Sele c
ted Wor k
Shane Reiner-Roth
shanereinerroth@gmail.com +1818 421 0872 621 S. Spring St. Apt 403 Los Angeles, California 90014
Software
Adobe Suite: Illustrator Photoshop
Premiere In Design Rhinoceros Autodesk Maya Maxwell Render Revit Z-brush Surfcam
Fabrication
Model Making CNC Milling 3D Printing Laser Cutting
I graduated from
Work Experience
the Southern California Institute of Architecture (SCI-Arc) in 2014 with a thesis merit of distinction. My thesis, (everyverything), investigated the
TALL, 2014 - present
through animation and drawing.
tallwork.com
Publications / Exhibitions
SCPS Unlimited, 2014
CLOG Journal, October 2014
Modeled, textured, and animated a western town for an upcoming tv series title sequence, and produced serveral pre-vis motion graphics.
Essay and full image published in ‘World Trade Center’ issue. Part of TALL
Oxford School of Architecture Journal, September 2014 Manifesto and full image published in ‘Frontiers’ issue. Part of TALL
EDGE_CONDITION Magazine, June 2014 Full Image and statement published in ‘Presenting Architecture’ issue.
The Architectural Review, March 2013
Co-founder, concept and image producer towards publications and grants.
scpsunlimited.com
Florencia Pita Studio, Winter 2014 Collaborated in design and color assignment for 2014 PS1 Pavilion competition, as well as produced supplementary book. fpmod.com
Urban Operations, Summer 2012
Drawing published in Folio
Co-produced publication of Wilshire Star Maps, including documents for a residential project.
SCI-Arc Spring Show, Spring 2013
urbanops.org
Studio work featured in select exhibition.
SCI-Arc lecture series committee, 2012 - 2013
Wilshire Star Maps, Summer 2012
Chose lecturers for the lecture series and prepared
Produced drawings and concepts for publication.
good time had by all sciarc.edu
tallwork.com
everyverything.com
VIEWMAKERS
VIEWMAKERS
VIEWMAKERS
HISTORY OF THE WORLD TRADE CENTER, PART II Fired, robbed, bombed, and tightroped, the towers of the World Trade Center shared enough tribulation and whimsy in their existence to last two lifetimes. As two very sore thumbs in the southernmost tip of the most famous city in the world, they were a common spectacle on display and in use. Their well executed mix of iconicity and abstraction lent them to familiarity, and the shared height and voided plaza between them allowed their qualities to be observed without rival. Like the obligatory period at the end of a sentence, the towers were crammed in the margins of nearly every poster for movies set in New York City. As the most well known emblems of late Modernity, the World Trade Center towers were habitually taken out of their routine and fictionalized alongside their twentyeight year lifespan. In movies and television, the few qualities that made the towers distinct were tested and closely examined in an alternate, parallel world. The towers had their first upset in 1976 when King Kong passed up the Empire State Building to climb the two skyscrapers (they appear close enough to be appropriated as a single massive ladder).
After throwing satellite bits of Tower Two at shooting helicopters, causing one of them to crash just beneath him, he fell to the plaza in between with a big crack and thud. In that same plaza twenty one years later, Homer Simpson was attending to his booted car when a man in Tower One began to shout obscenities at him. A man in Tower Two apologized on his behalf and claimed that “they stick all the jerks in Tower One.” A man in a tank top several stories up can be seen drying his clothes between the two towers in a scene one might imagine in rural Italy. This sequence bestows the towers with a certain kind of character not often associated with Yamasaki’s unique brand of Modernism. Fast forward thirty years and the two towers, now extruded to twice their height and decked with multiple sky bridges, supply the materials for an aging Robin Williams android. Alternatively, they are totally decayed (though not at all diminished in familiarity), as seen specifically through the eyes of Morpheus. Their doubleness is their saving grace as their features are pulled and prodded, and their fine austerity can apparently withstand a lot of editing. The possible futures of the towers could indeed be endless. published in CLOG, October 2014
HISTORY OF THE WORLD TRADE CENTER, PART II
The Satellite City
The Satellite City
Architecture to Language to Architecture
Figural Monuments
Kremlin Form (Anna Neimark, Advisor)
3 Buildings (Andrew Atwood, Advisor)
Suspended Animation (Marcelyn Gow, Advisor)
Suspended Animation (Marcelyn Gow, Advisor)
Infraordinary (Andrew Atwood, Advisor)
Infraordinary (Andrew Atwood, Advisor)
Infraordinary (Andrew Atwood, Advisor)
Everyverything (Florencia Pita, Advisor)
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Museum of the Captive Lotus (Darin Johnstone, Advisor)
Museum of the Captive Lotus (Darin Johnstone, Advisor)