portfolio, winter 2015

samuel ray jacobson

4 some words 8 something pretty16 something detailed26 something meticulous34 something ambitious46 something independent54 something contracted60 something collaborative66 something curated72 something researched78 something directed84 something produced

570 N. Rossmore Ave. #209LA, CA 90004USA

Samuel Ray Jacobson is a designer and critic. He holds degrees from Rice University and the Massachusetts Institute of Technology.

CONTACT: [email protected]

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 Jacobson’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 contemporary situation. Since the principles of form and representation do not arise purely out of nature, they collude with the social organisms that we regard as means or for resistance. Our community and individuality perished when what was required was autonomy; consequently it is only as a tiny piece of the world that design can clamber towards efficacy and service to society, with or without friction. A profession oblivious to differences in humanity, we lead on our own blurring of national characteristics and to the production of modernisms that can be deployed equally well at any point on the globe.

Like capitalist production, the architectural process is an end in itself. The star-objects it spews forth are not actually produced to be of service or function; rather, they are made for the sake of egos that know no limit. Its growth is tied to that of capital. Architects do not labor for private gains whose benefits he or she can enjoy as an artisan. No: the architect labors to expand the development business. Buildings are not produced for the sake of art. Though art may well have once served to produce and consume buildings up to a certain point, architecture is a side effect in service of global capital. The designs subsumed by that process have divested themselves of their autonomous value.

Our bad faith runs its secret course in public. Everyone does his and her design in service to finance, performing formal acrobatics without grasping the ignobility. Like figures on a ledger sheet, architecture stands among investments, creations whose creators withdraw from reality and barely observe it themselves. Developments are conceived according to formalist principles that the star system merely pushes to its ultimate conclusion. Mouse-clicking fingers correspond to the hands in the factory. Going beyond aesthetic capacities, critical aptitude tests attempt to calculate dispositions of the soul as well. Our mass and ornament is the concrete reflex to which the prevailing architecture system aspires.

Samsung Model Home GalleryModel home sales office and gallery, Seoul, KoreaCompleted 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 “model home gallery,” 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, cafés, 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

detail at base detail at horizontal mullion detail reflected ceiling plan

At the building’s base, structure and curtain wall are blurred, using only steel T-sections and low iron glass, the mullions of the building edge are an index of its systems.

roofing membrane

rigid insulation


curtainwall


composite roof slab

steel I beam

glazing



aluminum reveal

bolted T-steel


stone tile





roofing membrane

rigid insulation


curtainwall


composite roof slab

steel I beam

glazing



aluminum reveal

bolted T-steel


stone tile





GRAPHICS BY JOHN HOUSER

roofing membrane

rigid insulation


curtainwall


composite roof slab

steel I beam

glazing



aluminum reveal

bolted T-steel


stone tile





roofing membrane

rigid insulation


curtainwall


composite roof slab

steel I beam

glazing



aluminum reveal

bolted T-steel


stone tile





roofing membrane

rigid insulation


curtainwall


composite roof slab

steel I beam

glazing



aluminum reveal

bolted T-steel


stone tile





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




interior wall

perforated aluminum louver sloped 2% to drain rib at each side attached

to vertical support



insulation on z furring


aluminum louver rib @ each side attached to

vertical support w/ steel brackets




GRAPHICS BY JOHN HOUSER

Cocktail CultureRISD Museum, Providence, Rhode IslandExhibition 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

IMG_1014.jpg

IMG_1013.jpg

IMG_1015.jpg

PHOTOGRAPHY BY NADER TEHRANI

IMG_0995.jpg

IMG_0997.jpg

IMG_0996.jpg

IMG_0998.jpg

Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980 was the first multi-disciplinary exhibition to explore the social ritual of the cocktail hour through the lens of fashion and design. Organized by the RISD Museum of Art’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 36” 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.

CC_041811__0044.tif

CC_041811__0045.tif

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CC_041811__0045.tif

COURTESY OF NADAAA

EXHIBIT PLAN

WALL SECTIONS

DETAILS

Hinman Research BuildingGeorgia 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.

PROMOTIONAL IMAGE SAMUEL RAY JACOBSON

110921_ADR AWARD_HINMAN_single page.indd 35 9/20/2011 10:00:16 PM

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.

SPIRAL STAIR

High-BayReview Space Stair Offices

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.

SPATIAL COMMUNICATION

T.O. HighbayFINISHES37.63'

UPPERROOF73.50'

D

LEVEL 0227.00'

GTRI B.O.Truss67.42'

LEVEL 0340.00'

2A 481

6

A 580

LEVEL 02RAISED FF27.29'

OPEN TOBEYOND

2'-4

1/2"

-REF

.2/A

581

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9'-0

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6

A 510

7

A 510

A 5803

NOTE 4

A 5802

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3

A 580

5

ALIGN T.O. MESH W/CLERESTORY SILL AND

T.O. DUCT

NOTE 2

NOTE 6


UPPERROOF73.50'

ROOF51.00'

7

LEVEL 0227.00'


LEVEL 0340.00'

3A 481

6

A 580

NOTE 14


SUSPENDED CIRCULAR STL 3/4" O.D. (1.03" ACTUAL O.D.)PIPE GUIDE RAIL W/ LOOPED MESH CONNECTION

NOTE 5

14'-

03/

4"

TOT.

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1/4"

-REF

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-41/

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31/

2"

8' - 0 1/2"

NOTE 7

NOTE 14

3

A 580

3'-6

"

GENERAL NOTE:REF. 3D MODEL FOR MOREDETAILED STAIR GUIDE RAILAND CABLEMESH SETOUT GEOMETRY

A 5106

Sim

CONTINUOUS WOVEN CABLE SUSPENDS CABLE MESH BELOWSUSPENDED STL PIPE RING @ B.O. TRUSS ABOVE, AS DETAILED.

05713.SS1

05713.SS105713.SS1

05704.GR1

05704.GR1

05713.SS1

NOTE 1405704.GR1

NOTE 305713.SS1

NOTE 1105713.SS1

A 5804

3

A 580

5

ALIGN T.O. MESH W/CLERESTORY SILL AND

T.O. DUCT

3' - 9"

2'-1

1"2' - 1"

2 1/2"

1'-4

"

4

A 5812

4

A 5813

4

A 581

1

CABLE ANCHORAGE @ ROOF TRUSS -- REF. STRUCTURALDETAIL

NOTE 6

NOTE 6


UPPERROOF73.50'

7

LEVEL 0227.00'


LEVEL 0340.00'

T.O. 02 N.FINISHES34.94'

6

A 580


14'-

03/

4"

TOT.

O.C

ABLE

MES

H

4'-4

1/4"

-REF

.2/A

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GEO

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RY

9'-0

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G2'

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2"10

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31/

2"

8' - 0 1/2"

3

A 580

05713.SS1NOTE 7

ALIGN T.O. MESH W/CLERESTORY SILLAND T.O. DUCT

3' - 9"

2'-1

1" 2' - 1"

2 1/2"

1'-4

"

4

A 581

2

4

A 581

3

4

A 581

1

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SCALE: 1/2" = 1'-0"STAIR 4 EW SECTION3 SCALE: 1/2" = 1'-0"

STAIR 4 NS SECTION2 SCALE: 1/2" = 1'-0"STAIR 4 EAST ELEVATION1

05704.GR1 Misc. Steel Guide Rail05713.SS1 Shop Fabricated Spiral Stair Unit

GENERAL NOTES

SHEET SPECIFIC NOTES

A. REF. 3D SPIRAL STAIR MODEL FOR MORE DETAILEDWELDED PLATE STAIR, CABLE MESH AND STAIR RAILSETOUT GEOMETRY.

MATERIAL KEYNOTES

1. SUPPLY DUCT PER MECH.

2. CABLE MESH WOVEN INTO CONTINUOUS AIRCRAFTCABLE ABOVE THIS LEVEL, TO BE FURNISHED ANDINSTALLED PER CABLE MESH MANUFAC. SPEC.

3. STL PIPE HANDRAIL, 1" O.D. (1.32" ACTUAL DIA.), TYP.PTD. PT-4 TO MATCH AESS.

4. CONTINUOUS WOVEN AIRCRAFT CABLE SUSPENDS CABLEMESH BELOW FROM SUSPENDED 3/4" O.D. (1.03" ACTUALDIA.) MILL FINISH SS PIPE RING @ B.O. TRUSS ABOVE.CONT. CABLE PER CABLE MESH MANUFAC. SPEC.

5. 3/4" O.D. (1.03" ACTUAL DIA.) CIRCULAR MILL FINISH SSPIPE GUIDE RAIL W/ LOOPED MESH CONNECTION. GUIDERAIL WELDED ON OUTRIGGERS TO STAIR COLUMN

6. MESH GUIDE CABLES BY CARL STAHL. CABLESTERMINATE WITH FORK CONNECTIONS @ FIELD-WELDEDFLANGES PER OFFICIUM APPROVED SHOP DWGS

7. 1/4" STL PLATE INTEGRAL BRIDGE AND GUARDRAIL. PT-4FINISH, PT-5 @ WALKING SURFACE.

8. LINE OF TREADS ABOVE

9. 3/4" O.D. (1.03" ACTUAL DIA.) MILL FINISHED STAINLESSSTEEL CIRCULAR BOTTOM GUIDERAIL, REF. A 580 FORCONNECTIONS TO STAIR PODIUM.

10. STL PLATE WALKING SURFACE TO MATCH THICKNESSOF SHOP FABRICATED SPIRAL STAIR. FLUSH MOUNTEDWITH SURFACE OF PLYWOOD PODIUM. NON-SKID PAINT PT-5TO MATCH AESS PT-4 COLOR.

11. 3/4" O.D. (1.03" ACTUAL DIA.) MILL FINISHED STAINLESSSTEEL BALUSTER, TYP., WELDED ALIGNED ON TREADCENTER AS DETAILED. OCCURS EVERY 90 DEGREE TURNOR EVERY 4TH TREAD.

12. 1/4" INTEGRAL RADIUSED STEEL PLATE BRIDGE ANDGUARDRAIL. PAINT PT-4 W/ SPIRAL STAIR. PT-5 NON-SKIDFINISH ON WALKING SURFACE WHERE INDICATED.

13. OUTRIGGER TERMINATION UNDER TREAD, ON CENTERWITH BALUSTER ABOVE, TYP. 3/4" O.D. (1.03" ACTUAL DIA.)MILL FINISH STAINLESS STEEL TO MATCH GUIDERAILS,BALUSTERS AND HANDRAILS.

14. 3/4" O.D. (1.03" ACTUAL DIA.) MILL-FINISHED STAINLESSSTEEL HELICAL GUIDERAIL FOR CABLE MESH ATTACHMENT.WELDED TO UNDERSIDE OF STAIR TREADS ON OUTRIGGERS.FOLLOWS CONTINUOUS SPIRAL OF STAIR AS DETAILE

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

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

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 activities, including lectures, film screenings, and installations.

LIGHTING

I-BEAM PURLIN

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

MCMASTER RIGID-EYEPULLEY PART NO. 3099T58

DOUBLE ANGLE BOTTOM CHORDOF EXISTING STEEL TRUSS

10x10x 14" UPPER

COLLECTOR PLATE W/ 14"

PLATE STANDOFFS (2PER SIDE)

38"Ø BOLT (4 PLACES)

10x10x 14" LOWER


PLATE TABS

4"x4"x 14" PLATE TABS

W/ 4x1x 14" GUSSETS

MCMASTER PART NO.

3099T38 14" FIXED PULLEY

(2 PLACES)

31 2

"


2" WIDE x 14" STEEL PLATE

STANDOFFS (4 PLACES)

MCMASTER PART NO.


(4 PLACES STAGGERED)

MCMASTER PART NO.


MOUNTED ON 14" PLATE

TAB

MCMASTER PART NO. 3099T3814" FIXED PULLEY WELDED TOLOWER COLLECTOR PLATE

(2 PLACES)


10x10x 14" UPPER




10x10"x 14" UPPER




10x10"x 14" LOWER


PLATE TABS

4"x4"x 14" PLATE TABS (3 PLACES)

MCMASTER PART NO.



TAB (3 PLACES)

A-AA

A

10716"2" 2"

14"

2'-

21 8

"

4"

1 2"

1 2"

2"

4"

2x2x 14" ∠ FRAME

4x4X 14" ∠ TOP MOUNT

4x4X 14" ∠ BOTTOM MOUNT

2x4X 14" ∠ CENTER MOUNT

MCMASTER PART NO.


MOUNTED ON 14" PLATE TAB

( 12 PLACES, STAGGERED),HARDWARE OMITTED FOR

CLARITY

12"Ø STEEL ROD

W/ 12" PVC SLEEVE

1/4"

1/4"

MCMASTER PART NO.



TAB ( 4 PLACES)

2x2x 14" ∠ FRAME

4x4X 14" ∠ TOP MOUNT

2x4X 14" ∠ CENTER MOUNT

MCMASTER PART NO.


MOUNTED ON 14" PLATE TAB

( 12 PLACES, STAGGERED)

12"Ø STEEL ROD W/ 1

2" PVCSLEEVE, FLAT WASHER W/

COTTER KEY BOTH ENDS

1/4"

1/4"

MCMASTER PART NO.



TAB ( 4 PLACES)

4x4X 14" ∠ BOTTOM MOUNT

CABLE "D" X 4

CABLE "D" X 4

CABLE "B" X 4

CABLE "A" X 4CABLE "B" X 4

CABLE "A" X 4

CABLE "C" X 3

CA

BL

E "

C"

X 3

CA

BL

E "

E"

X 3

CABLE "E" X 3

CABLE "C" & "E" X 6

2x2x 14" ∠ BRACE

1/4"

1/4"

1/4"

1/4"

C6X8.2 CHANNEL

2x2x 14" ∠ BRACE

3x3x 14" ∠ FOOT

3"

3"

13 16"

38"Ø GRADE 8 BOLTS W/ DOUBLE NUTS

2x2x 14" PLATE WASHER

1/4"

℄

2'-3"

1'-0"

1'-0"

31 8

"

6"

1'-9"

2'-5 78 "

2'-

41 8

"

EXISTING TRUSS BOTTOM CHORD

C6x8.2 CHANNEL

8316"

7"

638"

34

"25

8"

34

"1 2

"

2"

1 2"

2"

1 2"

101 16

"

12x10x 14" PLATE

12"Ø STEEL ROD WITHFLAT WASHER AND

COTTER KEY BOTH SIDES(3 PLACES)

34"Ø STEEL RADIAL-LOAD

TRACK ROLLER(MCMASTER-CARR PART

NO. 5977K75, 8 PLACES)

C6x8.2 STEEL CHANNEL

38"Ø GRADE 8 BOLTS W/ DOUBLE NUTS



2"

1 4"

34"

39

16"

12"Ø SAFETY BAR

12x10x 14" PLATE

12"Ø STEEL ROD WITHFLAT WASHER AND

COTTER KEY BOTH SIDES(3 PLACES)

34"Ø STEEL RADIAL-LOAD

TRACK ROLLER(MCMASTER-CARR PART

NO. 5977K75, 8 PLACES)


3 916X3x 1

4" BENT PLATE

3 916X3x 1

4" BENT PLATE

38"Ø GRADE 8 BOLTSW/ DOUBLE NUTS


EXISTING TRUSS BOTTOMCHORD @ WINCH END OFASSEMBLY (COLUMN LINE "H"

FACTORY-MADE 316"Ø WIRE

ROPE W/ NYLON COATINGTHIMBLE- ENDS

10"

1'-0"

5"x638"x 1

2" STEEL PLATE W/34"Ø GRADE 8 BOLT WITHFLAT WASHER THROUGHFACTORY WINCH CABLEEND CONNECTION

WINCH CABLE W/FACTORY-SUPPLIED CLOSED-ENDLOOP W/ THIMBLE

38"Ø GRADE 8 BOLTSW/ DOUBLE NUTS



2"

2" 2" 2" 3116"

33

8"

34" 11

16"

25

8"

25

8"

1012"

1'-9

916

"

6"6" 414"

1'-9

5 16"

DAYTON MODEL # 5AA21 2700# WINCH,CONTRACTOR TO VERIFY OVERALLDIMENSIONS OF INSTALLED WINCH ASSEMBLYPRIOR TO MOUNTING PULLEYS ABOVE, MOUNTWINCH ASSEMBLY IN ACCORDANCE WITHMANUFACTURER'S RECOMMENDATIONS,WINCH TO BE EQUIPPED WITH AUTOMATICMECHANICAL BRAKE

MCMASTER PART NO.


MOUNTED ON 2x2x 14"ANGLE

(4 PLACES)

2x2x 14" ∠ BRACE

2x2x 14" ∠ FRAME

2x3x 14" ∠ TOP FRAME

C6x8.2 STEEL CHANNEL SPACERS



3'-0"

℄

℄

1/4"

1/4"

1/4"

1/4"

1/4"

1/4"

1/4"

1/4"

10"

115 16" 31316"

12"

MCMASTER PART NO.3099T38 MOUNTED TOPULLEY ROTATINGASSEMBLY(4 PLACES)

PULLEY ROTATING ASSEMBLY,

2x3x 14" PLATE WELDED TO 3

8"Øx4" SCH 40 PIPE,34"ØX1 1

2" PIPE RETAINERS EACH END WELDED TO

COLLECTOR TOP PLATE, TIGHTEN 14" SET

SCREW ONTO 38" PIPE ONCE CABLE ANGLES

ARE SET AND CABLE IS TENSIONED




2" PIPE RETAINERS (2 PER PULLEY) @EACH END WELDED TO COLLECTOR TOP

PLATE, TIGHTEN 14" SET SCREW ONTO 3

8" PIPEONCE CABLE ANGLES ARE SET AND CABLE IS

TENSIONED

MCMASTER PART NO. 3099T3814" FIXED PULLEY MOUNTED ONPULLEY ROTATION ASSEMBLY(4 PLACES)

43

4"

10"

39

16"

1012"

3"

3"




2" PIPE RETAINERS EACH END WELDED TO

COLLECTOR TOP PLATE, TIGHTEN 14" SET

SCREW ONTO 38" PIPE ONCE CABLE ANGLES

ARE SET AND CABLE IS TENSIONED

MCMASTER PART NO. 3099T3814" FIXED PULLEY MOUNTED ONPULLEY ROTATION ASSEMBLY(4 PLACES)

1/4"

1/4"

1/4"

3 14"x2"x 1

4" PLATE STANDOFF(2 PER SIDE)

3 14"x2"x 1


3 14"x2"x 1


1516

"

114

"

1'-0

1 16"

PROJECT SPECIFIC NOTES:

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

2. ALL CABLE RUNS ARE TO BE TESTED PRIOR TO BEING PUT INTO SERVICE WITH A PROOFLOAD THREE (3) TIMES THE AMOUNT OF THE FIXTURE (45 LBS EST.).

3. ALL CABLING IS TO BE TYPE 304 STAINLESS STEEL 316"Ø BRAIDED 7X19 STRANDED CORE WIRE

ROPE (MINIMUM BREAKING STRENGTH = 3700#).

4. ALL CABLE TERMINATIONS ARE TO BE MADE USING NO LESS THAN THREE (3) 316" STAINLESS

STEEL CABLE CLAMPS W/ A MINIMUM SPACING BETWEEN THE CLAMPS OF NO LESS THAN 6TIMES THE WIRE ROPE DIAMETER, OR FACTORY SUPPLIED WIRE ROPE BRAIDED ENDS WITHSTAINLESS THIMBLE.

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

6. ALL PULLEYS ARE TO BE BLOCK DIVISION, INC MODEL 03058 3" FIXED MOUNT PULLEYS ORMCMASTER CARR PART # 3099T58 UNLESS NOTED OTHERWISE. CONTRACTOR ISRESPONSIBLE FOR VERIFYING PULLEY MAKE AND MODEL WITH MANUFACTURER ANDCORRESPONDING OVERHEAD LIFTING CAPACITY. ALL MOUNTING HOLES SHOULD BEUTILIZED IN ALL APPLICATIONS. OVERHEAD LIFTING CAPACITY RATING MUST BE 800LBSMINIMUM FOR ALL PULLEYS.

7. ALL HANGING PULLEYS DIRECTLY ABOVE LIGHT FIXTURES SHALL HAVE A SAFETY LOOP OF316" CABLE TO PREVENT A VERTICAL DROP IN THE VENT OF A PULLEY FAILURE. THE SAFETYLOOP SHOULD BE SECURELY FASTENED TO THE STRUCTURE ABOVE, AND SHALL FORMACONTINUOUS 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 THESENOTES, AND SHOULD BE AFFIXED TO THE PULLY HOUSING AND STUCTURE TO PREVENTRUBBING ON THE PRIMARY CABLE.

8. ALL PULLEYS ARE TO BE MOUNTED USING THE HARDWARE RECOMMENDED BY THEMANUFACTURER TO OBTAIN THE RATED LIFTING CAPACITY. NO WELDING OF PULLEYBASES TO PLATES IS ALLOWED. ALL HARDWARE SHOULD HAVE DOUBLE NUTS ANDWASHERS AS NECESSARY.

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

10. THE STRUCTURAL ENGINEER OF RECORD FOR THE OVERALL RENNOVATION OF THE ROOFSYSTEM STRUCTURAL STEEL SHOULD BE CONSULTED REGARDING THE BOTTOM CHORDBRACING REACTION RESULTING FROM THE WINCH PULL. THE BRACING REACTION IS270LBSWORKING (810 LBS PROOF) PERPENDICULAR TO THE BOTTOM CHORD OF THETRUSSES SHOWN.

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

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

3. DRAWINGS SHOW TYPICAL AND CERTAIN SPECIFIC CONDITIONS ONLY. FOR DETAILS NOTSPECIFICALLY SHOWN, PROVIDE DETAILS SIMILAR TO THOSE SHOWN.

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

5. THE CONTRACTOR IS SOLELY RESPONSIBLE FOR THE DESIGN, ADEQUACY, AND SAFETYOF ERECTION BRACING, SHORING, TEMPORARY SUPPORTS, ETC. THE STRUCTURALELEMENTS ARE NOT STABLE UNTIL THE STRUCTURE IS COMPLETE.

6. FABRICATION, ERECTION OR INSTALLATION OF COMPONENTS SHALL NOT PROCEEDUNTIL SHOP DRAWINGS HAVE BEEN SUBMITTED, REVIEWED AND APPROVED BY THEENGINEER.

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

8. COORDINATE AND VERIFY FLOOR AND ROOF OPENING SIZES AND LOCATIONS WITHARCHITECTURAL, MECHANICAL, PLUMBING AND ELECTRICAL DRAWINGS. FORADDITIONAL OPENINGS, INSERTS, SLEEVES, CURBS, PADS, ETC. NOT SHOWN ON THESTRUCTURAL DRAWINGS SEE ARCHITECTURAL, MECHANICAL, PLUMBING ANDELECTRICAL DRAWINGS.

9. CONTRACTOR IS RESPONSIBLE FOR MEANS, METHODS, TECHNIQUES, SEQUENCES, ANDPROCEDURES.

10. THE CONTRACTOR IS SOLELY RESPONSIBLE FOR ERRORS AND OMISSIONS ASSOCIATEDWITH THE PREPARATIONS OF SHOP DRAWINGS.

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

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

2. SHOP DRAWINGS PREPARED IN ACCORDANCE WITH THE LATEST " STRUCTURAL STEELDETAILING MANUAL" OF THE AISC SHALL BE SUBMITTED FOR APPROVAL. NOFABRICATION SHALL BEGIN UNTIL SHOP DRAWINGS ARE COMPLETED, REVIEWED ANDAPPROVED.

3. UNLESS NOTED OTHERWISE, STRUCTURAL STEEL SHALL CONFORM TO ASTM A36 ORA572, 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.

4. STEEL FRAMING CONNECTIONS SHALL BE BOLTED OR WELDED.

A. BOLTED JOINTS SHALL CONFORM TO AISC "SPECIFICATION FOR STRUCTURAL JOINTSUSING ASTM A325 OR A490 BOLTS". BOLTS SHALL CONFORM TO ASTM A325, AND SHALLBE MINIMUM • •" DIAMETER, UNLESS NOTED OTHERWISE. BOLTS FOR MOMENT FRAME ANDDIAGONAL BRACING CONNECTIONS SHALL BE CONSIDERED BEARING TYPE WITH BOLTSPRE-TENSIONED. ALL OTHERS MAY BE CONSIDERED BEARING TYPE WITH SNUG-TIGHTBOLTS- UNLESS OTHERWISE NOTED. PROVIDE DIRECT TENSION INDICATORS (LOADINDICATING WASHERS OR SNAP OFF BOLTS) IN ACCORDANCE WITH ASTM F959 AT ALLHIGH STRENGTH BOLTS.

B. WELDS SHALL CONFORM TO THE "STRUCTURAL WELDING CODE" OF THE AMERICANWELDING SOCIETY AWS D1.1. USE E70XX ELECTRODES. WELDING PROCESSES ANDOPERATORS SHALL BE QUALIFIED IN ACCORDANCE WITH AWS "STANDARDQUALIFICATIONS PROCEDURES". WELDERS SHALL CARRY PROOF OF QUALIFICATIONSON THEIR PERSONS.

5. ANCHOR RODS SHALL CONFORM TO ASTM F1554, GR 55,S1 (WELDABLE) UNLESSOTHERWISE NOTED. THE END OF THE ANCHOR ROD INTENDED TO PROJECT FROM THECONCRETE SHALL BE STEEL DIE STAMPED WITH THE GRADE IDENTIFICATION ASREQUIRED BY SUPPLEMENT S3. ANCHOR RODS SHALL PROJECT A MINIMUM 1" ABOVE THENUT.

6. DO NOT USE GAS CUTTING TORCHES FOR CORRECTING FABRICATION ERRORS IN THESTRUCTURAL FRAMING.

7. UNLESS NOTED OTHERWISE, PROVIDE THE GREATER OF ONE OF THE FOLLOWING BEAMEND CONNECTIONS:

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

B. WHERE BEAM REACTIONS ARE SHOWN, CONNECTIONS SHALL DEVELOP THE REACTIONGIVEN, OR

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

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

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

9. GROUT UNDER BASE PLATES WITH NON-SHRINK, HI STRENGTH GROUT (MINIMUM 6,000PSI) AFTER SETTING AND LEVELING.

10. STEEL CONSTRUCTION SHALL BE INSPECTED BY A QUALIFIED TESTING AGENCY.

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

B. ALL FILLET WELDS SHALL BE 100% VISUALLY INSPECTED.

C. ALL PENETRATION WELDS SHALL BE TESTED IN ACCORDANCE WITH ASTM E164.

D. WELDING OF HEADED STUD CONCRETE ANCHORS AND DBAs SHALL BE INSPECTED INACCORDANCE WITH AWS D1.1. TEST 15% OF ALL STUDS. RETEST ALL STUDS AND DBAs ONANY MEMBER WHOSE STUDS FAILED INITIAL TESTING.

E. WRITTEN REPORTS SHALL BE SUBMITTED DESCRIBING ALL INSPECTIONS AND INDICATINGANY NON-CONFORMING WORK.

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

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

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

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

- THE MINIMUM CENTER-TO-CENTER SPACING OF STUDS SHALL BE 4 1/2" ALONG THELONGITUDINAL AXIS OF THE BEAM AND 3" TRANSVERSE TO THE LONGITUDINAL AXISOF THE BEAM. THE MINIMUM DISTANCE TO THE EDGE OF THE BEAM FLANGE SHALL BE1 1/4" WHERE STUDS ARE PLACED IN PAIRS.

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

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

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


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

BOTTOM CHORD OFEXISTING TRUSS

C4x5.4 CHANNEL

38"Ø THREADED ROD W/

DOUBLE NUT BOTH ENDS(2 PLACES)

2x4x 14" PLATE STRAP


C4x5.4 CHANNEL

1/4"

C4x5.4 CHANNELEXISTING ROOF PURLIN


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

MCMASTER RIGID-EYEPULLEY PART NO. 3099T58

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

2"X3"X 14" PLATE W/ 5

16" SPACER(2 PLACES)

38"Ø THREADED ROD W/

DOUBLE NUT BOTH ENDS(2 PLACES)

1/4"

1/4"

SAFETY LOOP OF 316" CABLE, ANCHOR TO

CHANNEL ABOVE, SECURE TO PULLEY TOPREVENT RUBBING ON MAIN PRIMARY CABLE SAFETY LOOP OF 3

16" CABLE, ANCHOR TOCHANNEL ABOVE, SECURE TO PULLEY TO

PREVENT RUBBING ON MAIN PRIMARY CABLE

75

16"

MCMASTER PART NO.


MOUNTED ON 2x2x 14"ANGLE

(3 PLACES)

1'-11

1 16"

1 12"x 10"x 1

4" NYLON RUB STRIPMOUNTED WITH COUNTERSUNK

SCREWS

1"x 12" SPACERS

1"x 12" SPACERS

1"x 12" SPACERS

2x4x 14" PLATE

1 12"x4"X 1

4" PLATE

1"

4"x4"x 14" PLATE TABS

W/ 4x1x 14" GUSSETS

1'-8"

1/4"

1/4"

2x2x 14 STEEL ANGLE BRACES

WINCH CABLE ATTACHMENT BEYOND

2x3x 14" ∠ BOTTOM FRAME

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

GUILLOTINE DOORsystem 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.

PLYWOOD VENEERSdeployed 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.

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

MILLWORK CONSTRUCTION DOCUMENTATIONAUTOCAD AND REVIT BY TOM BERESFORD AND SAMUEL RAY JACOBSON

COMPLTED MILLWORKPHOTOGRAPH COPYRIGHT JONATHAN HILLYER

ART, OR WHAT-EVER

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 “LUCY,” 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 folly’s historical interrogation of architecture’s use value,

within a landscape condition, distorting the sensorial landscape of the city into one shape, 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 complete-city 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 LUCY’s exteriors and framed so as to be consumed, in fragments, from inside (see diagrams at right).

simulated view from inside

MODEL AND RENDERINGCOPYRIGHT 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).

Mahdi AlibakhshanUPenn 2010

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).

Samuel Ray JacobsonMIT 2013

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.

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.

abou

t QA

STIC

AffiliatesAli Sadeghian, Carlos Bugatti, Mohamad Mojahedi, Gregory Harcomb

ConsultantsNathaniel Hadley - Fabrication

Nader Tehrani - DesignHasan Azad - Acoustic Engineering

Cristian OncescuYale 2014

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

Reza ZiaColumbia 2012

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

AffiliatesAli Sadeghian, Carlos Bugatti, Mohamad Mojahedi, Gregory Harcomb

ConsultantsNathaniel Hadley - Fabrication

Nader Tehrani - DesignHasan Azad - Acoustic Engineering

FLOTSAMOctober 2014

with the BABEL Working Group

Temporary installation at the University of California, Santa Barbara (UCSB)

The BABEL Working Group is an international consortiumof scholars, scientists, artists and public intellectuals thatfosters creative learning communities within and withoutthe 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 mile-long 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 SIMULATIONSAMUEL RAY JACOBSON

0’ 100’ 250’ 500’ 1000’

N

SITE PLAN SRJ 6/14/14

1 2 3 4 5 6 7 8 9 10 11 1211 10

0’ 100’ 250’ 500’ 1000’

N

ZONE MAP SRJ 6/29/14

0’ 100’ 250’ 500’ 1000’

N

AERIAL IMAGE (SIMULATED) SRJ 6/14/14

N

0’ 100’ 250’ 500’ 1000’

N

SITE PLAN SRJ 6/14/14

1 2 3 4 5 6 7 8 9 10 11 1211 10

0’ 100’ 250’ 500’ 1000’

N

ZONE MAP SRJ 6/29/14

0’ 100’ 250’ 500’ 1000’

N

AERIAL IMAGE (SIMULATED) SRJ 6/14/14

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

0 1/4 mi250’

... FROM GOLETA BEACH ELLINGS HALL

BROLDA HALL GIRVETZ HALL

THEATER & DANCE OCEAN ROAD ISLA VISTA COAL OIL POINT RESERVE

GIRVETZ HALL

COAL OIL POINT RESERVE

PROJECT SIMULATIONS (MOVING WEST TO EAST)SAMUEL RAY JACOBSON

ENGINEERING II

SOUTH HALL HSS

TO SANDS BEACH...

BLGS 424 & 599

SLOUGH ROAD

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

http://KONSTRUKTPHOTO.COM

@PUBLICUTILITY2Installation and new media community building initiativeInstallation 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

1996 USAID LELAND INITIATIVE DEVELOPS FULL INTERNET CONNECTIVITY PLAN FOR AFRICA

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

1997 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

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

1997 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

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

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

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

1998 ORGANIZATION OF ICANN BY DEPT. OF COMMERCE TO MANAGE INTERNET

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

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

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

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

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

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

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

1999 NEW ORLEANS ARENA OPENS

1999 RATIFICATION OF 802.11B, THE FIRST VARIANT ON 802.11

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

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

1999 NAPSTER BECOME FIRST P2P FILE SHARING SYSTEM ON THE INTERNET

1999 NTT DOCOMO LAUNCHES I-MODE MOBILE INTERNET

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

2000 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

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

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

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

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

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

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

2002 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

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

1996 USAID LELAND INITIATIVE DEVELOPS FULL INTERNET CONNECTIVITY PLAN FOR AFRICA

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


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

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

1997 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

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

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

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

1998 ORGANIZATION OF ICANN BY DEPT. OF COMMERCE TO MANAGE INTERNET

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

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

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

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

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

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

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

1999 NEW ORLEANS ARENA OPENS

1999 RATIFICATION OF 802.11B, THE FIRST VARIANT ON 802.11

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

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

1999 NAPSTER BECOME FIRST P2P FILE SHARING SYSTEM ON THE INTERNET

1999 NTT DOCOMO LAUNCHES I-MODE MOBILE INTERNET

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

2000 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

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

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

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

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

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

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

2002 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

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

BELOW - HISTORICAL DATA ENTRIES, SELECTIONSAMUEL RAY JACOBSON, OTHERS

FOR IMMEDIATE RELEASE

PUBLIC UTILITY 2.0 TAKES TO TWITTERGroundbreaking 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: 1.805.338.1389Email: [email protected]

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.3COURTESY PROSPECT.3

WWW.TWITTER.COM/PUBLICUTILITY212/29/2014, 3:50 PM CST

September 5, 2012; November 2, 2012; November 22, 2012with Irina Chernyakova, Mariel Villere (MIT)

Collaborative event series

As co-founders of the SMArchS event series, two peers and I coordinated a volunteer-executed, 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 volunteer-executed, 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

Andy Warhol Eating a Hamburger, 1981

GENERAL ANNOUNCEMENT AND CALL FOR SUBMISSIONSINGESTATECTURE, 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 SUBMISSIONEntrants 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 [email protected] 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: [email protected]

Deleted: CALL FOR SUBMISSIONS

Deleted: DESIGN A FOOD-ART DINNER FOR SMARCHS @ MIT¶

Deleted: BE A PART OF IT.¶

Deleted: MIT

Deleted: -time

Deleted: Spring

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: -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: 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: statement of no more than 500 words in length

Deleted: total

Deleted: Anonymous

Deleted: are due

Deleted: members

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: Section Break (Continuous)SPONSORED BY A GRADUATE STUDENT LIFE GRAN

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

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

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

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

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

> Learn more about “Unbound” here

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.

http://FUTUREBOOK.MIT.EDU

EXHIBIT OVERVIEWPHOTOGRAPHY BY MIT DEANS OFFICE

EXHIBIT OVERVIEWPHOTOGRAPHY BY MIT DEAN’

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.Rotch Library Limited Access CollectionIn 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 news-paper, 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 main-tains 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.

Visionaire 39: “PLAY.” New York: Visionaire: c. 2002.Rotch Library Limited Access CollectionIssued 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.

Andy Warhol. Red books. Göttingen: Steidl , 2004.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 per-plexing challenge the normative diagram of book form while exploiting it for the purposes of marketing. Pro-duced in conjunction with an exhibition at Pace/MacGill Gallery, New York, May 13-June 19, 2004.

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

Kermaire, Christine. World libraries of artist books. Charleroi, 2007.Rotch Library Limited Access CollectionStiff 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.

case 4/4 (fragmentation)

5

4

3

2

1

POLICYMay 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.

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:

...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

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.’

> Read the rest of this review on offcite.org

http://offcite.org/2010/07/06/policy-an-exhibition

ARTHUR ROSS ARCHITECTURE GALLERYCOLUMBIA UNIVERSITY, NEW YORKFEBRUARY-MARCH 2011

GENERALI FOUNDATIONVIENNA, AUSTRIA

SEPTEMBER-DECEMBER 2012

April 2009 through April 2010

with ColorCycle! Organizational Matters Group (CC!OMG), Leadership Rice, Rice University Police Department, Rice University Department of Public Affairs, Rice School of Architecture, Rice Student Volunteer Program, Rice Thresher, Rice Magazine, Architecture Society at Rice, and the GIS Data Center at Fondren Library.

Volunteering event and public art installation on the campus of Rice University

ColorCycle! was a public art project about the relationship between spatial practices of institutional regulation and everyday experience. A commentary on Rice University’s commitment to “create the spaces and facilities that will cultivate greater dynamism and vibrancy on the campus and foster our sense of community,” ColorCycle! sought to create a spatial metaphor for diversity that, while iconic, was only apparent through intentional exploration. As Project Co-Director with Biology graduate student Scott Chamberlain, I initiated and designed the project, secured funding, coordinated vendors and volunteers, and served as the general lead contact.

ColorCycle! tied the university together in one abstract gesture both in action as an as artifact. On April 3, 2010, bicycles reclaimed from the campuses of local universities were painted one of seven colors by individuals from across the Rice University community—faculty, staff, graduate students, and undergraduates from every residential college and department. These bikes were distributed across the campus to create a continuous gradient of color that stretched from east to west.

WRice prides itself on the social, economic, geographic, and intellectual diversity of its students, faculty, and staff. Despite 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 the same color. It was only 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.

> Read more about ColorCycle! in the Rice Thresher

98

ColorCycle!DATE: April 2010COLLABORATORS: ColorCycle! Organizational Matters Group (CC!OMG), Leadership Rice, Rice University Police Department, Rice University Department of Public Affairs, Rice School of Architecture, Rice Student Volunteer Program, Rice Thresher, Rice Magazine, Architecture Society at Rice, and the GIS Data Center at Fondren Library.

Volunteering event and public art installation on the campus of Rice University.

ABSTRACT:“ColorCycle!” was a public art project about the relationship between spatial practices of institutional regulation and everyday experience. A commentary on Rice University’s commitment to “create the spaces and facilities that will cultivate greater dynamism and vibrancy on the campus and foster our sense of community,”1 “ColorCycle!” sought to create a spatial metaphor for diversity that, while iconic, was only apparent through intentional exploration.

“ColorCycle!” tied the university together in one abstract gesture both in action as an as artifact. On April 3, 2010, bicycles reclaimed from the campuses of local universities were painted one of seven colors by individuals from across the Rice University community—faculty, staff, graduate students, and undergraduates from every residential college and department. These bikes were distributed across the campus to create a continuous gradient of color that stretched from east to west. Rice prides itself on the social, economic, geographic, and intellectual diversity of its students, faculty, and staff. Despite 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 the same color. It was only 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 funded with an Envision Grant from Leadership Rice.

1. DAVID LEEBRON, A VISION FOR RICE UNIVERSITY (HOUSTON, TEXAS: OFFICE OF THE PRESIDENT OF RICE UNIVERSITY), 2005, 2.

Nonprofit OrganizationU.S. Postage

PAIDPermit #7549

Houston, TexasRice UniversityRice UniversityCreative Services–MS 95P.O. Box 1892Houston, TX 77251-1892

Colorful fl owers are an expected element of spring, but this year, Rice’s blossoms had some competition when a fl eet 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 sur-rounding communities, and organized the painting and distribution of the bikes, which can be used for free by members of the Rice community.

Colorful fl owers are an expected element of spring, but

ColorCycle!

››› ricemagazine.info/colorcycle

“COLORCYCLE” FEATURED ON THE BACK PAGE OF RICE MAGAZINE, ISSUE 6DESIGN BY CHUCK THURMON, RICE OFFICE OF CREATIVE SERVICES

http://www.ricethresher.org/news/a-rainbow-for-rice-1.1752868

98

ColorCycle!DATE: April 2010COLLABORATORS: ColorCycle! Organizational Matters Group (CC!OMG), Leadership Rice, Rice University Police Department, Rice University Department of Public Affairs, Rice School of Architecture, Rice Student Volunteer Program, Rice Thresher, Rice Magazine, Architecture Society at Rice, and the GIS Data Center at Fondren Library.

Volunteering event and public art installation on the campus of Rice University.

ABSTRACT:“ColorCycle!” was a public art project about the relationship between spatial practices of institutional regulation and everyday experience. A commentary on Rice University’s commitment to “create the spaces and facilities that will cultivate greater dynamism and vibrancy on the campus and foster our sense of community,”1 “ColorCycle!” sought to create a spatial metaphor for diversity that, while iconic, was only apparent through intentional exploration.

“ColorCycle!” tied the university together in one abstract gesture both in action as an as artifact. On April 3, 2010, bicycles reclaimed from the campuses of local universities were painted one of seven colors by individuals from across the Rice University community—faculty, staff, graduate students, and undergraduates from every residential college and department. These bikes were distributed across the campus to create a continuous gradient of color that stretched from east to west. Rice prides itself on the social, economic, geographic, and intellectual diversity of its students, faculty, and staff. Despite 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 the same color. It was only 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 funded with an Envision Grant from Leadership Rice.

1. DAVID LEEBRON, A VISION FOR RICE UNIVERSITY (HOUSTON, TEXAS: OFFICE OF THE PRESIDENT OF RICE UNIVERSITY), 2005, 2.

Nonprofit OrganizationU.S. Postage

PAIDPermit #7549

Houston, TexasRice UniversityRice UniversityCreative Services–MS 95P.O. Box 1892Houston, TX 77251-1892

Colorful fl owers are an expected element of spring, but this year, Rice’s blossoms had some competition when a fl eet 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 sur-rounding communities, and organized the painting and distribution of the bikes, which can be used for free by members of the Rice community.

Colorful fl owers are an expected element of spring, but

ColorCycle!

››› ricemagazine.info/colorcycle

“COLORCYCLE” FEATURED ON THE BACK PAGE OF RICE MAGAZINE, ISSUE 6DESIGN BY CHUCK THURMON, RICE OFFICE OF CREATIVE SERVICES

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

1312

PROMOTIONAL MATERIALPHOTOS PROVIDED, GRAPHICS AND COPY BY SAMUEL RAY JACOBSON

I’m an architecture majorfrom 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 antrhoplogy majorfrom 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”.



I’m an art history majorfrom 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.”



I’m a grad studentfrom California

in the ecology department.

I’m Scott.I’m blue.

“Bicycles represent the color of change.”



OFFICIAL PROJECT INVITATIONTEXT BY SAMUEL RAY JACOBSON

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 in-terested in participating in “Color Cycle!”, or are interested in finding our more, send us an email.

Samuel Jacobson, Baker College ‘[email protected]

Scott Chamberlain, Ecology & Evolutionary Biology Department ‘[email protected]

Color Cycle!

OFFICIAL PROJECT INFORMATION SHEETTEXT BY SAMUEL RAY JACOBSON, DESIGN BY MYRA LARA

1312

PROMOTIONAL MATERIALPHOTOS PROVIDED, GRAPHICS AND COPY BY SAMUEL RAY JACOBSON

I’m an architecture majorfrom California

at Baker College.

I’m Sam.I’m orange.

“Let’s be honest here, Rice could use more color.”



I’m an antrhoplogy majorfrom 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”.



I’m an art history majorfrom 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.”



I’m a grad studentfrom California

in the ecology department.

I’m Scott.I’m blue.

“Bicycles represent the color of change.”



OFFICIAL PROJECT INVITATIONTEXT BY SAMUEL RAY JACOBSON

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 in-terested in participating in “Color Cycle!”, or are interested in finding our more, send us an email.

Samuel Jacobson, Baker College ‘[email protected]

Scott Chamberlain, Ecology & Evolutionary Biology Department ‘[email protected]

Color Cycle!

ADVERTISMENTSDESIGN BY SAMUEL RAY JACOBSON

ShowOffMay 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.

SUBJECT ARTIFACT ENGAGEMENT, PRESENTATION, PERFORMANCE, DISCUSSION, COMMUNITY, COLOR, ARTIFACT DISPLACEMENT 17Above: the main room housing the artists’ sequentially ShowingOff! both on screen and in person, creating an open dialogue of unseen worksBelow: Champagne Room, (subjects viewing themselves left), where subjects were invited to tear down their own portraits from the wall

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

subjective viewers narrative performance

PERFORMANCE, NARRATIVE, DISPLAY, COLOR, AMBIENT LIGHT









SUBJECT DIRECTIVE PERFORMANCE, NARRATIVE, COLORPHOTOGRAPHY, DISCUSSION, COMMUNITY, ART, ARCHITECTURE

IDCo. extends an open invitation to any and all artists to ShowOff! For one night everyone who couldn’t wouldn’t or shouldn’t have their work exhibited displays their chosen media life-size and in person

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

Showcase portable production

Curated, hosted, documented, presented, coordinated, designed and managed by MALINDA GOLDWATER.

MALINDA GOLDWATER visits and photographs 20 local artists under the directive ‘whatever you do wherever you are, stand behind your work’ until the subject is uncomfortable enough to ask if its over yet.

13

SUBJECT ENGAGEMENT, SEQUENCE, ORDER, MOVEMENT, MEASURED DISPLACEMENT

ShowOff!

Poissant Gallery5102 Center Street Houston, TX 77007

IT'S AN EXHIBITION!IT'S AN EXPERIMENT!

IT'S A PARTY!

IT'S EVERYTHING WORTH SEEINGBY EVERYONE YOU KNOW

FOR ONE NIGHT ONLY

May 9th 6-9pm

An IDCo. Production

PRESENTATION, MARKETING, DOCUMENTATION, DISPLAY 15Samuel Ray Jacobson contributes words, which become rules of the event, and brochures which describe it; MALINDA GOLDWATER designs the space, creates the ads, invades the homes, collects the photos, tests the sequences, scribbles IDCo. on the discs and hides them in the ceiling

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

the artifacts interactive reflection

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

portfolio, winter 2015

Documents

structure of architecture

samuel ray jacobsons

usasamuel ray jacobson

prevailing architecture

content andor graphics

service of global capital

star system

contemporary situation