is both a highly-respected teacher and scholar, and an award-winning practitioner who established his own NYC practice after his many years of substantial contributions to a range of local and international projects whilst at Kohn Pedersen Fox Associates, Gaetano Pesce’s office, the Met, and other creative organizations. There are numerous elegant and outstanding projects, writings, and scholarly studies that Mr. Knoops has produced during his extensive career, but I admire his record of excellence in creative endeavors, in particular, as that kind of activity is exceptionally difficult to sustain in addition to teaching full-time in a degree program. One hopefully finds time for writing and scholarly research during teaching, here and there, but the creation of new work and then its installation in a show like the TIME-SPACE-EXISTENCE exhibition during last year’s Venice Biennale of Architecture is a truly challenging enterprise to undertake during any given semester. And so, the work has to have merit; it has to matter. And it does. Over the past three decades, Mr. Knoops has consistently offered his distinguished creative work for review, by his peers and public alike, through important exhibitions, publications, and presentations that have a broad international reach. His work is viewed as being important because it challenges us to confront reductive approaches toward altering existing buildings and landmarks. He has successfully argued that the foremost methods that are used in architectural preservation involve either acts of mimesis or acts of incongruity, and therefore undermine an important reciprocity between past and future. On this subject, he has contributed important new knowledge to the field, and his outstanding creative work has provided many inventive alternatives to such conventions. For several years now, Mr. Knoops’ consistent record of outstanding creative production has been conducted while he has taught and served at SUNY FIT, as a full-time faculty member. This record of excellence has been created in addition to his teaching, but I prefer to think of it as an activity that the very best in our field engage in while teaching, not in addition to it, as I have witnessed its import in educating the next generation of creative leaders. Mr. Knoops is a highly-respected, distinguished designer who has inspired my students, whenever he has visited the Rhode Island School of Design, and who is an outstanding role model for students and peers alike. I strongly recommend this leader for the 2017-18 SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities. Best regards, Peter Yeadon, Professor pyeadon@risd.edu

This is a letter in support of Johannes Knoops for the SUNY Chancellors Award for Excellence in Creative Actives I have known Johannes for nearly twenty years now. Initially as the recipient of the Prix de Rome, I found him to be a vital and enthusiastic artist in residence at the American Academy, just exactly the sort of recipient every foundation hopes for. Generous, interested in the pursuits others while maintaining his own vigorous research, able to share and enjoy the common circumstance that brings like-minded but differently opinionated people together. As a Fellow of the AAR myself, and coordinating the Pratt Institute undergraduate architecture semester abroad program there, I had the good fortune of recommending that Johannes be hired to teach in that program. And so in 2001, both he and Rome were the beneficiaries of that agreement, not to mention the semester of students that came under his tutelage for the studio course, their urban studies course, and their onsite sketching class. From there he was able to bridge the Atlantic and continue his academic career first at Pratt Institute in Brooklyn, but then continuing with City College, Parsons and now FIT. As a teacher Johannes foregrounds his passion and devotion to drawing. The construction of an image is the real work of the architect/poet in this regard and the particular weight that representation plays has always been evident in his own work of course, but in the work of Johannes students as well. Johannes comes from a particular generation. Taught the profession at a time when commissions were few and so the question of what an architect actually did became central. Drawing of course. â&#x20AC;&#x153;I am an architect because I do not buildâ&#x20AC;? said Leon Krier at the time. I construct images. And oh the beauty that emerged from that sensibility. This was not drawing as an orthographic anticipation of the built artifact, but drawing as an end in itself, the locus of the idea. These were drawings that knew the touch of the hand, always needing to express more- materiality, weight, presence. Out of this sensibility did Johannes come of age. His work stands seamlessly alongside the best inventors of that moment in history. And then it was gone. As along came another revolution- the digital. So that in a short period of time the skills that set one group apart are no longer even being taught. It is a finite group of individuals that can claim knowledge of the benefits and opportunities of both sensibilities. Johannes is one of those lucky few, who know both of these worlds, the labor of the hand in the production of an architectural idea on paper, and the facility and profundity of digital technology. By knowing the former he knows the value of iteration, of repetition, of variation and continuity of process- all those things that the computer, in an ironic twist, has inadvertently removed in its quest to perfect the singular thing. Johannes has always been working. Consistently producing outstanding works. He takes sincere pleasure in this, it is forever evident in the work. Joy. Exuberance. Excess. Optimism in the face of pessimism. Johannes maintains not only a dedication to the pursuits of his own studio, but he can step outside of that to comment on the larger and more general context of architectural education, architectural practice, and the fabric of differences that operate within it. In short, he has become a leader. Certainly, one who is deserving of the Chancellors award for Excellence.

Frederick Biehle RA, FAAR Professor, Pratt Institute Coordinator, Rome Program

11/1/17

November 5, 2017 To Whom It May Concern, Please allow me to submit my heartfelt recommendation of Johannes Knoops for the SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities. I have known Mr. Knoops for 9 years, beginning when I was a student of Mr. Knoops in 2008. As a student at SUNY Fashion Institute of Technology, I benefited greatly from his long history of deep study and prolific engagement with design based discourse and practice. During his tenure as a guest juror for the global consultancy Material Connexion he leveraged his position to connect his students to an invaluable resource for innovative design. He incorporated the academic rigor of his many published articles and reviews into our classroom as well, pushing us to delve deeper into a chosen topic of inquiry and to articulate a fully developed thesis and argument for the ideas we were exploring in our creative pursuits. Those of us in the interior design program who were interested in a more progressive application of interior and architectural design gravitated towards Mr. Knoops. He was a wellspring of information on theory, historical precedents and current news amassed from his research and prior experience working for a number of internationally renowned firms and institutions. Additionally, he strived to connect the aesthetic and technical considerations of spatial design with explorations of culture, anthropology, the physical sciences, politics and philosophy. My time at the school coincided with a number of Mr. Knoops’ creative engagements with the professional design world, including when he was awarded the AIA Merit award and the Contract Magazine 2009 Concept Award for his proposal for the NYC Marriage Bureau. The merging of narrative arc, material phenomenology, and cultural symbolism displayed in his proposal was the kind of synthesis he very much encouraged his students to explore. We were also privy to the design processes of his many projects in New York City, connecting him with other prolific designers, artists and architects, a number of whom he invited to our classroom to speak. With Mr. Knoops’ guidance a number of us students were able to push beyond the surface possibilities of interior and architectural design and carve out new paths within our professional lives. His classroom was a laboratory for abstract thought, creative exploration and professional problem solving. As Chairman of the Lawrence Israel Prize he invited internationally celebrated designers to engage with the community at F.I.T. He elevated our experience at the school above a visual arts education towards an education on how to create, form new methodologies, and pursue a deeper engagement within our fields. It is for these reasons that I hope you will nominate Mr. Knoops for this excellent commendation. Sincerely,

Tammy Lee Principal Adapt Studio