Portfolio, Winter 2015 by Samuel Ray Jacobson

samuel ray jacobson

4 8 16 26 34 46 54 60 66 72 78 84

some words something pretty something detailed something meticulous something ambitious something independent something contracted something collaborative something curated something researched something directed something produced

570 N. Rossmore Ave. #209 LA, CA 90004 USA Samuel Ray Jacobson is a designer and critic. He holds degrees from Rice University and the Massachusetts Institute of Technology. CONTACT: SAMUELRAYJACOBSON@GMAIL.COM All content, graphics and publications in this book are protected by U.S. copyright and international treaties and may not be copied without the express permission of Samuel Ray Jacobson, who reserves all rights. Re-use of any of Samuel Ray Jacobsonâ&#x20AC;&#x2122;s content and graphics for any purpose is strictly prohibited. The materials from this document are available for informational and noncommercial uses only, provided the content and/or graphics are not modified in any way, all copyright and other notices on any copy are retained, and permission is

The structure of architecture represents that of the c and representation do not arise purely out of natu regard as means or for resistance. Our community was autonomy; consequently it is only as a tiny pi efficacy and service to society, with or without frictio we lead on our own blurring of national characteris be deployed equally well at any point on the globe.

Like capitalist production, the architectural process not actually produced to be of service or function; r no limit. Its growth is tied to that of capital. Archite or she can enjoy as an artisan. No: the architect lab are not produced for the sake of art. Though art ma buildings up to a certain point, architecture is a s subsumed by that process have divested themselve

Our bad faith runs its secret course in public. Every performing formal acrobatics without grasping the ig stands among investments, creations whose crea themselves. Developments are conceived according pushes to its ultimate conclusion. Mouse-clicking fi beyond aesthetic capacities, critical aptitude tests a Our mass and ornament is the concrete reflex to wh

contemporary situation. Since the principles of form ure, they collude with the social organisms that we and individuality perished when what was required iece of the world that design can clamber towards on. A profession oblivious to differences in humanity, stics and to the production of modernisms that can

s is an end in itself. The star-objects it spews forth are rather, they are made for the sake of egos that know cts do not labor for private gains whose benefits he bors to expand the development business. Buildings ay well have once served to produce and consume side effect in service of global capital. The designs es of their autonomous value.

yone does his and her design in service to finance, gnobility. Like figures on a ledger sheet, architecture ators withdraw from reality and barely observe it g to formalist principles that the star system merely fingers correspond to the hands in the factory. Going attempt to calculate dispositions of the soul as well. hich the prevailing architecture system aspires.

Samsung Model Home Gallery Model home sales office and gallery, Seoul, Korea Completed October 2012 John Houser and Samuel Ray Jacobson (exterior), Kevin Lee and Ellee Lee (interiors); Richard Lee and Tom Beresford, project architects; Katie Faulkner and Nader Tehrani, principals; project team, NADAAA AWARDS • 2012 Best of the Year Award, Interior Design • 2012 WAN Civic Award, Wold Architecture News • 2013 American Architecture Award, Chicago Architecture Athenaeum

PHOTOGRAPH BY JOHN HORNER

ARCHITECT MAGAZINE, JUNE 2013

The model home gallery is a phenomenon in South Korea, where the majority of housing is developed by one of the big corporate families. Apartment buildings are not designed as individual buildings but as multiples; thus a new housing project may be conceived as 20 or 30 towers forming an entire neighborhood. If mass housing has had pejorative connotations in the United States, in Korea the study, design, and sales of housing have developed into a discipline serving an ascendant middle class with amenities and technologies that are incredibly sophisticated. For that reason, large development projects are often accompanied by what called a â&#x20AC;&#x153;model home gallery,â&#x20AC;? a building that not only contains sales offices with model homes, but also a variety of public amenities that are purposed for the use of the community in which the gallery is placed. These public programs include art galleries, restaurants, cafĂŠs, auditoria, and other functions that can become part of the public realm. So numerous are these model home galleries that they have also created an iconic spectacle within the urban landscape, each attempting to occupy a status more commonly held by public institutions such as museums or libraries. For this project, I developed the innovative parametric design interface used to create the steel-louvered facade. Adaptively incorporating elements such as view corridors, envelope modifications, and manipulations of depth, height, and frequency, this modelling system rapidly instrumentalized client and architect design demands to create a beautiful, structurally robust outcome not usually possible on a project of this scale and budget. The built facade follows my schematic design, as does the arrangement of the storefront window system.

PHOTOGRAPH COPYRIGHT WORLD ARCHITECTURE NEWS

roofing membrane rigid insulation continuous steel plate @ top of curtainwall steel edge plate bolted to edge of composite roof slab steel I beam glazing

2 layers of GWB finished w/ venetian plaster ceiling, typ. aluminum reveal

bolted T-steel

T-steel column beyond stone tile curtainwall base plate flush w/ f.f. continous steel grill

base etail at base detail at horizontal mullion detaildetail at atbase

detail at horizontal mullion detail at horizontal mullion

detail at base

detail at horizontal mullion

detail reflected ceiling plan detail at detail horizontal reflected mullion ceiling plan

detail reflected ceiling plan

GRAPHICS BY JOHN HOUSER

interior wall perforated aluminum louver sloped 2% to drain rib at each side attached to vertical support vertical fins - custom lasercut steel plate conforms to overall geometry, painted dark insulation on z furring

aluminum panels or shingles painted dark

aluminum louver rib @ each side attached to vertical support w/ steel brackets

aluminum panels or shingles painted dark

vertical fins - custom lasercut steel plate conforms to overall geometry, painted dark

GRAPHICS BY JOHN HOUSER

Cocktail Culture RISD Museum, Providence, Rhode Island Exhibition open March-July 2011 Samuel Ray Jacobson, designer; Ramon Alberts and Tom Beresford, supervisors; Nader Tehrani, principal: project team, NADAAA LIKNS TO SELECTED PRESS •

“A Spirited Celebration of America’s ‘Cocktail Culture’” by Jacki Lyden, NPR Weekend Edition Sunday

•

“Highballs and High Art” by Stephen Heyman, New York Times Style Magazine

•

“‘Cocktail Culture’ Toasts an Era of Elegance” by Sebastian Smee, Boston Globe

•

“High Society: Toasting Fashions of the Cocktail Hour” by Tina Sutton, Boston Globe Sunday Magazine

•

“Fashion Intoxication” by Casey Nilsson, Blast Magazine

IMG_1012.jpg

PHOTOGRAPHY BY NADER TEHRANI

Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980 was the first multi-disciplinary exhibition toIMG_0998.jpg explore the social ritual of the cocktail hour through the lens of fashion and design. Organized by the RISD Museum of Artâ&#x20AC;&#x2122;s Department of Costume and Textiles, Cocktail Culture featured stunning fashion apparel from Balenciaga to Schiaparelli, jewelry, textiles, decorative and fine art, film, photographs, and more. Exhibit design were executed by myself under close supervision from senior staff. Display hardware was designed to maximize visual connection to artifacts while maintaining security; this was accomplished through a series of portable, low-profile plywood platforms, sized to enforce a 36â&#x20AC;? security perimeter. Affixed, raised platforms were deployed for artifacts of smaller size, displayed under Plexiglas. Walls were affixed with thematic texts, printed on color-fields corresponding to selected objects, as well as printed materials and objects of secondary importance. Object identification was located on raised placards, custom-fabricated out of powder-coated plate steel and bent pipe. The exhibit, arranged in an island configuration, could be explored chronologically by following an implied, counter-clockwise path, while mannequin groupings give a sense of dynamism, evocative of a cocktail party.

COURTESY OF NADAAA

EXHIBIT PLAN

WALL SECTIONS

DETAILS

Hinman Research Building Georgia Institute of Technology, Atlanta, Georgia Completed January 2011 Tom Beresford, project architect; Nader Tehrani, principal; project team, Office dA AWARDS • •

2012 AIA South Atlantic Region Design Award 2011 PA Award (citation)

My responsibilities on this project were limited to drafting millwork, construction administration, and the creation of promotional materials (the graphic design of award and magazine submissions). The design was featured in “The Architecture of Architecture Schools” (Architectural Record November, 2012), as well as on Inhabitat.com.

9/20/2011 10:00:16 PM

PROMOTIONAL IMAGE SAMUEL RAY JACOBSON

SPATIAL COMMUNICATION Code-mandated visual communication between spaces is mediated by steel-cable tensile mesh and a CNC-milled plywood and acrylic storefront system, prefabricated off-site to conform precisely to existing conditions. This facilitation of open visual circulation where actual movement is impossible or undesirable encourages a spirit of interaction and collaboration between spaces that are programmatically or spatially disconnected. Activities traditionally considered discrete practices—model-making or drafting at one’s desk, digital exploration in the computer lab, collaborative work critique in shared spaces—are smoothed into a continuous space of communal work.

O D

3 A 481 2 A 481

UPPER ROOF 73.50'

GTRI B.O. Truss 67.42' 2

18" TO B.O. TRUSS

4 3 A 581

12' - 6 5/8"

14' - 0 3/4"

NOTE 4 J

NOTE 2

ALIGN T.O. MESH W/ CLERESTORY SILL AND T.O. DUCT

1' - 4"

4' - 4 1/4"

TO T.O. CABLE MESH - REF. 2 / A581 FOR GEOMETRY

" 1/2

9' - 0" TO C.L. OF DBL COMPRESSION RING

4' - 4 1/4"

TO T.O. CABLE MESH

NOTE 14 05704.GR1

Offices

2' - 4 1/2"

1 4

T.O. Highbay FINISHES 37.63'

A 581

6 A 510 D

2 2

NOTE 6 NOTE 6 OPEN TO BEYOND C

10' - 4"

5 3

3 5

A 580

A 580 7 A 510

LEVEL 02 RAISED FF 27.29'

3 1/2"

LEVEL 02 27.00' 3 A 580

3 A 580

8/5/2010 1:19:01 PM

3 1

2011 PROGRESSIVE ARCHITECTURE AWARDS SUBMISSION (SELECTION) GRAPHICS AND COPY BY SAMUEL RAY JACOBSON

OPP. Sim HAND

2' - 4 1/2"

2 A 580

C:\Users\tb\Desktop\OdA_REVIT\Spiral Stair\OdA_CENTRAL.rvt

A spiral stair connects the second floor with the floor of the high-bay. The stair is constructed using of a single steel plate, wrapped around a column. Steel cable tensile mesh, suspended from the ceiling and supported by a spring-like structure of stainless steel piping, takes the place of guard-rail. The mesh is sized to fit precisely to the profile of the stair. A quiet formal focal point for the high-bay, the stair serves as a pedagogical example of maximum effect accomplished through minimum means. The stair connects to the ground, but its rhetoric suspends it from the roof.

A 580

LEVEL 03 40.00'

10' - 4"

Stair

SPIRAL STAIR

3 1/2"

High-Bay

3' - 6"

A 580

Review Space

- REF. 2 / A581 FOR GEOMETRY

9' - 0" TO C.L. OF DBL COMPRESSION RING

NOTE 6

STAIR 4 EW SECTION SCALE: 1/2" = 1'-0" 2

2 3

STAIR 4 NS SECTION SCALE: 1/2" = 1'-0" 8

GUILLOTINE DOOR A guillotine door of aluminum-frame construction opens the high-bay to an expanded gallery area to the south. When in the open position, the door forms a monumental gateway to the south wing of the building; closed, the door serves as a surface for the exposition of posters and student work. Sheathed in a fire-rated homasote and plywood paneling system, the door is the climax of a system of applied surfaces that runs throughout the building. Conforming to the datum of eight feet above floor level that governs many of the project’s interventions, this

UNLESS NOTED OTHERWISE, TESTING AND INSPECTION SERVICES SHALL BE PAID PROVIDED BY THE OWNER AND ARE NOT PART OF THE BASIC DESIGN SERVICES.

ALL STRUCTURAL STEEL CONSTRUCTION SHALL CONFORM TO THE AISC " SPECIFICATION FOR STRUCTURAL STEEL FOR BUILDINGS - ALLOWABLE STRESS DESIGN ", NINTH EDITION, DATED JUNE 1, 1989, LOAD AND RESISTANCE FACTOR DESIGN SPECIFICATION FOR STRUCTURAL STEEL BUILDINGS , THIRD EDITION, DATED NOVEMBER 2001.

SHOP DRAWINGS PREPARED IN ACCORDANCE WITH THE LATEST " STRUCTURAL STEEL DETAILING MANUAL " OF THE AISC SHALL BE SUBMITTED FOR APPROVAL. NO FABRICATION SHALL BEGIN UNTIL SHOP DRAWINGS ARE COMPLETED, REVIEWED AND APPROVED.

UNLESS NOTED OTHERWISE, STRUCTURAL STEEL SHALL CONFORM TO ASTM A36 OR A572, GRADE 50 EXCEPT WIDE FLANGES SHALL CONFORM TO ASTM A992 GRADE 50. ROUND, SQUARE AND RECTANGULAR HSS SECTIONS SHALL CONFORM TO ASTM A500, GRADE B. ROUND PIPES SHALL CONFORM TO ASTM A53, GRADE B.

C4x5.4 CHANNEL

1/4"

3/8" STEEL EYEBOLT W/ SHOULDER AND DOUBLE NUT

MCMASTER RIGID-EYE PULLEY PART NO. 3099T58

SHEAR CONNECTORS: PROVIDE AS NOTED ON PLAN, SOLID FLUXED HEADED SHEAR CONNECTOR STUDS AUTOMATICALLY END WELDED THROUGH THE METAL DECK AS SHOWN ON THE DRAWINGS AND IN ACCORDANCE WITH THE RECOMMENDATIONS OF THE MANUFACTURER (NELSON STUDS OR APPROVED EQUIVALENT). -

WHERE THE THICKNESS OF THE BEAM FLANGE IS LESS THAN 0.3", STUDS SHALL BE LOCATED DIRECTLY OVER THE WEB.

THE MINIMUM CENTER-TO-CENTER SPACING OF STUDS SHALL BE 4 1/2" ALONG THE LONGITUDINAL AXIS OF THE BEAM AND 3" TRANSVERSE TO THE LONGITUDINAL AXIS OF THE BEAM. THE MINIMUM DISTANCE TO THE EDGE OF THE BEAM FLANGE SHALL BE 1 1/4" WHERE STUDS ARE PLACED IN PAIRS.

13.

DEFORMED BAR ANCHORS (DBAs): FLUX FILLED BARS AUTOMATICALLY WELDED TO STRUCTURAL STEEL IN ACCORDANCE WITH THE RECOMMENDATION OF THE MANUFACTURER. TYPE D2L BY NELSON STUDS OR APPROVED EQUIVALENT.

14.

pROVIDE AN ALLOWANCE OF 1% OF TOTAL STRUCTURAL STEEL FOR THE PROJECT TO BE FABRICATED AND INSTALLED DURING THE PROGRESS OF THE WORK AS MAY BE DIRECTED BY THE STRUCTURAL ENGINEER OF RECORD, IN ADDITION TO STRUCTURAL STEEL INDICATED ON THE DRAWINGS. CREDIT THE OWNER ANY UNUSED QUANTITY AT THE END OF THE PROJECT.

3 " STAINLESS ALL CABLE TERMINATIONS ARE TO BE MADE USING NO LESS THAN THREE (3) 16 STEEL CABLE CLAMPS W/ A MINIMUM SPACING BETWEEN THE CLAMPS OF NO LESS THAN 6 TIMES THE WIRE ROPE DIAMETER, OR FACTORY SUPPLIED WIRE ROPE BRAIDED ENDS WITH STAINLESS THIMBLE.

ALL PULLEYS AND THIMBLES ARE TO HAVE RADII CONSISTENT WITH THE MANUFACTURER'S RECOMMENDED RADII FOR THE WIRE ROPE BEING USED.

ALL PULLEYS ARE TO BE BLOCK DIVISION, INC MODEL 03058 3" FIXED MOUNT PULLEYS OR MCMASTER CARR PART # 3099T58 UNLESS NOTED OTHERWISE. CONTRACTOR IS RESPONSIBLE FOR VERIFYING PULLEY MAKE AND MODEL WITH MANUFACTURER AND CORRESPONDING OVERHEAD LIFTING CAPACITY. ALL MOUNTING HOLES SHOULD BE UTILIZED IN ALL APPLICATIONS. OVERHEAD LIFTING CAPACITY RATING MUST BE 800LBS MINIMUM FOR ALL PULLEYS.

THE LIGHTING SUSPENSION SYSTEM DEPICTED HEREIN IS DESIGNED TO CARRY INDIVIDUAL LIGHTING FIXTURES ONLY. THE SYSTEM SHALL CARRY A TOTAL OF 18 FIXTURES. FIXTURES ARE TO BE CUSTOM METALCRAFT FIXTURE # PN- 10306-TS4-72 AND PN-20655, WITH A MAXIMUM WEIGHT OF 15 LBS PER FIXTURE (TOTAL SYSTEM WORKING LOAD = 270 LBS).

10. THE STRUCTURAL ENGINEER OF RECORD FOR THE OVERALL RENNOVATION OF THE ROOF SYSTEM STRUCTURAL STEEL SHOULD BE CONSULTED REGARDING THE BOTTOM CHORD BRACING REACTION RESULTING FROM THE WINCH PULL. THE BRACING REACTION IS 270LBSWORKING (810 LBS PROOF) PERPENDICULAR TO THE BOTTOM CHORD OF THE TRUSSES SHOWN.

15 16" 2" 2" 83 16"

C6X8.2 CHANNEL

1/4"

1'-0"

2x2x41 " ∠ BRACE

3x3x41 " ∠ FOOT

1/4" 1/4" 1'-9"

2x2x41 "

CABLE "C" X 3

CABLE "E" X 3

3 8"Ø

PLATE WASHER

GRADE 8 BOLTS W/ DOUBLE NUTS

EXISTING TRUSS BOTTOM CHORD

1'-0" 2'-3"

1/4"

4x4X 41 " ∠ BOTTOM MOUNT 4x4X 41 " ∠ BOTTOM MOUNT

2x3x 41 " ∠ TOP FRAME

3 5"x68 "x21 " STEEL PLATE W/ 3 4 "Ø GRADE 8 BOLT WITH FLAT WASHER THROUGH FACTORY WINCH CABLE END CONNECTION

1'-0" 2"

3 4"Ø STEEL RADIAL-LOAD TRACK ROLLER (MCMASTER-CARR PART NO. 5977K75, 8 PLACES)

121 "x 10"x 41 " NYLON RUB STRIP MOUNTED WITH COUNTERSUNK SCREWS C6x8.2 STEEL CHANNEL 9 X3x41 " BENT PLATE 316

31 16"

1'-8" 9 316 X3x41 " BENT PLATE

1/4"

2x2x41 " ∠ BRACE

101 2"

EXISTING TRUSS BOTTOM CHORD @ WINCH END OF ASSEMBLY (COLUMN LINE "H"

2x2x41 " ∠ FRAME

1/4" C6x8.2 STEEL CHANNEL

℄

3 8"Ø

3 4"Ø

STEEL RADIAL-LOAD TRACK ROLLER (MCMASTER-CARR PART NO. 5977K75, 8 PLACES)

1/4"

EXISTING TRUSS BOTTOM CHORD 3 8"Ø

A-A

41 4"

3'-0"

C6x8.2 STEEL CHANNEL

2x2x41 " PLATE WASHER

DAYTON MODEL # 5AA21 2700# WINCH, CONTRACTOR TO VERIFY OVERALL DIMENSIONS OF INSTALLED WINCH ASSEMBLY PRIOR TO MOUNTING PULLEYS ABOVE, MOUNT WINCH ASSEMBLY IN ACCORDANCE WITH MANUFACTURER'S RECOMMENDATIONS, WINCH TO BE EQUIPPED WITH AUTOMATIC MECHANICAL BRAKE

WINCH CABLE W/ FACTORY-SUPPLIED CLOSED-END LOOP W/ THIMBLE

1/4"

GRADE 8 BOLTS W/ DOUBLE NUTS

2x2x41 " PLATE WASHER GRADE 8 BOLTS W/ DOUBLE NUTS EXISTING TRUSS BOTTOM CHORD

3 "Ø WIRE FACTORY-MADE 16 ROPE W/ NYLON COATING THIMBLE- ENDS

1 2 "Ø STEEL ROD WITH FLAT WASHER AND COTTER KEY BOTH SIDES (3 PLACES)

1/4"

3 8"Ø

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 2x2x 41 "ANGLE (4 PLACES)

1/4" 1/4"

12x10x41 " PLATE

3 16 "

ALL PULLEYS ARE TO BE MOUNTED USING THE HARDWARE RECOMMENDED BY THE MANUFACTURER TO OBTAIN THE RATED LIFTING CAPACITY. NO WELDING OF PULLEY BASES TO PLATES IS ALLOWED. ALL HARDWARE SHOULD HAVE DOUBLE NUTS AND WASHERS AS NECESSARY.

C6x8.2 CHANNEL

CABLE "C" & "E" X 6

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB ( 12 PLACES, STAGGERED)

2x2x41 STEEL ANGLE BRACES

ALL HANGING PULLEYS DIRECTLY ABOVE LIGHT FIXTURES SHALL HAVE A SAFETY LOOP OF CABLE TO PREVENT A VERTICAL DROP IN THE VENT OF A PULLEY FAILURE. THE SAFETY LOOP SHOULD BE SECURELY FASTENED TO THE STRUCTURE ABOVE, AND SHALL FORMA CONTINUOUS LOOP THROUGH THE PRIMARY CABLE PATH AS SHOWN IN DETAILS 1 AND 2/ S-102. THE SAFETY LOOP CABLE SHALL BE SECURED WITH WIRE ROPE CLAMPS PER THESE NOTES, AND SHOULD BE AFFIXED TO THE PULLY HOUSING AND STUCTURE TO PREVENT RUBBING ON THE PRIMARY CABLE.

1/4"

63 8"

2" 7.

43 4"

4" 12x10x 41 " PLATE

1 2 "Ø STEEL ROD WITH FLAT WASHER AND COTTER KEY BOTH SIDES (3 PLACES)

UNLESS NOTED OTHERWISE, ALL EXPOSED STRUCTURAL AND MISCELLANEOUS STEEL, PLATES, BOLTS, AND ANCHORS SHALL BE GALVANIZED OR PAINTED WITH APPROVED RUST INHIBITING PRIMER.

ALL CABLE RUNS ARE TO BE TESTED PRIOR TO BEING PUT INTO SERVICE WITH A PROOF LOAD THREE (3) TIMES THE AMOUNT OF THE FIXTURE (45 LBS EST.). 3 ALL CABLING IS TO BE TYPE 304 STAINLESS STEEL 16 "Ø BRAIDED 7X19 STRANDED CORE WIRE ROPE (MINIMUM BREAKING STRENGTH = 3700#).

2x2x41 " ∠ BRACE

WINCH CABLE ATTACHMENT BEYOND

ALL CABLE RUNS FROM SHUTTLE TO FIXTURE ARE TO BE CONTINUOUS WITH NO SPLICING.

2x4x41 " PLATE

A matrix of custom-designed light fixtures suspended above the floor of the high bay at the height of the “Crib” floor provide light for working at night and other activities. A consistent, horizontal presence in this fundamentally vertical space, they help to create a more human scale in this industrial-scale loft. Operated by machinery hidden in the rafters of the high-bay, the lights can retract a distance of ten feet. This perceptible ℄ change in the space of the high-bay allows the space to be adaptable for a wider range of A activities, including lectures, film screenings, and installations.

PROJECT SPECIFIC NOTES: 2.

95 16 "

12.

LIGHTING

13 16"

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB (3 PLACES)

25 8"

PROVIDE TEMPORARY BRACING OF STRUCTURAL FRAMING UNTIL ALL PERMANENT BRACING, MOMENT CONNECTIONS AND FLOOR AND ROOF DECKS (DIAPHRAGMS) ARE COMPLETELY INSTALLED. THE STRUCTURAL ELEMENTS ARE UNSTABLE UNTIL THE STRUCTURE IS COMPLETED IN ACCORDANCE WITH THE PLANS.

CABLE "A"

"A" X 4

RE-INSPECT NON-CONFORMING WORK AFTER IT IS CORRECTED.

11.

WRITTEN REPORTS SHALL BE SUBMITTED DESCRIBING ALL INSPECTIONS AND INDICATING ANY NON-CONFORMING WORK.

57 8"

1/4"

2'-

CABLE "B"

2x4X41 " ∠ CENTER MOUNT

ALL PENETRATION WELDS SHALL BE TESTED IN ACCORDANCE WITH ASTM E164. WELDING OF HEADED STUD CONCRETE ANCHORS AND DBAs SHALL BE INSPECTED IN ACCORDANCE WITH AWS D1.1. TEST 15% OF ALL STUDS. RETEST ALL STUDS AND DBAs ON ANY MEMBER WHOSE STUDS FAILED INITIAL TESTING.

121 "x4"X41 " PLATE

4"x4"x 41 " PLATE TABS (3 PLACES)

C. D.

CABLE

ALL FILLET WELDS SHALL BE 100% VISUALLY INSPECTED.

CABLE "B"

1/4"

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB ( 12 PLACES, STAGGERED), HARDWARE OMITTED FOR CLARITY

BOLTED CONNECTIONS SHALL BE INSPECTED IN ACCORDANCE WITH AISC "SPECIFICATION FOR STRUCTURAL JOINTS USING A325 OR A490 BOLTS".

1 1 2 "Ø STEEL ROD W/ 2 " PVC SLEEVE, FLAT WASHER W/ COTTER KEY BOTH ENDS

2x4X41 " ∠ CENTER MOUNT

GROUT UNDER BASE PLATES WITH NON-SHRINK, HI STRENGTH GROUT (MINIMUM 6,000 PSI) AFTER SETTING AND LEVELING. STEEL CONSTRUCTION SHALL BE INSPECTED BY A QUALIFIED TESTING AGENCY.

1 2 "Ø STEEL ROD 1 2 " PVC SLEEVE

1/4"

10x10"x 41 " LOWER COLLECTOR PLATE W/ 41 " PLATE TABS

10.

1 W/

PROVIDE A SHOP COAT OF STANDARD PRIMER PAINT. PRIMER TO BE COMPATIBLE WITH FINISH COAT. TOUCH UP AREAS DAMAGED IN HANDLING AND ERECTION WITH THE SAME PAINT USED FOR SHOP COAT. STEEL SURFACES TO BE WELDED OR ENCASED IN CONCRETE OR FIREPROOFING, CONNECTIONS DESIGNATED AS SLIP CRITICAL TYPE, OR SURFACES RECEIVING WELDED SHEAR CONNECTORS IN THE FIELD SHALL NOT BE PAINTED.

CABLE "D"

341 "x2"x41 " PLATE STANDOFF (2 PER SIDE)

101 16"

SAFETY BAR

℄

DOUBLE ANGLE BOTTOM CHORD OF EXISTING STEEL TRUSS

25 8"

CONNECTIONS SHALL BE PROPORTIONED FOR THE ECCENTRICITY BETWEEN THE CONNECTION CENTROID AND THE CENTROID OF THE SUPPORTING MEMBER.

1"x21 " SPACERS

WHEN BEAM REACTIONS ARE NOT SHOWN, CONNECTIONS SHALL BE PROPORTIONED TO SUPPORT 60% OF THE TOTAL UNIFORM LOAD CAPACITY (ULC) SHOWN IN THE UNIFORM LOAD TABLES OF THE AISC MANUAL, FOR THE GIVEN BEAM, SPAN, AND GRADE OF STEEL SPECIFIED. FOR COMPOSITE BEAMS, PROPORTION CONNECTIONS FOR 90% OF THE ULC.

2x2x41 " ∠ FRAME 1 2 "Ø

BOLT (4 PLACES)

WHERE BEAM REACTIONS ARE SHOWN, CONNECTIONS SHALL DEVELOP THE REACTION GIVEN, OR

CABLE "D" X 4

3 8"Ø

MINIMUM 5/16" THICK DOUBLE ANGLE SHEAR CONNECTION, FULL DEPTH OF THE BEAM, WELDED OR BOLTED WITH VERTICAL BOLT SPACING = 3", OR

2" 1

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB ( 4 PLACES)

UNLESS NOTED OTHERWISE, PROVIDE THE GREATER OF ONE OF THE FOLLOWING BEAM END CONNECTIONS:

15.

10x10"x41 " UPPER COLLECTOR PLATE W/ 41 " PLATE STANDOFFS (2 PER SIDE)

39 16"

ARE SET AND CABLE IS TENSIONED

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB ( 4 PLACES)

4x4X 41 " ∠ TOP MOUNT

107 16"

2x2x41 " ∠ FRAME

11 4"

DO NOT USE GAS CUTTING TORCHES FOR CORRECTING FABRICATION ERRORS IN THE STRUCTURAL FRAMING.

MCMASTER PART NO. 3099T38 1 4" FIXED PULLEY MOUNTED ON PULLEY ROTATION ASSEMBLY (4 PLACES)

2'-21 8"

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 41 " PLATE TAB

ANCHOR RODS SHALL CONFORM TO ASTM F1554, GR 55,S1 (WELDABLE) UNLESS OTHERWISE NOTED. THE END OF THE ANCHOR ROD INTENDED TO PROJECT FROM THE CONCRETE SHALL BE STEEL DIE STAMPED WITH THE GRADE IDENTIFICATION AS REQUIRED BY SUPPLEMENT S3. ANCHOR RODS SHALL PROJECT A MINIMUM 1" ABOVE THE NUT.

MCMASTER PART NO. 3099T38 1 4" FIXED PULLEY WELDED TO LOWER COLLECTOR PLATE (2 PLACES)

1/4"

4x4X 41 " ∠ TOP MOUNT 2" PULLEY ROTATING ASSEMBLY, 3 2x3x41 " PLATE WELDED TO 8 "Øx4" SCH 40 PIPE, 3 1 4 "ØX1 2 " PIPE RETAINERS EACH END WELDED TO COLLECTOR TOP PLATE, TIGHTEN 41 " SET 3 SCREW ONTO 8 " PIPE ONCE CABLE ANGLES

33 8"

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY (2 PLACES)

313 16"

10"

4"x4"x41 " PLATE TABS W/ 4x1x 41 " GUSSETS

25 8"

WELDS SHALL CONFORM TO THE "STRUCTURAL WELDING CODE" OF THE AMERICAN WELDING SOCIETY AWS D1.1. USE E70XX ELECTRODES. WELDING PROCESSES AND OPERATORS SHALL BE QUALIFIED IN ACCORDANCE WITH AWS "STANDARD QUALIFICATIONS PROCEDURES". WELDERS SHALL CARRY PROOF OF QUALIFICATIONS ON THEIR PERSONS.

115 16"

3 SAFETY LOOP OF 16 " CABLE, ANCHOR TO CHANNEL ABOVE, SECURE TO PULLEY TO PREVENT RUBBING ON MAIN PRIMARY CABLE

16"

STEEL FRAMING CONNECTIONS SHALL BE BOLTED OR WELDED. BOLTED JOINTS SHALL CONFORM TO AISC "SPECIFICATION FOR STRUCTURAL JOINTS USING ASTM A325 OR A490 BOLTS". BOLTS SHALL CONFORM TO ASTM A325, AND SHALL BE MINIMUM • •" DIAMETER, UNLESS NOTED OTHERWISE. BOLTS FOR MOMENT FRAME AND DIAGONAL BRACING CONNECTIONS SHALL BE CONSIDERED BEARING TYPE WITH BOLTS PRE-TENSIONED. ALL OTHERS MAY BE CONSIDERED BEARING TYPE WITH SNUG-TIGHT BOLTS- UNLESS OTHERWISE NOTED. PROVIDE DIRECT TENSION INDICATORS (LOAD INDICATING WASHERS OR SNAP OFF BOLTS) IN ACCORDANCE WITH ASTM F959 AT ALL HIGH STRENGTH BOLTS.

4"x4"x 41 " PLATE TABS W/ 4x1x 41 " GUSSETS

3 SAFETY LOOP OF 16 " CABLE, ANCHOR TO CHANNEL ABOVE, SECURE TO PULLEY TO PREVENT RUBBING ON MAIN PRIMARY CABLE

10x10x 41 " LOWER COLLECTOR PLATE W/ 41 " PLATE TABS

2x4x41 " PLATE STRAP

MCMASTER RIGID-EYE PULLEY PART NO. 3099T58

C4x5.4 CHANNEL

MCMASTER PART NO. 3824T33 D-SHACKLE WITH SELF-LOCKING SCREW PIN

BOTTOM CHORD OF EXISTING TRUSS

MCMASTER PART NO. 3824T33 D-SHACKLE WITH SELF-LOCKING SCREW PIN

1/4"

DOUBLE ANGLE BOTTOM CHORD OF EXISTING STEEL TRUSS

BOLT (4 PLACES)

341 "x2"x41 " PLATE STANDOFF (2 PER SIDE) 39 16"

2x4x41 " PLATE STRAP

THE CONTRACTOR IS SOLELY RESPONSIBLE FOR ERRORS AND OMISSIONS ASSOCIATED WITH THE PREPARATIONS OF SHOP DRAWINGS.

11.

3 8"Ø

1/4" 2x4x 41 " PLATE STRAP 3/8" STEEL EYEBOLT W/ SHOULDER AND DOUBLE NUT

31 8"

10.

DOUBLE ANGLE BOTTOM CHORD OF EXISTING STEEL TRUSS

BOLT (4 PLACES)

341 "x2"x41 " PLATE STANDOFF (2 PER SIDE)

CONTRACTOR IS RESPONSIBLE FOR MEANS, METHODS, TECHNIQUES, SEQUENCES, AND PROCEDURES.

3 8"Ø

1/4"

C4x5.4 CHANNEL

5 2"X3"X 41 " PLATE W/ 16 " SPACER (2 PLACES)

EXISTING ROOF PURLIN

2" WIDE x 41 " STEEL PLATE STANDOFFS (4 PLACES)

1'-99 16"

COORDINATE AND VERIFY FLOOR AND ROOF OPENING SIZES AND LOCATIONS WITH ARCHITECTURAL, MECHANICAL, PLUMBING AND ELECTRICAL DRAWINGS. FOR ADDITIONAL OPENINGS, INSERTS, SLEEVES, CURBS, PADS, ETC. NOT SHOWN ON THE STRUCTURAL DRAWINGS SEE ARCHITECTURAL, MECHANICAL, PLUMBING AND ELECTRICAL DRAWINGS.

MCMASTER PART NO. 3099T38 41 " FIXED PULLEY (4 PLACES STAGGERED)

10x10x 41 " UPPER COLLECTOR PLATE W/ 41 " PLATE STANDOFFS (2 PER SIDE)

1"x21 " SPACERS

GRADE 8 BOLTS W/ DOUBLE NUTS

C6x8.2 STEEL CHANNEL

6" 75 16"

COORDINATE STRUCTURAL CONTRACT DOCUMENTS WITH ARCHITECTURAL, MECHANICAL, ELECTRICAL, PLUMBING AND CIVIL DOCUMENTS. NOTIFY STRUCTURAL ENGINEER OF ANY CONFLICT AND/OR OMISSION. REFER TO ARCHITECTURAL DOCUMENTS FOR DIMENSIONS NOT SHOWN.

1/4"

10" 10x10x 41 " UPPER COLLECTOR PLATE W/ 41 " PLATE STANDOFFS (2 PER SIDE)

1'-

FABRICATION, ERECTION OR INSTALLATION OF COMPONENTS SHALL NOT PROCEED UNTIL SHOP DRAWINGS HAVE BEEN SUBMITTED, REVIEWED AND APPROVED BY THE ENGINEER.

1"x21 " SPACERS

ARE SET AND CABLE IS TENSIONED

2x2x41 " PLATE WASHER

31 2"

I-BEAM PURLIN 3 8"Ø THREADED ROD W/ DOUBLE NUT BOTH ENDS (2 PLACES)

1'-111 16"

THE CONTRACTOR IS SOLELY RESPONSIBLE FOR THE DESIGN, ADEQUACY, AND SAFETY OF ERECTION BRACING, SHORING, TEMPORARY SUPPORTS, ETC. THE STRUCTURAL ELEMENTS ARE NOT STABLE UNTIL THE STRUCTURE IS COMPLETE.

CABLE "E" X 3

VERIFY ALL EXISTING CONDITIONS, DIMENSIONS AND ELEVATIONS BEFORE STARTING WORK. NOTIFY STRUCTURAL ENGINEER OF ANY DISCREPANCY.

MCMASTER PART NO. 3099T38 1 4" FIXED PULLEY MOUNTED ON PULLEY ROTATION ASSEMBLY (4 PLACES) 101 2"

MCMASTER PART NO. 3099T38 MOUNTED TO PULLEY ROTATING ASSEMBLY(4 PLACES)

DRAWINGS SHOW TYPICAL AND CERTAIN SPECIFIC CONDITIONS ONLY. FOR DETAILS NOT SPECIFICALLY SHOWN, PROVIDE DETAILS SIMILAR TO THOSE SHOWN.

THREADED ROD W/ DOUBLE NUT BOTH ENDS (2 PLACES)

2'-41 8"

PULLEY ROTATING ASSEMBLY, 3 2x3x41 " PLATE WELDED TO 8 "Øx4" SCH 40 PIPE, 3 1 4 "ØX1 2 " PIPE RETAINERS (2 PER PULLEY) @ EACH END WELDED TO COLLECTOR TOP PLATE, TIGHTEN 41 " SET SCREW ONTO 83 " PIPE ONCE CABLE ANGLES ARE SET AND CABLE IS TENSIONED PULLEY ROTATING ASSEMBLY, 3 "Øx4" SCH 40 PIPE, 2x3x41 " PLATE WELDED TO 8 3 1 4"ØX1 2" PIPE RETAINERS EACH END WELDED TO COLLECTOR TOP PLATE, TIGHTEN 41 " SET SCREW ONTO 83 " PIPE ONCE CABLE ANGLES

3 8"Ø

CABLE "C" X 3

NOTES ON THIS DRAWING SHEET PROVIDE MINIMUM VALUES, DIMENSIONS, QUANTITIES, CHARACTERISTICS AND CONDITIONS. IF INFORMATION ON OTHER PLAN SHEETS EXCEED THE REQUIREMENTS SPECIFIED IN THESE NOTES, THEY SHALL GOVERN.

1'-01 16"

ALL CONSTRUCTION SHALL COMPLY WITH THE GEORGIA STATE MINIMUM STANDARD BUILDING CODE, 2006 EDITION (2006 INTERNATIONAL BUILDING CODE WITH GEORGIA STATE AMENDMENTS DATED 1 JANUARY 2009). REFERENCE TO OTHER STANDARD SPECIFICATIONS OR CODES SHALL MEAN THE LATEST STANDARD OR CODE ADOPTED AND PUBLISHED.

10"

system of applied surfaces makes possible new uses and selected modifications without disrupting the building as an historical artifact. Here, the original brick wall has been activated as a medium for display and made permeable. In this manner the building has been adapted to operate under new and heretofore unforeseen circumstances, its spaces within opened up to a wide variety of programs and uses. The door is operated mechanically, with switches hidden in CNC-milled plywood paneling directly to the east.

1/4"

C6x8.2 STEEL CHANNEL SPACERS

2x2x41 " PLATE WASHER

2x3x 41 " ∠ BOTTOM FRAME MCMASTER PART NO. 3099T38 41 " FIXED PULLEY MOUNTED ON 2x2x 41 "ANGLE (3 PLACES)

PLYWOOD VENEERS In order to conserve space and adapt to changing needs, many schools are looking towards hot-desks and other means by which spaces can be continually re-purposed. For this reason, we have provided lockers for all students so that everyone has some space, aside from their desks, where they can store their belongings. Constructed of sustainably-harvested CNC-milled Baltic Birch plywood, off-the-shelf hardware, and rolled-steel plates, the lockers at the Hinman Research Building form part of a series of applied surfaces on the ground and second levels. Constructed of uniform modules which have been

deployed in a consistent manner throughout the building, the regularity of these lockers disguises the diversity of their contents; a welcome reinforcement of individual identity and privacy in a building that so emphasizes the construction of community. The same material was also employed in stairwells throughout the building. These 42-inch high barriers, structurally resistant to top-loading, satisfy code requirements while also respecting the historical presence and significance of the existing handrail at the center of the stairwell.

MILLWORK CONSTRUCTION DOCUMENTATION AUTOCAD AND REVIT BY TOM BERESFORD AND SAMUEL RAY JACOBSON

COMPLTED MILLWORK PHOTOGRAPH COPYRIGHT JONATHAN HILLYER

ART, WHA EVER

, OR ATR

In February 2014, QASTIC was invited to participate in the International Festival of Arts and Ideas, an annual event held on the New Haven Green in New Haven, Connecticut (pictured at right). The installation â&#x20AC;&#x153;LUCY,â&#x20AC;? a finalist for the 2014 Folly competition sponsored by the Architecture League of New York, is being adapted for permanent use as a feature of the annual event. Contractor-collaborators for the project include Hassan Azad (acoustical engineering), Arup (structural engineering), and Promoco (fabrication). The structure will be installed in 2015.

LUCY is an experience

for which exists a twofold value. In the first place, it has historical value as it marks a decisive turning-point in the material development of the urban landscape. In the second place, it typifies the effects of sound in the context around and distort them to generate a new filtered sound. As architects, we have built on the follyâ&#x20AC;&#x2122;s historical interrogation of architectureâ&#x20AC;&#x2122;s use value,

distorting the sensorial landscape of the city into one shape

within a landscape condition,

, both in an accessible interior (a vortex of views) and in its exteriors (trapping composite distortions); the sum is a playful architecture of environmental refraction: it spins the city into something beautiful.

The city is incomprehensible; we unsheathe its daggered definition, shattering its completecity and awakening a vision, as if to be born anew. In Gothic ruin and Byzantine expense, it is fallow landscape from Le Nôtre to Tafuri that is the nightmare from which we now awake: it is not to shape the sound-and-image-scape, it is to trap it, consume it. Our city’s epic has yet to be written, we say, but it is becoming important.

DEAR, DIRTY NEW HAVEN: the Green, the people, the sounds and rising towers; ours is the crooked looking-glass of a devoted servant, we are the supreme urbanists: unearthly, untimely, and sincere! We celebrate the here and now, we explore the inward the surfaces of living, the life that will exhibit itself.

Phenomenologically, LUCY is a composition of the emergent qualities of its site. Focusing on sound and image, the installation both reflects and deflects the sensorium of the New Haven landscape within its contours. Regarding sound, the installation diffuses and concentrates ambient sound, redirecting noise throughout the green and operating as a giant, tri-directional ear-piece (see diagrams above). Regarding image, the visual landscape of the Green is both distorted by LUCYâ&#x20AC;&#x2122;s exteriors and framed so as to be consumed, in fragments, from inside (see diagrams at right).

simulated view from inside

MODEL AND RENDERING COPYRIGHT QASTIC

Durability is perhaps the most important of the virtues of our LUCY; a relative of DuPont’s circa 1964 boPET film (used in spacesuits and fire shelters), and a favorite of the artist Warhol (whose “Silver Clouds” you see at left), the Mylar material we have selected is extremely tough. A polyester of stretched polyethylene terephthalate, it is noted for its tensile strength and dimensional stability. It is resistant to puncture and tears, and due to its relative low cost can be easily repaired, patched, or even replaced in the event of vandalism or acts of god. Given its need for occasional replacement, to our skin’s expiring installation we offer— refashioned—new life as a stylish, shiny tote bag. Come ye, yuppie snobs who cry “how nice!” and consecrate the ruins of our-world-unto itself; our LUCY, a tranquil spectator that knows perspectives, shall create a worthwhile charitable opportunity after fronting the fierceness of the elements (and greasy fingers) of a New Haven summer. Not pride, alas, but love of the city encourages our laying down place into piecework: from our ruined palace shall others walk the city newly stylish at $50 each (the proceeds benefiting the Festival, and subsidizing necessary skin replacement).

about QASTIC

Established in 2010, QASTIC is a collaborative architecture and industrial design practice focused on innovative and artistic design solutions, executed with attention to material fabrication and unparalleled craftsmanship. Working with a spirit of curiosity and experimentation, QASTIC explores collaborative methodologies in the discipline of design.

Mahdi Alibakhshan UPenn 2010

Samuel Ray Jacobson MIT 2013

Mahdi earned two architectural degrees in Iran before studying at Penn on a Fullbright Scholarship. His ongoing research focuses on material and computational approaches to dynamic design systems. Previous experience includes work at NADAAA and Koetter Kim (Boston), and PCPA (New Haven).

After getting a BA in architecture from Rice, Sam went to MIT to study architectural history and criticism. He recently completed his first book, and has executed installation and performance pieces in New York, Houston, and Cambridge. Previous experience includes work at NADAAA.

Cristian Oncescu Yale 2014 Cristian is completing his MArch at Yale, where he is a student of Frank Gehry. Previous experience includes work at PCPA (NYC).

Reza Zia Columbia 2012 Reza holds architectural degrees in architecture from Columbia and Islamic Asad University. Previous experience includes work at LOT-EK (NYC).

Affiliates Ali Sadeghian, Carlos Bugatti, Mohamad Mojahedi, Gregory Harcomb Consultants Nathaniel Hadley - Fabrication Nader Tehrani - Design Hasan Azad - Acoustic Engineering

FLOTSAM October 2014 with the BABEL Working Group Temporary installation at the University of California, Santa Barbara (UCSB) The BABEL Working Group is an international consortium of scholars, scientists, artists and public intellectuals that fosters creative learning communities within and without the academy. The organization held its third biennial conference at UCSB October 16-18, 2014, with presentations departing from the proposition that that place has a lot of influence on learning communities, and vice-versa. Unique to the conference was an interest in the material environment of UCSB, as well as the resources afforded by that environment for imaginative and scholarly work. Though all places are always changing, UCSB has come of age post-WWII, and bears the marks of that history as it has expressed itself in Southern California, in Santa Barbara County, “on the beach.” By spatializing this history, mapping a journey “outdoors” from Coal Oil Point to Goleta Pier, “FLOTSAM (How to Live Together)” served as another way of supporting the community’s hopefulness and pride after the trauma of 5/23, especially by linking together in a culturally imaginative pathway, the disparate sections of the larger community. The piece spanned University property for the duration of the conference. It’s design consisted of a 10’ wide, 2.3 milelong zone of 47 sites, rendered in chalk, directly connecting various “event-points” in the history of the campus. Installation was undertaken solo, in twelve site groupings, over three weeks, beginning October 1, 2014.

PROJECT SIMULATION SAMUEL RAY JACOBSON

AERIAL IMAGE (SIMULATED)

SRJ

6/14/14

SITE PLAN

SRJ

6/14/14

ZONE MAP

SRJ

6/29/14

0’

100’

250’

500’

250’

100’

250’

1000’

500’

0’

100’

1000’

500’

1000’

1/4 mi

AERIAL SIMULATION (TOP), SITE PLAN (MIDDLE), AND INSTALLATION BREAKDOWN (BOTTOM) SAMUEL RAY JACOBSON

... FROM GOLETA BEACH

ELLINGS HALL

GIRVETZ H

BROLDA HALL

THEATER & DANCE

OCEAN ROAD

ISLA VISTA

COAL OIL POINT

ENGINEERING II

HALL

RESERVE

SOUTH HALL

BLGS 424 & 599

SLOUGH ROAD

HSS

TO SANDS BEACH...

PROJECT SIMULATIONS (MOVING WEST TO EAST) SAMUEL RAY JACOBSON

ABOVE - FLOTSAM IN SITU PHOTOGRAPHY BY JEAN BAI - KONSTRUKTPHOTO.COM RIGHT - FLOTSAM ON THE COVER OF QUEER INSISTS, BY MICHAEL O’ ROURKE PHOTOGRAPH BY EILEEN JOY

@PUBLICUTILITY2 Installation and new media community building initiative Installation on view October 2014 - January 2015, Twitter and AIA New Orleans Samuel Ray Jacobson with Imani Jacqueline Brown and Jakob Rosenzwieg, for Mary Ellen Carroll

1996 GROWING JEWISH COMMUNITY NORTH OF LAKE PONTCHARTRAIN FORMS OWN CONGREGATION 1996 WILD MAGNOLIAS RELEASE LIFE IS A CARNIVAL UNDER THE CAPITOL RECORDS SUBSIDIARY METRO BLUE 1996 PROMINENT COMPUTER SCIENTIST ISENBERG ASSERTS UTILITY OF “STUPID” END-TO-END USE OF NETWORKS, INTELLIGENT END-USER DEVICES

1998 CHINA COMMUNISTS FEAR DEMOCRACY PARTY TO MAKE UNCONTROLLABLE NETWORK, INITIATES GOLDEN SHIELD WEB CENSORSHIP PROJECT 1998 DILLARDS CLOSES MAISON BLANCHE BUILDING RETAIL OPERATIONS ON CANAL STREET 1998

GOOGLE FOUNDED

1996 USAID LELAND INITIATIVE DEVELOPS FULL INTERNET CONNECTIVITY PLAN FOR AFRICA

1998 IPO OF DEPARTMENT OF ENERGY URANIUM ENRICHMENT CONTRACTOR UNITED STATES ENRICHMENT CORPORATION NETS US $3B

1997 IEEE COMMITTEE 802.11 PUBLISHES A BASIC SPECIFICATION ALLOWING DATA TRANSFER RATE OF 2MBS USING SPREAD SPECTRUM TECH

1998 NEW ORLEANS HOSTS ITS FIRST AMA SUPERCROSS RACE SINCE 1980, AT THE SUPERDOME

1997

1998 THE KREWE OF ELVIS, ORGANIZED OVER THE INTERNET THE YEAR BEFORE (A FIRST), HOLDS ITS INAUGURAL LUNDI GRAS PARTY

SUPERBOWL HELD AT THE SUPERDOME

1997 BALANCED BUDGET ACT OF 1997 GIVES FCC DISCRETION OVER COMPETITIVE BIDDING EXEMPTIONS REGARDING SERVICE UNDER PURVIEW 1997 W3C ACCELERATES GLOBAL EXPANSION, OPENING REGIONAL OFFICES WORLDWIDE

1998 SAUNALAHTI DELIVER FIRST PREMIUM RATE MEDIA CONTENT VIA SMS W/ NOKIA-HANDSET-EXCLUSIVE PAID DOWNLOADABLE RING TONE SERVICE 1998

COTE D’IVOIRE AND BENIN GAIN SATELLITE EARTH STATIONS

1997 COX ENTERPRISES BUYS WHNO THEN SELLS THE STATION TO THE PARAMOUNT STATIONS GROUP SUBSIDIARY OF VIACOM

1998 HURRICANE GEORGE’S PROMPTS LARGEST EVACUATION IN US HISTORY; HIGHWAYS CLOGGED, SUPERDOME REFUGE OF LAST RESORT LOOTED

1997

1998 KC OFFSHORE PERFORMS A REGIONAL SHALLOW HAZARDS SURVEY OF THE MACONDO AREA

KRAUSS DEPARTMENT STORE CLOSES

1997 RITE AID BUYS K&B; EPONYMOUS PURPLE COLOR SIGNIFICATION PERSISTS IN LOCAL LEXICON 1997

AL COPELAND FEUDS WITH ANNE RICE

1999

NEW ORLEANS ARENA OPENS

1999

RATIFICATION OF 802.11B, THE FIRST VARIANT ON 802.11

1997 GUINEA, MOZAMBIQUE, MADAGASCAR, AND RWANDA GAIN SATELLITE EARTH STATIONS

1999 BRUCE PERENS ADAPTS DEBIAN FREE SOFTWARE GUIDELINES IN NEW OPEN SOURCE DEFINITION

1998 WCCL BECOMES WPXL-TV, A CHARTER AFFILIATE OF FAMILY-ORIENTED NETWORK PAX TV

1999 PULITZER SELLS TV DIVISION (INCLUDING WDSU) TO HEARST-ARGYLE TELEVISION FOR ABOUT $2B

1998 ANNOUNCEMENT FROM US VP GORE AND WHITE HOUSE INITIATES GPS III MODERNIZATION EFFORT

1999

NAPSTER BECOME FIRST P2P FILE SHARING SYSTEM ON THE INTERNET

1999

NTT DOCOMO LAUNCHES I-MODE MOBILE INTERNET

1998

ORGANIZATION OF ICANN BY DEPT. OF COMMERCE TO MANAGE INTERNET

BACKGROUND - PUBLIC UTILITY 2.0 INSTALLED AT AIA NEW ORLEANS FOR PROSPECT.3 COURTESY PROSPECT.3 BELOW - HISTORICAL DATA ENTRIES, SELECTION SAMUEL RAY JACOBSON, OTHERS

2000 CBO ON SPECTRUM LICENSES: “THE FCC IS REQUIRED BY LAW TO MEET MULTIPLE GOALS AND NOT FOCUS SIMPLY ON MAXIMIZING RECEIPTS”

2001 FIRST PARADE OF THE ALL-FEMALE KREWE OF MUSES, AND ALL-FEMALE MARDI GRAS SOCIAL ORGANIZATION

2000

2001 LBJ SHOW ON COX ACCESS NEW ORLEANS HIGHLIGHTS THE RICH HERITAGE AND CULTURE OF CITY

RATIFICATION OF 802.11A

2000 WYES AIRS SPECIAL ON DANNY BARKER; WLAE AIRS DOCUMENTARY ON ST. AUGUSTINE MARCHING 100 2000 SELECTIVE AVAILABILITY FOR HIGH QUALITY GPS SIGNALS TURNED OFF; EVERYONE GETS THE GOOD GPS NOW 2000 FCC ADOPTS AND DESCRIBES THE PACKAGE RULES FOR THE 700 MHZ AUCTION

2001 SOUL REBELS BEGINS WHEN TWO YOUNG PERCUSSIONISTS PLAY SONGS FROM RADIO IN THE STYLE OF BRASS BANDS 2001 RESEARCH IN MOTION BLACKBERRY PRODUCT LAUNCHES MOBILE PHONE EMAIL 2002

SUPERBOWL HELD AT THE SUPERDOME

2000 FCC AUCTION 33 CONCLUDES; 96 LICENSES GIVEN TO 9 BIDDERS IN FORMER “GUARD BANDS” OF UPPER 700 MHZ BAND; GROSS BID $546B

2002 THE TIMES-PICAYUNE NOTES ENVIRONMENTAL CHANGES SOUTH OF NEW ORLEANS HAVE INCREASED HURRICANE VULNERABILITY

2000 DALLAS’ BEAL BANK PRES. ANDREW BEAL’S BEAL AEROSPACE CEASES OPERATIONS, SPACE VEHICLE TEST FACILITY IN CENTRAL TX VACANT

2002

2000

IETF MEETING ATTENDANCE PEAKS AT 2810

2000

NASDAQ INDEX DOUBLES YOY; PEAKS AT 5048.62

2000 TRIBUNE BROADCASTING MERGES WITH QUINCY JONES’ COMPANY QWEST BROADCASTING, BECOMING MANAGING OPERATOR OF WNOL 2000

THE CENSUS COUNTS 14K VIETNAMESE IN NEW ORLEANS

2000 NASA AND GOOGLE WORK TOGETHER ON DELAY-TOLERANT NETWORKING FOR SPACE APPLICATIONS 2001 FEMA NAMES MAJOR HURRICANE IN NEW ORLEANS MOST SERIOUS THREAT TO NATION, FOLLOWED BY NYC TERROR ATTACK AND SF EARTHQUAKE 2001 PAX TV OWNERS PAXSON ENTERS INTO JOINT SALES AGREEMENT WITH HEARST-ARGYLE TELEVISION, OWNERS OF NBC-AFFILIATE WDSU 2001 HOUSTON CHRONICLE SAYS SEVERE HURRICANE IN NOLA TO STRAND 250K, KILL 1 IN 10 WHO STAY BEHIND, AND CAUSE 20’ FLOODS 2001 COMPUTER SCIENTIST DAVID P. REED CONTRADICTS PERCEPTRONS, CLAIMS UTILITY OF LARGE NETWORKS CAN SCALE EXPONENTIALLY

FCC MANDATES GPS FEATURE IN MOBILE PHONE HANDSETS OR TOWERS

2002 GPS INDUSTRY COUNCIL OUT OF BAND EMISSIONS AGREEMENT W/LIGHT SQUARED GUARANTEES NON-INTERFERENCE W/ GPS @ 1559-1610 MHZ 2002 HIGH TECH BROADBAND COALITION BEGINS DISCUSSING NET NEUTRALITY REGULATION 2002

EBAY BUYS PAYPAL FOR $1.5B

2002 ENTREPRENEUR ELON MUSK FOUNDS SPACEX IN HAWTHORNE, CA NEAR EDWARDS AFB, JPL, AND I-10; OLD BOEING 747 FACTORY TO BE HQ 2002

TOMTOM MARKETS GPS DEVICE

2002

THE HORNETS NBA TEAM RELOCATES TO NEW ORLEANS

2002 “RESTORE THE OAKS” PAINTS TREES ON I-10/CLAIBORNE USING HUD GRANT FOR “SLUM AND BLIGHT” TO “RESTORE HISTORIC PROPERTY” 2002

HURRICANE ISIDORE; MOST NEW ORLEANIANS DON’T EVACUATE

2003 POPE APPOINTS PASTOR OF MARY QUEEN OF VIETNAM CHURCH TO AUXILIARY BISHOP POST IN ORANGE COUNTY, CALIFORNIA

FOR IMMEDIATE RELEASE

PUBLIC UTILITY 2.0 TAKES TO TWITTER

Groundbreaking New Media Community-Building Initiative Engages Histories of Science, Technology, and the Culture of New Orleans to Enhance Existing Unused Television Spectrum Policy From 8 AM until 8 PM (CST) November 7, 2014 through January 31, 2014 over 1000 historical entries will be tweeted hourly. http://www.twitter.com/publicutility2 NEW ORLEANS – Beginning at 8 AM (CST) Friday, November 7, 2014 and continuing daily through January 31, 2014, internationally renowned conceptual artist Mary Ellen Carroll’s PUBLIC UTILITY 2.0 will “tweet” over 1000 entries correlating the histories of infrastructure, community, resource extraction, the built environment and spectrum utilization. PUBLIC UTILITY 2.0 is a propositional work to retrofit unused television frequencies (UHF) for networking and connectivity for the underserved. It is a commission for Prospect.3 New Orleans under the artistic direction of Franklin Sirmans, the Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art. The Twitter initiative, part of Carroll’s ongoing project PUBLIC UTILITY 2.0, will broadcast an astounding array of primary and third-party documentation, offering its complicated history as part of a public dialogue about how our national resources are utilized. The Twitter initiative will take place using the username, “@publicutility2.” Carroll and team contend that a ground up approach in the public realm is the most effective policy method both locally and internationally. The main focus for this Twitter initiative is to trace the history of public policy and its manifestation in both soft and hard forms of infrastructure. According to Carroll, “Twitter is a contemporary distribution system for the amplification of salient information. It distinguishes points that would otherwise seem obvious or insignificant. Radiating from a single source, the Tweets become an expansive proposition for listeners who can actively engage with the material and perpetuate the flow of information in a moment by retweeting; or it ends with the the individual ‘listener.’ William Faulkner’s statement, ‘You must always know the past, for there is no real Was, there is only Is’, reflects the organizing principles with the first entry dating from 1916 encapsulating the development of the Interstate highway system in the United States: 1916 SENATE PASSES BANKHEAD’S BILL TO PROVIDE $75M IN 50% FEDERAL AID FOR STATE #ROADS CONSTRUCTION #PUBLICUTILITY2 @publicutility2 represents a pivotal moment in the history of art and architecture, as culture and content production continue to shift towards the digital and wireless networked communications. Carroll counters Rem Koolhaas’s view for that the digital has been the death of the role of the architect as designer. “What is necessary is to design the networks and utilize frequencies as a material,” she says. “Resources and planning have shifted from what has been on, and below the ground, into the real estate of radio frequency. This is the present— and the future and spectrum is an invaluable public resource, and the public needs to be engaged in this process with complete transparency.” PUBLIC UTILITY 2.0 encompasses Carroll’s latest vision is for connectivity for under-resourced communities. It proposes shifting conventional urban planning from the street plan to the elevation plan where it will combine unused TV channels (Super WIFI), emblematic cultural symbols and cutting-edge wireless technology developed by Rice University for the underserved. Documentation about Public Utility 2.0 is presented at the American Institute for Architects in New Orleans at Lee Circle as a part of Prospect.3 New Orleans. #### For further information please contact: Samuel Jacobson: 1.805.338.1389 Email: samuelrayjacobson@gmail.com Mary Ellen Carroll’s prolific career spans more than twenty years and a range of practices, from art to architecture, public policy, performance and film. Carroll is the recipient of numerous grants and honors, including a 2010 a Graham Foundation Fellowship for prototype 180 and innovation territory and the AIA’s Artist of the Year Award. She has received a Guggenheim Fellowship, a Pollack/Krasner Award, a Rockefeller Foundation Fellowship and a MacDowell Colony Fellowship. Her work has been exhibited at numerous American and international galleries and institutions, including the Whitney Museum-New York, ICA- Philadelphia, the Renaissance Society-Chicago, ICA-London, Museum für Völkerkunde-Munich, MOMUK-Vienna, Generali Foundation Vienna, Smart Museum-Chicago, Blaffer Museum-Houston, Menil Collection-Houston, and Galerie Stadtpark-Krems, Austria. Her work belongs to in numerous public and private collections. A monograph of her work published by SteidlMACK (London and Gottingen) received the AIGA’s 2010 Book of the Year Award. She completed No. 18, an architectural insertion and commission for the Busan Biennial in Korea that was directed by Roger Buergel, artistic director for Documenta 12. Carroll recently participated in the American Pavilion for the 2014 Venice Biennale for Architecture. Primary research for @publicutility2 has been conducted by Samuel Jacobson with additional support by Jakob Rosenzweig and Imani Jacqueline Brown.

PUBLIC UTILITY 2.0 INSTALLED AT AIA NEW ORLEANS FOR PROSPECT.3 COURTESY PROSPECT.3

WWW.TWITTER.COM/PUBLICUTILITY2 12/29/2014, 3:50 PM CST

September 5, 2012; November 2, 2012; November 22, 2012 with Irina Chernyakova, Mariel Villere (MIT) Collaborative event series As co-founders of the SMArchS event series, two peers and I coordinated a volunteerexecuted, multi-part food art event series. The Masters of Science in Architecture Studies degree program in MIT’s School of Architecture and Planning intends to be interdisciplinary, but provides very few opportunities for exchange between discipline groups. In 2011, SMArchS students voiced concerns for the future of the program, especially considering the impending change with a sixth group. Along with peers, we sought commonality and camaraderie, and are proposed several structured initiatives toward that end. The 2012 SMArchS Cultural Events Series fostered a greater sense of shared identity within the SMArchS program, and encouraged the engagement of the members of that program with the broader MIT community. With a series of volunteerexecuted, evening-time, food-related events, Ingestatecture provided a much needed public presence for our small program, while also serving as a structure and platform for social programs, intellectual discussions, and collaborative design projects for the SMArchS group, contributing towards the overall disposition and well-being of the program. Event Descriptions: 1 -

“Ingestatecture 1,” 9/5/2012. An introductory event, including a presentation of food art precedents in both photographic and edible form. A twenty-four course dinner, one course for each precedent, included curry from Rirkrit Tiravanija’s “Untitled (Free)” (1992/2007) as well as a roasted turkey in honor of Lady Gaga’s collaboration with Art Smith. Held at 92 Oxford Street, Cambridge MA

2 - “Exquisite Feast,” 11/2/2012. Throughout the evening, individuals from the local design community presented proposals for film, performance and architecture events to take place in the area. Building on the theme “Have it Your Way,” and the precedent “Andy Warhol Eats a Hamburger” (1981), 64 configurations of Whopper were served. Coordinated by Antonio Furgiuele, held at 92 Oxford Street, Cambridge MA 3 - “Strivers and Strugglers,” 11/22/2012. An evening of heavy eating and drinking coordinated by Albert Lopez, held at 92 Oxford Street, Thanksgiving night, for MIT students unable to travel home for the holiday.

INGESTATECTURE 2012

Deleted: CALL FOR SUBMISSIONS

Deleted: DESIGN A FOOD-ART DINNER FOR SMARCHS @ MIT¶ Deleted: BE A PART OF IT.¶ Deleted: MIT Deleted: statement of no more than 500 words in length Deleted: -time Deleted: total Deleted: Spring Deleted: Anonymous Deleted: are due

Andy Warhol Eating a Hamburger, 1981 GENERAL ANNOUNCEMENT AND CALL FOR SUBMISSIONS INGESTATECTURE, the MIT-based collaborative, competitive food-art event series, kicks off in Fall 2012 Entrants from across the SMArchS community are invited to submit design proposals for an evening food-related event that creates space for collaboration, experimentation, intellectual discussion, consumption, and performance related to the theme of this year’s SMArchS Colloquium, Design + Technology, to be held in a storefront gallery in Cambridge, MA in Winter 2013. GUIDELINES FOR TEAMS -Teams should represent at least 2 discipline groups -There is no limit to team size DESIGN GUIDELINES -Teams must work within the provided space -Teams must allow for approximately 40 attendees (seating, performing, eating, etc.) -Designs must involve food and adhere to a budget of $1500, to be provided by the organizers -Selected participants will be responsible for the preparation, construction, installation, and removal of their design and food -Stipends of $20 (in addition to the $1500) will be made available for competition design models

GUIDELINES FOR SUBMISSION Entrants must submit a single PDF including

-A conceptual statement, maximum 500 words -Drawings that describe the design -Proposed menu with detailed execution plan -Production/installation plan and materials -Itemized budget A statement of intent to apply is due August 15, 2012. Each applicant will be assigned a project number that should be written on all materials. Final submissions should be submitted to ingestatecture@gmail.com by September 15, 2012 Review panel will include local architects/ designers, as well as members of the SMArchS program. Selections will be announced at a banquet in October. MORE INFORMATION: ingestatecture@gmail.com

Deleted: The SMArchS Food-Art Competition will launch in Fall 2012. Dinners will elaborate on the themes addressed in the 2012 and 2013 colloquiums (Design+Technology and Waste+Failure, respectively), while creating space for students to collaborate, discuss, eat, and perform. The dinner will be held at a storefront space, off-campus in Cambridge.¶ G Deleted: UIDELINES FOR DESIGN Deleted: members Deleted: -Teams made up of members representing 2+ discipline groups will submit project ideas that engage eating as a performance and the colloquium themes as an intellectual grounding. There is no limit to the team size.¶ Deleted: X sq-ft boundaries of the storefront Deleted: students Deleted: al Deleted: of the SMArchS community and the architecture/design field at large, and will be an event in and of itself. ¶ Deleted: Submissions can be emailed to food-art-smarchs Deleted: Stipends of $20 will be made available for design models.¶ -Projects will be funded by a Graduate Student Life Grant and have a budget of $1500 excluding the $20 model. Deleted: Participants will construct and install their own design, make or arrange for their own food, seating, etc. Some coordination assistance will be available in regards to the space. Deleted: Section Break (Continuous) SPONSORED BY A GRADUATE STUDENT LIFE GRAN

COLLABORATIVE REVISIONS, INGESTATECTURE CFP, APRIL 2012 SAMUEL JACOBSON AND MARIEL VILLERE

INGESTATECTURE 1, 9/5/2012 PHOTOGRAPHY COURTESY 92 OXFORD STREET

PRECIDENT PRESENTATION, INGESTATECTURE 1, 9/5/2012 GRAPHICS BY SAMUEL RAY JACOBSON

INGESTATECTURE 2, 11/2/2012 PHOTOGRAPHY COURTESY 92 OXFORD STREET

INGESTATECTURE 3, 11/22/2012 PHOTOGRAPH BY SAMUEL RAY JACOBSON

BOOKISH April 20-June 1, 2012 Exhibit at the Rotch Library of Architecture and Planning, MIT Executed in conjunction with the symposium “Unbound: Speculations on the Future of the Book,” BOOKISH explores the means and methods through which artist books challenge the book as traditionally conceived. By their selective, intentional performance and denial of normative aspects of book design—durability, flatness, narrative structure, boundedness, order, and pagination—these limited-edition, artist-conceived objects negate such norms while sustaining their worth and continuing relevance. At once a study in objectified interpolation and post-structural anti-essentialism, these 20 items selected from the Rotch Library Limited Access Collection push the limits of book form during a time when the viability of the book has come to seem increasingly untenable. On “Unbound: Speculations on the Future of the Book:” This symposium, held May 3-4, 2012 at the Massachusetts Institute of Technology, explored the future potential of the book by engaging practitioners and performers of this versatile technology to ask some key questions: is the book an artifact on its deathbed or a mutable medium transitioning into future forms? What shape will books of the future take? Grounded in this technology’s history, “Unbound” reflected critically on possible futures, promises, and challenges of the book, showcasing practices by writers and artists, putting them in conversation with scholars and thinkers from across the disciplines who are framing discourse and questions about book-related technotexts. > Learn more about “Unbound” here

EXHIBIT OVERVIEW PHOTOGRAPHY BY MIT DEANS OFFICE

EXHIBIT OVERVIEW PHOTOGRAPHY BY MIT DEAN’

case 4/4 (fragmentation) Books are typically a singular and bounded objects, a fact crucial to their identity, circulation, and storage. Each of the books in this case subvert that paradigm: through unbounded presentation (Postcards from America), mise en abyme (Visionaire 39), the mimetic reproduction of another book work (Red books), the presentation of multiple objects as a single piece (Günther Uecker: 10 years of a kineticist’s work), or the presentation of the artist book as infinite recursion (World libraries of artist books).

Jim Goldberg et al, Postcards from America. New York: Magnum Photos, 2012.

Visionaire 39: “PLAY.” New York: Visionaire: c. 2002.

Andy Warhol. Red books. Göttingen: Steidl , 2004.

Willoughby Sharp. Günther Uecker: 10 years of a kineticist’s work. New York: Kineticism Press, 1966.

Kermaire, Christine. World libraries of artist books. Charleroi, 2007.

Rotch Library Limited Access Collection In May 2011, five photographers and a writer set out from Austin in an RV, arriving in Oakland two weeks later. The resulting limited edition book is a collection of objects—a book, five bumper stickers, a newspaper, two fold-outs, three cards, a poster and five zines, in a signed and numbered box—that collectively document the experience of the trip. Fragmentary and fragile, Postcards from America nonetheless maintains many of the diagrammatic traditions of book publishing: media printed on paper, bounded and singular presentation, and a strong guiding narrative. Includes photographic works by Jim Goldberg, Susan Meiselas, Paolo Pellegrin, Alec Soth, and Mikhael Subotzky; essays by Ginger Strand. This is copy 88 of 500.

Rotch Library Limited Access Collection Issued in a black wooden box (designed to mimic a gaming console sold by the project’s sponsor, Sony) this issue of the Visionaire series consists of 16 artists’ flip books. Contributors include Mario Testino, Baz Luhrmann, Steven Meisel, Pedro Almadóvar, Karl Lagerfeld, Wong Kar Wai, Nick Knight, Spike Jonze, Craig McDean, Peter Lindbergh, Steven Klein, Tony Oursler, Darren Aronofsky, Roman Signer, and Imaginary Forces and Greg Lynn. While composed of many parts, the books-within-a-book are formally and commercially rendered as one by their packaging. Visionaire is a multi-format album of fashion and art, published three times a year, in exclusive numbered limited editions, since spring 1991.

Rotch Library Limited Access Collection Reproductions of Polaroids taken by Warhol between 1969 and 1975, inside reproductions of the booklets in which Warhol collected them. Multiple in its parts and its authorship the Red Books offer a subtle but perplexing challenge the normative diagram of book form while exploiting it for the purposes of marketing. Produced in conjunction with an exhibition at Pace/MacGill Gallery, New York, May 13-June 19, 2004.

Rotch Library Limited Access Collection What would be an ordinary limited-edition retrospective monograph is transformed into an artist book with the inclusion of an original, signed, numbered work by the artist. When viewed together, the two create an opaque symbiotic symmetry—the book rendered impregnable by the artwork, but also more evocative; and the art rendered unusually meaningful when inextricably tied to a decade of artistic context.

Rotch Library Limited Access Collection Stiff black bifold paper; card with title and contents mounted to inner left side with clear plastic and grommets; plastic case of breath-freshening strips mounted to inner right side with clear plastic and grommets.

POLICY May 2010 for Mary Ellen Carroll; with Daniel Anguilu, Alberto Govela, Matt Stilt, Kevin Topek, and Seanna Walsh Exhibition at Architecture Center Houston

Focusing on Mary Ellen Carroll’s ongoing project, prototype180, the exhibition POLICY at Architecture Center Houston negotiated the unseen interaction between land use policy, the petroleum industry, land art, and public art in the contexts of Houston and the United States in the second half of the twentieth century. Following several months of archival and ethographic research (by myself, Seanna Walsh, and Alberto Govela), the timeline was executed in the street style known as e2e (end to end) by Matt Stilt following our design. A video documentary, comprised of interviews with Southwest Houston residents and business owners, offered their perspective on what they see for the future of the area, and what it is like to live in a first ring suburb that has the external perception of as a “blighted” neighborhood (Sharpstown). The footage was captured by Govela and myself, and edited by Govela. Other elements of the project that have been designed and patented were also on display. POLICY also included a design charette, where local architects and planners were invited to reconsider possibilities for an abandoned mall in Southwest Houston, near the prototype180 site. The event was coordinated by me and Walsh. This exhibition was restaged in the Arthur Ross Architecture Gallery at Columbia University between February 17 and March 25, 2011, and at the Generali Foundation (Vienna) between September 7 and December 16, 2012.

In terms of content, Houston and Sharpstown serve as the starting points, such as the Houston Chamber of Commerce’s 1953 declaration of Houston as the nation’s most air-conditioned city, and the imposing of Sharpstown’s deed restrictions two years later. The timeline eschews hierarchy, juxtaposing the formation of a local neighborhood with the 1951 declaration by the American Committee for Cultural Freedom that “democracy, not communism creates societies where art thrives.” The text highlights that stalwarts of post-WWII art and theory like Clement Greenberg, Jackson Pollock, and Alexander Calder collaborated with the Committee in opposition to fascism. The inextricable links between business and culture are posted on the wall, beside the global forces that leveraged and tainted them:

1969 John and Dominique (nee Schlumberger) de Menil acquire the following works by Tony Smith: ‘The Elevens are Up’ (1963) and ‘New Piece’ (1966)

1973 OPEC oil ministers agree to use oil as a weapon to influence the West’s support of Israel in the Yom Kippur War. An embargo is extended against states including the U.S.A.

> Read the rest of this review on offcite.org

As Policy so plainly delineates, corporate corruption and cultural patronage are never far apart. One of the most timely entries concludes with a quotation from Los Angeles County Museum of Art executive director, Michael Gowan:

2007 LACMA accepts a $25 million donation from BP that shall aid in the renovation of the museum. The entryway on LACMA’s newly expanded campus is hereby renamed ‘The BP Grand Entrance.’ ‘LACMA is proud to partner with BP. What is convincing to LACMA is their commitment to sustainable energy.’ ...the exhibition stands as an exhaustive look at the autonomous instances of policy that have shaped the city. The bits of text, which draw connections that are at once affirming and ominous, speak for themselves. Even a video installation, which features interviews of Sharpstown’s denizens, from community leaders to original residents, grants a full-spectrum viewpoint. - CITE MAGZINE

ARTHUR ROSS ARCHITECTURE GALLERY COLUMBIA UNIVERSITY, NEW YORK FEBRUARY-MARCH 2011

GENERALI FOUNDATION VIENNA, AUSTRIA SEPTEMBER-DECEMBER 2012

Cycle! Organizational Matters Group (CC!OMG), Leadership e Department, Rice University Department of Public Affairs, re, Rice Student Volunteer Program, Rice Thresher, Rice iety at Rice, and the GIS Data Center at Fondren Library.

lic art installation on the campus of Rice University.

art project about the relationship between spatial practices nd everyday experience. A commentary on Rice University’s spaces and facilities that will cultivate greater dynamism s and foster our sense of community,”1 “ColorCycle!” sought or for diversity that, while iconic, was only apparent through > Read more about ColorCycle! in the Rice Thresher

April 2009 through April 2010

rsity together in one abstract gesture both in action as an as with ColorCycle! Organizational Matters Group (CC!OMG), Leadership Rice, Rice University cycles reclaimed from the of local universities were Police Department, Ricecampuses University Department of Public Affairs, Rice School of Architecture, Rice Student Volunteer Program, Rice Thresher, Rice Magazine, Architecture Society at Rice, by individuals from across the Rice University community— and undergraduates the GIS Data Center from at Fondren Library. ents, and every residential college and were distributed the campus to create continuous Volunteeringacross event and public art installation on theacampus of Rice University tched from east to west. Rice prides itself on the social, ColorCycle! was a public art project about the relationship between spatial practices of institutional regulation and intellectual diversity its students, faculty, and staff. Despite everyday experience. Aof commentary on Rice University’s commitment to “create the spaces and facilities that will cultivate dynamism and vibrancy the campus and foster sense of community,” ColorCycle! sought to create a spatial -to-daygreater interactions at theon university are our limited to a small metaphor for diversity that, while iconic, was only apparent through intentional exploration. As Project Co-Director with rom ourBiology college major, people Iof similar socioeconomic graduateor student Scott Chamberlain, initiated and designed the project, secured funding, coordinated vendors and volunteers, and served as the general lead contact. other staff or faculty in our department. Such experiential overcome, often because ofonelaziness, fear others, ColorCycle! tiedisn’t the university together in abstract gesture bothof in action as an asor artifact. On April 3, 2010, bicycles reclaimed from the campuses of local universities were painted one of seven colors by individuals from across the r installation, should one have observed the project from any Rice University community—faculty, staff, graduate students, and undergraduates from every residential college and department.that These bikes were distributed campuscolor. to create It a continuous gradient of color that stretched from s, it appeared all bikes wereacross thethe same was only east to west. e of the project could be realized. As bikes were appropriated itself on the social,realized economic, geographic, intellectual diversity of its students, faculty, and staff. Despite nity, theWRice actprides of integration duringand the painting event

with an

this seeming diversity, day-to-day interactions at the university are limited to a small group of people—friends from our college or major, people of similar socioeconomic or ethnic background, or other staff or faculty in our department. Such experiential self-similarity, while easily overcome, often isn’t because of laziness, fear of others, or ignorance. Immediately after installation, should one have observed the project from any one point on Rice’s campus, it appeared that all bikes were Envision Leadership Rice. the same color.Grant It was onlyfrom with effort that the full scope of the project could be realized. As bikes were appropriated by members of the community, the act of integration realized during the painting event was recreated in space. ColorCycle! was generously supported with an Envision Grant from Leadership Rice.

Nonprofit Organization U.S. Postage PAID Permit #7549 Houston, Texas

Rice University Creative Services–MS 95 P.O. Box 1892 Houston, TX 77251-1892

ColorCycle! Colorful flowers are an expected element of spring, but this year, Rice’s blossoms had some competition when a fleet of brightly painted bicycles spread like a rainbow across campus. The project was conceived by graduate student Scott Chamberlain, who wanted to highlight the university’s diversity, and was directed by architecture major Sam Jacobson ’10. Jacobson secured an Envision Grant from Leadership Rice, collected unclaimed bikes from the Rice University Police Department and the surrounding communities, and organized the painting and distribution of the bikes, which can be used for free by members of the Rice community. › › › ricemagazine.info/colorcycle

DEPLOYMENT MAP / RICE UNIVERSITY, HOUSTON TX / ONE DOT=ONE RACK

Color Cycle! Rice needs more color! Everyone can agree that a little extra color would be nice in these uncertain times. Our proposed project, “Color Cycle!”, uses the 236 bike racks on the Rice campus to create a continuous gradient of color that stretches from the westernmost part of the university to the easternmost part. In so doing, “Color Cycle!” celebrates our school’s continuing commitment to diversity and innovation, affirming Rice University President Leebron’s Vision for a Second Century goal of fostering a sense of community and making our campus a more vibrant, dynamic place. There is a wealth of meaning behind this simple gesture. At its most basic level, “Color Cycle!” is a fun and exciting way of temporarily livening up our stately but staid campus. By bringing together many different elements into a single unified whole, we affirm the importance of unity within our diverse campus community. Even though “Color Cycle!” uses many colors, it is green at heart. While the decision to walk instead of drive or to recycle waste paper instead of throw it away may seem small, its impact is large when multiplied to the scale of an entire society. This, however, is easy to forget. Just as “Color Cycle!” focuses one’s attention on something that unusually goes unnoticed, we hope that our project will similarly focus our community on the environmental impact of the environmental impact of their daily routine.

With your help, a more vibrant campus is just around the corner. Planning and development for “Color Cycle!” has been underway since May 2009. To date, the ‘Color Cycle!” team has mapped and photographed Rice’s bike racks, determined a color scheme, and has begun working with Rice University Facilities, Engineering and Planning to develop a concrete scheme for Spring 2009 project implementation and ongoing maintenance. If you are interested in participating in “Color Cycle!”, or are interested in finding our more, send us an email. Samuel Jacobson, Baker College ‘10 srj1@rice.edu Scott Chamberlain, Ecology & Evolutionary Biology Department ‘12 schamber@rice.edu

OFFICIAL PROJECT INFORMATION SHEET JACOBSON, DESIGN BY MYRA LARA

OFFICIAL PROJECT INVITATION TEXT BY SAMUEL RAY TEXT BY SAMUEL RAY JACOBSON

I’m an architecture major from California at Baker College. I’m Sam. I’m orange. “Let’s be honest here, Rice could use more color.” What’s your color? www.ricewhatstourcolor.com

I’m an art history major from New Jersey at Hanszen College I’m Claire. I’m yellow. “I like how this project ties the whole campus together in a subtle way, but also calls attention to these things that are everywhere that we never notice.” What’s your color? www.ricewhatstourcolor.com

I’m an antrhoplogy major from New Hampshire at Martel College I’m Johanna. I’m chartruse. “In spite of the differences in hometown, major, college, age, race, or affiliation with Rice, we can all connect on a simple level--our favorite color”. What’s your color? www.ricewhatstourcolor.com

I’m a grad student from California in the ecology department. I’m Scott. I’m blue. “Bicycles represent the color of change.” What’s your color? www.ricewhatstourcolor.com

ADVERTISMENTS DESIGN BY SAMUEL RAY JACOBSON PROMOTIONAL MATERIAL PHOTOS PROVIDED, GRAPHICS AND COPY BY SAMUEL RAY JACOBSON

ShowOff May 2010 with twelve Houston-area artists and Malinda Goldwater, IdCo. One-night-only multi-media event at Poissant Gallery, Houston

A conceptual art project about the rhetorics of display and the politics of self-promotion, “ShowOff!” involved the photography of local artists discussing their work in their workspaces. Initiated by an open call for individuals to “show what you do, where you do it,” the photos silently deconstruct the objects displayed as the product of a process of production. During a one-night-only event, opportunistically staged when a local gallery was in between other exhibitions, videos assembled from those photos were displayed for the enjoyment of the community of producers and their supporters. Varying qualities of artist media and documentation were levelled through videos of equal length. Stills were displayed in a back room, available to be taken home by those at the event. An inversion of a normative gallery condition, in which the space of the gallery serves as a neutral conduit for the consumption of artifacts, “ShowOff!” transformed its space into a mediator for the communication of both objects and their narratives of creation. This was true of both the event itself, with the artists present in the room, explaining their work to one-another and invited guests, and afterwards, when documentation of the event makes its way into other media, including portfolios and CVs.

unseen works the wall

seen works e wall

subjective viewers

narrativ

Above: the main room housing the artists’ sequentially ShowingOff! both on screen and in person, creating an open dialogue of unseen works Below: Champagne Room, (subjects viewing themselves left), where subjects were invited to tear down their own portraits from the wall

Eva Franch pla THE VARIED QU

SUBJECT ARTIFACT ENGAGEMENT, PRESENTATION, PERFORMANCE, DISCUSSION, COMMUNITY, COLOR, ARTIFACT DISPLACEMENT

PERFORMANCE, N

narrative performance Eva Franch planned the performance of the creation of an artifact for the documentation of the artifact and the artist; THE VARIED QUALITY OF ARTISTS’ MEDIA AND QUANTITY OF DOCUMENTATION OF EACH, WERE LEVELED WITH EQUAL ON-SCREEN TIME PERFORMANCE, NARRATIVE, DISPLAY, COLOR, AMBIENT LIGHT

dn’t

esigns the the ceiling

portable production The elusive Andrew Zukoski (whose ‘real time’ installation can be seen on pg 18) elected to use the space of a campus bar bathroom highlighting his mobile creative skills, while manhandling the tripod; YES I WILL FOLLOW YOU INTO THE MEN’S BATHROOM FOR A PHOTO SUBJECT DIRECTIVE PERFORMANCE, NARRATIVE, COLOR

interactive reflection Jenny Lim performs by interacting with the various accessories of one of her elaborate mannequin and found objects installation works; SEQUENCES OF SUBJECTS’ ACTIONS ARE DISPLAYED ON VIDEO LOOP CREATING MULTIPLE NARRATIVES THROUGHOUT THE EVENT SUBJECT ARTIFACT ENGAGEMENT, PERFORMANCE, NARRATIVE, DISPLAY

IdCo. NEWS RELEASE Contact: Samuel Jacobson + Malinda Goldater Directors, IdCo. 803 William Street Houston, Texas 77002 (713) 502-5491

For immediate release.

It’s an Exhibition! It’s an Experiment! It’s a Party! It’s ShowOff! Houston—Malinda Goldwater and Samuel Jacobson of the Independent Design Collective (IdCo.) are hostong “ShowOff!”, a highly-anticipated experimental exhibition event, bringing together the work of 21 artists for one night only at Poissant Gallery, Sunday May 9 from 6-9PM. Goldwater and Jacobson put together the event out of a desire to expose artistic work of their friends and colleagues that is not otherwise manifest. “We noticed that almost everyone we know has a secret second passion,” says Jacobson, an architecture student at Rice University. “Some people paint, some draw, some make music, or make dresses, or take pictures. It’s all great, but it’s all a secret. Why?” The event will be open to the public from 6pm to 9pm at Poissant Gallery, 5102 Center Street, in Houston. “We’re trying to encourage a conversation here,” says Goldwater. “Not only between the work being shown on the walls of the gallery, but between the work and the people participating in the event, and between the people themselves.” “It’s a sort of social condenser: a chance for commercial artists and amateurs, professors and their students to be able to be a part of something in a sort of totally equal way that isn’t possible anywhere else,” says Jacobson. “It’s much more than a bunch of stuff on a wall.” The two refuse to make specific details of the event known to the public beforehand, but they both promise that it will be “epic.” ### About IdCo.: Founded in January 2008, the Independent Design Collective (IdCo.) is dedicated to the advancement of collaborative design initiatives as a route towards social change. IdCo. is currently working on projects in Texas, California, and Massachusetts. About Poissant Gallery: Housed in a 19th century church, the gallery and grounds are unique, light filled spaces that enhance the experience of viewing contemporary art. There are two indoor exhibition spaces. 5102 Center Street Houston, Texas 77007